Portugal 2024: Lisbon - Aeeiro - Gulbenkian Art Museum

After the debacle we experienced the previous day of trying to take the bus to our destination, we were lucky that we could take the much more reliable Metro to the Areeiro district to tour some art museums.  The Calouste Gulbenkian Museum is named after a British/Armenian oil magnate and philanthropist (1869-1955) who amassed a large art collection of over 6400 pieces spanning from Antiquity to 20th Century art.  The museum is divided into two buildings situated on either ends of a landscaped garden and park.  The first building houses the “Founder’s Collection” with about 1000 rotating pieces from Gulbenkian’s original collection including Egyptian, Greco-Roman, Mesopotamian, Islamic Orient, Armenian, Far East and Western art.  A separate room highlights a set of jewels and glassware by René Lalique.  The second building contains Modern Art by internationally renowned Portuguese artists as well as a large collection of 20th Century British works.  This building reopened in September 2024 after four years of major renovation led by Japanese architect Kengo Kuma that added 900 square meters of exhibition space and added a 100-meter-long canopy with Portuguese tiles.

We started out at the Founders building where two magnificent sculptures were found in the lobby.  The first was a beautiful limestone Art Deco piece titled “The Spring or Homage to Jean Goujon (Renaissance sculptor)” created by Alfred-Auguste Janniot for the 1925 Paris International Exhibition of Decorative Arts, Ruhlmann Pavilion. Depicted is the Goddess Diana hunting with a buck at her feet, flanked on either side by nymphs.  The waves of their hair and vertical lines of their robes exemplify the Art Deco style.  Also on display is a replica of one of the figures from Auguste Rodin’s famous 1889 work “The Burghers of Calais”. Jean d’Aire, one of the leaders of the French city of Calais, holds the keys to the city in his hands in a sign of submission and sacrifice to prevent the English from destroying the city and people in 1347.

The Egyptian section of the Founder’s collection includes several decorative funerary ornaments.  A “Winged image of Goddess Isis” (664-525 BCE) is made with green faience (ceramics) and acts as an amulet in mummification rituals. The “Solar Barque of Djedhor” (380-343 BCE) is an ancient Egyptian, bronze artifact modeled after the ceremonial boats used to transport statues of gods during religious processions and temple ceremonies.  The barque sits on a crocodile, representing Sobek, the god of the Nile.  Other divinities represented include Isis and Nephthys, guardians of the temple, the falcon-headed god Horus and Amun-Ra, God of the Sun.   Moving on to the Middle East, an Assyrian low-relief carved from a large slab of Alabaster (c 884-859 B.C.) depicts a winged figure known as “apkallu” with its right hand raised ritualistically and its left hand holding a container of holy water.  The piece is likely from Nimrud, Mesopotamia (present day Iraq) during the reign of Ashurnasiirpal II.  Hung on walls of palaces and office buildings, these figures were thought to turn away harm or evil.

There were many examples of Eastern Islamic objects including ceramics, gilded teapots, rugs, and wall hangings.  A ceramic bowl (c.12-13th Century) depicts a young prince sitting on a throne surrounded by knights on horseback playing polo and images of falcons   The scene is possibly Iranian since polo was popular in the Iranian court. Persian potters developed a technique called “minai” that allowed them to use a range of colours including blue, red, green, violet, black and gold. Other bowls are decorated with exotic birds and flowers including one with a pair of peacocks (1575) from Ottoman Turkey.  A beautiful 14th Century tile from Kashan, Iran is adorned with a phoenix and is made from stone paste, moulded and painted with glaze in luster.  There was also a blue and white ceramic teapot with a gilded base, handle and lid, as well as an ornate Turkish rug (1592) from the Ottoman Empire.

Items from the Far East include various ornamental items from China.  These include male and female Chinese guardian lions made of Jade where the male holds an orb representing the world and the female holds a baby cub, a beautiful jade hanging vase supported by an intricately carved wooden frame, large porcelain urns decorated with floral patterns, and some eggshell enameled porcelain plates from the Qing Dynasty (c.1740).  From Japan is a 19th Century silk hanging depicting a pair of exotic birds.

The Founders’ collection had a relatively small number of paintings and wall hangings on display but some of them were quite striking.  Pascal Dagnan-Bouveret ‘s “Breton Women at a Pardon" (1887) won the grand prize at the 1889 Paris Salon.  It depicts the ceremony of Pardon which the Church grants to the faithful.  While this may not be the intent, the standing men towering over the group of women feel ominous to me.  Sir Edward Burne-Jones’ oil painting “Mirror of Venus” (1877) depicts a group of women, clad in colourful gowns, looking at their reflections in water.  Painting in the style of “aestheticism” which promotes beauty in art for its own sake without the need for moral or political statements, this painting has a dreamlike, poetic quality.  A portion of Giulio Romano’s massive tapestry titled “Children Playing” (1540) covers an entire wall of the museum.  Comprised of four large tapestries and two fragments made from wool, silk, gold and silver threads, portions of this work have been on loan from Mantua, Italy through the past few years.  The portion titled “The Dance” was on display during our visit.

There were many impressive sculptures in the Founder’s collection including Jan van logteren’s 18th Century marble bust of Bacchus, God of Wine.  In 1900, Auguste Rodin created a sculpture titled “The Blessings” to honour French workers.  The work depicts two winged angels descending from Heaven to bless the work of man.  There were at least three works by sculptor Jean-Baptise Carpeaux. Like Rodin and his Burghers of Calais sculpture, Carpeaux allowed components of a larger composite sculptural piece to exist separate from the whole.  His marble work “L’Amour a la Folie” (1872) is part of a larger sculpture called “The Dance” that was made for the façade of the Paris Opera House.  This reclined child/cupid figure holding up a jester-like puppet doll can be found at the feet of several other dancing figures in the larger piece.  He also created a bust of his painter friend Bruno Chérier, who returned the favour by painting Carpeaux’s portrait.  Carpeaux’s “Flora” (1873) is a marble sculpture of a young smiling girl crouching while adorning her hair with flowers. The face and smile of the girl is said to be modeled after Anne Foucart, the daughter of Carpeaux’s friend.

