Portugal – Drawing the world
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Portugal – Drawing the world
CREDITS SCIENTIFIC COORDINATION Maria da Conceição Borges de Sousa, Luísa Penalva, Miguel Soromenho EDITORS MNHA: Michel Polfer, Paula Alves, Fabienne Pietruk MNAA: Andrea Cardoso PUBLISHING ASSISTANTS MNHA: Romina Vittore MNAA: Ana Sousa TECHNICAL SUPPORT André Afonso, Patricia Milhanas Machado TEXTS Paulo Pereira, Alexandra Markl, Ana Kol Rodrigues, Anísio Franco, Inês Ferro, Joaquim Oliveira Caetano, Luísa Penalva, Maria da Conceição Borges de Sousa, Maria João Vilhena de Carvalho, Miguel Soromenho, Rui André Alves Trindade TRANSLATION John Elliott, Mirandolina Tasch-Fernandes
PHOTOGRAPHIC CREDITS Arquivo Histórico Ultramarino; Arquivo Nacional da Torre do Tombo; Biblioteca da Ajuda; Biblioteca Nacional de Portugal; Biblioteca Pública de Évora; Casa Pia de Lisboa/Centro Cultural Casapiano/Arquivo Fotográfico; DGPC/ADF – Direção Geral do Património Cultural/ Arquivo de Documentação Fotográfica (Fotos: Carlos Monteiro, Francisco Matias, Giorgio Bordino, José Paulo Ruas, José Pessoa, José Rúbio, Luísa Oliveira, Luís Pavão); Fundación Carlos de Amberes. Foto: P.M.R. Maeyaert; Jorge Welsh, Lisboa/Londres; Museu de Farmácia; Museu de Lisboa; Museu de Marinha; Museu de São Roque; Museu Militar de Lisboa; Museu Nacional de Arqueologia/Paulo Alexandrino; Museu Nacional de Arte Antiga/Paulo Alexandrino; Museu Nacional de História Natural e da Ciência, Universidade de Lisboa; Museu Regional de Beja – Museu Rainha D. Leonor/ Paulo Alexandrino; Proprietário/Paulo Alexandrino GRAPHIC DESIGN 101 Studios PRINTED AND BOUND BY REKA
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Portugal – Drawing the world
Index Greeting by the prime minister and minister of culture Xavier Bettel Foreword by the director of the MNHA Foreword by the director of the MNAA
7 9 10
Adamastor and the Machine of the World: Portugal and the Discoveries, Paulo Pereira
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1. The Formation of a Kingdom – Portrait of Dom Afonso Henriques, Anísio Franco – Views of Lisbon and Cascais, Miguel Soromenho – Archangel St. Michael, Maria João Vilhena de Carvalho – Dishes from Manises, Rui André Alves Trindade
67 68 69 71 72
2. Departure for Africa – Celestial globe, Inês Ferro – Adoration of the Magi, Joaquim Oliveira Caetano – St. Vincent, Maria João Vilhena de Carvalho – Oliphant (hunting horn), Maria da Conceição Borges de Sousa – Mombasa (Livro das Plantas de todas as fortalezas […] do Estado da India Oriental), Miguel Soromenho
75 76 77 78 79
3. India and Other Parts of the World – View of Goa and surrounding areas, Miguel Soromenho – Child Jesus, the Good Shepherd, Maria da Conceição Borges de Sousa – Tortoiseshell caskets, Luísa Penalva – Wall hanging, Ana Kol – Goa Market, Alexandra Gomes Markl – Cabinet, Maria da Conceição Borges de Sousa – Goan jewels, Luísa Penalva
85 86
4. The Far East: Malacca, China and Japan – Dictionarium malaico-latinum et latino-malaicum, Miguel Soromenho – Cantonese enamels, Maria da Conceição Borges de Sousa e Rui André Alves Trindade – Chinese vestments, Ana Kol – Flintlock musket, Maria da Conceição Borges de Sousa
99
5. Return to the Atlantic: Brazil – Brazilian gemstones, Luísa Penalva – Pottery jar, Rui André Alves Trindade – Portrait of Padre António Vieira, Miguel Soromenho – Sun Parakeet of the Rio Branco Mountains, Brazil, Alexandra Gomes Markl
107 108 111 113 114
Catalogue and exhibition - LABELS
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100 101 102 104
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87 89 91 92 92 94
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Portugal – Drawing the world
