Azulejo框架的形象作用

The iconographic role of azulejo
frames
ROSÁRIO SALEMA DE CARVALHO
Abstract This article documents the relations between the verbal and visual ele-
ments found on the frames used in Portuguese tile decorations. Frames are a constant
presence in the history of Portuguese azulejos, from the late fifteenth century to the
present day. Their role is to integrate the decorations within the surrounding archi-
tecture and other artforms (mainly gilt woodwork, easel painting, polychrome marble
inlays, ceiling painting, sculptures, and textiles), as well as to structure systems with
a varying degree of complexity, usually subordinated to the idea of artistic totality.
Throughout the centuries, changes in taste have influenced the different kinds of
frames, often regarded as a minor part of the decoration, and therefore more open
to the introduction of new artistic styles. In the light of all this, it is clear that frames
are not mere finishing elements, but an important means of designing architectural
spaces and structuring tile decorations. Moreover, frames are often the vehicle for
a visual and textual discourse that is part of the iconographic programme they enclose.
As such, they play a decisive role in the history of Portuguese azulejos, highly relevant
for today’s international frame studies, and for the dialogue between images and
words.
Keywords Azulejo (tile), frames, Baroque, emblems
Introduction
Frames are constantly present throughout the history of Portuguese azulejos,
from the late fifteenth century to the present day, and constitute an
important element of tile decorations. During a period of more than five
centuries, different trends determined the evolution of frame designs. Since
the frames were regarded as marginal sections of the compositions, they
were often the main vehicle for the introduction of new artistic styles.
During the Baroque period (1675–1750), blue and white frames played
a central part in the design of visual and decorative systems with different
degrees of complexity. These were almost always subordinated to the idea
of totality, visible in the dialogue maintained between the azulejos, the
architecture, and other artistic forms present in the same space.
The different trends of Portuguese Baroque tile production indicate
a succession or coexistence of different frame models, distinguished either
by their independence vis-à-vis the enclosed compositions, signalled by
a clearly defined frame, or by the ‘invasion’ of the enclosed compositions,
diluting the frontier between both sections. Whereas the catalogue of the
first kind of frames can be enhanced by systematically processing the
available information, including each frame’s degree and type of repetition,
and thus expanding current knowledge about the painters, the tilers, and
the production modes typical of each period, frames belonging to
the second kind tend to blend in with the surrounding architecture, simu-
lating architectural (and sculptural) structures and creating spaces within
spaces and fictitious continuities.
Accordingly, frames are not mere finishing elements, but active agents in
the design of architectural spaces and the organization of the tile
WORD & IMAGE, VOL. 36, NO. 2, 2020 135

https://doi.org/10.1080/02666286.2019.1639347
# 2020 Taylor & Francis

compositions that decorate them, thereby influencing our understanding of
the figurative compositions.1 Moreover, they are often the grounding ele- 1 – Barbara E. Savedoff, ‘Frames’, Journal of
ments of a visual and textual discourse that enriches and complements the Aesthetics and Art Criticism 57, no. 2 (1999):
345–56.
narratives of the enclosed compositions. The present article will focus on
repeating Baroque linear frames (1675–1725),2 whose use of symbolic images 2 – Although the focus here is on this kind of
and words leads them to transcend their limiting role and to become frame, some examples of frames with
indented inner edges will also be mentioned,
narrative and communicative elements. and are still included in the so-called Masters’
Cycle (1700–25). The analysis will not include
Brief contextualization the frames of the Great Joanine Production
(1725–50), whose shape and interaction with
Sixteenth- and, above all, seventeenth-century frames enclosing patterned the surrounding space are very different.
compositions are divided, according to their shape and application, into
one-tile frames, two-tile frames, and frames made up of only half a tile
(articulated with their respective corners) (figure 1).3 These frames could be 3 – In Portugal, frames or border tiles are
used separately or in conjunction with one another. Their decorative divided according to their shape and mode
of application into barras (two-tile frames),
motifs, limited by a linear outline, were continuously or alternately cercaduras (one-tile frames), frisos (half or third
repeated. tile frames), and cantos (corners). A new one
From the last quarter of the seventeenth century onwards, the poly- is introduced here, that is, mouldings.
Generally, mouldings are enclosures that
chrome painting typical of Lisbon’s tile production was gradually replaced function as a whole, usually indented and
by blue and white decorations, following a trend that would remain popular articulated with the painted section and/or
until the mid-eighteenth century. Patterns and frames also turned blue and panels. They cannot be divided into sepa-
rate parts.
white, but were increasingly outshone by long figurative sections displaying
religious themes, in the case of churches and other related spaces (figure 2),
or hunting scenes and mythological episodes, in the case of palaces, for
instance. During this transition, characterized by the coexistence of differ-
ent trends, frames were decorated mainly with scrolls of acanthus or foliage.
Limited (or not) by the same linear outline, now painted in blue and white,
they could be applied horizontally or vertically (figure 3, top). This kind of
Figure 1. Types of seventeenth-century azu-

lejo frames: two, one, and half azulejo frames
with corners. Courtesy: Az Infinitum project
(http://redeazulejo.letras.ulisboa.pt/pes
quisa-az). Photo: Inês Aguiar.
136 ROSÁRIO SALEMA DE CARVALHO

Figure 2. Gabriel del Barco, Church of
Saint Vitor, Braga, 1690–93: interior. Photo:
Libório Manuel Silva.
Figure 3. Different azulejo frames used dur-

ing the first half of the eighteenth century in
Portugal: (top) two-tile frames applied hori-
zontally or vertically; (middle) horizontal
and vertical two-tile frames; (bottom left)
mouldings with indented inner edges; and
(right) moulding with indented inner and
outer edges. Courtesy: Az Infinitum project
quisa-az). Photos: author.
4 – Maria João Pereira Coutinho and Sílvia

Ferreira, ‘Construindo identidades: recon-
hecimento dos elementos decorativos
comuns na azulejaria, embutidos decoration, undoubtedly related to the brutesque motifs of the ceilings and
marmóreos e talha dourada’, in A Herança de gilt woodwork, with which they shared the same recorded sources,4 ensured
Santos Simões. Novas perspectivas para o estudo da
azulejaria e da cerâmica, ed. Susana Varela Flor
the unity of the ensemble and its overall articulation. These frames were
(Lisbon: Colibri, 2014), 393–411. joined together by different corners and were often decorated with
WORD & IMAGE 137

a horizontal centre, in the upper and lower sections. In this kind of
organization, the figurative compositions stood out more clearly.
This solution was soon joined by another, in which horizontal and
vertical frames were clearly distinguished (figure 3, middle). The latter
were usually decorated with simulated atlantes, caryatids, angels, and
animals, among other figures, resembling architectural sculptures interact-
ing with the surrounding space. However, despite the recorded examples of
vertical frames joined with different horizontal frames, and vice versa, the
overall tendency was to create unified models capable of introducing new
levels of communication and guiding the observer’s physical and visual
movements, towards a deeper understanding of the paintings.5 5 – Louis Marin, ‘Du cadre au décor ou la
These frames included further variations, with inner and outer indenta- question de l’ornement dans la peinture’,
Rivista di Estetica 22, no. 12 (1982): 16–35.
tions or open draperies enclosing the compositions, evoking a theatre stage.
In these examples, the frames were also unified, but the frontier separating
them from the central compositions grew increasingly vague (figure 3,
bottom left and right).
On the other hand, there are also examples of tile frames imitating
wooden, marble, or plaster frames, with varying degrees of complexity.6 6 – Ana Raquel Machado and Rosário
Finally, it is worth mentioning the architectural simulations that covered the Salema de Carvalho, ‘Frame Simulations in
18th Century Azulejos’, ARTis ON no. 2
entire decorations, enclosing different figurative scenes. (2016): 42–53, http://artison.letras.ulisboa.
The aforementioned differences conditioned, for instance, the organiza- pt/index.php/ao/article/view/ 39 (accessed
tion of labour. Whereas in the linear reproduction of vegetal motifs—that May 3, 2019).
is, of a fixed pattern—the painting of frames was completely independent of
that of the enclosed compositions, in the remaining examples the interde-
pendence grew increasingly complex, to the point where the frontier was
completely diluted and frames became part of the figurative compositions.
As mentioned elsewhere,7 frame solutions are instrumental in determin- 7 – Rosário Salema de Carvalho, ‘As
ing how the different narratives are perceived by the observer. Broadly guarnições como elementos estruturadores
da narrativa azulejar’, in Ciclos de Iconografia
speaking, if rectilinear frames with vegetal motifs favour clarity and the Cristã na Azulejaria. Actas do I Colóquio Sacrae
creation of a neutral space, the increasing complexity of decorative motifs Imagines, ed. Alexandra Gago da Câmara
and the illusion of tridimensionality turn the frames themselves into specific and Sandra Costa Saldanha (Lisbon:
Secretariado Nacional para os Bens
decorative spaces, no longer limited to the task of enclosing the central Culturais da Igreja, 2013), 45–60.
compositions. In the latter case, frames are designed in such a way as to
enhance the figurative scenes, to take part in the narratives, and to blend
into the composition.
The complex interplay between frames and central sections is brought
to a new level when the frames themselves become the vehicles of narra-
tive and conceptual information, offering additional insights into the
enclosed compositions. The following analysis will explore this theme by
focusing on the role of frames as para-visual or para-textual elements. The
interpretation will be limited to repeating linear frames, incorporating
specific elements organized along a sequential ‘pattern’ and usually
found on the corners and the centre of the frames, enclosed by cartouches
or reserves.
This approach, which allows for the study of frames both as repeating
motifs and contextualized decorative elements, is based on data collected in
the course of an ongoing project devoted to the systematic cataloguing of
tile frames. The project enables researchers to document the production
methods and the use of models, among many other aspects, without losing

