Earthquake 1755
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William Elsden was an outstanding British architect of the Pombaline Period, who worked in Portugal from around 1756 until his death, in October 1778. He is not known in the United Kingdom, although he was praised there in 1782, for his... more
William Elsden was an outstanding British architect of the Pombaline Period, who worked in Portugal from around 1756
until his death, in October 1778. He is not known in the United Kingdom, although he was praised there in 1782, for his work
at Coimbra University. In Portugal he was practically ignored and was not studied for about two hundred years. Numerous
studies conducted by the author over the last 36 years have given us the opportunity to admire his important and varied work,
and to learn about him and his family life. There are nevertheless still many documents to be searched for in Portugal and abroad.
A recent discovery shows that Architect Elsden used the title of Esquire, thus denoting that he had some status in society. His English
family origins have been traced. He is thought to have been a cabinet‑maker in London.
In Portugal, he began to collaborate in the reconstruction of Lisbon after the earthquake of 1755, which was led by an elite of military
architects and engineers: Manuel da Maia, Eugénio dos Santos and Carlos Mardel. There is documentation proving that Elsden worked
with Mardel.
He joined the Portuguese army as a military engineer in 1760 and rose rapidly in rank. In 1767 he had reached the position of Lieutenant
Colonel. He was also the Quartermaster‑General to the Forces and a Mathematics professor at the Military Academy of the Royal Court.
His British wife, Theresa Elsden, was the muse of the great Portuguese poet Pedro António Correia Garção, and may have inadvertently
played a minor part in the poet’s tragic imprisonment and death.
William Elsden was active in many different areas, and worked not only in Lisbon and its surroundings, but also in various other parts of
Portugal, such as Alcobaça, Aveiro, Leiria. His most outstanding work was the Pombaline restoration of the University of Coimbra, which
he directed between 1772‑1778.
He was greatly respected by both King D. José I and his powerful minister, the Marquis of Pombal, and by his successor Queen D. Maria I,
whose husband, King D. Pedro III, was godfather to Elsden’s son. This truly showed their appreciation and admiration of Elsden. In the
meantime, the turbulent personal life of Lieutenant Colonel Elsden, political attacks on the Pombaline restoration of the University after the
death of King D. José in 1777, and the death of the architect the following year, prevented him from rising further in his military career and
from being awarded royal honours.
A British couple has been thus revealed, who came to Portugal because of the reconstruction of Lisbon. They deeply marked not
only Portuguese Art but also Portuguese Literature through the discovery of a new pair of lovers, who lived their love in post earthquake
Lisbon – Pedro António and Theresa. The three of them – William, Pedro António and Theresa – could easily inspire a film.
Keywords : Elsden, earthquake, D. José I, D. Maria I, Marquês de Pombal, Pedro António Correia Garção.
until his death, in October 1778. He is not known in the United Kingdom, although he was praised there in 1782, for his work
at Coimbra University. In Portugal he was practically ignored and was not studied for about two hundred years. Numerous
studies conducted by the author over the last 36 years have given us the opportunity to admire his important and varied work,
and to learn about him and his family life. There are nevertheless still many documents to be searched for in Portugal and abroad.
A recent discovery shows that Architect Elsden used the title of Esquire, thus denoting that he had some status in society. His English
family origins have been traced. He is thought to have been a cabinet‑maker in London.
In Portugal, he began to collaborate in the reconstruction of Lisbon after the earthquake of 1755, which was led by an elite of military
architects and engineers: Manuel da Maia, Eugénio dos Santos and Carlos Mardel. There is documentation proving that Elsden worked
with Mardel.
He joined the Portuguese army as a military engineer in 1760 and rose rapidly in rank. In 1767 he had reached the position of Lieutenant
Colonel. He was also the Quartermaster‑General to the Forces and a Mathematics professor at the Military Academy of the Royal Court.
His British wife, Theresa Elsden, was the muse of the great Portuguese poet Pedro António Correia Garção, and may have inadvertently
played a minor part in the poet’s tragic imprisonment and death.