Celestial Globe Globe in golden copper and depicting the celestial sphere, with representations of the constellations and signs of the zodiac. It is composed of twelve tapered sheets of copper, fixed to an internal metal structure by iron rivets. The globe is circled at the meridian. At the poles there are two axes that were held by a now missing base. Celestial globe The Celestial Globe by Schissler, which Signed and dated: Christoph Schissler the Elder, probably would have been accompanied by a Germany, Augsburg terrestrial counterpart, unfortunately also 1575 disappeared, represents one of the most valuable of Golden engraved copper and iron all the various still surviving 16th century globes. Ø 42 cm Simultaneously an object for collecting but, above Provenance: Casa Forte do Palácio das all, a scientific instrument demonstrative of the Necessidades great interest in cosmography, astronomy and Sintra, Palácio Nacional de Sintra, inv. PNS 3457 astrology characteristic of the Renaissance period throughout Europe and probably having been either a royal commission or a gift (Gessner, 2010). Christoph Schissler the Elder (c. 1531-1608) was one of the most important manufacturers of instruments, machines and other automated devices in the city of Augsburg, itself a leading 16th century centre for the production of instruments. He created countless such pieces for the courts of Vienna, Prague and Dresden. As regards the production of globes, we only today know of two other metallic globes from his workshop and both also smaller in scale. This Celestial Globe is signed and dated: [first cartouche:] “Christophorvs Schisslervs avgvstanvs geometricvs et astronomicvs faber glovm hvnc cÆlestrem [sic] Faciebat
cat. 33
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et describebat anno domini 1575” (Christopher Schissler of Augsburg, astronomic and geometric artisan, made and described this celestial globe in the Year of Our Lord, 1575); [second cartouche:] “StellÆ hvivs globi nvmeratÆ ac distribvtÆ svnt secvndvm cvrsvm sphÆrÆ octavÆ ad nostrvm tempvs annvmqve accommodatÆ 1575” (The numbered stars on this globe are distributed throughout the eight spheres and adapted to our time and year, 1575). The design of the figures, symbols and captions very closely follow the smaller scale celestial globe model printed by Caspar Vopelius in 1536 who, in turn, drew upon the design of Imagines coeli by Albrecht Dürer and Conrad Heinfogel executed in around 1515. This current globe shows the new constellations constant with the printed Mercator globe (1551). The sphere is hung by two brass rods affixed within the meridian ring around which it thus turns. The remainder of the accessories that originally formed part of the instrument, such as the hour wheel, the horizon and the foot base, all no longer exist. This item is not only the oldest of its kind found in Portugal, but also the only known example dating from the 16th century. The fact that these globes are so rarely found in Portugal may be due, according to Estácio dos Reis, to King Manuel’s 1504 prohibition, for secrecy reasons, to produce “sailing maps” and “Pomes (globes) large and small”. Inês Ferro
Portugal – Drawing the world
cat. 87
Tiara-Comb (dantoni) India, Goa Late 18th century Gold, silver, copper, rock crystal 14.5 × 19 × 8 cm Provenance: Secretaria de Estado do Tesouro e das Finanças, 2012 Lisbon, Museu Nacional de Arte Antiga, inv. 1233 Joa
Hair ornament India, Goa 19th century Gold, copper, resinous mass 15.3 × 8.2 cm Provenance: Secretaria de Estado do Tesouro e das Finanças, 2012 Lisbon, Museu Nacional de Arte Antiga, inv. 1351 Joa
Cross (kuris) India, Goa 19th century Gold, resinous mass 9 × 6 cm Provenance: Secretaria de Estado do Tesouro e das Finanças, 2012 Lisbon, Museu Nacional de Arte Antiga, inv. 1283 Joa