8 – Also known as the Palace of Cunhas or sight of the information regarding each decoration’s original location. More
Palace of Olhão. In the dining room, the dec- information is available in the online platform Az Infinitum—Azulejo Reference
orative programme consists mainly of battle
scenes. The painting, just like that of the other and Indexation System (http://redeazulejo.letras.ulisboa.pt/pesquisa-az/),
rooms, is ascribed to Master P.M.P. and dates developed by the Az—Azulejo Research Network (ARTIS—Art History
from c.1720–25; Luísa de Orey Capucho Institute, School of Arts and Humanities, University of Lisbon), in colla-
Arruda, Caminho do Oriente—Guia do Azulejo
(Lisbon: Livros Horizonte, 1998), 71, 82–83.
boration with the National Museum of Azulejo and the company Sistemas
The frames, with indented inner edges (and do Futuro.
further indentations on the outer edge of the
upper section, now lost), stand out for their
Frames with symbols
upper centre, where angels take part in the
iconographic programme by ‘invading’ the fig- This section starts with a few examples of frames decorated with symbols but
urative composition and holding a large cloth without text. As will be shown below, these symbols are simple and directly
against which different trophies are displayed. related to the general theme of the iconographic programme or to the specific
9 – Miguel Metelo de Seixas, ‘O uso da
heráldica no interior da casa senhorial portu- subject of the enclosed scene. Unlike the text, which will be analysed below, the
guesa do Antigo Regime: propostas de symbols found on these frames were chosen in view of specific narrative
sistematização e entendimento’, in A Casa compositions, but they could also be used in other contexts. They allude to
Senhorial em Lisboa e no Rio de Janeiro: Anatomia dos
Interiores, ed. Isabel Mendonça, Hélder Carita,
the Virgin Mary, to religious orders, or to other decorative themes, such as
and Marise Malta (Lisbon: Instituto de História battles. In this context, it is worth highlighting certain rooms of the Palace of
da Arte (IHA), Faculdade de Ciências Sociais Calhariz, Azeitão, or the Palace of Xabregas, Lisbon,8 whose decorations
e Humanas da Universidade Nova de Lisboa
include military outfits or trophies alongside war and battle scenes.
and Rio de Janeiro: Escola de Belas Artes
(EBA), Universidade Federal do Rio de Moreover, two rooms in the Palace of the Marquis of Tancos, Lisbon, are
Janeiro, 2015), 87–109, at 99, 102. decorated with the family’s coat of arms, placed at the centre of the composi-
10 – The reference B-18-00019-
tion’s horizontal frames and intended as a means of identifying the family in
H-V corresponds to the alphanumeric code
ascribed to each frame in the Az Infinitum sys- question. This is a rare example of the use of heraldry inside a noble house.9
tem. The initial letters stand for the Portuguese An interesting case of repeating models whose centres were adapted to
words barra, cercadura, and friso. The following a specific iconographic programme is that of the frame type B-18-00019-
H-V,10 with three different centres (figure 4). One of them, containing
number refers to the century in which the frame
was produced. The sequence of five digits is
a sequential number with no meaning, while a mask (figure 4, bottom), is invariably used as the centre of a lower
the letters H and V stand for horizontal and horizontal frame. The upper centres are decorated with a face (figure 4,
vertical, respectively. In this case, B-18-00019-
H-V refers to a two-tile frame from the eight-
top), found in mythology-themed panels of unknown origin, located today
eenth century, with the number 00019, and
well-defined but entangled horizontal and ver-
tical parts, which means they were conceived as
a whole and not as independent elements, to be
used separately. Whenever the horizontal or
vertical frame has one or more corners, the
reference also includes the letters ct (canto) and
an additional number. The same applies to the
centres, with the abbreviation ctr (centro).
Figure 4. Two-tile frame (B-18-00019-H-V)

with three possible different centres: (top)
B-18-00019-H-V-ctr01, (middle) B-18-00019-
H-V-ctr02, and (bottom) B-18-00019-
H-V-ctr03. Courtesy: Az Infinitum project
quisa-az). Photos: author.
WORD & IMAGE 139

in the old Patiño House, or with the symbol of the Franciscan Order (figure
4, middle),11 found in the Council Room of the Third Order in the Church 11 – A cross with ‘two crossed arms: Christ’s
of Saint Francis, Évora, dating from 1702.12 right hand with the nail wound and Francis’
left hand with the stigmata’.
Still in the context of religious iconography, the decoration of the old 12 – Rosário Salema de Carvalho, ‘A pin-
oratory or chapel of the Archbishop of the former Convent of Nossa tura do azulejo em Portugal [1675–1725]:
Senhora da Conceição, owned by the Congregates of the Oratory of autorias e biografias—um novo paradigma’,
2 vols. (Ph.D. diss., Faculdade de Letras da
Saint Filippo Neri, Estremoz (used today by the municipality), was carried Universidade de Lisboa, 2012), II annex B:
out in 1706 by the painter Manuel dos Santos and applied by the tiler Brás 399, http://repositorio.ul.pt/handle/10451/
Barradas.13 The frames (B-18-00030-H-V), with vegetal scrolls, winged 6527 (accessed April 27, 2019).
13 – Túlio Espanca, ‘Miscelânea Alentejana
children, and animals, display an upper horizontal centre with two angels
(2a Série)’, A Cidade de Évora: Boletim de Cultura
holding a cartouche with a capital M, surmounted by a star and a crown, in da Câmara Municipal 1, no. 51 (1968): 59–173,
a clear allusion to the Virgin Mary (figure 5). Both the temple’s dedication at 91; Túlio Espanca, Inventário Artístico de
to the Immaculate Conception and a painting on the ceiling exhibiting Portugal—Distrito de Évora, 13 vols (Lisbon:
Academia Nacional de Belas Artes, 1975),
a tree with the inscription INTACTA TRIUNPHAT (Intact, it triumphs) 8.1: 165.
reiterate the meaning of the symbol found on the tile frames. The enclosed
compositions show different hermit saints, identified by the text on each
section, as well as other secular themes.
A large-scale example of frames with different symbols can be found in
the Chapel of Peninha, Sintra. The tile decoration dating from 1711 covers
the walls, divided into two levels, and the vault. The first level depicts scenes
from the Song of Songs (whose frames are lost) and the second level is
decorated with episodes from the life of the Virgin and youth of Christ,
enclosed by a frame with foliage and angels (B-18-00020-H-V). The dec-
oration of the vault continues the Marian programme, divided into fifteen
sections enclosed by a frame of acanthus scrolls. On the walls’ second level,
the centre and corners of each frame include symbols directly related to the
enclosed compositions (figure 6). The traditional Marian symbols, from the
Litaniae and other sources, underlining Her immaculate conception, sur-
round the sections depicting, on the Gospel side, the Birth of the Virgin Mary,
the Presentation of the Virgin Mary, the Annunciation, the Adoration of the Shepherds,
and the Circumcision; and, on the opposite wall, Jesus in Saint Joseph’s
Workshop, the Rest on the Flight to Egypt, the Flight into Egypt, and the
Adoration of the Magi. The symbols are, among others, the rose of Jericho
or rose without thorns (plantation rosae in Jericho), the morning star (Stella
matutina), the cypress (on Mount Sion), the sun (Electa ut sol), the spotless
mirror (Speculum sine macula), the gate of heaven (Porta coeli), Jacob’s ladder
(Scala Jacob), the fountain (fons signatus), the oyster with pearl, the obelisk
Figure 5. Manuel dos Santos, centre of two-

tile frame, 1706. Estremoz, Chapel of the
Archbishop, Former Convent of Nossa
Senhora da Conceição. Photo: author.

Figure 6. Sintra, Chapel of Peninha, 1711.
Photo: author.
with a sphere on top, the olive branch, the tower of David (Turris David), the
palm (referring to the palm of En Gedi), the moon, the cedar of Lebanon,
the crown (Corona exultationis), the sunflower, Gideon’s fleece, lily of the
valley, the well, the sun over a mountain, the sun shining over an obelisk,
different flowers, the birds staring at the sun, the scales, the closed coffer,
the rosary, and others.
On the back wall, the Pentecost bears the monogram AM surmounted by
a crown, the spotless mirror, and a setting sun. On this same wall, but on
both sides of the door, two saints and their corresponding symbols reiter-
ate the iconographic coherence of the ensemble. In the case of St Paul,
both centres are decorated with a sword and each corner displays an open
book. St Peter is accompanied, on the lower centre, by a cock (referring to
his denial) and, on the upper centre, by a mitre. The lower corners are
decorated with two different motifs: the first breaks off abruptly and may
represent a sword, the second is an ear, referring to the Malco’s ear cut by
St Peter. Both upper corners are decorated with keys—the keys to
Heaven.
Some of these symbols evoke the emblems used by one of the most impor-
tant azulejo workshops: that of António de Oliveira Bernardes (1662–1732) and
14 – For a more comprehensive reading of
his son, Policarpo de Oliveira Bernardes (1695–1778), mainly based on Filippo
these emblems, see José Julio García Arranz, Picinelli’s Mondo simbolico.14 It is the case of the open oyster revealing a pearl,
‘Emblemática inmaculista en la azulejería usually accompanied by the motto IN VTERO IAM PVRA FVI (I was once pure
barroca portuguesa: el programa de la igle-
in the womb), or the sun rising over Mount Olympus, usually associated with
sia parroquial das Mercês de Lisboa’, in
Emblemática y religión en la península ibérica, Siglo the motto SEMPER CALIGNIS. Expers (always devoid of fog) (figure 7), or an
de Oro (Madrid: Iberoamericana Editorial obelisk surmounted by a shining sun and the motto UMBRAM NESCIT (ignore
Vervuert, 2013), 147–72.
WORD & IMAGE 141

