Exterior
The public façade of the palace faces directly onto a town square and takes the form of two low, symmetrical, quadrant wings which flank the forward-reaching wings of a small central corps de logis, thus forming a semi-circular cour d'honneur (see key 1). The southern of the two quadrant wings is terminated by the onion-domed chapel, while the northern wing contained the kitchens and servants' quarters (see keys 2, 1 and 13). The only decoration comes from the simple classical pediments above the windows. This façade, that most readily seen from the town, presents a decorous and impassive public face with one of the most architecturally severe elevations of the palace (see illustration right).
Oliveira was directly responsible for the "Ceremonial Façade" of the "corps de logis", the rectangular block which forms the nucleus of the palace, and some of the interior courtyards. His former tutor, the Frenchman Jean-Baptiste Robillon, was in charge of the gardens, many buildings, and the Rococo interiors. He in turn was assisted by Jean-Baptiste Pillement and other French and Portuguese artists. The "Ceremonial Façade" is the best-known view of the palace. With classical proportions, it is externally decorated by travertine rendering and delicately carved cartouches over the windows. It has been described as a "harmonious example of Portuguese Baroque". This façade with its single-storey flanking wings forms a three-sided courtyard containing the "Hanging Garden"—so called because like the Hanging Gardens of Babylon it is on a raised terrace (see key 5).
The second major part of the palace is the great western wing, known as the Robillon wing or Robillon Pavilion, which illustrates better than any other the excesses of Baroque and Rococo architecture (see key 9). Completed in 1779, it has a doric colonnade which runs the entire length of its western and southern façades, the roof of which provides a balustraded balcony accessible from the floor above (see key 10). Owing to the topography of the site, the eastern side appears as a single-storey building, with only the upper floor visible above the ground in the "Hanging Garden". The balustrade on the roof of the Robillon wing is broken by heavy segmental pediments adorned with reclining statuary figures; the balustrade itself is also adorned with flambeaux, statuary and heavy armorial trophies (see illustration below).
The Robillon wing contains an entrance to the palace reached by flights of ingeniously designed graduated steps. Their design creates an illusion of a longer and higher perspective, centred on a corner of a terrace because of exigencies of the site, and divided mid-flight so as not to lead the eye and footstep towards an angle of the colonnade beyond. The steps are adorned with elaborate statuary (see key 11). The bays of the façade are stuccoed rose-pink, contrasting with the motifs and pilasters in natural stone (see illustration).
In 1760, Pombal arranged for Dom Pedro to marry the king's unstable daughter Maria, the heiress to the throne. Pombal encouraged the couple to live with their children in the unfinished palace at Queluz, away from the seat of government. It had always been a favourite retreat of the couple and was their principal home before Maria's accession. Further enlargements were made to reflect the palace's elevation from country retreat to royal palace. However, Maria had dismissed Pombal on her accession and, as a ruling monarch, she did not have time to while away her hours in the country. Dom Pedro interfered little in affairs of state, preferring to spend his time on religious matters.
By the death of Dom Pedro in 1786, all the interior work was completed. This was fortunate, as from this period his widow's mental health deteriorated, until in 1794, she and her court took up official and full-time residence at Queluz. There the now completely insane Queen could be hidden from the view of her subjects. Her eldest son, later King João VI, was appointed Regent and ruled from Lisbon and the great palace at Mafra.
In 2004, the World Monuments Fund began a program to restore the lead sculptures by British sculptor John Cheere, as well as some of the other features of the garden. The project is ongoing.
Read more about this topic: Queluz National Palace
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