There were some interesting and elegant pieces of furniture and decorative arts in the collection.  An astronomical clock (1712) by Andre-Charles Boulle and Jacques Thuret is made of oak with ebony, brass, tortoiseshell inlays, and gilded bronze.  It was commissioned by Cardinal Pietro Ottoboni whose insignia and coat of arms can be seen in the upper sculptures.  Chronos lies at the base next to a small cupid, representing the allegory of time.  A bronze Parisan clock (c. 1760-70) was shaped like a globe hoisted by a trio of muscular nudes with the time shown in Roman numerals around the centre of the globe.  A pair of silver mustard pots (1751) Antoine-Sébastien Durand depict small boys carrying bows and quivers (possibly Cupid figures) pushing wheel barrels supported at the base by eagles.  Each pot came with a silver spoon and was said to be made for Madame de Pompadour.  What looks like a porcelain teapot(?) is elaborately decorated with a gold base and gilded phoenix or dragon attached to the handle and lid.  A mechanical desk (1760) by Jean-Francois Oeben is made of oak, limewood, other exotic woods, lacquer and bronze.  Intricate mechanisms allow the piece to expand into a writing desk with book stand or contract into an ornate end table.

A special room in the Founders Building is dedicated to the gorgeous works of Art Nouveau jewelry and glass designer René Lalique including 77 wearable items (broaches, necklaces, pins) incorporating diamonds, sapphires, opals, pearls, moonstones, aquamarines, glass enamel, quartz, gold and other materials.  One highlight is his dragonfly pin which he created for the 1900 Paris Expo, consisting of gold, silver and enamel with wings made from stained glass accented by diamonds.  As with many of his jewelry pieces, the face or figure of a female emerges from the insect, transforming it into a hybrid creature.  Lalique frequently combines the female form with elements of flora and fauna.  One notable exception is his Cockerel Diadem, a free-standing rooster’s head made from gold mesh and enamel with a three-prong horn comb and an amethyst in the rooster’s mouth.

In addition to jewelry, the Lalique collection also includes teapots, vases, sculptures, mirrors and other engraved or decorative glassworks.  In all, over 200 pieces are part of the collection that was amassed between 1899 to 1927.  A “Snake Sugar Bowl” (1897-1900) was made by blowing amber-coloured glass into hollowed-out structure of patinated cast silver made to resemble an entangled group of snakes.  The handle of the bowl is a coiled snake, while a snake with a raised body acts as the handle for the lid. A mould-blown “Gorgon Vase” (c.1913) is patinated in amber and decorated with the heads of gorgons, creatures of Greek myth with hair in the form of snakes.  A green, smoked “Cluny Vase” (1925) is decorated with press-moulded black glass masks from Greek Theatre on either side with handles shaped like a group of serpents whose heads face towards the opening of the vase.

Completing our tour of the Founders Building which we thoroughly enjoyed, we moved on to the new Modern building.  In general, we were less impressed with the Calouste Gulbenkain Modern collection, perhaps because the building had just reopened and not all of the collection was on display yet.  There were several temporary exhibitions but in most cases, we did not quite understand what the theme or purpose was for an exhibition, despite reading the lengthy descriptions which came across as “art-speak” that did not translate to what we were seeing.  So rather than try to understand the overarching message being conveyed from each show, we merely looked for individual works that appealed to us.

The exhibition called “Tide Line" was described as “…using art to reflect on political, ecological and existential revolutions” spanning from the Carnation Revolution of 1974 to present day.  We did not find many explicit references to the Carnation Revolution, which we saw a much more comprehensive exhibit about in the Serralves Museum Porto.  In this exhibit, I was fascinated by the sculpture of a humanoid figure lying on the ground with arms and legs spread to form an “X”.  Titled Close II (1993) by Antony Gormley, the piece is made from lead, fibreglass and plaster and is said to “explore the human figure and its relationship to space”.  I took photos of it from various angles and wondered what Close I looked like.  A hyper-realistic painting of a piece of raw meat called “Chop” (2013) by Rosa Carvalho comments on environmental effects of our dietary choices.  Portuguese Expressionist painter Mário Eloy’s The Flight (1938) reflects his own flights to escape WWII and the loss of his German wife who would not return with him to his native Portugal. Antonio Dacosta’s surrealistic painting Serenata Açoreana (1940) has been described as a “reinterpretation of Adam and Eve and the original sin”.  Jorge Pinheiro’s “Stabat mater” (Suffering Mother - 2006) shows a distressed female figure, bleeding, with broken spectacles (reflecting an iconic image from the 1925 movie Battleship Potemkin) while her arms hold up a shroud and the photo of a soldier (her son?).

“The Occidental Calligrapher – Fernando Lemos and Japan” displays examples of Lemos’ study of Japanese art and writing, and his own interpretations of what he saw.  I particularly liked his rendition of traditional Japanese women in their kimonos. There was also a example of the colour-block printing process where a wooden block is made for each single colour of diluted water-based ink and then applied in an overlapping fashion to produce the final image.

The Calouste Gulbenkain Modern Museum has an “Open Storage” section that stores art works that are not currently on view in the galleries or loaned to other institutions. Paintings are stored on moveable iron railings that can be pulled back and forth to review other works.  This reminded us of a similar architectural feature found in the former home and now museum of architect John Soane in London where his collection of Hogarth's Rake's Progress is hidden within layered sliding shelves.

Following our visit to the two Gulbenkian art museums, we decided to walk back to Chiado, passing through Parque Eduardo VII and then down Avenida da Liberdade (Liberty Avenue), which is Lisbon’s grand boulevard built between 1879-1886 and inspired by Paris’ Champs-Élysées.  This route would take us past large parks, interesting architecture, monumental sculptures, street art and luxury shops.  A portion of Avenida da Liberdade features a central tree-lined pedestrian promenade with decorative mosaic tiles, benches and sculptures, that separates the lanes for vehicular traffic heading in either direction.

As we were leaving the grounds and gardens of the Calouste Gulbenkian Foundation, we came across the sculpture of Calouste Gulbenkian sitting in front of Horus, the Egyptian falcon god.  There were also crenulated walls and mini turrets of the former stables/carriage house of the Palace of São Sebastião which are now part of the foundation’s property. We passed by interesting architecture before reaching Jardim Amália Rodrigues, renamed in 2000 to honour a famous fado singer. Sitting just north of and considered an extension of Parque Eduardo VI, this elevated green space features a circular lake with an outdoor terrace and bar, an amphitheatre, and the bronze sculpture “Maternidade” (Maternity) by Fernando Botero.

Continuing south, we reached Parque Eduardo VII, the largest park in central Lisbon spanning 63 acres.  Originally named Parque da Liberdade (Liberty Park), the park was renamed in 1903 to honour British King Edward VII after his visit to Lisbon.  The central lawn features symmetrical, mosaic-patterned box hedges leading towards Praça Marquês de Pombal and two landscaped gardens on either side.  Statues and fountains are found throughout the park, including a 1958 sculpture by Euclides Vaz of a female figure standing on a horse that rises out of an ornamental water basin.  Other sculptures include a female with a dog that might be the Goddess Diana, and a seated female nude by one of the entrances.