Figure 7. (left) Chapel of Peninha, Sintra,
1711; (middle) António de Oliveira Bernardes
(attrib.), Lisbon, Church of Mercês, the for-
mer chapel of Nossa Senhora da Conceição,
c.1710; and (right) António de Oliveira
Bernardes, Nazaré, Santuary of Nossa
Senhora dos Remédios, c.1715–20. Photos:
author.
what is the shadow).15 The image of the birds staring at the sun evokes in turn 15 – The translations follow García Arranz,
the emblem found on the wainscot16 of the nave of the Church of Terço, ‘Emblemática inmaculista’. For a more
comprehensive reading of these emblems,
Barcelos, mentioned below. This emblem depicts a crowned eagle flying with see José Julio García Arranz, ‘Azulejos and
four offspring towards the sun, accompanied by the motto PROBANTVR VT Emblematics in Eighteen-Century Portugal:
CORONENTVR and the Portuguese text A OBSERVÀNCIA DA RÈGRA/DE The Hieroglyphic Programmes of Masters
António and Policarpo de Oliveira
S. BENTO HE CERTO CA=/MINHO D A SALVAÇÃO (They are tested so that Bernardes’, in Mosaics of Meaning: Studies in
they may be crowned/The observance of the rule of St Benedict is a sure path Portuguese Emblematics, ed. Luis Gomes
to salvation).17 (Glasgow: University of Glasgow, 2009),
125–51.
Also in the Church of Terço, but on the main chapel, signed by the
16 – Although the main goal is to draw
unknown Master P.M.P., the borders enclosing the two episodes of the foun- attention to the importance of frames in
dation of the Benedictine monastery, by the Archbishop D. Rodrigo de Moura a narrative and iconographic context, these
Teles (1644–1728), join together horizontal and vertical frames (B-18-00043-H elements must be viewed as part of global
decorative solutions, including not only
and B-18-00044-V) of which other variants are known. Regarding the first of other artforms but also the azulejos them-
these borders, at least four centres can be identified. Two of them, with selves, with their various components. This
grotesque faces, were also found in other locations, whereas the other ones, article has therefore sought to establish
a clear distinction between wainscots and
with a crown and a mitre, are unique, undoubtedly intended as an allusion to frames, seeing as these two sections play
the royal and episcopal powers. The construction of the monastery is in fact the different roles within the same tile covering,
result of a formal wish by King João V, who in turn carried out King Pedro II’s even when they are closely connected or
intermingled.
wish to build a monastery to house the religious sisterhood of Monção, whose
17 – García Arranz, ‘Azulejos and
initial destination was the Convent of Salvador. As mentioned above, and Emblematics in Eighteen-Century Portugal’,
confirmed by the cartouche above the main doorway, the ceremony signalling 125–151, at 145–47. The translation provided
the placement of the first stone was held in 1707 and overseen by D. Rodrigo de follows the same author.
Moura Teles, who blessed the first stone and presided over the processional
entrance of the first nuns in 1713.18 18 – Patrícia Cristina Teixeira Roque de
Before carrying on with the analysis, we should note that the increasing Almeida, ‘O Azulejo do Século XVIII na
Arquitectura das Ordens de S. Bento e de
complexity of the frames also extends to architectural simulations, wherein S. Francisco no Entre Douro e Minho’, 4
frames and coverings seem to coalesce and it is no longer easy to distinguish vols. (Ph.D. diss., Faculdade de Letras da
between the two. In the Masters’ Cycle, this complexity is almost always Universidade do Porto, 2004), II: 399–416.
linked to Master P.M.P., as is the case of the decoration originally designed
for Lisbon’s Cathedral and found today in the Almada Seminar, or in the
Church of Saint James, Torres Vedras, with a very similar decoration. The
composition appears to be bound by an architectural structure, with an
equally architectural centre that takes over the entire composition, leaving
room for ‘open’ side sections filled with landscapes. On the centre, two
angels reveal a structure decorated with volutes, enveloping a cartouche
containing the symbols of St Vincent and St James.

In the Church of Mártires, Fronteira, the tile decoration ascribed to the
Bernardes workshop is enclosed by a simulated frame whose upper section is
partly covered by a cartouche, with symbols directly related to the central scene
(figure 8). The depiction of Christ on the Way to Calvary includes the three nails
and the Crown of Thorns, whereas the Deposition of Christ in the Tomb, placed on
the opposite side, includes the three dice. The wainscot is decorated with three
other symbols, namely the ladder, the hammer, and the pincers. As in the main
altar, these symbols are placed inside cartouches.
Interestingly, the decoration of the Chapel of Saint Apollonia (in the Convent
of Pópulo, Braga), signed by António de Oliveira Bernardes (Antonius aboliua/
inventor), includes the exact same frame model (albeit thicker, enriched with other
motifs) and the same overlapping cartouche (figure 9). In this case, however, the
symbols are replaced with Latin text from the Liturgy of the Saints:
● OMNES EI CONTV/SI VT EUVLSI/SVNT DENTES (original text from the

Liturgy of the Saints: Quamobrem omnes ei contusi sunt et evulsi dentes) (transla-
tion: Whereupon, the impious executioners broke and pulled out her
19 – This translation and the following are teeth19).
from Prosper Gueranger, Very Rev. Dom, ● APOLLONIA SPIRI/TVS SANCTI FLAM/MA ACCENSA INI/GNEM SE
The Liturgical Year (Dublin: J. Duffy, 1870),
INJECIT (original text from the Liturgy of the Saints: majori Spiritus Sancti
284.
flamma intus accensa, se injecit) (translation: she suddenly threw herself into
the fire, for there was within her the intenser flame of the Holy Ghost).
Figure 8. Bernardes workshop (attrib.),

Fronteira, Church of Mártires, first quarter
of the eighteenth century. Photo: Libório
Manuel Silva.
WORD & IMAGE 143

Figure 9. António de Oliveira Bernardes,
Braga, Church of Convent of Pópulo,
Chapel of Santa Apolónia, first decade of
the eighteenth century. Photo: Libório
Manuel Silva.
Despite the painter’s possible mistakes20 both sentences reiterate and 20 – Mistakes, errors, word changes, and
clarify the accompanying image, showing the martyrdom of St imprecisions are common in tile decorations
when a Latin sentence is quoted, especially
Apollonia, and were chosen and painted with this particular decoration due to the small space available in the car-
in mind. The first sentence alludes to the moment when the saint’s touches and phylacteries, which sometimes
executioners pulled out her teeth, and the second recounts how she had to be subdivided.
threw herself into the fire, inflamed by the inner and more powerful
fire of the Holy Spirit.
Frames with text

The association between text and image is timeless. In fact, ‘the coordina-
tion of modes and expressions between the letters and the arts tends to
constitute, therefore, a permanent feature, both in practical and theoretical
terms, throughout the long history of human communication and
expression’.21 21 – Nuno Saldanha, Poéticas da Imagem.
As regards the azulejo, there are countless examples of this union, whether A pintura nas ideias estéticas da Idade Moderna
(Lisbon: Caminho, 1995), 29.
in the form of text placed directly over the images (as in the case of captions
identifying a given saint or place), of words that seem to flow directly out of
the mouth of a given figure, or of text enclosed by cartouches or phylac-
teries integrated within the compositions. Whereas in these examples the
text, in Latin or vernacular, aims to clarify the meaning of the image, in
other examples the words and the image are indissociable. It is the case of
emblems whose tripartite form (inscriptio, pictura, subscriptio) constitutes a very
specific decorative practice, developed in the modern era and frequently

22 – Rubem Amaral, Jr, ‘Portuguese used in tile coverings.22 The study of emblems is not new, and has occupied
Emblematics: An Overview’, in Gomes, several authors.23 However, until now, only one example of an emblem
Mosaics of Meaning, 1–19.
23 – One of the most important authors is series with text on the frames has been identified. It is the case of the
José Julio García Arranz, who has published decorative programme of the old House of the Brotherhood of the Holy
several studies on the subject, including: Sacrament in the Church of Santa Cruz, Ribeira de Santarém. It dates
idem, ‘Las Obras de Misericordia y la
emblemática: los azulejos de la Iglesia de la
from 1723 and is organized around a representation of the Pia Desideria,
Santa Casa da Misericórdia en Évora a work by the Jesuit Hermann Hugo with engravings by Boetius van
(Portugal)’, in Florilegio de Estudios de Blomswet (Antwerp, 1624).24 The textual citations that inspire each emblem
Emblemática = A Florilegium of Studies on
were placed in the cartouche decorating the upper frame, written in
Emblematics: Actas del VI Congreso Internacional
de Emblemática de The Society for Emblem Studies Portuguese, in capital and lower-case letters (figure 10). These inscriptions
= Proceedings of the 6th International Conference of ‘correspond to the Latin biblical citations of the chosen emblems (taken
The Society for Emblem Studies (Coruña: from the Psalms and the Song of Songs), followed by the corresponding
Sociedad de Cultura Valle Inclán, 2004),
359–70; idem, ‘Una empresa de Núñez de reference’ (see appendix A).25
Cepeda en azulejos: la decoración cerámica The following examples, presented chronologically, are not emblems but
de la capilla bautismal de la catedral de rather, as stated above, examples of the interaction between frames with
Braga (Portugal)’, Norba—arte no. 25 (2005):
129–48; idem, ‘Azulejos and Emblematics in
text and the images they enclose. In some cases, however, these examples
Eighteenth-Century Portugal’; idem, ‘Unos are very similar to emblems, as will be discussed below.
Emblemata monásticos en azulejos: el pro- Considering the period under analysis, one of the earliest examples of the
grama jeroglífico de la iglesia conventual de
association of image and text can be found in a private estate, in the so-
Nossa Senhora do Terço, en Barcelos
(Portugal)’, Quintana: revista del Departamento de called Don Quixote Room (built before 1695), decorated with a particularly
Historia del Arte 17 (2018): 191–213, http://dx. interesting iconographic programme, given the rarity of the compositions
doi.org/10.15304/qui.17.4179; and idem, ‘El and the reference to a coeval literary work. The room’s walls are divided
into eight sections depicting episodes from the story of Don Quixote,26
programa emblemático en azulejos de la
sacristía del convento de Santo António de
Varatojo (Torres Vedras, Portugal)’, De Arte. whose identification is provided in the upper frames of each section, amid
Revista de Historia del Arte no. 17 (2018): 77–94. volutes, in Spanish (see appendix B).
24 – João Pedro Monteiro, ‘Os “Pia
Desideria”, uma fonte iconográfica da azu-
In Évora, in the Church of Misericórdia, the tile decoration executed
lejaria portuguesa do século XVIII’, Azulejo between 1715 and 1716 stands out not only for the emblems or hieroglyphs
no. 3–7 (1995–1999): 61–70. of the wainscot, alluding to the corporal works of mercy,27 nor for the text
25 – Tiago Moita, ‘Os azulejos do
added directly to the figurative compositions, but also for the phylacteries
Mestre P.M.P. na sacristia da Igreja de
Santa Cruz da Ribeira de Santarém: um included in the frames. These are formed by scrolls of acanthus with
itinerário místico e eucarístico’, in Gago da animals and winged children, and their centre is decorated with espagnolettes
Câmara and Costa Saldanha, Ciclos de and volutes, flanked by Tritons. The model is identical on the lower and
Iconografia Cristã na Azulejaria, 179–88, at 182.
26 – The story of D. Quixote de la Mancha, upper sections, but in the upper frame the Tritons hold a phylactery
written by Miguel de Cervantes and pub- entwined with the volutes, providing the identification of each of the
lished for the first time in Madrid in 1605, works of mercy (figure 11). The text, in Latin, is written in lower case letters
comprises 126 chapters, the first of which
dates from 1605 and the others from 1615.
and complemented by biblical transcriptions in capital letters, placed inside
The first illustrated edition came out in 1614. the figurative compositions (see appendix C). A different solution can be
27 – García Arranz, ‘Las Obras de found in the lower choir, where the compositions are placed inside a fake
Misericordia’.
architectural structure, with the identification of each hermit saint written
on the base of the structure.
The tile decoration of the Chapel of the Third Order of Saint Francis,
Santarém, includes a fairly common set of frames, combining horizontal
and vertical frames (B-18-00027-H and B-18-00013-V). They enclose scenes
from the life of St Francis of Assisi, further identified by cartouches contain-
ing Latin inscriptions in the lower frames (see appendix D) and a symbol in
the upper frames (a heart surrounded by thorns; a heart in flames; a pierced
heart over a book; a heart covered with roses; a shield bearing the five
wounds of Christ, surrounded by the Crown of Thorns and the cord;
crossed arms). On the smaller sections, decorated with allegorical depictions
WORD & IMAGE 145

