A carreira 28 liga o Martim Moniz a Campo de Ourique, passando por muitos dos lugares de Lisboa onde o turismo mais viceja: Graça, Alfama, Sé, Baixa, Chiado… No século passado, a cidade chegou a ter cerca de 30 carreiras de elétricos amarelinhos; hoje sobram seis, e, sem o turismo, talvez já nem estas existissem. Por outro lado, os lisboetas que ainda resistem nestes bairros históricos queixam-se de que é mais fácil um camelo passar pelo buraco de uma agulha do que um gajo ali do bairro conseguir entrar no 28. Os painéis de azulejos de São Vicente de Fora representam desde alegorias e episódios bíblicos a cenas do quotidiano, onde figuram todas as classes sociais. Azuis como o céu e belos como pássaros, devemos estes azulejos a António de Oliveira Bernardes, ao seu filho Policarpo, a Valentim de Almeida, António Pereira, Manuel dos Santos e quiçá a outros mestres do barroco, cujos nomes não chegaram até nós. Tram 28 connects Martim Moniz to Campo de Ourique, passing through parts of Lisbon where tourism thrives, such as Graça, Alfama, Sé, Baixa, and Chiado. In the past century, the city had around 30 tram lines; today, only six remain, and without tourism, perhaps not even these would still have their iconic yellow carriages. On the other hand, Lisbon residents who still endure life in these historic neighborhoods complain that it is easier for a camel to pass through the eye of a needle than for a local to squeeze onto Tram 28. The tile panels of São Vicente de Fora depict allegories, biblical episodes, and everyday scenes, featuring people from all social classes. As blue as the sky and as beautiful as birds, these azulejos were created by António de Oliveira Bernardes, his son Policarpo, Valentim de Almeida, António Pereira, Manuel dos Santos, and perhaps other Baroque masters whose names have been lost to time.

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Alfama is Lisbon’s oldest quarter. It saw the Phoenicians, the Roman Empire, the Islamic conquest of Olisipo in the 8th century, Viking raids in the 9th and 10th centuries, and the rule of the Almoravids and Almohads—all long before Portugal officially came into existence in 1143. In 1147, Lisbon was conquered by King Afonso Henriques with the support of the Second Crusade, but Alfama’s Moorish street layout remained largely unchanged. In fact, many of its houses even managed to withstand the great earthquake of 1755. So, I hope that something in Alfama will survive the tourism boom of the 21st century— though certainly not its old residents, who are being pushed out with little concern. From the Islamic period until the mid-20th century, Alfama’s population seems to have grown steadily—from perhaps 1,000 or 2,000 inhabitants in the 8th century to as many as 15,000 or 20,000 in 1950. After that, the numbers began to decline. Today, it may have fewer than 5,000 residents. A (not so) fun fact: Since 2017, right in front of Alfama, the Lisbon Cruise Terminal has been in operation. In 2023 alone, 360 cruise ships docked there. Can you believe that some of these ships, like the massive MSC Virtuosa, carry more souls than the entire population of Alfama today? The tile panels of São Vicente de Fora depict allegories, biblical episodes, and everyday scenes, featuring people from all social classes. As blue as the sky and as beautiful as birds, these azulejos were created by António de Oliveira Bernardes, his son Policarpo, Valentim de Almeida, António Pereira, Manuel dos Santos, and perhaps other Baroque masters whose names have been lost to time.

#exquisitePhotography #azulejos #photoOverlay #culturalFusion

A PSP (Polícia de Segurança Pública) é uma polícia civil portuguesa com a missão de assegurar a legalidade democrática e garantir a segurança interna e os direitos dos cidadãos, nos termos da Constituição e da lei. Para cumprir esta missão, conta com um leque variado de meios de deslocação: carros-patrulha, carrinhas de transporte, viaturas blindadas, motociclos, veículos descaracterizados e bicicletas. Só não dispõe de cavalos e de um corpo de cavalaria. E é pena. Os painéis de azulejos de São Vicente de Fora representam desde alegorias e episódios bíblicos a cenas do quotidiano, onde figuram todas as classes sociais. Azuis como o céu e belos como pássaros, devemos estes azulejos a António de Oliveira Bernardes, ao seu filho Policarpo, a Valentim de Almeida, António Pereira, Manuel dos Santos e quiçá a outros mestres do barroco, cujos nomes não chegaram até nós. The PSP (Polícia de Segurança Pública) is a Portuguese civilian police force with the mission of ensuring the rule of law, internal security, and citizens' rights, in accordance with the Constitution and the law. To fulfill this mission, it has a diverse range of means of transportation: patrol cars, vans, armored vehicles, motorcycles, unmarked vehicles, and bicycles. It only lacks horses and a cavalry unit. And that’s a shame. The tile panels of São Vicente de Fora depict allegories, biblical episodes, and everyday scenes, featuring people from all social classes. As blue as the sky and as beautiful as birds, these azulejos were created by António de Oliveira Bernardes, his son Policarpo, Valentim de Almeida, António Pereira, Manuel dos Santos, and perhaps other Baroque masters whose names have been lost to time.