The parks on either side of the central lawn include walking paths, landscaped greenery, floral plantings, and benches for sitting.  The eastern side is home to Pavilhão Carlos Lopes, a historic pavilion decorated with azueljo panels and sculptures. The pavilion was originally built in 1921 for the Rio de Janeiro International Exhibition before being rebuilt in the park between 1929-31.  Through the years, it was used as a sports facility, a municipal palace for festivals and exhibitions and currently it is a rental space for conferences, trade fairs, concerts and cultural events.  Featuring a large Portuguese flag flanked by two large pillars on either side, the 25th April Revolution Monument by João Cutileiro commemorates the 1974 Carnation Revolution which ended decades of dictatorship in Portugal. Inaugurated in 1997, the monument consists of a fountain shaped like a rock in a basin with a crumbling wall and broken columns.

Just south of Parques Eduardo VII and marking the start of Avenida de Liberdade is Praça Marquês de Pombal, a historic, circular plaza that acts as the gateway to central Lisbon.  At the centre is a monumental statue featuring Sebastião José de Carvalho e Melo, the Marquis of Pombal at the top of a tall column, accompanied by a lion symbolizing power and leadership.  The Marquis was instrumental in rebuilding Lisbon after the devastating earthquake of 1755.  At the base of the column are enormous allegorical sculptures representing the Marquis’ reforms in education, agriculture and politics, as well as sculptures recalling the earthquake and accompanying tsunami.  The floor of the plaza is paved with mosaic tiles depicting a large ship adorned with Lisbon’s coat of arms.  This magnificent sculpture requires a 360-degree inspection to view all the components.

Leaving Praca Marques de Pomba, we finally reached Avenida da Liberdade and walked along the central promenade with the densely tree-lined walking path adorned with black and beige mosaic designs.  The benches on the path were decorated by the parish of Santo António for International Music Day on October 1, celebrating the diversity of music and its global significance, raising awareness of Portuguese-language music.  Each bench features a different artist or group with a QR code allowing you to hear their music on your phone.  Both modern and historic sculptures lined the avenue.  There is a sculpture dedicated to Almeida Garrett, noted poet, playwright, politician and journalist.  We had visited a square named after him when in Porto.  A large, 1931 “Monument to the Fallen of the Great War” by local sculptor Maximiano honors the Portuguese soldiers who fought in the First World War. It depicts a soldier on top of a pedestal being crowned by a robed figure carrying a flag, who is the personification of the Fatherland.  At the sides of the column are two muscular figures struggling to hold up the nation.  A bit further south on the avenue is the sculpture of Simón Bolívar, known as the “Great Liberator” of South America.

Avenida da Liberdade seems to be Lisbon’s version of a “Mink Mile” with a slew of luxury stores including Dior, Louis Vuitton, Gucci, Versace, Burberry, Rolex, Mont Blanc and more.  Many of the outlets including the Prada reside in beautiful old buildings.  The façade of the interior design store Casa do Passadiço looks like a gilded panel from St. Marks Cathedral in Venice.  Rich wandered into the Vacheron Constantin boutique to try on a watch that he can’t afford, as is his habit in most new cities that have high end watch stores.  Across from Avenida da Liberdade is one of several decorative water basins found on the central promenade.  This one is headed by a bearded allegorical figure holding a spade and a water jug.  Continuing south, once we spotted one of the historical trams, we knew that we were back in familiar territory near our apartment.  This walk from Calouste Gulbenkian Museum back to Chiado proved to be both scenic and historic.

Portugal 2024: Lisbon - Alacantra - Prazeres Cemetery, LX Factory, Berardo Museum

Our third day in Lisbon was spent in the Alcântara district, west of Chiado and east of Belém.  We planned a packed schedule including a visit to a large cemetery, a large park, an entertainment hub and finally an Art Nouveau/Art Deco Museum. To get there, we had to take a dreaded bus which we had issues with ever since Porto.  We figured out through past experiences that the “timing of bus arrival” as per Google Maps were merely suggestions.  The bus would often be late or multiple scheduled arrivals would be missed with no warning or alert.  That is what happened this morning while we waited over 45 minutes for the 709 bus to take us to Campo Ourique (Prazeres).  Luckily a Portuguese lady who spoke English was waiting impatiently next to us.  Finally, a man passed by and spoke to her rapidly in Portuguese.  He informed her, and then she informed us that no bus would be arriving at this stop because the area was soon to be cordoned off for a marathon!  There was no notice that this would occur, even for a local like her.  Grabbing her stuff and telling us to follow her, we all dashed to the next stop on the route where the bus was being detoured to.  After waiting another 15 minutes, we were finally on our way.

Luckily, we did not have early timed tickets for an attraction that we would have missed.  Our first stop was the Prazeres Cemetery and we just had less time to visit than we originally intended. Whenever we visit a new country, we always look for an opportunity to tour a cemetery.  We have found that cemeteries vary significantly from country to country, reflecting its cultures, traditions and burial practices.  Père Lachaise Cemetery in Paris has a Gothic and romantic feel with elaborate tombs and famous occupants including Jim Morrison and Edith Piaf.  Highgate Cemetery in London is wild and overgrown since upkeep of the tombs is not included in the price of burial.  San Michele Cemetery in Venice is actually on its own island and accessible only by boat.

Covering 30 acres with over 7000 tombs, Prazeres Cemetery was established in 1833 during a cholera epidemic and is one of Lisbon’s largest and oldest public cemeteries.  It is the final resting place for notable Portuguese figures including artists, writers, musicians, presidents, prime ministers and generals.  Unlike other cemeteries where the majority of burials are below ground, this cemetery is known for its rows or streets of “Portuguese Houses” (Casa Portuguesa), which are small houses erected to store the coffins.  The houses showcase a variety of architectural styles such as neo-Gothic, neo-Classical, Manueline and Art Nouveau.  Many of the funerary structures are designed to resemble traditional Portuguese homes and could include curtains or shutters covering the door wells, corner windows, enclosed porches supported by columns or delineated by metal gates, Azueljo ceramic tile decorations, and a few even have red clay tiled or limestone roofs.  Inside, the houses might be decorated with little tables covered with lace tablecloths, curtains covering windows, photographs, lamps, vases with flowers or other memorial knickknacks.  Many of them add Christian symbols like crosses or sculptures of angels, Virgin Mary or Christ figures. These houses were mostly popular between 1923-1933 and were meant to honour loved ones with a personal touch of home, while also showing social status.