Figure 10. Ribeira de Santarém, Church of
Santa Cruz, House of the Brotherhood of
the Holy Sacrament, 1723. Photo: author.
of Charity, Obedience, Prayer, and Patience, the larger cartouche contains

the identification, in capital letters, of each of the allegories, instead of
a symbol (figure 12). Occasionally, the text is directly included in the
composition, as in the case of the stigmatization of St Francis, where
words come out of the mouth of the crucified Christ.
In Évora’s Convent of Saint Francis, in the Chapel of the Third Order of
Saint Francis, the octagonal cartouches placed on the central sections
contain, on the upper half, the identification of each saint, and on the
lower half a very brief summary or indication of his qualities. Both inscrip-
tions are in Portuguese (see appendix E). The wainscot is decorated with

Figure 11. Évora, Church of
Misericórdia, 1715–16: detail of the panel
depicting the work of mercy Counsel the
doubtful. Photo: Libório Manuel Silva.
cartouches containing Franciscan symbols. Whenever the wainscoting is

interrupted by a doorway, the lower cartouche is placed above the door,
within a scenographic composition destined to highlight a rectilinear
opening.
In Olivença, the decoration by Manuel dos Santos, dating from 1723,
includes frames with scrolls of acanthus and a very marked lower centre,
placed above the figurative composition. In it, a cartouche flanked by
winged children playing trumpets contains a Latin inscription of a biblical
verse referring to the work of mercy in display (figure 13) (see appendix F).
Whereas in the sub-choir the text appears on the cartouche decorating the
wainscot, in the main chapel, decorated at a different time, the text is
directly included in the composition.
The tile decorations of the old Convent of Graça, Torres Vedras, can be
ascribed to one of the painters of the Masters’ Cycle, the so-called
Master P.M.P. The compositions are identified by captions placed inside
the frames’ cartouches, as in the sacristy’s antechamber (dating from 1725),
where the story of several blessed persons is recounted in Portuguese in the
upper cartouche. In the friars’ courtyard and the sacristy (also decorated
with the story of several blessed persons), as well as in the cloister (decorated
with scenes form the life of Friar Aleixo de Meneses [1559–1617]; see
appendix G) and the main doorway (decorated with scenes form the life
of the blessed Gonçalo of Lagos), the frames simulate architectural struc-
tures, with indented inner edges, and ‘invade’ the figurative sections with
their festoons and foliage. The upper and lower centres are even more
intrusive, with cartouches filled with text alluding to each of the scenes in
display (figure 14) (see appendix G).
On the upper frame, exhibiting what appears to be a pediment with an
indented outer edge, two angels hold a large cloth and reveal a cartouche
integrated within the composition, formed by volutes and repeating symbols
(figure 15). The emblem of the Augustinian order is placed on the chest of
WORD & IMAGE 147

Figure 12. Santarém, Chapel of the Third
Order of Saint Francis. Photo: Libório
Manuel Silva.
the bicephalous eagle: a scudo with a flaming heart pierced by two arrows on
a book over a mitre and a crozier. The eagle represents God’s double
nature in its union with humanity (the Mother and the Son symbolizing the
Universal Catholic Monarchy). On the left side, the eagle holds in its beak
an inkpot containing the blood with which St Augustine founded the
written truth of the Church, and its claw holds the sun, symbol of the 28 – Jaelson Bitran Trindade, ‘O Império dos
divine royalty of Christ. On the right side, the eagle holds in its beak the Mil Anos e a arte do “tempo Barroco”: a águia
bicéfala como emblema da Cristandade’,
sacred belt, offered by the Virgin Mary to St Monica, mother of St
Anais do Museu Paulista 18, no. 2 (2010): 11–91,
Augustine, who wore it as part of her habit. The eagle’s left claw holds http://www.revistas.usp.br/anaismp/article/
the moon.28 view/5533 (accessed May 3, 2019).

Figure 13. Manuel dos Santos, Olivença,
Church of Misericórdia, 1723: detail of the
panel depicting the work of mercy Giving the
thirsty to drink, illustrated by the episode of
Moses.
Figure 14. Torres Vedras, Cloister of

Convent of Graça, c.1725. Photo: author.
WORD & IMAGE 149

Figure 15. Torres Vedras, Cloister of
Convent of Graça, c.1725. Photo: author.
In Lisbon, the Monastery of Graça was also founded by the Augustinian

Order. The former chapter room displays a series of Portuguese
Augustinian missionaries and bishops martyrized in different areas of the
world, and later beatified. The decorations are based on the missionaries’
reports and biographies.29 The frames simulate an architectural structure 29 – An article dedicated to a tile panel
with a balustrade and angels seated in front of it, holding festoons of representing the martyrdom of the Georgian
Queen Ketevan is currently being prepared
flowers. On the centre’s upper section, a cartouche with scrolls, angels, by the author and Marietta Chikhladze of
and flowers identifies, in vernacular Portuguese, the figures enclosed by the Tbilisi State University.
frames. On the centre’s lower section, a composition with a mask, a vase,
flowers, and scrolls, flanked by angels, is covered by a phylactery narrating
each scene and providing historical information.
In the Church of Misericórdia, Viana do Castelo, whose decoration was
carried out between 1719 and 1721 and signed on the main chapel by Policarpo
de Oliveira Bernardes, the frames have indented inner edges and centred
cartouches containing, on the lower (or upper) frame, the textual identification
of each of the works of mercy in display, and on the upper (or lower) frame
a biblical citation relating to each episode (figure 16).30 In the main chapel, the 30 – Carvalho, ‘A pintura do azulejo em
tile decoration was conceived as a total architectural composition, with two Portugal’, annex B: 1274–1280.
cartouches placed on each side of the central section, containing inscriptions

referring to the different decorative scenes: episodes from the life of Christ, on
the Gospel side, and from the life of the Virgin, on the Epistle side (see
appendix H).
Discussion and conclusions

Given the aforementioned examples, it is possible to distinguish the differ-
ent types of frames used in the period under analysis (generally speaking,
from c.1675 to 1725) according to their participation in each iconographic
programme.
A first type includes the frames that do not play an active role in the
iconographic programme. This does not mean they are any less important
for the organization and impact of the compositions, but simply that their

Figure 16. Policarpo de Oliveira Bernardes,
Viana do Castelo, Church of
Misericórdia, 1719–21: detail of the panel
depicting the work of mercy Visiting the sick.
meaning is not directly linked to the iconographic programme.

Accordingly, this first type is not explored here. The author awaits, how-
ever, the results of the ongoing research on Baroque tile frames in order to
ascertain whether the choice of determinate frames with specific decorative
motifs took into account the remaining iconographic programme.
Another type includes frames with cartouches containing symbols linked
to both the enclosed scenes and the overall iconographic programme,
emphasizing or strengthening their message. Several examples were men-
tioned above, including religious symbols (relating to the Virgin Mary, the
Passion of Christ, religious orders, etc.), military outfits, and coats of arms.
A further type, defined by a closer interaction between the frames and
the iconographic programme, includes frames with cartouches or phylac-
teries containing different texts, in Latin or Portuguese, serving as captions
of the enclosed compositions, and aiming to clarify their meaning. Several
such cases in which parts of the text may also be found inside the figurative
sections have already been mentioned. Although the inclusion of text in the
frames is typical of several different solutions, from phylacteries to car-
touches, the enclosed sections are always directly related to the frames.
The interdependence is much greater than the one found in the symbols
mentioned above, and there are no textual repetitions within the same
decoration.
With regard to this frame type, it is worth mentioning the programmes
conceived by the Augustinian Order, in Torres Vedras and Lisbon, based
on a very specific iconography, linked to the history of the Order and its
most important figures. In fact, the Augustinian iconographic production
would merit an in-depth study, given its originality and importance as
WORD & IMAGE 151

a means of disseminating the history of the Order, which has yet to be
studied comprehensively.
The recorded examples show that the frames do not usually combine text with
explicit symbols, which is easily explained by the exiguity of the cartouches,
whether placed on the centre or on the corners. However, there are cases of
frames in which text and symbols complement each other, albeit in differentiated
sections, as in the aforementioned example of the Chapel of the Third Order of
Saint Francis, Santarém, with the upper cartouche exhibiting a symbol and the
lower one the Latin transcriptions; and the old Convent of Graça, Torres
Vedras, where the cartouches containing the textual identification of each
episode are complemented by the Augustinian symbols in the upper frame.
A final frame type refers to the use of emblems. However, only in one of the
many tile decorations from this period are the frames part of the emblem. It is
the case of the old House of the Brotherhood of the Holy Sacrament, in the
Church of Santa Cruz, Ribeira de Santarém, that was previously analysed.
Many other examples, among which the Churches of Misericórdia, in Évora
and Viana do Castelo, but also the allegories of the Chapel of the Third Order of
Saint Francis, in Santarém, reveal a holistic approach to the creation of images,
where frames with cartouches and phylacteries interact with the images of the
figurative sections, in an organizational model that is reminiscent of the tripartite
structure of emblems. The identification of the scene on the frame may corre-
sponds to the inscriptio; the figurative scene to the pictura; and the biblical quotation
in the figurative scene or in the cartouche to the subscriptio. In many cases,
therefore, the frames indicate the theme of the composition and offer a kind of
comment on the decoration, thereby revealing an underlying emblematic culture
which must be highlighted, and which differs both from the historical captions
found in Augustinian iconography and from the celebration of specific figures, as
in the Chapel of the Third Order of Saint Francis, Évora. The decorations of
both Churches of Misericórdia are linked to the workshop of Oliveira Bernardes,
which—probably not by chance—is the leading producer of emblems in this
period.31 The importance of this emblematic culture is also noticeable on the 31 – For studies by García Arranz, see note 23.
frames of the Chapel of Peninha, Sintra, where some of the images are very
similar, as has been shown, to the ones found on certain emblems.
On a different reading, focused on the production aspects of azulejo
coverings, the aforementioned examples show that tile painters, when
establishing the frame models—and especially the rectilinear ones, repeated
along the same line—created specific areas that could later be adapted to
a specific programme. This is clear on the corners of the horizontal frames,
but also and above all on their centre, where several different cartouches
were either filled with text and symbols or simply left blank.
This option enabled painters to reutilize the same models and grant them
different meanings. Apart from the cases mentioned above, also worth
highlighting is the example of the moulding frame (M-18-00006) used in
the Chapel of Nossa Senhora da Nazaré, Cascais, and in the Church of
Nossa Senhora da Saúde, Lisbon (and also, in a different version, in the
main chapel of the Church of Bonfim, Setúbal, for instance), with an empty
central cartouche. However, in the upper gallery of the Church of Graça,
Lisbon, that same cartouche is decorated with landscapes, establishing
a more obscure iconographic link with the main composition.

