Gilded Woodcarving in Portugal - Mannerism

Mannerism

Economic and other factors led to the expansion of gilt woodcarving during the Mannerist era. The economic crisis at the end of the sixteenth century, the growing importance of the Jesuits, the loss of the spice trade and, finally, the death of King D. Sebastião in Alcácer Quibir, cause a gradual reduction of economic resources and the reduction of major programmes of expensive painting and sculpture, because they were considered a major art, and more subject to the rules imposed by the Council of Trent. Woodcarving was the perfect decorative type for a time of economic and spiritual crisis, a consequence of the rupture between Catholics and Protestants. The woodcarvings dazzled - giving the idea of wealth - and adapted to all directives of the Catholic Church, while essentially exploring the architectural form. The altarpiece became a composition of architectural character, often designed by architects and subsequently adapted by the artist. The carvings often covered an entire wall and operated as a picture frame. Woodcarving gained autonomy and left the simple task of framing works of art.

The set is built into floors, with several kinds of solutions. Triumph arches might be combined with sculpture, usually in the choir, allowing the space behind the decorated altarpiece to be seen. Examples include the monumental little-painted altarpieces of the choir at Church of São Domingos de Benfica and Church of Luz in Carnide - Lisbon and the highly-painted Carnide altarpiece, executed by Francisco Venegas with the collaboration of Diogo Teixeira.

The main altarpiece of Church of São Roque in Lisbon belongs to another group, typical of the Jesuitical churches. São Roque in Lisbon is the head of the series for the whole Portuguese empire. It is characterized by its elaborate decoration, well-structured lines, with clear classical references, several floors, columns and well compartmentalised spaces. The scheme was much repeated in Jesuit churches. The Cathedral of Portalegre exhibits an important variation of this scheme. The painting altarpiece is framed by a classic set of columns, reliefs and sculpture.