#exquisitePhotography #azulejos #photoOverlay #culturalFusion

A Flecha 2000 foi uma revista de banda desenhada publicada em Portugal entre Março e Dezembro de 1978. Era semanal, saía às quintas-feiras, e durou 40 números, cada um com 32 páginas, ao preço unitário de 15$00. O director era A. J. E. Ferreira e a editora a Meribérica. Nas suas páginas viveram Astérix e Obélix, Bob Morane, Taar, Blueberry, Lucky Luke, Julie Wood, Iznogoud, Ramiro, Mac Coy, Colombo, e Ach!lle Talon. Não sei se falhei algum herói, se sim, as minhas desculpas. Os painéis de azulejos de São Vicente de Fora representam desde alegorias e episódios bíblicos a cenas do quotidiano, onde figuram todas as classes sociais. Azuis como o céu e belos como pássaros, devemos estes azulejos a António de Oliveira Bernardes, ao seu filho Policarpo, a Valentim de Almeida, António Pereira, Manuel dos Santos e quiçá a outros mestres do barroco, cujos nomes não chegaram até nós. Flecha 2000 was a comic book magazine published in Portugal between March and December of 1978. It was a weekly publication that lasted for 40 issues, each with 32 pages, sold at a unit price of 15$00. It was released on Thursdays. The director was A. J. E. Ferreira, and the publisher was Meribérica. It featured the adventures of Astérix and Obélix, Bob Morane, Taar, Blueberry, Lucky Luke, Julie Wood, Iznogoud, Ramiro, Mac Coy, Colombo, and Ach!lle Talon. I’m not sure if I missed any hero—if so, my apologies. The tile panels of São Vicente de Fora depict allegories, biblical episodes, and everyday scenes, featuring people from all social classes. As blue as the sky and as beautiful as birds, these azulejos were created by António de Oliveira Bernardes, his son Policarpo, Valentim de Almeida, António Pereira, Manuel dos Santos, and perhaps other Baroque masters whose names have been lost to time.

#exquisitePhotography #azulejos #photoOverlay #culturalFusion

“O Menino da Lágrima” pertence a uma numerosa e incerta série de pinturas representando crianças a chorar, da autoria de Giovanni Bragolin, pseudónimo do artista italiano Bruno Amadio. A partir da década de 1950, estas imagens ficaram mais populares do que a Mona Lisa, foram reproduzidas em cartazes e calendários, e espalharam-se pelos lares de todo o mundo. Em Portugal, ainda hoje, “O Menino da Lágrima” pode ser encontrado em À venda em mercados de rua, como a Feira da Ladra, mesmo ao lado do Mosteiro de São Vicente de Fora. Os painéis de azulejos de São Vicente de Fora representam desde alegorias e episódios bíblicos a cenas do quotidiano, onde figuram todas as classes sociais. Azuis como o céu e belos como pássaros, devemos estes azulejos a António de Oliveira Bernardes, ao seu filho Policarpo, a Valentim de Almeida, António Pereira, Manuel dos Santos e quiçá a outros mestres do barroco, cujos nomes não chegaram até nós. "The Crying Boy" is part of a large and somewhat indeterminate series of paintings depicting crying children, created by Italian artist Bruno Amadio under the pseudonym Giovanni Bragolin. From the 1950s onwards, these images became more popular than the Mona Lisa, were reproduced in posters and calendars, and spread into homes worldwide. In Portugal, even today, “The Crying Boy” can still be found for sale at street markets, such as Feira da Ladra, which is located right next to the Monastery of São Vicente de Fora. The tile panels of São Vicente de Fora depict allegories, biblical episodes, and everyday scenes, featuring people from all social classes. As blue as the sky and as beautiful as birds, these azulejos were created by António de Oliveira Bernardes, his son Policarpo, Valentim de Almeida, António Pereira, Manuel dos Santos, and perhaps other Baroque masters whose names have been lost to time.

#exquisitePhotography #azulejos #photoOverlay #culturalFusion

São Vicente de Fora é um mosteiro maneirista recheado com cem mil azulejos do mais pulcro que o barroco inventou. Nasce da conquista de al-Ushbuna aos Almoravidas, em 1147, pelo rei Afonso I, durante a segunda cruzada. Por política, fé e celebração, Afonso fez erguer este templo devotado a São Vicente, futuro padroeiro de Lisboa. Em 1580, a coroa portuguesa é entregue aos Habsburgos, e Filipe I, também por política, fé, etc., manda reconstruir o mosteiro, de raiz, a partir de desenho de Juan de Herrera, ficando concluído em 1629. Em 1640, Portugal restaura a independência e, com ouro a chegar do Brasil, o mosteiro floresce barroco por dentro: ele é o órgão de João Fontanes de Maqueira, o baldaquino de Machado de Castro, mas, mais que tudo, os seus cem mil azulejos. São Vicente de Fora é hoje propriedade do Estado português, acolhendo a Cúria do Patriarcado e turistas esclarecidos. São Vicente de Fora is a Mannerist monastery, home to around 100,000 Baroque azulejos—each a note in a ceramic symphony. Its origins date back to 1147, when Afonso I, Portugal’s first king, conquered al-Ushbuna from the Almoravids during the Second Crusade. For reasons of politics, faith, and celebration, he ordered this temple devoted to Saint Vincent, Lisbon’s future patron. In 1580, the Portuguese crown passed to the Habsburgs, and Philip I, also for reasons of politics, faith, and celebration, ordered the monastery’s complete reconstruction based on Juan de Herrera’s design, which was finished in 1629. In 1640, Portugal restored its independence, and with gold flowing from Brazil, the monastery flourished in Baroque splendor: João Fontanes de Maqueira’s organ, Machado de Castro’s baldachin, but above all, its 100,000 azulejos. Today, São Vicente de Fora belongs to the Portuguese State, houses the Curia of the Patriarchate, and welcomes visitors who truly get it.

#exquisitePhotography #azulejos #photoOverlay #culturalFusion

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