It was interesting to see the variety of designs used for the houses, especially the doors and upper façades.  The doors with a glass pane are covered with curtains of various designs from simple linen to elaborate lace patterns.  Some doors have decorative wrought iron designs of sunbeams and flowers while others are solid metal and may have coats of arms carved into them.  The different architectural styles were fascinating to see as well, with some almost resembling mini cathedrals.  Then there was the house that was so minimalist that I considered it the “Bauhaus” tomb. It is interesting that most of the houses do not display the name(s) of the occupants or their dates of birth/date on the exteriors, as would be found in North American tombs.

In addition to the Portuguese Houses, there are many notable monuments and sculptures found throughout Prazeres Cemetery including public and private tributes.  A touching monument to the Municipal Fire Fighters includes a fireman’s helmet, ladder and rubble topped by a cross.  The monument for Sousa Viterbo, a 19th Century poet and historian, consists of a beautiful woman holding Sousa’s death mask. Publisher and Socialist Party founder José Fontana’s tomb is topped by an outstretched hand clutching a lit torch.  Other cool ornamentations include skeletons, angels, mourning women and one with Egyptian symbols on it.

A very cool tomb shaped like a castle commemorates Lieutenant General Pedro Folque, a military engineer who established a communication system between forts during the Peninsular War (1807-1814). A large monument with several angels and a female figure honours Antonio Augusto de Aguiar, who was a scientist, politician, and freemason.  A carving of his profile is attached to the plinth.  An even larger tomb depicting a grieving woman kneeling before a plinth with a broken column is a shared resting place for writer, journalist and politician Carlos Lobo de Ávila and his father, the Count of Valbom.  Carlos died young at age 34, as represented by the broken column signifying a life prematurely cut short.  A pretty monument shaped like a tree trunk has two leaves at its base with names subtly etched on them.  Other tombs had sculptures of saints in various poses.

Several of the monuments have sculpted representations of the deceased.  A gigantic tomb is topped by the sculpture of Francisco Xavier da Silva Pereira, 1st Count of Antas dressed in full regalia. Pereira distinguished himself in many military campaigns and was granted the rank of Commander of the Order of the Tower and Sword as well as other honours.  His tomb includes his coat of arms and a crown.  The bust of journalist Brito Aranha and full figure statue of journalist, free mason and politician Sebastiao de Magalhaes Lima are each situated at the centre of a long “street” lined with tall cypress trees, making for impressive sights from afar. An elaborate Portuguese house is dedicated to classical composer Gustavo de Macedo Affonso Nogueira. His house is decorated with a carving of his profile and musical notes both in front and on the side of the tomb including what is possibly a snippet from one of his compositions. A gorgeous Art Deco styled monument honours Antonio Joao Goncalves Lobato, a Portuguese military aviator and pioneer who tragically died at 26 in an aviation accident.  In 1934, he was the navigator in a historic long distance Lisbon-to-Timor air flight.  A small carving of his profile and several aviation symbols embellish his tomb.

Also found in the cemetery is the early 19th Century Our Lady of Pleasures Chapel, which offers funeral ceremonies and includes an old autopsy/dissection room which was used before Lisbon had a city morgue.  The interior is relatively simple with some pretty stained glass and a mural on the ceiling.  The chapel is used as a venue for rotating exhibitions.  During our visit, there did not seem to be a special exhibit on display.  We may have just missed one on the “Living History of Lisbon Cemeteries” that was running in July 2024 while a poster in front of the building advertised a 2021 exhibition on “Stone Flowers”.  Prazeres Cemetery was a great place to explore and it is too bad we did not have as much time as originally planned due to the bus delays. But we had to be on our way to continue our busy schedule, which included a 2:30pm museum tour.

Heading south from the cemetery, we reached the Park of Necessities (Parque das Necessidades), an expansive, peaceful park with lush green spaces, exotic plants including rare trees and cacti, wildlife and picturesque views of the Tagus River and 25 de Abril Bridge.  The park dates back to 1604 when it was originally the home of the chapel of Our Lady of Necessities.  The area was significantly redeveloped in 1742 by King João V, serving as his hunting grounds.  It was later transformed into an English-style garden by King Fernando in 1843.  The park includes three lakes as well as a fountain and cascading waterfall.  Unfortunately, because we were now pressed for time and had trouble finding the northern entry to the park, we missed touring large portions of it.  We were able to see the beautiful circular greenhouse with glassed and wrought iron dome ceiling that currently seems in need of repair as well as the remnants of ornate walls of the former palace that resided on the site, and a few sculptures nestled into alcoves of the walls.

Strolling through the treelined paths of the Park of Necessities, we came across several species of wildlife roaming around freely and especially congregating near one of the lakes.  These included giant Greylag geese that were alarmingly big and seemed to be easily riled as evidenced from loud squawking that we heard from afar.  I made sure to steer a wide path as we passed them.  There were also beautiful peacocks and a couple of wild roosters with vibrant colours that rivaled those of the peacocks.

Exiting at the southern end of the park, we came across Necessidades Palace, which was built in Baroque and Neoclassical style in the 18th century by King John V.  It was the main residence of Portuguese royalty in the early 1800s following the Peninsular War.  After the fall of the monarchy in 1910, it became the headquarters of Portugal’s Ministry of Foreign Affairs, which is still its function today.  Across the street from the palace is a beautiful fountain consisting of a marble obelisk with four large figureheads shaped as a humanoid face acting as waterspouts, each with a large fish beside it.

LX Factory is a vibrant creative hub located on the former site of a 19th century textile factory before it was transformed in 2008.  Today it is a space for art and design including outdoor, open air art galleries as well as indoor studio spaces.  There are boutique shops, trendy restaurants and bars, and it acts as an event space for flea and artisan markets, food festivals, live music performances and art exhibitions.  With its industrial feel, red brick walls and cobblestone streets, this area reminds me of Toronto’s Distillery District but bigger and more dynamic and eclectic.  The outdoor art gallery included yet another work by street artist Bordelo II, whose works we saw in Porto (Half Rabbit) and in Chiado (Two Pelicans).  This time it was a giant bee made from his signature materials of refurbished trash and car parts.  There were other sculptural and graffiti like pieces on display.

A featured piece by street artist Oringo.75 was a teaser for more pieces on display in one of the indoor art galleries.  All over LX Factory are murals and street art that give the space a gritty, bohemian feel.  There were many shops and stores to explore as well as an open-air market area with booths selling art, clothing, jewelry, books, ceramics, housewares, crafts and more.