The reutilization of tile frames attests, on the one hand, to the existence of
predefined models, easily adaptable to the different commissions. On the other
hand, there are other kinds of frames, whose originality is a clear indication of the
necessary interaction between the painters and those who conceived the icono-
graphic and decorative programmes of these Baroque interiors. If the figurative
compositions were inspired, to a great extent, by different engravings, the frames
allowed for more freedom in the relationship with the surrounding space. The
painters proposed different solutions, but these were not dissonant or marginal
vis-à-vis the global programme. On the contrary, the latter usually denotes
a remarkable attention to detail, typical of the Baroque period and clearly visible
in the examples analysed.
A thorough analysis of the true meaning and effect of frames within an
iconographic programme would require monographic studies on each of the
aforementioned examples. However, this effort would largely exceed the scope
of the present article, aimed solely at paving the way for such an analysis.
Nonetheless, and in spite of this limitation, the conclusion can be ventured
that most of the previous examples are not intended as a means of codifying
the compositions, but as a means of complementing them in a simple and direct
manner. In other words, the didactic and informative role of the frames seems to
outshine their codifying role, even though the ability to read was not generalized.
If the general rule, as shown, is a mode of interaction in which the main
narratives are reiterated or explained by the text and the images present in
the frames, the latter must not be construed as mere frontiers, but as active
agents in the construction of a global decorative discourse.
Acknowledgments
The author expresses her gratitude to José Julio García Arranz for his help in identifying
some symbols; to André Simões for his generous assistance with the Latin translations; to
Bernardo Ferro for his translation and revisions; and to Libório Manuel Silva for allowing
the publication, some of his beautiful photographs. This study was funded by the Fundação
para a Ciência e Tecnologia (FCT-Portugal) with a postdoctoral grant (grant number
SFRH/BPD/84867/2012) supported by the European Social Fund through the Human
Capital Operational Programme (HCOP), and by national funds from the Ministry of
Science, Technology, and Higher Education.
ORCID
Rosário Salema de Carvalho http://orcid.org/0000-0003-0841-3152
Appendices
The Latin Vulgate Bible quotations are taken from the Douay-Rheims Bible online version
(http://www.drbo.org/lvb). For the English translation, the Douay-Rheims edition (http://
vulgate.org) have also been chosen instead of a more recent version of the Bible. Recent
versions are translated from the Greek or Hebrew, whereas the text quoted in the azulejos is
taken from the Vulgate, which is often different, due to variations in the different hand-
written copies, from the original text used in modern translations. Whenever the verses in
the azulejos are not taken from the Vulgate, a note to that effect is included in the transcrip-
tion. The same applies whenever the text does not correspond to that of more recent
versions of the Bible. Although the common philological solution to the alternation between
‘v’ and ‘u’, which is largely arbitrary until the eighteenth century, is to use ‘u’ in words with
lower case letters and ‘V’ in words with upper case letters, the solutions used in each quoted
source have been replicated. The decorative themes were identified with the codes used in
Iconclass.
WORD & IMAGE 153

Appendix A: Santarém, Ribeira de Santarém, Church of Santa Cruz,
old House of the Brotherhood of the Holy Sacrament
The subsequent translations follow the room itinerary, starting from the main door to the left,
clockwise.
1. Transcription: ‘TRAZEIME APOS DEVÓS CORREREMOS/PARA

O CHEI=/RO DOS VOSSOS VNGVENTOS./cantíc. 1.’
Original Latin quotation from the Pia Desideria, book II, engraving 23: Trahe me post te,
curremus in odorem vnguentorum tuorum. Cant 1.
Translation from the Canticle of Canticles (Song of Songs) 1:3: Draw me: we will run after thee
to the odour of thy ointments.
2. Transcription: ‘AQVELE, A QVEM EV AMO/E ELLE A MIM, SE

APASCEN=/TA ENTRE OS LIRIOS. Cant. 2.’
Original Latin quotation from the Pia Desideria, book III, engraving 33: Dilectus meus mihi
& ego illi, qui pascitur inter lilia, donec aspiret dies & inclinentur vmbrӕ. Cant. 2.
Translation from the Canticle of Canticles (Song of Songs) 2:16–17: My beloved to me, and I to
him who feedeth among the lilies, Till the day break, and the shadows retire […].
3. Transcription: ‘Anímaíme com flores/fortaleceíme com fructos/que de AMOR me

des=/maío. Cant. 2.’
Original Latin quotation from the Pia Desideria, book III, engraving 32: Fulcite me floribus,
stipate me malis, quia amore langueo. Cant. 2.
Translation from the Canticle of Canticles (Song of Songs) 2:5: Stay me up with flowers,
compass me about with apples: because I languish with love.
4. Transcription: ‘ACHEI O MEV AMADO/TENHO O SEGVRO, NAM/

O LARGAREI./Cant. 3.’
Original Latin quotation from the Pia Desideria book II, engraving 27: Num quem diligit
anima mea vidistis? paullulùm cùm pertransissem eos, inueni quem diligit anima mea; tenui eum, nec
dimittam. Cant. 3.
Translation from the Canticle of Canticles (Song of Songs) 3:3–4: […] Have you seen
him, whom my soul loveth? [4] When I had a little passed by them, I found him whom
my soul loveth: I held him: and I will not let him go […].
5. Transcription: ‘COMO HAVEMOS CAN=/TAR CANTICO A DEVS/NA

TERRA ALHEA./P.sal. 136.’
Original Latin quotation from the Pia Desideria, book II, engraving 30: Quomodo cantabimus
canticum Domini in terra aliena. Psal. 136.
Translation from the Psalms 136:4*: How shall we sing the song of the Lord in a strange
land?
*It corresponds to number 137:4 in the current versions.
6. Transcription: ‘A MINHA ALMA SE DER/RETE, QVANDO O MEU

AMA=/DO ME FALLA. Cant. 5.’
Original Latin quotation from the Pia Desideria, book III, engraving 35: Anima mea
liquefacta est, vt dilectus locutus est. Cant. 5.
Translation from the Canticle of Canticles (Song of Songs) 5:6: […] My soul melted
when he spoke […].
7. Transcription: ‘TAPAIME OS OS OLHOS/PARA NAM VEREM/

A VAIDADE. Psalm. 118.’
Original Latin quotation from the Pia Desideria, book II, engraving 20: Auerte oculos meos ne
videant vanitatem. Psal. 118.
Translation from the Psalms 118:37*: Turn away my eyes that they may not behold
vanity […].

Appendix B: Private Estate, Don Quixote Room
1. Transcription: ‘D QVIXOTE/libra a Andres del/rigor de Juan/Haldudo el Ruo’
Translation: D. Quixote rids Andres from the rigour of Juan Haldudo el Ruo
2. Transcription: ‘DAMA RODRIGVES/ruega a D. Quixote/justicia de la/afronta
echa/a su hija’
Translation: Dame Rodrigues begs D. Quixote to avenge the affront made to her
daughter
3. Transcription: ‘AVENTURA/de Doloridai’
Translation: Adventure of Doloridai
4. Transcription: ‘DON QUIXOTE/en Serra Morena haze/penitencia a la/imitacion
de/Beltenebros’
Translation: D. Quixote does penance in Serra Morena, imitating Beltenebros
5. Transcription: ‘AVENTURA/de los molinos/del viento’
Translation: Adventure of the windmills
6. Transcription: ‘DON QUIXOTE/encantado por/Mari/Tornes’ (above the fireplace)

Translation: D. Quixote bewitched by Mari Tornes
Appendix C: Évora, Church of Misericórdia

The subsequent translations follow the room’s configuration, starting from the main door.
Left wall, from left to right.
1. Phylactery: ‘Corrigire Peccatum’

Translation: Admonish the sin
Note: The word ‘corrigire’, written on the azulejos, does not exist. Yet, given that all the
following works are mentioned in the infinitive, the sentence should read ‘corrigere’.
Transcription of the biblical quotation: ‘ET CVM FECISSET QVAZI/
FLAGELLVM OMNES/EIECIT DE TEMPLO./Joan 2 v.º 14.’
Vulgata: John 2:15: Et cum fecisset quasi flagellum de funiculis, omnes ejecit de templo […].
Translation: And when he had made, as it were, a scourge of little cords, he
drove them all out of the temple […].
Iconography: Christ driving the merchants from the Temple (73D15)
2. Phylactery: ‘Consolare aflictum’

Translation: Comfort the afflicted
Transcription of the biblical quotation in a phylactery: ‘RESVRGIT FRATER SVVS
Joan. ii v.º 21’
Vulgata John 11:23: Resurget frater tuus.
Translation: […] Thy brother shall rise again.
Iconography: The raising of Lazarus (73C523)
3. Phylactery: ‘Docere ignorantem’

Translation: Instruct the ignorant
Transcription of the biblical quotation: ‘SIC ERGO VOS ORABITIS./PATER
NOSTER, QVI EST IN CAE/LIS Math. 6. v.º 9.’
Vulgata Matthew 6:9: Sic ergo vos orabitis: Pater noster, qui es in caelis […].
Translation: Thus, therefore shall you pray: Our Father who art in heaven […].
Iconography: The Lord’s prayer (our Father which art in heaven) (73C931)
WORD & IMAGE 155