Black Scapular of the Seven Sorrows of Mary (two) India, Goa Late 18th century Gold, silver 4.8 × 4.8 cm; 4 × 4 cm Provenance: Secretaria de Estado do Tesouro e das Finanças, 2012 Lisbon, Museu Nacional de Arte Antiga, inv. 1281-1282 Joa
cat. 89
cat. 85
cat. 86
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Portugal – Drawing the world
Curiously, the textiles that increased the fascination for the Orient were sometimes unknown to the Chinese. The products exported to Lisbon were determined by European demand and were based on printed western models that were adapted to oriental materials and techniques, combining elements from both worlds and creating others, sometimes including ones that were foreign to the Chinese repertoire of patterns. Ana Kol Rodrigues Bibliography:
Dalmatic China 18th century Embroidered in silk and gilt paper wrapped thread on satin 110 × 139.5 cm Provenance: purchased, Collection Burnay Auction, 1936 Lisbon, Museu Nacional de Arte Antiga, inv. 2195 Tec
FERREIRA, Maria João Pacheco, 2011. Os Têxteis Chineses em Portugal nas Opções Decorativas Sacras de Aparato (séculos XVI-XVIII). PhD Thesis in Portuguese Art History, presented at the School of Arts and Humanities of the University of Porto., vol. I. FERREIRA, Maria João Pacheco, 2013. «Chinese Textiles for the Portuguese Tastes», in Amelia Peck (ed.), Interwoven Globe. The Worldwide Textile Trade, 1500-1800. New York – New Haven: The Metropolitan Museum of Art – Yale University Press, pp. 46-55.
Altar frontal China 17th century Embroidered in polychrome silk and gilt paper wrapped thread on linen 104 × 283 cm Provenance: Academia de Belas-Artes de Lisboa Lisbon, Museu Nacional de Arte Antiga, inv. 64 Tec
KRAHL, Regina, 2009. «A presença Portuguesa nas artes e ofícios da China», in Encompassing the Globe. Portugal e o Mundo nos Séculos XVI e XVII. Lisboa: Museu Nacional de Arte Antiga, pp. 311-318. Exhibition catalogue.
cat. 99
cat. 101
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Portugal – Drawing the world
Brazilian gemstones
Jean Ranc (1674-1735), attributed Portrait of the queen Rainha Maria Ana da Áustria ca. 1729 Oil on canvas 106 x 80 cm Provenance: Paço Episcopal de São Vicente de Fora Lisbon, Museu Nacional dos Coches, inv. HD11
cat. 121
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The rich ostentatiousness afforded by the vibrant multiplicity of colours of precious gems was the keynote of Portuguese jewellery during the eighteenth century. As new Brazilian mines were gradually discovered, bringing yet more colours to the increasingly rich palette offered by the various minerals originating from that colony, these gems were immediately introduced into the jewellery manufactured in Portugal, sometimes accompanying the dictates of fashion and, on other occasions, actually determining the tastes of the Portuguese court and even of the European aristocracy. In Portugal, throughout the eighteenth century, the policy of encouraging State marriages involving princesses from various royal houses actively promoted an exchange of gifts between these families and the courts, preferably consisting of jewellery and encouraging the interchange of models that, in this way, circulated throughout Europe (Penalva, 2000, pp. 112-130). Mainly set in silver, gemstones ranged from the citrus-coloured chrysoberyl and the reddishcoloured imperial topaz to the clear pink-coloured variations of these same gems, punctuated with emeralds, sapphires, the later amethysts and the inevitable , the rock crystals originating from the famous new mines – which basically were nothing more than colourless glass … – doublets or fake gems, and, undoubtedly, at the top of the hierarchy, the diamonds. According to the documentation of that time, Brazilian diamonds, arriving in extraordinary quantities and of an exceptional
