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Manueline door entrance townhall Olivenza, Spain

Olivenza (Spanish: [oliˈβenθa]) or Olivença (Portuguese: [oliˈvẽsɐ]) is a town in the autonomous community of Extremadura, situated on a disputed section of the border between Portugal and Spain. Olivenza is claimed by both countries and is currently administered by Spain.[1]

As Olivença, the town was under Portuguese sovereignty between 1297 (Treaty of Alcañices) and 1801 when it was ceded to Spain under the Treaty of Badajoz. Spain has since administered the territory (now split into two municipalities, Olivenza and Táliga), whilst Portugal invokes the self-revocation of the Treaty of Badajoz, plus the Treaty of Vienna of 1815, to claim the return of the territory. In spite of the territorial dispute between Portugal and Spain, the issue has not been a sensitive matter in the relations between these two countries.[2][3] Olivenza and other neighbouring Spanish (La Codosera, Alburquerque and Badajoz) and Portuguese (Arronches, Campo Maior, Estremoz, Portalegre and Elvas) towns reached an agreement in 2008 to create a euroregion.[4][5]

Manueline From Wikipedia, the free encyclopedia

The Tower of Belém, in Lisbon, is one of the most representative examples of Manueline style.

The Manueline (Portuguese: estilo manuelino, IPA: [ᶤʃˈtilu mɐnwe̞ˈɫinu]), or Portuguese late Gothic, is the sumptuous, composite Portuguese style of architectural ornamentation of the first decades of the 16th century, incorporating maritime elements and representations of the discoveries brought from the voyages of Vasco da Gama and Pedro Álvares Cabral. This innovative style synthesizes aspects of Late Gothic architecture with influences of the Spanish Plateresque style, Italian urban architecture, and Flemish elements. It marks the transition from Late Gothic to Renaissance. The construction of churches and monasteries in Manueline was largely financed by proceeds of the lucrative spice trade with Africa and India.

The style was given its name, many years later, by Francisco Adolfo de Varnhagen, Viscount of Porto Seguro, in his 1842 book, Noticia historica e descriptiva do Mosteiro de Belem, com um glossario de varios termos respectivos principalmente a architectura gothica, in his description of the Jerónimos Monastery. Varnhagen named the style after King Manuel I, whose reign (1495–1521) coincided with its development. The style was much influenced by the astonishing successes of the voyages of discovery of Portuguese navigators, from the coastal areas of Africa to the discovery of Brazil and the ocean routes to the Far East, drawing heavily on the style and decorations of East Indian temples.

Although the period of this style did not last long (from 1490 to 1520), it played an important part in the development of Portuguese art. The influence of the style outlived the king. Celebrating the newly maritime power, it manifested itself in architecture (churches, monasteries, palaces, castles) and extended into other arts such as sculpture, painting, works of art made of precious metals, faience and furniture.

Characteristics The window of the Convent of Christ in Tomar is a well known example of Manueline style Manueline interior of the Jerónimos Monastery in Lisbon.

This decorative style is characterized by virtuoso complex ornamentation in portals, windows, columns and arcades. In its end period it tended to become excessively exuberant as in Tomar.

Several elements appear regularly in these intricately carved stoneworks:

elements used on ships: the armillary sphere (a navigational instrument and the personal emblem of Manuel I and also symbol of the cosmos), spheres, anchors, anchor chains, ropes and cables.
elements from the sea, such as shells, pearls and strings of seaweed.
botanical motifs such as laurel branches, oak leaves, acorns, poppy capsules, corncobs, thistles.
symbols of Christianity such as the cross of the Order of Christ (former Templar knights), the military order that played a prominent role and helped finance the first voyages of discovery. The cross of this order decorated the sails of the Portuguese ships.
elements from newly discovered lands (such as the tracery in the Claustro Real in the Monastery of Batalha, suggesting Islamic filigree work, influenced by buildings in India)
columns carved like twisted strands of rope
semicircular arches (instead of Gothic pointed arches) of doors and windows, sometimes consisting of three or more convex curves
multiple pillars
eight-sided capitals
lack of symmetry
conical pinnacles
bevelled crenellations
ornate portals with niches or canopies.
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Rijkevorsel, België

Photo details

  • Uploaded on January 2, 2013
  • Attribution-No Derivative Works
    by Lucien Kivit
    • Camera: Canon PowerShot A590 IS
    • Taken on 2011/09/17 09:26:26
    • Exposure: 0.001s (1/1000)
    • Focal Length: 5.80mm
    • F/Stop: f/2.600
    • ISO Speed: ISO125
    • Exposure Bias: 0.00 EV
    • No flash