4. Phylactery: ‘Conçilio juvare indigentem’
Translation according to the Works of Mercy: Counsel the doubtful/Translated
directly from the Latin: to help, with advice, a man who has nothing
Transcription of the biblical quotation: ‘VADE VENDE QUAE HABES,/ET DA
PAV PERIBVS Math. 19 vº 21’
Vulgata Matthew 19:21: […] vade, vende quae habes, et da pauperibus […].
Translation: […] go sell what thou hast, and give to the poor […].
Iconography: Parable of the rich young man (73C7242)
Right wall, from right to left.
5. Phylactery: ‘ferre pacienter injurias.’
Translation: Bear wrongs patiently
Transcription of the biblical quotation: ‘SCANDILISABANT/IN ILLO ET
DICEBAT/ILLIS IESVS NON/EST PROPHETA/SINE HONORE NISE/IN
PATRIA SVA S. Marc. 6 v. 4’
Vulgata Mark 6:3–4: […] scandalizabantur in illo. [4] Et dicebat illis Jesus: Quia non
est propheta sine honore nisi in patria sua […].
Translation: And they were scandalized in regard of him. [4] And Jesus said to
them: A prophet is not without honour, but in his own country […]’.
6. Phylactery: ‘Remitere offessam’

Translation: Forgive offences
Transcription of the biblical quotation: ‘REMI TVNTVR TIBI PECCATA Luc. 7 vº 49’
Vulgata Luke 7:48: […] Remittuntur tibi peccata.
Translation: […] Thy sins are forgiven thee.
Iconography: A woman washes Christ’s feet with tears, and wipes them with her hair (73C72621)
7. Phylactery: ‘Orare pro uiuis et defuntis’

Translation: Pray for the living and the dead
Transcription of the biblical quotation: ‘PATER SANCTE SERVA EOS QVOS
DEDISTI MIHI/VOLO VT VIDEANT CLARITATEM MEAM Joanes 17 vº 11 et 24’
Vulgata John 17:11 and 24: […] Pater sancte, serva eos […] [24] quos dedisti mihi, volo
[…] ut videant claritatem meam […].
Translation: […] Holy Father, keep […] [24] […] whom thou hast given me
may be with me: that they may see my glory […].
Iconography: Christ’s prayer for his apostles (after the Last Supper) (73D28).
Appendix D: Santarém, Chapel of the Third Order of Saint Francis

Except for the two biblical passages mentioned above, the source of the transcriptions, whose Latin
raises a lot of issues, has yet to be identified. The reading and reconstruction are due to André
Simões, to whom the author is very grateful.
1. St Francis saving the souls in Purgatory (upper cartouche with a pierced

heart over a book)
Transcription of the lower cartouche: ‘PROVENITE CELO FILIOS/
FRANCISCVS ABIGNE/VT IOLAT […]/ARDET AMO […] PA […]’
Reconstruction: Provenit e caelo filios Franciscus ab igne ut tolat, t[…]t[…] et ardet am
[ore?] Pater
Translation: Francis came from the sky, to rid the sons from the fire […] and
burns with love [?] the Father

‘t[…]t[…]’ might perhaps be read as ‘so much’, in which case it would refer
to ‘am[ore]’, and the passage would read ‘with so much love’.
2. St Francis welcoming a young huntsman (upper cartouche with a heart
covered with roses)
Transcription of the lower cartouche: ‘REDDIT IMO TVRTVR GE/ITVS
DEPECTORE TRISTES/HVNC PATER INDE SINES/SVSCIPIT IPSE SVO’
Reconstruction: Reddit imo turtur ge[m]itus de pectore tristes. Hunc pater inde sinu
suscipit ipse suo
Translation: The turtledove utters sad groans from within its breast. The
Father Himself receives them in His bosom.
3. Allegory of Charity
Transcription of the upper cartouche: ‘CHARIDADE’
Transcription of the lower cartouche: ‘VNIVERSSA DELICTA/OPERIT
CHARITAS/Proverb. 10’
Vulgata Proverbs 10:12: […] universa delicta operit caritas.
Translation: […] and charity covereth all sins.
4. Allegory of Obedience
Transcription of the upper cartouche: ‘OBEDIENCIA’
Transcription of the lower cartouche: ‘IVGVM/MEVM SVAVE/est. math. 11’
Vulgata Matthews 11:30: Jugum enim meum suave est […].
Translation: For my yoke is sweet […].
5. The composition is reminiscent of the theme depicting ‘various saints
watching, in Heaven, the throne once occupied by Lucifer’, but it has
also been interpreted as ‘Saint Francis in the throne handing down the
Rule of the Third Order’ (upper cartouche with a shield bearing the five
wounds of Christ.
St Francis holding a paper: ‘QVICVMQVE/HANC/REGVLAM/SEQVVIT/
FVERINT/PAX SVPER/ILOS, ET/MISERICORDIA’
Vulgata Epistle of St Paul to the Galatians 6:16: Et quicumque hanc regulam secuti
fuerint, pax super illos, et misericordia […].
Translation: And whosoever shall follow this rule, peace on them and mercy […].
Transcription of the lower cartouche: ‘TERTIVS INSVRGIT VA/RIIS
DEGENT IBVS ORDO/SIC FVLGENT NITIDO/SIDERA MVLTA POLO’
Reconstruction: Tertius insurgit, variis degentibus, Ordo; sic fulgent nitido sidera multa polo.
Translation: The Third Order rises, while many have passed; and several stars
light up the clear sky.
6. St Francis lying on a rosebush (upper cartouche with a heart in flames)
Transcription of the lower cartouche: ‘FRANCISCVS VENERIS STI/MVLO
DIRISSIME PVNCTVS/VOLVITVR IN SPINIS COMPERIT/ESSE ROZAS’
Reconstruction: Franciscus, Veneris stimulo dirissime punctus, volvitur in spinis, com-
perit esse rosas.
Translation: Francis, heavily hit by Venus’ sting, moves around amid the
thorns; he then realizes they are roses.
7. St Francis is tempted by a lady ‘à la fontange’ (upper cartouche with
a heart surrounded by thorns)
Transcription of the lower cartouche: ‘FRIGERAT IPSE PATER MEDIO/
DVM VOLVITVR IGNE=/NIL MIRVM ILE SVO SOLVS/ABIGNE CALET’
WORD & IMAGE 157

Reconstruction: Frigerat ipse Pater medio dum volvitur igne: nil mirum, ille suo solus ab
igne calet.
Translation: The Father Himself grows cold as He moves amid the fire: not to
wonder, for He heats Himself with His own fire.
8. Allegory of Patience
Transcription of the upper cartouche: ‘PAÇIENÇIA’
Transcription of the lower cartouche: ‘PATIENTIA VOBIS NECES=/SARIA
ESTVT REPORTE/TIS PROMISSIONEM/Ad. Hebr. 10’
Vulgata Epistle of St Paul to the Hebrews 10:36: Patientia enim vobis necessaria
est: ut voluntatem Dei facientes, reportetis promissionem.
Translation: For patience is necessary for you: that, doing the will of God,
you may receive the promise.
9. Allegory of Prayer
Transcription of the upper cartouche: ‘ORACAM’
Transcription of the lower cartouche: ‘ORATIO HVMILIANTIS/SE NVBES
PENETRABIT/EDET DONEC ET NON […]/ASPICIAT ALTISSIMVS/
Eclesiast/35’
Vulgata Ecclesiasticus (Sirach) 35:21: Oratio humiliantis se nubes penetrabit, et donec
propinquet non consolabitur, et non discedet donec Altissimus aspiciat.
Translation Sirach 35:21*: The prayer of him that humbleth himself, shall
pierce the clouds: and till it come nigh he will not be comforted: and he will
not depart till the most High behold.
10. Stigmatization of St Francis of Assisi (upper cartouche with crossed arms)
From Christ’s mouth: ‘ILEGITE IN CAMINO PAVPERTATIS Iay 48’
Vulgata Isaiah 48:10: […] elegi te in camino paupertatis.
Translation: […] I have chosen thee in the furnace of poverty.
Transcription of the lower cartouche: ‘TVNE DEVS? NON; SED MANIBV/PIA
STIGMATA CHRISTI/GESTAS. ISCHRISTVS? NON/VTRIVSQVE TIPVS’.
Reconstruction: Tune Deus? Non. Sed manibus pia stigmata Christi gestas, es Christus?
Non. Utriusque tipus.
Translation: Are you, then, God? No. But your hands bear Christ’s pious
wounds; are you Christ? No. [I am] an image of both.
Appendix E: Évora, Convent of Saint Francis, Chapel of the Third

Order of Saint Francis
1. Transcription of the upper cartouche: ‘B. Anonymo Saçer/dote. da Ord. 3.’
Translation: B. Anonymous Priest of the Third Order
Transcription of the cartouche above the door: ‘Sendo Cónego Cardeal na Sé de Con/
postella largou Esta dignidade pella Solidão/do Deserto donde fes/Notáveis Penitençias/etem
Deos obrado por elle muitos Milagres’
Translation: Canon Cardinal in the Cathedral of Compostella, he traded this
dignity for the solitude of the desert, where he did notable penances and God
has performed through him several miracles.
2. Transcription of the upper cartouche: ‘B. Galtero Bispo/De Treviso Daord. 3ª’
Translation: B. Galtero Bishop/Of Treviso of the Third Order

Transcription of the lower cartouche: ‘Foi muito illustre Em Vertude/E muito Célebre
por seus Adi-/miraueis Milagres’
Translation: He was notorious for his virtue And renowned for his remarkable
miracles.
3. Transcription of the upper cartouche: ‘B. Roberto de Mallatesta/Duque de

Vrbino da Ord. 3ª.’
Translation: B. Roberto de Mallatesta Duke of Urbino of the Third Order
Transcription of the lower cartouche: ‘Estampoulhe N. P. S. Franc.co as suas/Chagas

mas logo ao Outro dia Se apagarão/E ten Deos feito por elle M.tos Milagres’
Translation: St Francis stamped on him his Wounds, but on the very next day
they were gone. And God has performed through him several miracles.
4. Transcription of the upper cartouche: ‘B. Giraldo Maltes/Da ord. 3a.’
Translation: B. Giraldo Maltes of the Third Order
Transcription of the cartouche above the door: ‘Foy muyto Insigne na Charidade/
Humildade e Pureza e resplandeçeo/Com muytos Milagres’
Translation: He excelled in charity, humility and purity, and shone bright with
several miracles.
Appendix F: Olivença, Church of Misericórdia
Nave, left wall
1. Transcription of the cartouche: ‘FER PRANDIUM, QUOD HA/BES,

INBABILONEM DANIELI/QUI EST IN LACU LEONU./Daniel Cap. 14 v. 3’
Vulgata Daniel 14:33: […] Fer prandium quod habes in Babylonem Danieli, qui est in
lacu leonum.
Translation Daniel 14:33*: […] Carry the dinner which thou hast into Babylon,
to Daniel, who is in the lions’ den.
Iconography: Daniel in the lions’ den (71P34)
Nave, right wall

2. Transcription of the cartouche: ‘EGRESSAE SUNT AQUAE LARGI/SSIMAE,
ITA VT POPULUS BIBE/RET ET IUMENTA/Numer. Cap. 10 v. 11’
Vulgata Numbers 20:11: […] egressae sunt aquae largissimae, ita ut populus biberet et
jumenta.
Translation: […] there came forth water in great abundance, so that the people
and their cattle drank,
Iconography: Moses striking water from the rock (71E126)
Appendix G: Torres Vedras, Convent of Graça
Cloister [wall 1]
1. Transcription of the upper cartouche: ‘O R. P. Frey Aleixo/de Menezes Prior

deste/conuento’
Translation: The R. F. Friar Aleixo de Menezes, Prior of this convent
WORD & IMAGE 159

Transcription of the lower cartouche: ‘Toma posse do/Priorado’
Translation: He takes possession of the Priory
2. Transcription of the upper cartouche: ‘O Ven. D. F. Aleixo/de Menezes.’