quality, turned the Portuguese into the “Lords of the Diamonds” (Pimentel, Penalva and Franco, 2014, p. 70). The richness of Portuguese jewellery is quite clearly shown in the royal portraits, especially that of Dona Maria Ana of Austria, included in this exhibition (Museu Nacional dos Coches HD11), in which the queen displays some superb jewels composed of large diamonds, rubies and sapphires. Besides the queen’s bodice ornament, composed of a central body and a girandole pendant (with an identical format to the topaz pendants displayed at this exhibition – MNAA 135 Joa e MNAA 170 Joa), what particularly stands out in this painting is a coral hair ornament filled with rubies and with diamond drops. Hair ornaments became highly popular jewels during this period, above all those that had the shape of flowers and stars (cat. 120), with court ladies’ large wigs being adorned with various pieces of this nature that reflected the sunlight or candlelight, creating an extraordinary scenic effect (Orey, 1995, pp. 49-55). But it was precisely the light and the splendour of Brazilian gemstones, together with the large quantities of silver and gold that came from Brazil, that made it possible for Portuguese goldsmiths and jewellers to create works together in collaboration, producing some of the richest pieces of the Portuguese baroque period. One of these is the monstrance-jewel, of which five copies are known to exist (Silva, 2000, pp. 78-92). The most notable such jewel is undoubtedly the one from the Patriarchal Cathedral of Lisbon, made of
Portugal – Drawing the world
Monstrance Portugal 1750-1800 Silver-gilt, emeralds, rubies, diamonds, topazes, garnets, sapphires 76 × 30 × 20 cm Lisbon, Museu Nacional de Arte Antiga, inv. 388 Our
cat. 114
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cat. 120
Set of head ornament (“trémulos”) and earrings Portugal 18th century Silver,diamonds, emeralds, topazes, amethysts, chrysoberyls, glasses, garnets (?) Lisbon, Museu Nacional de Arte Antiga, inv. 85 Joa, 220 Joa, 222 Joa, 251 Joa, 269 Joa, 277 A Joa, 278 A-B Joa, 298 Joa, 318 Joa, 369 Joa, 388-389 Joa, 401 Joa, 716 A Joa, 737 Joa
Portugal – Drawing the world
Portrait of Padre António Vieira Considered to be the true portrait of Padre António Vieira, this vera efigie is the work of Arnold van Westerhout (1651-1725), born in Antwerp, who became one of the most important engravers in Rome, where he lived from 1681 until his death, after brief passages through Venice and Florence. It is unlikely that Westerhout actually knew the Portuguese Jesuit, who was in Rome from 1673 to 1674 (and therefore at a time prior to the arrival of the Flemish artist), so that it is plausible that he took his inspiration from a lost prototype produced directly from the subject himself, and which would also have been used as a basis for other portraits that have survived until the present day. Born in Lisbon in 1608, António Vieira left with his family, at the age of seven, for the city of Baía, in Brazil, having studied and then taken his vows at the College of the Society of Jesus. In 1642, he returned to the kingdom, already endowed with a wide knowledge of theology and moral philosophy, and a reputation as a Latinist and a highly skilled orator, which immediately led to his becoming a preacher at the Royal Chapel for Dom João IV and taking responsibility for the teaching of the young prince Dom Teodósio, the ill-fated heir to the throne, who died prematurely at the age of 19. Padre António Vieira’s activities thus involved much more than the mere exercise of his duties as a priest at the court and in the main churches of Lisbon, and he gained an unexpected political dimension as a member of the royal council and a diplomat, taking part in successive