William Elsden was active in many different areas, and worked not only in Lisbon and its surroundings, but also in various other parts of
Portugal, such as Alcobaça, Aveiro, Leiria. His most outstanding work was the Pombaline restoration of the University of Coimbra, which
he directed between 1772‑1778.
He was greatly respected by both King D. José I and his powerful minister, the Marquis of Pombal, and by his successor Queen D. Maria I,
whose husband, King D. Pedro III, was godfather to Elsden’s son. This truly showed their appreciation and admiration of Elsden. In the
meantime, the turbulent personal life of Lieutenant Colonel Elsden, political attacks on the Pombaline restoration of the University after the
death of King D. José in 1777, and the death of the architect the following year, prevented him from rising further in his military career and
from being awarded royal honours.
A British couple has been thus revealed, who came to Portugal because of the reconstruction of Lisbon. They deeply marked not
only Portuguese Art but also Portuguese Literature through the discovery of a new pair of lovers, who lived their love in post earthquake
Lisbon – Pedro António and Theresa. The three of them – William, Pedro António and Theresa – could easily inspire a film.
Keywords : Elsden, earthquake, D. José I, D. Maria I, Marquês de Pombal, Pedro António Correia Garção.
O presente artigo reúne algumas informações sobre a actividade em Lisboa, nos três anos que antecederam o terramoto de 1755, de Paolo Dardani, um jovem pintor bolonhês que integrou o grupo de artistas contratados por Giovanni Carlo... more
O presente artigo reúne algumas informações sobre a actividade em Lisboa, nos três anos que antecederam o terramoto de 1755, de Paolo Dardani, um jovem pintor bolonhês que integrou o grupo de artistas contratados por Giovanni Carlo Sicinio Galli Bibiena para o ajudarem na tarefa de dotar a corte portuguesa com novos teatros de ópera e respectivas cenografias.
Regressado a Bolonha em meados de 1755, Dardani levou consigo um caderno com desenhos de vistas de Lisboa, que reproduziu num palácio da vila italiana de Cento, e memórias fantasiosas da sua estadia em Portugal, entre as quais uma cena de caça da à baleia no rio Tejo, que registou numa tela pintada em Bolonha. Estas obras desapareceram, delas restando apenas o relato manuscrito de Marcelo Oretti, um conhecido biógrafo dos artistas bolonheses, que se baseou em informações fornecidas pelo próprio artista. Mesmo em Itália, pouco mais resta da obra de Dardani, além de algumas gravuras, um óleo em Parma e quatro desenhos, comprovadamente de sua autoria, no Museu Davia Bargellini de Bolonha.
Segundo Oretti, nos três anos em que permaneceu em Lisboa Dardani executou várias telas com batalhas e paisagens para diversos encomendadores. Encontrámos em colecções portuguesas quatro telas com estas temáticas, apresentando traços estilísticos comuns com as obras conhecidas do artista, que poderão ser tudo o que resta da sua actividade em terras portuguesas entre 1752 e 1755.
Regressado a Bolonha em meados de 1755, Dardani levou consigo um caderno com desenhos de vistas de Lisboa, que reproduziu num palácio da vila italiana de Cento, e memórias fantasiosas da sua estadia em Portugal, entre as quais uma cena de caça da à baleia no rio Tejo, que registou numa tela pintada em Bolonha. Estas obras desapareceram, delas restando apenas o relato manuscrito de Marcelo Oretti, um conhecido biógrafo dos artistas bolonheses, que se baseou em informações fornecidas pelo próprio artista. Mesmo em Itália, pouco mais resta da obra de Dardani, além de algumas gravuras, um óleo em Parma e quatro desenhos, comprovadamente de sua autoria, no Museu Davia Bargellini de Bolonha.
Segundo Oretti, nos três anos em que permaneceu em Lisboa Dardani executou várias telas com batalhas e paisagens para diversos encomendadores. Encontrámos em colecções portuguesas quatro telas com estas temáticas, apresentando traços estilísticos comuns com as obras conhecidas do artista, que poderão ser tudo o que resta da sua actividade em terras portuguesas entre 1752 e 1755.