Translation: The Ven. D. F. Aleixo de Menezes.
Transcription of the lower cartouche: ‘He sagrado Arcebispo/de Goa.’

Translation: He is appointed as Archbishop of Goa.
3. Transcription of the upper cartouche: ‘D. F. Aleixo/de Menezes/Arcebispo

Primáz das/Indias Orientaís’
Translation: D. F. Aleixo de Menezes Primate Archbishop of the East Indies
Transcription of the lower cartouche: ‘Fes entrada em Goa, em/septembro/de/1595’

Translation: He entered Goa in September 1595
Cloister [wall 2]
4. Transcription of the upper cartouche: ‘[…] Aleixo de M.z/procura reduzir á
obed.ª do Pontif. e/os Christaons de S. Thomé; e abre/visita em a Igr.ª dos PP. da
comp.ª/de Vaipicola em o anno de/1599.’
Translation: […] Aleixo de Menezes attempts to make the Christians of S. Thomé
obey the pontiff; and visits the Church of the Fathers of the Company of
Vaipicola, in the year/1599.
Transcription of the lower cartouche: ‘Excomunga uos que recohecem/por summo P
[ontifice] […] Patriarcha/da Babilonia’
Translation: He excommunicates those who recognize the Patriarch of Babylon
as Supreme Pontiff
5. Transcription of the upper cartouche: ‘Continúa o Arcebispo/sua visita em
colligerra/mangalao.’
Translation: The Archbishop continues his visit in Mangalao
6. Transcription of the upper cartouche: ‘Celébra o Arceb./Synodo na Igreja/de
DIAMPER’
Translation: The Archbishop holds a Synod in the Church of Diamper
Transcription of the lower cartouche: ‘Faz protesfação da Feé, e da Obed./ao Sumo
Pontifice em nome de/[…] da a christandade/de S. Thome e/o seu pPre/lado’
Translation: He protests to the Supreme Pontiff the faith and obedience of the
Christians and the Priesthood of São Tomé
7. Transcription of the upper cartouche: ‘Felix transito do V. Arceb.º e/Presid.te do
Con.º de estado/de Portugal.’
Translation: Successful journey of the V. Archbishop President of the State
Council of Portugal.
Transcription of the lower cartouche: ‘Succedeu a 3. de Mayo de/1617 em a corte de/Madrid.’
Translation: It happened on May 3, 1967 in the court of Madrid.
From the mouth of the dead: ‘NVNC DI MITTIS SERVVM TVVM DNE.’
Vulgata Luke 2:29: Nunc dimittis servum tuum Domine […]
Translation: Now thou dost dismiss thy servant, O Lord […]
8. Transcription of the upper cartouche: ‘Emterro do V. Arceb.º em q./foy sempre
diante do corpo a/Cruz Primacial de/Braga.’
Translation: Burial of the V. Archbishop, during which Braga’s Primate Cross
was continually kept in front of the body.

Transcription of the lower cartouche: ‘Foy sepultado no real conuº de/S. Felippe de
Madrid, e despois/traladado pª/o coll.º do po/pulo de/Braga’
Translation: He was buried in the royal convent of S. Felippe, in Madrid, and
later transferred to Pópulo College, in Braga.
Appendix H: Viana do Castelo, Church of Misericórdia

The subsequent translations follow the room itinerary, starting from the lower choir.
Left wall, from the left to the right.

Spiritual Works of Mercy | lower choir
1. Transcription of the upper cartouche: ‘1ª/DAR BOM/CONSELHO’

Translation: Counsel the doubtful
Transcription of the lower cartouche: ‘SEQVEREME ET SVR/GENS

SECVTVS EST/EVM. Math 9.v.9’
Vulgata Matthew 9:9: […] Sequere me. Et surgens, secutus est eum.
Translation: […] Follow me. And he arose and followed him.
Iconography: calling of Matthew (Levi), the tax-collector (73C7115)
2. Iconography: King David playing his harp

Transcription of the lower cartouche: ‘IN AETERNVM/MISERICORDIA/
AEDIFICABTVR/Psal. 88. v. 3’
Vulgata Psalms 88:3*: […] In aeternum misericordia aedificabitur […].
Translation Psalms 88:3: […] Mercy shall be built up for ever […].
*It corresponds to number 89:2 in the current versions
Spiritual Works of Mercy | left wall, from left to right
3. Transcription of the upper cartouche: ‘ENCINAR OS IGNORANTES’

Translation: Instruct the ignorant
Transcription of the lower cartouche: ‘ERAT ENIM/DOCENS EOS./Marc. i. v. 2’

Vulgata Mark 1:22: […] erat enim docens eos […].
Translation: […] For he was teaching them […].
Iconography: Christ’s dispute with the doctors in the Temple (73B93)
Transcription of the lower emblem: ‘Clauses alimenta ministrat.’

Reconstruction: Clausis alimenta ministrat.
Translation: Feeds the prisoners
4. Transcription of the upper cartouche: ‘CONSOLAR/OS TRISTES./3.ª’

Translation: Comfort the afflicted
Transcription of the lower cartouche: ‘VENIENTES/VISITARENT EVM/ET

CONSOLAREN/TVR. Job. 2v.11’
Vulgata Job 2:11: […] venientes visitarent eum, et consolarentur.
Translation: […] to come […] visit him, and comfort him.
Iconography: Eliphaz, Bildad, and Zoºhar go to Job to console him over his misfortune
(71W54) (the scene represents other subjects related with the Job’s
afflictions)
WORD & IMAGE 161

5. Altar dedicated to Our Lord of Green Cane (Cana Verde)
Transcription of the upper cartouche: ‘BEATI MISERICOR/DES QVONIAM
IPSI/MISERICORDIAM/CONSEQVENTVR’
Vulgata Matthew 5:7: Beati misericordes: quoniam ipsi misericordiam consequentur.

Translation: Blessed are the merciful: for they shall obtain mercy.
Transcription of the lower cartouche: ‘EXEMPLVM/ENIM DEDI VOBIS VT/
QVEM ADMODVM/EGO FECI VOBIS/ITA TE VOS FACI/A TIS/Joan. 13. v.15’
Vulgata John 13:15: Exemplum enim dedi vobis, ut quemadmodum ego feci vobis, ita et
vos faciatis.
Translation: For I have given you an example, that as I have done to you, so
you do also.
6. Transcription of the upper cartouche: ‘CASTIGAR/OS QVE ERAO’
Translation: Admonish sinners
Transcription of the lower cartouche: ‘TVAVTEM A DEO/FLAGELATVS./
Macab. 3.v.34.’
Vulgata 2 Machabees 3:34: Tu autem a Deo flagellatus […]
Translation: And thou having been scourged by God […].
Iconography: Heliodorus in the temple, attacked by a man (or angel) on horseback and
two other men (or angels) (71Z31)
7. Transcription of the lower cartouche: ‘PERDOAR/AS INIVRIAS’
Translation: Forgive offences
Transcription of the upper cartouche: ‘ILLI/CLEMEN/TER ACCE/DITE
INCV/IT ATME/Genes. 45. v. 4’
Vulgata Genesis 45:4: […] ille clementer: Accedite, inquit, ad me […].
Translation: […] he said mildly to them: Come nearer to me […].
Iconography: Joseph reveals his identity and in tears forgives his brothers’ past misdeed
(71D1931)
8. Transcription of the upper cartouche: ‘SOFRER COM PASIENSIA AS
FRAQVEZAS DO NOSSO PROXIMO’
Translation: Bear wrongs patiently
Transcription of the lower cartouche: ‘NEC EGO TE/CONDENABO/Joan 8.
v11’
Vulgata John 8:11: […] Nec ego te condemnabo […].
Translation: […] Neither will I condemn thee […].
Iconography: the woman accused of adultery: Christ points to or writes on the ground
(73C72221)
9. Transcription of the lower cartouche: ‘ROGAR A DE/OS PELOS VIVOS/
E DEFVNTOS’
Translation: Pray for the living and the dead
Transcription of the lower cartouche: ‘SALVBRIS EST CO/GITATIO PRO
DEFV/NCTIS EXORARE/Macab. 12. v.46’
Vulgata 2 Machabees 12:46: […] salubris est cogitatio pro defunctis exorare […]
Translation 2 Machabees 12:46*: […] wholesome thought to pray for the dead […].