informal embassies to France, Holland and Italy when the Portuguese kingdom began to seek international recognition immediately after the country’s restoration from Spanish rule. And if such involvement in the mundane business of government was already unusual for a Jesuit, then his militant defence of the New Christians and the freedom of the Indians in Brazil was even more radical. He frequently returned to the colony, where he was regarded with some suspicion by the Portuguese settlers, and was pursued by the Inquisition, which arrested him, censured his books and prohibited him from preaching. Padre António Vieira’s written works provided a coherent and sophisticated reconfiguration of the old millenarist myths of Sebastianism, linked to the cult of the Holy Spirit and the advent of the Fifth Empire; his parenetic production also involved the writing of hundreds of sermons that were mostly published during his lifetime, many of which were translated into Spanish, Italian, French and Latin and demonstrated a profound knowledge of the classical rules of rhetoric; but, above all, it was his modern mastery of the language – within the parameters of a baroque expression – his syntactic inventiveness and lexical diversity that made his work one of the most important in the whole of Portuguese literature. Padre António Vieira died in Baía, on 18 July 1697. Miguel Soromenho
Arnold van Westerhout (1651-1725) Retrato do Padre António Vieira (Vera effigies celeberrimi P. Antonii Vieyra) Roma 1700-1721 Etching and burin 16.8 × 11.3 cm Provenance: Biblioteca Nacional de Portugal, 1952 Lisbon, Museu Nacional de Arte Antiga, inv. 11322 Grav
cat. 123
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Portugal – Drawing the world
The Formation of a Kingdom
1. World Map, known as the “Cantino Planisphere” Photographic reproduction Original: World Map, known as the “Cantino Planisphere” Portugal c. 1502 Ink and color on three vellum leaves, joined 105 × 220 cm Modena, Biblioteca Estense Universitária, inv. C.G.A.2, Ms.16th century 2. Knight or Domingues Joanes Knight (replica) Gypsum, metal?, plant fibers, patina 74 x 21 x 65 cm Mafra, Palácio Nacional de Mafra, inv. PNM/MEC 2 Original: Master Pero (active 1325-1350?) Knight Portugal 1325-1350 Limestone 71 × 67 × 20 cm Provenance: Capela dos Ferreiros, Oliveira do Hospital Coimbra, Museu Nacional Machado de Castro, inv. 704;E3 3. Henrique Ferreira (active ca. 1720) Portrait of Dom Afonso Henriques Portugal 1718 Oil on canvas 208 × 107.5 cm Lisbon, Centro Cultural Casapiano – Casa Pia de Lisboa, inv. 1541
4. Duarte d’Armas (active 1492-1510) Fortress of Mértola Photographic reproduction Original: Duarte d’Armas (active 1492-1510) Fortress of Mértola Portugal, Lisbon c. 1508-1510 Parchment 36.4 × 27 cm Lisbon, Arquivo Nacional da Torre do Tombo, codices and documents with unknown provenance, no. 159 5. Georg Braun (1541-1622), Joris Hoefnagel (15421601) and Franz Hogenberg (1535-1590), engraver Views of Lisbon and Cascais (Lisbona / Cascale) Cologne ca. 1572 Engraving 40.7 × 54.2 cm Provenance: Barros e Sá Legacy, 1981 Lisbon, Museu Nacional de Arte Antiga, inv. 11082 Grav 6. Capital Portugal, Lisbon (Chelas) 12th century Limestone 46.9 × 48.6 cm Provenance: purchased (from the Convento de Chelas, Lisbon) Lisbon, Museu Nacional de Arqueologia, inv. E 6462
7. The Assumption of the Virgin Midlands workshop England, Nottingham 15th century Alabaster with polychrome traces 45.5 × 25 × 5.5 cm Provenance: Academia de Belas-Artes de Lisboa Lisbon, Museu Nacional de Arte Antiga, inv. 27 Esc
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Portugal – Drawing the world