Este livro pretende desfazer 7 mitos que, ao longo de 260 anos, foram sendo criados sobre este edifício emblemático da cidade de Lisboa.
This project aims to recreate the memory of Lisbon destroyed by the 1755 earthquake using Second Life® technology. The project started with the recreation of the palace complex (the Royal Palace, the Patriarchal and the Opera House) given... more
This project aims to recreate the memory of Lisbon destroyed by the 1755 earthquake using Second Life® technology. The project started with the recreation of the palace complex (the Royal Palace, the Patriarchal and the Opera House) given its political and architectural significance in the context of pre‐earthquake Lisbon. The royal palace was built in the early 16th century and became the most iconic element of the city until its destruction in 1755. It is featured in most panoramic representations of Lisbon in the early modern period. These depictions allow us to recreate with a high degree of accuracy the exteriors of the Palace and its urban context, particularly the eastern façade extending alongside the Terreiro do Paço. However, the same cannot be said of the northern and western blocks and the inner courts. For the latter, we are more dependent on the documentary and literary sources, as well as on the rebuilding plans drawn after the earthquake. For the interiors, the documentary sources are even scarcer. There is only a detailed description of the Royal Palace in the early 18th century, which reached us via a transcript published in a book in the first half of the 19th century. The use of Second Life® technology and its open source version OpenSimulator allow us to overcome the scarcity of sources without compromising a rigorous scientific research. These technologies enable us to test the available documentary sources in a 3D interactive and immersive model. Replacing the classic 3D modelling tools, they favour the coordination of researchers in the verification of historical hypothesis, allowing the update of the object of study in real time. They also provide to a broader public the immersion in a lost urban reality in a context of social interaction, thus promoting the didactic and leisure dimensions of the project.
A cidade de Lisboa nasceu no que hoje conhecemos como os bairros orientais, aqueles que povoam as encostas da Colina de São Jorge (Castelo, Alfama, Mouraria). Durante a Idade Media e depois com o Renascimento e a crescente importância do... more
A cidade de Lisboa nasceu no que hoje
conhecemos como os bairros orientais, aqueles
que povoam as encostas da Colina de São Jorge
(Castelo, Alfama, Mouraria). Durante a Idade
Media e depois com o Renascimento e a crescente
importância do império marítimo português
a cidade cresce e se espalha pelos vales dos
arredores e sobretudo pela orla marítima. Nesta
nova cidade que desceu da sua colina originária
forma-se uma bipolarização urbana entre dos
espaços centrais: O Rossio (que representa a
cidade medieval e popular ligada ao mundo
rural imediatamente adjacente) e o Terreiro do
Paço (que representa o poder da Coroa e das
instituições no nascente império marítimo).
Depois do terremoto de 1755 o Marquês de
Pombal, responsável pela reconstrução da
cidade, altera este antigo ordem sócio-urbanístico
desnaturalizando o espaço de representação
popular da cidade, o Rossio. O crescimento da
cidade de Lisboa os séculos XVIII e XIX vai ser
assim organizado por uma nova bipolarização
em duas grandes avenidas, marcadas ao mesmo
tempo pelas novas categorias sociais da época:
Avenida da Liberdade como espaço burguês e
Avenida Almirante Reis como artéria operária.