Iconography: Judas Maccabeus praying for the dead (71Z41) (the scene of collect-
ing for the sacrifice of the redemption of the dead)
Triumphal arch
10. Transcription of the cartouche: ‘SVBTVVM/PREZIDIVM/CONFVGI/
MVS’
Translation: We fly to Thy protection
Iconography: Our Lady of Mercy
Corporal Works of Mercy | right wall, from left to right
11. Transcription of the lower cartouche: ‘DAR DE CO/MER A QVEM/TEM

FOME’
Translation: Feed the hungry
Transcription of the upper cartouche: ‘DATE ILLIS/VOS MANDVCA/RE.
Math. 14. v.16’
Vulgata Matthew 14:16: […] date illis vos manducare.
Translation: […] give you them to eat.
Iconography: multiplication of loaves (73C612)
12. Transcription of the upper cartouche: ‘DAR DE BEBER A QVEM TEM SEDE’
Translation: Give drink to the thirsty
Transcription of the lower cartouche: ‘DA NOBIS AQV/AM VT BIBA/MVS .
Exod. 17 v.2.’
Vulgata Exodus 17:2: […] Da nobis aquam, ut bibamus […].
Translation: […] Give us water, that we may drink […].
Iconography: Moses striking water from the rock (71E126)
13. Transcription of the upper cartouche: ‘VESTIR OS NVS’

Translation: Clothe the naked
Transcription of the upper cartouche: ‘PRO FERTE S/TOLAM PRI/MAM
E INDVITE/ILLVM/Luc. 15. v.22.’
Vulgata Luke 15:22: […] proferte stolam primam, et induite illum […]
Translation: […] Bring forth quickly the first robe and put it on him […]
Iconography: the prodigal son kneels before his father who takes him in his arms
(73C86461)
14. Altar dedicated to Our Lord of Green Cane (Cana Verde)

Transcription of the upper cartouche: ‘PRECIPIO TIBIVT/APERIAS MANUM/
FRATRI TVO EGT/NO TE PAVPERI’
Vulgata Deuteronomy 15:11: […] praecipio tibi, ut aperias manum fratri tuo egeno et
pauperi […].
Translation: […] therefore I command thee to open thy hand to thy needy and
poor brother […].
Transcription of the lower cartouche: ‘SEMPER/ENIM PAV/PERES HA/
BEBITIS VO/BISCVM/Marc. 14. v. 7’
Vulgata Mark 14:7: semper enim pauperes habetis vobiscum […].
Translation: For the poor you have always with you […].
WORD & IMAGE 163

15. Transcription of the upper cartouche: ‘VIZITAR OS/ENFERMOS.’
Translation: Visit the sick
Transcription of the lower cartouche: ‘VENIT IESVS IN/DOMVM PETRI VI/
DIT SOCRVM EIVS/IACENT. Math. 8. v.14’
Vulgata Matthew 8:14: […] venisset Jesus in domum Petri, vidit socrum ejus
jacentem […]
Translation: And when Jesus was come into Peter’s house, he saw his wife’s
mother lying […]
Iconography: healing of Peter’s mother-in-law (73C461)
16. Transcription of the upper cartouche: ‘DAR POVZA/DA AOS PERE/

GRINOS.’
Translation: Shelter the homeless
Transcription of the lower cartouche: ‘CVCVRRIT IN O/CCVRSVM EORVM/
DE OSTIO TABER/NACVLI SVI. Geni. 18.v.2.’
Vulgata Genesis 18:2: […] cucurrit in occursum eorum de ostio tabernaculi […].
Translation: […] he ran to meet them from the door of his tent […].
Iconography: story of Abraham: the visit of the three angels (71C122)
Corporal Works of Mercy | lower choir
17. Transcription of the upper cartouche: ‘REMIR/OS CAPTI/VOS.’

Translation: Redeem the captives [the work of mercy is Bury the
imprisoned]
Transcription of the lower cartouche: ‘LIBERAVIT/QVE DOMINVS/INDIE
ILLA ISRA/EL DEMANV E/GISCIORVM/Exod. 14. v.30’
Vulgata Exodus 14:30: liberavitque Dominus in die illa Israel de manu Aegyptiorum.
Translation: And the Lord delivered Israel in that day out of the hands of the
Egyptians.
Iconography: Moses lifts up his rod and the water divides (Red Sea) (71E1222)
18. Transcription of the lower cartouche: ‘7.ª/ENTERRAR/OS MORTOS.’

Translation: Bury the dead[s]
Transcription of the upper cartouche: ‘SEPELIEBAT COR/PORA EORVM/Tob.
1. v.21’
Vulgata Tobias (Tobit) 1:21: […] sepeliebat corpora eorum.
Translation Tobit 1:21*: […] buried their bodies […]
Iconography: Tobit buries the dead in secret (71T24)
Upper choir
19. Transcription of the upper cartouche: ‘TIMETE/DEVM ET/DATE
ILLI/HONOREM.’
Vulgata Revelation 14:7: […] Timete Dominum, et date illi honorem […].
Translation: […] Fear the Lord and give him honour […].
Iconography: adoration of the Lamb on Mount Sion (73G44)

Main chapel | left wall | scenes from the Life of Christ (from up to down): Nativity (73B13);
Adoration of the kings (73B57); Presentation of the Christ-child in the Temple (73B4); Circumcision in the
Temple (73B3); and a fountain in the middle
1. Transcription of the upper phylactery: ‘GLORIA IN EXCELSIS DEO.’
Hymn: Gloria in excelsis Deo

Translation: Glory to God in the highest
2. Transcription of the middle left cartouche: ‘CHRISTVM/CANAMVS/

PRINCIPEM/NATVM MA/RIA VIRGINE.’
Hymn by Coelius Sedulius (d. Circa 450) ‘A solis ortus cardine’: Christum canamus
Principem, natum Maria Virgine.
Translation: let us sing of Christ the Prince, born of the Virgin Mary.
3. Transcription of the middle right cartouche: ‘ET VENI/MVS ADO/RARE

DO/MINV.’
Vulgata Matthew 2:2: […] et venimus adorare eum.

Translation: […] and are come to adore him.
4. Transcription of the lower cartouche: ‘NVNC DIMITTIS/SERVVM/TVVM

DOMINE Luc. 2 v29’
Vulgata Luke 2:29: Nunc dimittis servum tuum Domine […]

Translation: Now thou dost dismiss thy servant, O Lord […]
Main chapel | left wall | scenes from the Life of Virgin: Birth of Mary (73A31); Presentation of Mary in the
Temple (73A34); Marriage of Mary and Joseph (73A42); the Annunciation (73A52); and a well in the middle
1. Transcription of the middle left cartouche: ‘QVASI/AVRORA CON/

SVRGENS.’
Vulgata Song of Songs 6:9: […] quasi aurora consurgens […]

Translation Song of Songs 6:9: […] as the morning rising […]
2. Transcription of the middle right cartouche: ‘IN SANCTA/SANCTORVM/IN

DOMO TVA/DOMINE’
Vulgata Psalm 83:5: […] in domo tua, Domine […].

Translation: in the holy of holies [and Psalm 83:5:] in thy house, O Lord […]
3. Transcription of the lower cartouche: ‘FIAT MIHI/SECVNDVM VER/BVM

TVVM.’
Vulgata Luke 1:38: […] fiat mihi secundum verbum tuum […].
Translation: […] be it done to me according to thy word […].
WORD & IMAGE 165

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Azulejo框架的形象作用

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The iconographic role of azulejo

Keywords Azulejo (tile), frames, Baroque, emblems

WORD & IMAGE, VOL. 36, NO. 2, 2020 135

# 2020 Taylor & Francis

Figure 1. Types of seventeenth-century azu-

136 ROSÁRIO SALEMA DE CARVALHO

Figure 3. Different azulejo frames used dur-

4 – Maria João Pereira Coutinho and Sílvia

WORD & IMAGE 137

138 ROSÁRIO SALEMA DE CARVALHO

Figure 4. Two-tile frame (B-18-00019-H-V)

WORD & IMAGE 139

Figure 5. Manuel dos Santos, centre of two-

140 ROSÁRIO SALEMA DE CARVALHO

WORD & IMAGE 141

142 ROSÁRIO SALEMA DE CARVALHO

● OMNES EI CONTV/SI VT EUVLSI/SVNT DENTES (original text from the

Figure 8. Bernardes workshop (attrib.),

WORD & IMAGE 143

Frames with text

144 ROSÁRIO SALEMA DE CARVALHO

WORD & IMAGE 145

of Charity, Obedience, Prayer, and Patience, the larger cartouche contains

146 ROSÁRIO SALEMA DE CARVALHO

cartouches containing Franciscan symbols. Whenever the wainscoting is

WORD & IMAGE 147

148 ROSÁRIO SALEMA DE CARVALHO

Figure 14. Torres Vedras, Cloister of

WORD & IMAGE 149

In Lisbon, the Monastery of Graça was also founded by the Augustinian

cartouches placed on each side of the central section, containing inscriptions

Discussion and conclusions

150 ROSÁRIO SALEMA DE CARVALHO

meaning is not directly linked to the iconographic programme.

WORD & IMAGE 151

152 ROSÁRIO SALEMA DE CARVALHO

WORD & IMAGE 153

1. Transcription: ‘TRAZEIME APOS DEVÓS CORREREMOS/PARA

2. Transcription: ‘AQVELE, A QVEM EV AMO/E ELLE A MIM, SE

3. Transcription: ‘Anímaíme com flores/fortaleceíme com fructos/que de AMOR me

4. Transcription: ‘ACHEI O MEV AMADO/TENHO O SEGVRO, NAM/

5. Transcription: ‘COMO HAVEMOS CAN=/TAR CANTICO A DEVS/NA

6. Transcription: ‘A MINHA ALMA SE DER/RETE, QVANDO O MEU

7. Transcription: ‘TAPAIME OS OS OLHOS/PARA NAM VEREM/

154 ROSÁRIO SALEMA DE CARVALHO

6. Transcription: ‘DON QUIXOTE/encantado por/Mari/Tornes’ (above the fireplace)

Appendix C: Évora, Church of Misericórdia

Left wall, from left to right.

1. Phylactery: ‘Corrigire Peccatum’

2. Phylactery: ‘Consolare aflictum’

3. Phylactery: ‘Docere ignorantem’

WORD & IMAGE 155

6. Phylactery: ‘Remitere offessam’

7. Phylactery: ‘Orare pro uiuis et defuntis’

Appendix D: Santarém, Chapel of the Third Order of Saint Francis

1. St Francis saving the souls in Purgatory (upper cartouche with a pierced

156 ROSÁRIO SALEMA DE CARVALHO

WORD & IMAGE 157

Appendix E: Évora, Convent of Saint Francis, Chapel of the Third

158 ROSÁRIO SALEMA DE CARVALHO

3. Transcription of the upper cartouche: ‘B. Roberto de Mallatesta/Duque de

Transcription of the lower cartouche: ‘Estampoulhe N. P. S. Franc.co as suas/Chagas

Appendix F: Olivença, Church of Misericórdia