Departure to Africa
25. Nuno Gonçalves (active 1450-before 1492) Panels of St. Vincent Photographic reproduction Original: Nuno Gonçalves (active 1450-before 1492) Panels of St. Vincent Portugal c. 1470 Oil and tempera on oak panel 207.2 × 64.2 cm; 207 × 60 cm; 206.4 × 128 cm; 206 × 128.3 cm; 206.6 × 60.4 cm; 206.5 × 63.1 cm Provenance: Paço de São Vicente de Fora, Lisbon Lisbon, Museu Nacional de Arte Antiga, inv. 1363, 1366, 1361, 1364, 1365, 1362 Pint 26. Manuel Fernandes (1614-1693) Livro de traças de Carpintaria com todos os modelos e medidas para se fazerem toda a navegação Portugal 1616 Manuscript, watercolor on paper 46.7 × 75.5 cm (double page) Lisbon, Biblioteca da Ajuda, inv. 52-XIV-21, (fol.113) 27. Agostinho de Goes Raposo and Francisco de Goes Raposo “Atocha III” Nautical Astrolabe Portugal 1605 Bronze 1.9 cm; Ø 15.9 cm Lisbon, Museu de Marinha, inv. MM.06356 28. Nicol Patenal Planispheric astrolabe France 1616 Brass, leather 8 mm; Ø 21.9 cm Lisbon, Museu de Marinha, inv. MM.05256
120
29. Quadrant (replica) Portugal 1988 Wood, cotton, metal 18 × 28 cm Lisbon, Museu de Marinha, inv. PD-2
30. Salver Portugal ca. 1450-1500 Silver Ø 23.3 cm Provenance: Barros e Sá Legacy, 1981 Lisbon, Museu Nacional de Arte Antiga, inv. 1015 Our
31. Incense-boat and spoon Portugal c. 1650-1675 Silver 15.3 × 8 × 23.5 cm (incense-boat); 15.2 cm (spoon) Provenance: Caixa Geral de Depósitos, Loures, 1914 Lisbon, Museu Nacional de Arte Antiga, inv. 602-603 Our 32. Incense-boat Portugal 1625-1650 Silver 16.1 × 8 × 20.7 cm Provenance: Caixa Geral de Depósitos, 1921 Lisbon, Museu Nacional de Arte Antiga, inv.703 Our 33. Celestial Globe Christoph Schissler, the Elder, 1575 Signed and dated: Germany, Augsburg 1575 Golden engraved copper and iron Ø 42 cm Provenance: Casa Forte do Palácio das Necessidades Sintra, Palácio Nacional de Sintra, inv. PNS 3457
Portugal – Drawing the world
118. Pendant Portugal 18th century Silver, topazes 6.2 × 7.4 cm Provenance: purchased, 1876 Lisbon, Museu Nacional de Arte Antiga, inv. 135 Joa
119. Pendant Portugal 18th century Silver, topazes 6.2 × 6.5 cm Provenance: Convento de Santa Helena do Calvário, Évora Lisbon, Museu Nacional de Arte Antiga, inv. 170 Joa
120. Set of head ornament (“trémulos”) and earrings Portugal 18th century Silver, diamonds, emeralds, topazes, amethysts, chrysoberyls, glasses, garnets (?) Lisbon, Museu Nacional de Arte Antiga, inv. 85Joa, 220 Joa, 222 Joa, 251 Joa, 269 Joa, 277 A Joa, 278 A-B Joa, 298 Joa, 318 Joa, 369 Joa, 388-389 Joa, 401 Joa, 716 A Joa, 737 Joa
121. Jean Ranc (1674-1735), attributed Portrait of the Queen Maria Ana da Áustria Portugal, Lisbon c.1729 Oil on canvas 106 × 80 cm Provenance: Paço Episcopal de São Vicente de Fora Lisbon, Museu Nacional dos Coches, inv. HD 0011
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122. Pottery Jar Portugal 1650-1700 Faience 31.6 cm; Ø 25.4 cm Provenance: purchased, António Pedro Nolasco, 1938 Lisbon, Museu Nacional de Arte Antiga, inv. 6653 Cer
123. Arnold van Westerhout (1651-1725) Portrait of Padre António Vieira (Vera effigies celeberrimi P. Antonii Vieyra) Italy, Rome (?) 1700-1721 Etching and burin 16.8 × 11.3 cm Provenance: Biblioteca Nacional de Portugal, 1952 Lisbon, Museu Nacional de Arte Antiga, Lisboa, inv. 11322 Grav
124 José Joaquim Freire (1760-1847) Sun Parakeet of the Rio Branco Mountains, Brasil (Aratinga solstitialis, Linnaeus, 1758) In Desenhos de Gentios, Animaes, Quadrupedes, Aves, Amphibios, Peixes e Insectos. Da Expedição Philosophica do Pará, Rio Negro, Matto Grosso, e Cuyabá. Originaes, vol. I, fol. 50r ca. 1786 Album of watercolours, 134 prints 35.5 × 25 cm Lisbon, Museu Nacional de História Natural e da Ciência, Universidade de Lisboa, inv. MUHNAC-MUL-AH, Fundo RMJBA-TC-02-0006