Nesta cidade moderna que crescia e se urbanizava
para o seu interior os autores românticos
começam a imaginar a autenticidade perdida desde a reforma pombalina nos bairros antigos,
aqueles que se situam nas encostas da colina do
Castelo. Neles, as antigas estruturas urbanísticas
medievais (muitas vezes reconstruidas) e o
florescimento de práticas e géneros de raiz
popular (muitas vezes estimulados pela presença
de camadas populacionais procedentes do
interior de país) alimentarão esta imagem dos
bairros antigos como lugares transbordantes
de autenticidade. De forma crescente desde o
Estado Cultural do novecentos, as instituições
e as administrações tentaram aproveitar a
vitalidade destas manifestações populares
para legitimar a sua governabilidade. Dois
exemplos são bem manifestos deste intento de
manipulação dos materiais simbólicos da cidade
pelo proveito das autoridades: 1. A natureza
inatingível do Fado como canto popular gerado
nas margens da cidade e desde a marginalidade
das camadas mais desfavorecidas. 2. As Marchas
Populares como manifestação domesticada
da singularidade dos bairros que compõem a
cidade. Assim, Fado e Marchas Populares serão
manifestações ligadas à criatividade popular dos
bairros antigos, e desta maneira constituirão
materiais simbólicos desejados pelas autoridades
desde que o urbanismo pós-pombalino gerou o
imaginário de duas cidades separadas: A cidade
nova – moderna - centro marcada pela reforma Pombalina e as suas evoluções oitocentistas
(racional, ordenada, cosmopolita, autoritária) e
o seu oposto, a cidade antiga – bairro (caótica,
familiar, comunitária, popular).
conhecemos como os bairros orientais, aqueles
que povoam as encostas da Colina de São Jorge
(Castelo, Alfama, Mouraria). Durante a Idade
Media e depois com o Renascimento e a crescente
importância do império marítimo português
a cidade cresce e se espalha pelos vales dos
arredores e sobretudo pela orla marítima. Nesta
nova cidade que desceu da sua colina originária
forma-se uma bipolarização urbana entre dos
espaços centrais: O Rossio (que representa a
cidade medieval e popular ligada ao mundo
rural imediatamente adjacente) e o Terreiro do
Paço (que representa o poder da Coroa e das
instituições no nascente império marítimo).
Depois do terremoto de 1755 o Marquês de
Pombal, responsável pela reconstrução da
cidade, altera este antigo ordem sócio-urbanístico
desnaturalizando o espaço de representação
popular da cidade, o Rossio. O crescimento da
cidade de Lisboa os séculos XVIII e XIX vai ser
assim organizado por uma nova bipolarização
em duas grandes avenidas, marcadas ao mesmo
tempo pelas novas categorias sociais da época:
Avenida da Liberdade como espaço burguês e
Avenida Almirante Reis como artéria operária.
Nesta cidade moderna que crescia e se urbanizava
para o seu interior os autores românticos
começam a imaginar a autenticidade perdida desde a reforma pombalina nos bairros antigos,
aqueles que se situam nas encostas da colina do
Castelo. Neles, as antigas estruturas urbanísticas
medievais (muitas vezes reconstruidas) e o
florescimento de práticas e géneros de raiz
popular (muitas vezes estimulados pela presença
de camadas populacionais procedentes do
interior de país) alimentarão esta imagem dos
bairros antigos como lugares transbordantes
de autenticidade. De forma crescente desde o
Estado Cultural do novecentos, as instituições
e as administrações tentaram aproveitar a
vitalidade destas manifestações populares
para legitimar a sua governabilidade. Dois
exemplos são bem manifestos deste intento de
manipulação dos materiais simbólicos da cidade
pelo proveito das autoridades: 1. A natureza
inatingível do Fado como canto popular gerado
nas margens da cidade e desde a marginalidade
das camadas mais desfavorecidas. 2. As Marchas
Populares como manifestação domesticada
da singularidade dos bairros que compõem a
cidade. Assim, Fado e Marchas Populares serão
manifestações ligadas à criatividade popular dos
bairros antigos, e desta maneira constituirão
materiais simbólicos desejados pelas autoridades
desde que o urbanismo pós-pombalino gerou o
imaginário de duas cidades separadas: A cidade
nova – moderna - centro marcada pela reforma Pombalina e as suas evoluções oitocentistas
(racional, ordenada, cosmopolita, autoritária) e
o seu oposto, a cidade antiga – bairro (caótica,
familiar, comunitária, popular).
