Jardins do Palácio Nacional Queluz

Initially conceived as a summer residence, Queluz became the royal family’s preferred place for their leisure and entertainment. They lived there permanently from 1794 until their departure for Brazil in 1807, at the time of the French invasions.

The different green spaces form a unified whole with the building itself, whose façades face the upper “French-style” gardens (the Hanging Garden and the Malta Garden) and are then prolonged through the delicate parterres de broderie delineated by box-tree hedges. The statues are inspired by themes from classical mythology and they decorate and mark out the main axes of these ornamental gardens.

A complex geometrical grid

The remarkable group of stone and lead sculptures were brought from Italy and England, the latter being the work of the London-based artist John Cheere. These gardens are separated from the adjacent gardens, as well as from the surrounding farming land and wooded areas, by stone balustrades with flower pots and statues. A series of avenues irradiate from the portico, and these in turn are linked to others, forming a complex geometrical grid that has lakes and fountains with water features placed at its intersections. Particularly impressive among the various highlights is the Medallions Lake, designed in 1764 by the French architect Jean-Baptiste Robillion, which has the shape of an octagonal star.

The palace

Inside the palace, the state rooms, spaces used for religious worship and private apartments follow on from one another, all of them enjoying close links to the gardens outside, which were formerly used for festivities, dances, theatrical performances, concerts, games, and equestrian and firework displays. The gilded woodcarvings and papier maché work, the walls lined with mirrors or paintings and the sparkling and highly decorative chandeliers, as well as the various art works and other treasures on display (most of them originating from royal collections), all reflect the sophisticated atmosphere of the Palace’s golden age.

Queluz’s architecture is representative of the final extravagant period of Portuguese culture that followed the discovery of Brazilian gold in 1690. From the beginning of the 18th century many foreign artists and architects were employed in Portugal to satisfy the needs of the newly enriched aristocracy; they brought with them classical ideas of architecture which derived from the Renaissance. In its design, Queluz is a revolt against the earlier, heavier, Italian-influenced Baroque which preceded the Rococo style throughout Europe.

Extravagant architecture

The architecture of Queluz reflects the lifestyle led by the Portuguese royal family at the time of building: during the reign of Dom Pedro’s brother, Joseph I, when Portugal was in practice governed by a valido or favourite, the Marquis of Pombal. Pombal encouraged the royal family to while away their days in the country and leave affairs of state to him. Thus the extravagant, almost whimsical architecture of Queluz, set apart from the capital city, exactly represents the politics and social events of Portugal during this era, and the carefree and flamboyant lives led by its occupants. Queluz’s role as a haven for those without responsibility was, however, to be short-lived.

The site chosen for this summer retreat was in a secluded hollow. It had originally been owned by the Marquis of Castelo Rodrigo. When the ruling Spanish were driven from Portugal in 1640, the Marquis was accused of having collaborated with the Spanish and the property was seized by the Portuguese Crown. The estate and its hunting lodge then became one of the many properties of the Portuguese king, João IV. He set it aside as one of the properties reserved for the second son of the reigning monarch. Thus it came into the hands of Dom Pedro, the second son of João V.

The Great earthquake of 1755

The architect, Mateus Vicente de Oliveira, had trained under Ludovice of Ratisbon and Jean Baptiste Robillon during the construction of the royal palace and convent of Mafra. The more sombre and massive classical palace at Mafra does not appear to have influenced the design for Queluz, which is in a lighter, more airy style. Work began in 1747 and continued rapidly until 1755, when it was interrupted by the Great earthquake of 1755, after which the labourers were more urgently required for the reconstruction of the city. The earthquake proved to be a catalyst, because the urban rebuilding process stimulated the development of the arts in Portugal.

The subsequent architecture of Queluz was influenced by new ideas and concepts. When work recommenced in 1758, the design was adapted for fear of another earthquake. Thus the later works take the form of low, long buildings, more structurally stable than a single high block: as a result, viewed from a distance the palace resembles long enfilades linked by higher pavilions rather than one single construction.