One iconic store is Le Devagar (meaning “Read Slowly”), which moved into its current space in LX Factory in 2009, transforming a former industrial printing space into a literary and artistic hub.  There are over 40,000 new titles and 10,000 second-hand books on display on the two-levels of bookshelves that are accessible via wooden ladders.  The space also includes a café, a bar, vinyl record shop and gallery spaces for special exhibits, debates, concerts and other events.  Most notable is the famous flying bicycle sculpture by Pietro Proserpio that hangs from the ceiling that evokes memories of the movie ET.  Multiple shops offer fun and funky printed t-shirts and collared shirts.

LX Factory has an outlet of Bairro Arte, an innovation chain store with a dynamic, eclectic range of home décor and quirky, artsy items for the home.  Fun items include lamps shared like rocket ships, or with bases shaped like rabbits, chimpanzees, seals, dogs and large birds, side tables with ceramic legs as a base, colourful plates, mugs with pithy sayings, t-shirts, hats, bandanas, sunglasses, ornaments, key chains and so much more.  We saw other locations of this store in Chiado and Bairro Alto.  Cerâmica Factory sells authentic, contemporary Portuguese ceramic pieces with interesting items such as plates and cutting boards decorated with sardine designs, and fun vases shaped like little girls blowing bubble gums.

LX Factory has a mix of cafés, restaurants, bars that offer everything from traditional Portuguese, international, trendy fusion, and vegan cuisines with a wide range of cocktails and beers. In addition to eclectic menus, many of the eateries have fun décor and ambience.  We peeked into Mex Factory, a vibrant Mexican restaurant offering tacos, burritos, guacamole and vegetarian/vegan options.  We were attracted to the colourful artworks outside the restaurant but decided that it would take more time than we had to enjoy the place.

Instead, we chose to get snacks at an eatery called Beers, which is a bit ironic because it is a place for beer lovers with a huge selection of beers and we didn’t order any, opting instead for wine and orange fanta!  Yet the restaurant did have a good snack menu with food coming quickly and we did not have that much time before our museum tour.  We ordered some smoked ham croquets, battered green beans and pork belly, which was just what we were looking for.  We were also lured by the window-side table that allowed us to people-watch while we dined.

After our visit to the nearby museum, which was just down the block, we returned to LX Factory to purchase two pieces of chocolate cake to take home from the famous Landeau dessert café.  Also known as “Lisbon Chocolate Cake”, this is a rich, dense brownie-like cake topped with whipped chocolate ganache and dusted with cocoa powder for an intense chocolate flavour.   It has been rated in the New York Times as "the best chocolate cake in the world".  We ate it that evening once we got back to our rental apartment and it was as good as advertised!  We got a rich but not overly sweet piece of cake that was light and airy with a velvety texture and a hint of salt to enhance the chocolate flavour.

Open in 2021, the Berardo Museum of Art Deco (B-MAD) has an extensive collection of Art Nouveau and Art Deco objects on display including furniture, lamps and lighting, sculptures, paintings and drawings, ceramics, silver, glassware, crystals, tableware, jewelry and more.  Noted designers including René Lalique, Émile-Jacques Ruhlmann, Jean-Michel Frank, Jacques Adnet and Jules Leleu are represented.  The items mostly consist of the personal collection of Portuguese businessman and long-time art collector José (Joe) Berardo.  The museum is situated in the former 18th Century summer residence of the Marquis of Abrantes.  The façade of the building is decorated with Art Deco motifs and each of the windows are covered with Art Deco images.  A guided tour of the museum followed by complimentary wine tasting from Berardo’s extensive wine collection is a mere €6 and probably the best deal in town!

We started the tour in the main lobby (ground floor) of the museum where we saw a beautiful full-sized sculpture of dancer and choreographer Isadora Duncan, created by Farpi Vignoli in 1937.  The sculpture of Duncan performing a dance step sits underneath a beautiful chandelier with round, pink bulbs.  Other paintings and sculptures are found along the stairwells that lead to the exhibits.  Despite the name of the museum referring to Art Deco, the 1st floor contains Art Nouveau pieces while Art Deco works are located on the second floor.

Beautiful examples of Art Nouveau furniture and artwork can be found on the first floor with designs by René Lalique, Émile Gallé, and many others.  Elements of the Art Nouveau style can be found in the pieces including intricate carvings in the woodwork and ironwork displaying floral designs, references to nature, curved surfaces, curlicues and other elaborate ornamentations, as well as use of bright colours, glass and exotic woods.  A particularly ornate cabinet and cover for a radiator is made from Burl Fruitwood and wrought ironwork depicting prancing deer in a forest.  Above this cabinet is a gilded image of Diana, Goddess of the Hunt made with lacquer on wood panel.

The Art Deco-styled furniture and art on the second floor differ significantly relative to the items that we just saw on the floor below.  Gone are the elaborate ornamentations of the Art Nouveau period, replaced with sleek, smooth surfaces, natural colours and simple lines.  Among the furniture we saw was a double bed designed by Jules Leleu, with a curved headboard made of fruitwood.  A beautiful multi-piece dining suite designed by Georges Champion is made of lemonwood with vertical ridges on the legs of the chairs, tables and centre door of the buffet.  Ebony veneers and gilded metal form a simple square motif on the legs of the chairs.  The company Décor Interieure Moderne designed an upright Piano made from rosewood, ivory and brass, with a unique checkered pattern on the wood.  Jacques Adnet created two sleek, elegant pieces that reflect the Streamline Moderne phase of Art Deco.  His two-toned desk with a built-in lamp was made with Brazilian rosewood, leather and chromed metal, while the similarly two-toned lady’s desk and round swivel chair was made with rosewood and parchment.

We saw elements in Art Deco’s Chinois phase with Gaston Priou’s Cabinet made from laquer, oil and gold leaf depicting the image of an elephant lumbering through a jungle, guided by a handler while a royal dignitary sits behind in a special seat. Léon Jallot’s three-paneled screen or room partition, made from lacquered wood and gold leaf, displays a vibrant wildlife scene with a white bird and black panther partially camouflaged by exotic jungle flora.  Gio Ponti’s cabinet and bar was made from Sycamore and fruitwood with inlays depicting female nymphs frolicking in nature.  The cabinet has a slim drawer underneath and the entire structure is supported by curved chromed metal legs.  An elegant 10-piece dining suite by Jules Leleu included a buffet, large oval table and 8 chairs, all made from rosewood.  The seats and backs of the chairs are covered with gilded metal leather and sharkskin.  Louis Majorelle’s angular, geometrically shaped etagere tables for displaying art pieces are made from rosewood and mahogany.