Included in the research project on the pre-existences of Setúbal, developed by the Centre for Archaeological Studies of the Museum of Archaeology and Ethnography of the Setubal District (MAEDS), the subproject “Earthquakes and Urban... more
Included in the research project on the pre-existences of Setúbal, developed by the Centre for Archaeological Studies of the Museum of Archaeology and Ethnography of the Setubal District (MAEDS), the subproject “Earthquakes and Urban Archaeology” was launched in 2004 with its own program, directed to the study of archaeological contexts correlated with historical earthquakes for which there are more or less historiographical documentation.
The first archaeological excavation concerned to this theme occurred in December 2004 and recovered a layer with large block tumbles that could be attributed to the earthquake of 1531. However, the earthquake of 1755 left more numerous marks in the urban subsoil. This is the case of the nos. 170-178 of Av. Luísa Todi. In this plot, a context affected by the earthquake of 1755 was excavated, consisting of an underground storage structure filled with debris resulting from the overthrown of a seventeenth-
eighteenth-century residential building caused by the referred earthquake.
The first archaeological excavation concerned to this theme occurred in December 2004 and recovered a layer with large block tumbles that could be attributed to the earthquake of 1531. However, the earthquake of 1755 left more numerous marks in the urban subsoil. This is the case of the nos. 170-178 of Av. Luísa Todi. In this plot, a context affected by the earthquake of 1755 was excavated, consisting of an underground storage structure filled with debris resulting from the overthrown of a seventeenth-
eighteenth-century residential building caused by the referred earthquake.
In the extensive universe of urban iconography between the seventeenth century and the eighteenth century, Lisbon stands out as a paradigmatic example of the Portuguese reality. This paper aims to analyze the different representations of... more
In the extensive universe of urban iconography between the seventeenth century and the eighteenth century, Lisbon stands out as a paradigmatic example of the Portuguese reality. This paper aims to analyze the different representations of Lisbon during this long period by establishing the relationship between the imagined city (Myth) and the projected city (Reason).
The image of Lisbon from the late medieval period to the second half of the eighteenth century develops from depictions, still very much subject to drafting, to the more realistic representations in which is established a clear visual connection between the most emblematic buildings.
In the sixteenth century, the images of Lisbon convey a narrative that unfolds from the hill-top Castle to the Cathedral, in the city centre maze, and the Royal Palace on the riverbank. The Castle symbolizes the foundational moment of the Christian city, the Cathedral embodies the power of the Church and the Royal Palace represents the Crown’s dominion over the sea and its navigation. Throughout the seventeenth century and early eighteenth century, the Royal Palace plays the main role in the depictions of Lisbon, becoming the main visual and symbolic element of the city.
The 1755 earthquake generated a vast number of images of Lisbon during the disaster, in its majority of a fantasist nature. Depictions centred on the “poetics of the ruins” followed these, emphasizing the catastrophe’s dramatic appeal. Some are of crucial importance for the study of pre-earthquake Lisbon as they depict with some accuracy the ruined buildings. The assertive character of the rebuilding enterprise carried out soon after the catastrophe is patent on the many plans and building elevations designed by the Portuguese military engineering for the new Lisbon. The rational character of these plans led to a new idealization of Lisbon, plain in the prints, paintings and illustrations that portray an imagined rebuilt city, as with the Travels in Portugal (1795) by James Murphy. From this moment, the regularity of the new Lisbon and the monumentality of the Commerce Square (Praça do Comércio) was emphasized, namely with the laydown of the equestrian statue of king D. José I (1714 - 77), conveying the idea of a reformed order after the chaos under the authority of the monarch.
The image of Lisbon from the late medieval period to the second half of the eighteenth century develops from depictions, still very much subject to drafting, to the more realistic representations in which is established a clear visual connection between the most emblematic buildings.
In the sixteenth century, the images of Lisbon convey a narrative that unfolds from the hill-top Castle to the Cathedral, in the city centre maze, and the Royal Palace on the riverbank. The Castle symbolizes the foundational moment of the Christian city, the Cathedral embodies the power of the Church and the Royal Palace represents the Crown’s dominion over the sea and its navigation. Throughout the seventeenth century and early eighteenth century, the Royal Palace plays the main role in the depictions of Lisbon, becoming the main visual and symbolic element of the city.
The 1755 earthquake generated a vast number of images of Lisbon during the disaster, in its majority of a fantasist nature. Depictions centred on the “poetics of the ruins” followed these, emphasizing the catastrophe’s dramatic appeal. Some are of crucial importance for the study of pre-earthquake Lisbon as they depict with some accuracy the ruined buildings. The assertive character of the rebuilding enterprise carried out soon after the catastrophe is patent on the many plans and building elevations designed by the Portuguese military engineering for the new Lisbon. The rational character of these plans led to a new idealization of Lisbon, plain in the prints, paintings and illustrations that portray an imagined rebuilt city, as with the Travels in Portugal (1795) by James Murphy. From this moment, the regularity of the new Lisbon and the monumentality of the Commerce Square (Praça do Comércio) was emphasized, namely with the laydown of the equestrian statue of king D. José I (1714 - 77), conveying the idea of a reformed order after the chaos under the authority of the monarch.
Lisbon was ruined by a major earthquake on November 1, 1755. Not only the seismic shocks, the tsunami and the fire that followed massively destroyed its urban and architectural tissue, but also its written and iconographic memory was... more
Lisbon was ruined by a major earthquake on November 1, 1755. Not only the seismic shocks, the tsunami and the fire that followed massively destroyed its urban and architectural tissue, but also its written and iconographic memory was seriously curtailed. There is a significant historiography on pre-earthquake Lisbon, particularly dating from the last three decades. However, it was vital to convert this knowledge into a global outlook of the lost city. Virtual archaeology provided the necessary tools, both from a technical and methodological perspective. City and Spectacle: a vision of pre-earthquake was thus devised as a virtual recreation/simulation of all the Lisbon area destroyed by the 1755 earthquake on which the new city was built. Developed at the Centre for Art History and Artistic Research (CHAIA), of the University of Évora, this project aims to recreate the physical, social and cultural dimensions of Lisbon at the eve of the earthquake through the use of Second Life®/OpenSimulator technology. The documentary sources available, either primary or secondary, are being tested in an interactive and immersive model and in a collaborative environment in real time, giving to the project an innovative laboratorial dimension. Also, the fact that users are able to interact with the model and others users in real time is transforming the data itself and, as a result, the object of study. The Lisbon that is being recreating/simulating is not just a working hypothesis presented as a glimpse into the collective memory, but also a creation of the contemporaneous fruition of this memory.
ERRATUM: in the sub-chapter "Historical Research on Pre-Earthquake Lisbon" (p.153), where it reads " 385 square miles" it should read "1.5 square Kilometres".
ERRATUM: in the sub-chapter "Historical Research on Pre-Earthquake Lisbon" (p.153), where it reads " 385 square miles" it should read "1.5 square Kilometres".
After the devastating earthquake, tsunami and fires of 1755, the city of Lisbon was rebuilt as a modern disaster resilient city, implementing strict planning controls and earthquake resistant construction technologies. This is reflected... more
After the devastating earthquake, tsunami and fires of 1755, the city of Lisbon was rebuilt as a modern disaster resilient city, implementing strict planning controls and earthquake resistant construction technologies. This is reflected in the regular grid layout of the historic city, namely the Baixa Pombalina, and its built fabric. But the city has changed considerably since 1755. Through GIS mapping of the city, this study identifies the exposure of the built heritage of Lisbon Downtown to natural hazards including earthquake, tsunami, flood and landslide. It then highlights some of the changes that have occurred within the city’s landscape since 1755 and the potential impacts that these may have had on the ability of the city’s fabric to perform as designed. In particular, it focuses on the historic urban precinct of Baixa Pombalina, the heart of the rebuilt city and part of the tentative UNESCO World Heritage property of Lisbon. Although many studies have been undertaken to examine the seismic performance of the Pombaline buildings, few have examined the greater context in which the buildings exist and its potential impact on their performance. Will the buildings be able to withstand a similar event now or have they been compromised by the changes that have occurred in and around them? This study considers the vulnerability of the city’s historic structures and sites to various hazards and identifies areas of further research needed to enable the development of appropriate mitigation strategies to strengthen the resilience of the historic city.