Stunning chandeliers and lamps were found throughout the museum, including a chandelier with multi-coloured round glass bulbs that might have been designed by Tiffany.  A 1920s lamp by Daum Frères had intricate cascading wrought iron supports from which beautiful glass bulbs hang, resembling a fruit-bearing tree.  A pretty 1925 overhead light by Ernest and Charles Schneider was made with Cameo glass, which is a technique where different layers of colored glass are manipulated to form a design.  Two of the most unique and stunning lamps were created in the 1920s by Muller Frères in the shape of a peacock and a parrot, made from glass, iron and marble.  Finally, a wall lamp by Louis Majorelle (circa 1900) was in the Art Nouveau section, made from gilt, bronze and copper depicting a female face surrounded by flower petals.

Many of the cabinets, dressers and buffet tables were accented with beautiful sculptures of female figures, made from a variety of materials.  Several of them have their arms raised in dance, including Georges Gori’s “Dancer” made from painted bronze, ivory, onyx, and marble, Johann-Philipp Preiss’s ivory, bronze and onyx “Bat Dancer” who seems about to take flight with her bat cape, and Pavel Tereszczuk’s “Oriental Dancer” made from painted and gilded patinated bronze who is swirling her robes. Demetre Chiparus’s Tanara, made from bronze, ivory and marble, depicts a beautifully costumed Art Deco dancer, seated and seeming to be adjusting her shoes.  Charles Arthur Muller’s ivory and marble sculpture of a woman with raised arms is titled “Invocation”, so maybe she is singing as opposed to dancing. Several of the sculptures were of hand-painted porcelain by Royal Dux, including a seated “Musician” playing a guitar.  Bruno Zach’s “Messilla Debonaire” is made from bronze, ivory, onyx and black Belgian marble, and depicts a woman riding a horse “at the fair” or perhaps a rodeo.

Some of the sculptures represent the Art Deco tradition of invoking speed, motion or modernity through flowing hair or action poses.  Amadeo Gennarelli’s silvered bronze and black marble sculpture is titled “Pigeon Carrier” as a seated woman with wavy, flowing hair holds a pigeon in her outstretched arm as if ready to release it.  Jacques Adnet created “Poodle” out of glazed faience (opaque, white, tin-glazed pottery) with so many closely knit vertical lines that the dog seems to be moving.  It reminded me of the famous painting “Leash in Motion” by Giacomo Balla.  Several bronzes included Alfred Boucher’s “To the end” depicting three racers about to cross the finish line, Ernst Moritz Geyger’s “Archer” about to release his arrow, and Pierre Le Faguays’s arched “Allegorical figure” on a Macassar ebony platform, and Alexandre Kelety’s “Panthers” on the prowl.

Bruno Zach created another sculpture out of patinated bronze, titled “Black Leather Suit” which is said to be a depiction of German actress Marlene Dietrich.  Viennese metal shop company Werkstätte Hagenauer created a stylized representation of singer/dancer Josephine Baker in mid gyration, made from patinated and gilded metal and stainless steel, as well as a four-piece band of musicians playing the cello, guitar, saxophone and violin, made from nickel.  Continuing with the musical theme, Gustav van Varenbergh’s “Troubadour”, made from bronze and camara marble, depicts a Medieval musician playing a lute.  A beautiful clock in frosted glass with silvered metal depicting two nude figures, possibly dancing”, was designed by René Lalique.  Titled “Le Jour et la Nuit” one of the figures is light coloured and the other is dark.

There were many eclectic paintings, drawings and other art pieces of varying media on the walls, often hanging on top of wallpaper with Art Deco designs.  Bela de Kristo‘s mixed media painting titled “African Dancers” reminded me of Josephine Baker.  Robert-Eugene Pougheon’s lithography on paper titled “Cheval Libre” depicts a nude woman with flowing hair, trying to rein in a rambunctious horse.  Below the drawing is a beautiful, gilded iron clock with etched glass and enamel by Paul Kiss.  Pierre de Belay’s “Couple en tenue de Soirée” is created with gouache, a water-based paint applied on cardboard. The artist is not listed for a gorgeous image of a monkey made from lacquer and eggshell on gilded wood panel.  Raphael Delorme created numerous oil on canvas paintings displayed in B-MAD including "Europa", representing Europe, which is part of a series of paintings representing Asia, America, Africa and Oceania.  A work created by carving high relieve on walnut wood is both untitled and the artist unknown but seems to depict an African warrior hunting with his bow while a seated female looks on.

Lastly, we saw a fabulous collect of ceramic vases including several made from Cameo glass with images of flowers, fish, geometric patterns and even city scenes embossed on them. Artists included Muller Freres, Le Verre Francais, Charles/Ernest Schneider, Chardner and Camille Fauvre.  One of the most stunning pieces was made from moulded and glazed faience and seemed to have an Egyptian design.  Rafael Bordalo Pinheiro is known for creating vases decorated with leaves such as the rich blue vase that was part of the museum’s displays.

Following the lengthy tour where we saw so many beautiful items of Art Nouveau and Art Deco, we settled out in the lovely Art Nouveau-inspired Garden and were treated to tasting of two types of wines from Jose Berardo’s Bacalhôa vineyards, one of Portugal’s largest wine producers.  We each received healthy pours of a 2022 Savignon Blanc and a 2007 Moscatel Roxo.  This was the perfect way to complete the tour and all for €6—what a bargain!

Portugal 2024: Lisbon - Alfama, Cais do Sodré, Cachilas

Located on the eastern border of Baixa, Alfama is the oldest neighbourhood in the city.  Rising almost 60 metres from the Tagus River to Saint George’s Castle, Alfama’s most famous historic attraction, the area includes many churches, restaurants, cafes, shops, lookout points (miradouros), a maze of steep, narrow cobblestoned streets and flights of steps, as well as the remnants of a Moorish walled city.  While there are several routes to get to Alfama, the way to get closest to St. George’s Castle is to take the historic Tram 28.

The tram system in Lisbon has been in existence since 1873.  One of the most famous trams is Tram 28 which runs between Martim Moniz Square and Campo de Ourique, hitting several popular tourist sites along the way including the Lisbon Cathedral (Se de Lisbon) and St. George’s Castle.  Operating since the 1930s, Tram 28 has been refurbished back to its original design with polished wood interiors and brass fittings. Today, it serves as both a functional public transport line and a popular tourist experience, offering a journey through historic neighborhoods like Alfama, Graça, and Baixa.  Riding the tram checked off one more mode of transportation supported by our Navegante cards at a zapping cost of €1.61. We boarded the tram at Praça Luis de Camões and got off at Miradouro Sta. Luzia, then walked 300 metres up hill to get to St. George’s Castle.