RANDOM-WALK CONNECTIVITY OF LISBON’S waterfront in the post-1755 reconstruction
Lisbon woke up to a major earthquake in the morning of the 1st November 1755. The population watched in bewilderment and terror the massive destruction caused by the seismic shocks, the subsequent tsunami and a fire that subsisted for... more
Lisbon woke up to a major earthquake in the morning of the 1st November 1755. The population watched in bewilderment and terror the massive destruction caused by the seismic shocks, the subsequent tsunami and a fire that subsisted for several days. In a city of around 200.000 inhabitants, approximately 12% of the population perished. Lisbon city centre, an area of about 620.000 square metres, was entirely ruined.
Resumo: A presente comunicação tem como objectivo a análise arqueológica do forte de São Paulo, edificado na antiga freguesia homónima, em Lisboa, a partir da segunda metade do século XVII. Partindo do estudo dos vestígios arqueológicos... more
Resumo:
A presente comunicação tem como objectivo a análise arqueológica do forte de São Paulo, edificado na antiga freguesia homónima, em Lisboa, a partir da segunda metade do século XVII.
Partindo do estudo dos vestígios arqueológicos associados à estrutura militar exumados no Mercado da Ribeira e na Praça D. Luís I, proceder-se-á à caracterização arquitetural e à análise do espólio, visando a compreensão da dinâmica estratigráfica, bem como a percepção da implementação geoestratégica inerente à sua construção. Paralelamente, pretende-se que os dados obtidos permitam uma melhor percepção da diacronia ocupacional desta área ribeirinha de Lisboa, fulcral na expansão marítima portuguesa.
Abstract:
This communication aims the archaeological analysis of Fort of São Paulo, built in the homonymous old parish in Lisbon, from the second half of the 17th century onwards.
Based on the study of archaeological features of Mercado da Ribeira and D. Luis I Square excavations associated with the military structure, we will proceed to its architectural characterization and its remains in connection to the stratigraphical dynamics, as well as the perception of geostrategic implementation inherent in its construction.
Simultaneously, it is intended that the data obtained allows a better perception of diachoronic occupation of the area related to the military building. Thus, we aimed to contribute to the knowledge of the seventeenth-century project for Lisbon, which circumscribed its the urban area.
A presente comunicação tem como objectivo a análise arqueológica do forte de São Paulo, edificado na antiga freguesia homónima, em Lisboa, a partir da segunda metade do século XVII.
Partindo do estudo dos vestígios arqueológicos associados à estrutura militar exumados no Mercado da Ribeira e na Praça D. Luís I, proceder-se-á à caracterização arquitetural e à análise do espólio, visando a compreensão da dinâmica estratigráfica, bem como a percepção da implementação geoestratégica inerente à sua construção. Paralelamente, pretende-se que os dados obtidos permitam uma melhor percepção da diacronia ocupacional desta área ribeirinha de Lisboa, fulcral na expansão marítima portuguesa.
Abstract:
This communication aims the archaeological analysis of Fort of São Paulo, built in the homonymous old parish in Lisbon, from the second half of the 17th century onwards.
Based on the study of archaeological features of Mercado da Ribeira and D. Luis I Square excavations associated with the military structure, we will proceed to its architectural characterization and its remains in connection to the stratigraphical dynamics, as well as the perception of geostrategic implementation inherent in its construction.
Simultaneously, it is intended that the data obtained allows a better perception of diachoronic occupation of the area related to the military building. Thus, we aimed to contribute to the knowledge of the seventeenth-century project for Lisbon, which circumscribed its the urban area.
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