Located atop Lisbon’s highest hill overlooking the city and the Tagus River, St George’s Castle (Castelo de São Jorge) was built by the Moors in mid 11th Century. Because of its strategic location, the site has been occupied since the 6th century BC, with fortifications dating back to the Romans, Moors, and other civilizations.  During the Moorish era, an Islamic Settlement known as the “Islamic Quarter” resided within the fortress, with residential structures and silos carved into rocks for food storage.  After it was captured by King Alfonso Henriques in the siege of 1147, the settlement turned into a Medieval town occupied by Christians and included the Royal Palace and gardens.  At the time, there were 11 towers for defence and administrative purposes.  Much of St. George’s Castle was destroyed in the 1755 earthquake.  Today after significant renovation, the remaining ruins are available for exploration as well as a museum.

A sculpture of King Henriques sits in the Praça d'Armas, the main square at the base of the castle that was a central gathering and ceremonial space.  There is also a map of the sites of Lisbon that can be spotted from this lofty perch. St. George’s Castle gets extremely busy during high season and prime times.  It is conveniently open from 9am-9pm daily and we have found the best way to avoid crowds is to get to such an attraction either first thing in the morning, or later in the day after group tours are done.  We arrived at the castle around 4:30pm and found it was not that busy at all.

Miradouro de São Jorge is an observation point within St. George’s Castle that offers stunning panoramic views of Lisbon and the Tagus River.  From here, we could see many of the sites that we had visited or planned to visit within the next few days.  These included Praça do Comércio, Elevador Santa Justa and even the giant Cristo Rei sculpture across the river at Cachilhas, where we would visit the next day.

The miradouro is part of the castle’s terrace area which includes the Lovely Castelo Restaurant with an outdoor patio where you can sit and admire the view while you dine.  A modern bronze sculpture of a kneeling nude female created by Portuguese sculptor António Duarte in 1948 is also found on the grounds.  Most fascinating to watch were the parade of Indian peacocks, with vibrant blue necks and stunning plumage, that strutted along the top of walls and perched on rooftops and in trees.  The exotic peacocks were brought to Lisbon as trophies during the 15th Century Age of Discoveries, symbolizing Portugal’s wealth and global reach.  Today around 40 peacocks live, sleep, and mate among the trees and bushes within the castle grounds.

The ruins of the limestone and granite castle include sturdy walls fortified with eleven quadrangular turrets or towers (ten are still accessible).  Each tower played a specific role in defence, administration or storage. Tower of the Keep (Torre de Menagem) was the main defensive tower due to its height and strategic location, serving as a stronghold and observation point.  Tower of Riches/Tumbling Tower (Torre do Haver ou do Tombo) was used for storing treasures or archives, including the royal archive.  Tower of the Palace (Torre do Paço) was part of the royal palace.  Tower of the Cistern (Torre da Cisterna) housed a cistern for water storage during sieges. Tower of Ulysses (Torre de Ulisses) was originally used for archives but now houses a camera obscura projecting 360º live images of Lisbon.  The towers are connected by ramparts and it was fun scampering between them.

Back on the grounds, there is an archaeological site where excavations have uncovered artifacts from Portuguese Royal Houses of the 16-18th centuries, Moorish and even Iron Age settlements.  An archaeological museum, located in the remains of the old palace, displays some of these artifacts.

Before heading home for the evening, we took a quick look at the surrounding areas of Alfama close to the castle and were charmed by the cobblestone streets and street art.  While we took the 28 Tram to get here, we decided to take a bus home, which might have turned out to be a mistake since we waited for the bus (along with a huge crowd of people) for over an hour.  We were using Google Maps to advise us of when the next bus was scheduled no bus appeared.  This was similar to a situation we had in Porto and we started to realize that “bus schedule” was not a real concept.  In some cases, we had no choice, but we made a note to use the metro whenever possible, even if it meant a longer walk afterwards.

We made good on this strategy the next day when we returned to Alfama to attend the weekend Flea Market.  We got there by taking the metro from Baixa/Chiado to Santa Apolónia.  We accessed the Baixa/Chiado station at Largo do Chiado and descended 148 feet via multiple long escalators to get to the platform.  This is one of the deepest stations in Lisbon.   The area in Alfama around the Santa Apolónia station offers a mix of “old world charm and modern vibrancy”. Cool street art and sculptures can be seen all around as well as parks and historic sites.

The Feira da Ladra is Lisbon's oldest, most iconic flea market, dating back to the 12th century. It is held on Tuesdays and Saturdays at Campo de Santa Clara, a large square that is also home to Mercado de Santa Clara, which is a covered market building that holds other events on top of the flea markets.  In addition to the Mercado, open-air stalls and tents cover the campo and even extend out onto surrounding streets. A large 188 metres-long mural consisting of almost 53,000 tiles covers the wall separating Campo de Santa Clara from the adjoining Botto Machado Garden.  Painted by artist André Saraiva and installed in 2016, the vibrantly colourful and whimsical work reinterprets Lisbon landmarks including recognizable images of St. George’s Castle, Monument to the Discoveries, 25th of April Bridge and Santa Justa Elevator.

The Flea Market offers a place for vendors and local artists to sell their wares, which consist of a mix of antiques, vintage goods, handcrafted items, collectables, souvenirs, trinkets and bric-a-brac.  We saw stalls selling painted vests, t-shirts and printed shirts, socks and underwear and more.  There were books, comics, records, watches and costume jewelry, posters, ceramics, and miscellaneous items often found in a yard sale.  When we were there, the Mercado building was hosting what seemed to be a special exhibit on hand-painted print and poster exhibition including a few lithographs.

Next, we visited the nearby Botto Machado Garden, which is a charming, peaceful green space that offered respite after the bustling market.  In addition to walking paths and benches, we were amused by the series of “doggie obstacle course” equipment consisting of ramps that the dogs could play on.  Along the wall of the park which extends beyond Campo de Santa Clara are more tiles by André Saraiva including his signature character “Mr. A”, with its round head, mismatched eyes and long limbs flailing as he dances and prances in various poses.

There are various historic churches and museums in Alfama including a military museum, Fado music museum, decorative arts museum, and the archaeological remains of a Roman Theatre.  As we had a packed day planned, we did not have time to see any of these places but we did pass by the outside of the National Pantheon, which is a domed church housing the tombs of noted historic Portuguese figures, and the Lisbon Cathedral (Sé) which is Lisbon’s oldest building from 1147.  As we had already toured many churches during our stays in Porto and Sintra, we decided to skip entering these two buildings.  I regretted it afterwards when I saw photos of how beautiful the interiors were!

Instead, we wandered the streets of Alfama en route to the Tagus River and the Cais Sodré area, soaking in the local atmosphere along the way.   We found a door decorated with Spiderman themed dolls and a skateboard, a self-service laundromat with Azulejo tiles depicted how women did laundry by hand in the past, and a balcony with two mannequins dressed as Fado musicians.  But most interesting and touching were the plaques honouring past residents in an installation called Alma de Alfama ("The Soul of Alfama").  Created by London artist Camilla Watson, the plaques feature photographs of long-time residents accompanied by inscriptions detailing their lives and contributions to the area.

Exiting the Alfama district, we traversed west through Baixa, staying close to the river until we reached Cais do Sodré.  In the 19th century, this area was a bustling port area close to Lisbon’s harbour and then a social hotspot for artists and intellectuals.  By the 20th century, Rua Nova do Carvalho gained notoriety as a red-light district filled with brothels, seedy bars, and gambling dens.  Today it is a popular cultural and nightlife destination.  Rua Nova do Carvalho is nicknamed “Pink Street” due to a 2013 urban renewal project that painted the pathway, lined with rows of trendy bars, clubs and restaurants, a bright pink shade to “symbolize rebirth”.  Still on the Pink Street is the former brothel Pensão Amor, now turned into a bar and event space with an erotic bookshop called Madam’s Lodge.  Some of the buildings are painted or decorated with pink accents and towards one end of the street is a canopy of colourful umbrellas hanging overhead.  This makes for a fun tourist attraction with great photo opportunities.

Also in the area is the Cais do Sodré Railway Station, a major transportation hub that connects Lisbon to resort towns such as Cascais, Estoril, and Oeiras, known for their stunning beaches.  Open since 1895, the building went through many renovations with the current Art Deco style designed by Nuno Teotónio Pereira in 1928.  There are ornate features both on the façade and in the interior.  The building serves as the terminus of the suburban Cacais line and offers connections to both the Lisbon metro and ferry services.

In the 17th Century, Cais do Sodré was known as the "Port of Vessels," where ships departed for Portuguese colonies.  The pier that runs along the Tagus River is a vibrant area lined with restaurants, bars and night clubs.  People sit along the edge of the water watching sailboats and ships go by.  The area by the pier and ferry terminal is known for its street art, graffiti and murals and is in fact, a stop on most graffiti tours of Lisbon.

The Cais do Sodré Ferry Terminal is the launching point for ferry rides to neighbouring destinations across the Tagus River.  As part of my goal to take every mode of transportation supported by Lisbon’s Navegante card, I wanted to take a ferry ride.  The closest location is Cacilhas, a historic district is part of the greater Lisbon area and takes 10 minutes one way to get to by ferry with boats departing every 15-20 minutes.  There is no open air seating on the ferry but if you are lucky enough to get a window seat with the window half open, there is a nice breeze and an excellent view of either Lisbon or Cacilhas depending on which side of the boat you are sitting.

Cacilhas boasts rich maritime history as represented by its naval museum, as well as several churches, seafood restaurants offering fresh fish, riverside views of Lisbon’s skyline and the historic 25th of April Bridge (named for the Carnation Revolution), graffiti walls and historic sites.  It is home to between 5000-8000 people who enjoy a cheaper cost of living than those in Lisbon.  Cacilhas hosts annual cultural events including the Sea Festival and Autumn Cultural week, celebrating music, traditional cuisine and art.

Cacilhas once had a strong industrial presence centered around maritime activities. The Lisnave shipyards were a major industrial site in the area from 1960s-80s, specializing in shipbuilding and repairs, employing over 10,000 workers at its peak.  Today the buildings facing the water appear rundown and deserted with broken windows and peeling paint. There is talk about plans to revitalize the area but hopefully there is not too much gentrification which would change the cool vibe of the area.  Historically, Cacilhas also played a role in ancient fish processing during Roman times with archaeological evidence of a salting factory dating back to Roman times.  Today, the wharfs are used for local fishing off the piers to source fresh fish for the restaurants.

Cais do Ginjal , the stretch of buildings on the Cacilhas Pier along the Tagus River, is known for its large-scaled vibrant graffiti, murals, stencils and street art that span the entire height of old abandoned warehouses.  Walking along the pier, you feel dwarfed by the size of the works that range from rudimentary drawings to elaborate works of art.  Even the few storefronts and restaurants that seemed to be operational were covered with artworks.

As we walked along the pier, we also checked out the graffiti painted on the small break walls of the many wharfs that jutted out into the river and watched fishermen trying to make their catches.  Some street artists were adding new works on the walls using paint and spray cans.

At the far end of the pier on a cliff 133 metres above sea level is the monumental sculpture “Christ the King” (Cristo Rei) which can be seen from miradouros (lookout points) in Lisbon.  An iconic Catholic statue inspired by Rio de Janeiro’s “Christ the Redeemer” sculpture, Cristo Rei was inaugurated in 1959 as a tribute to the Sacred Heart of Jesus, in gratitude for Portugal being spared from destruction during World War II.  The 40,000-ton concrete statue is 110 metres high, with a 28 metres figure of Christ with outstretched arms standing on an 82-metre pedestal.  The open-armed gesture symbolizes love and protection.  It costs €6.00 to climb up to the top viewing platform and surrounding gardens, chapel and visitors’ centre.  We were pressed for time, so we settled for looking up at it from the wharfs.  It is said that on a clear day, you can see all the way to Sintra from the platforms.

While waiting for the ferry to return to Lisbon, we admired the 1866 cast-iron Cacilhas Lighthouse that guided ships traversing the Tagus River until it was deactivated in 1978.  We also peeked through a fence to look at two magnificent vessels on display as part of the Almada Naval Museum.  The Barracuda Submarine S164 is a former Albacora-class diesel electric attack submarine that was part of the Portuguese Navy.  It was built in France in 1968 and served for 42 years on missions including patrols, intelligence gathering, special ops and anti-trafficking collaborations before it was retired in 2010.  The Barracuda could dive down 300 metres and remain submerged for up to 31 days.  Next to it is the Dom Fernando II e Glória, the last wooden sailing warship of the Portuguese Navy that was originally launched in 1843. Over 33 years, the ship traveled more than 100,000 nautical miles, the equivalent of five rounds around the world. Its name is a tribute to the Queen of Portugal, D. Maria II, and her husband, D. Fernando II.