Thanks are also due to Senhor Joaquim de Vasconcellos for much valuable information, to his wife, Senhora Michaelis de Vasconcellos, for her paper about the puzzling inscriptions at Batalha, and above all the Baron and the Baroneza de Soutellinho, for their repeated welcome to Oporto and for the trouble they have taken in getting books and photographs. That the book may be more complete there has been added a short account of some of the church plate and paintings which still survive, as well as of the tile work which is so universal and so characteristic. As for the buildings, hardly any of any consequence have escaped notice. EDINBURGH, 1907. CONTENTS INTRODUCTION PAGE Portugal separated from Spain by no natural division geographical or linguistic; does not correspond with Roman Lusitania, nor with the later Suevic kingdom--Traces of early Celtic inhabitants; Citania, Sabrosa--Roman Occupation; Temple at Evora--Barbarian Invasions--Arab Conquest--Beginnings of Christian re-conquest--Sesnando, first Count of Oporto--Christians defeated at Zalaca--Count Henry of Burgundy and Dona Theresa--Beginnings of Portuguese Independence--Affonso Henriques, King of Portugal--Growth of Portugal--Victory of Aljubarrota--Prince Henry the Navigator--The Spanish Usurpation--The Great Earthquake--The Peninsular War--The Miguelite War--The suppression of the Monasteries--Differences between Portugal and Spain, etc. 1-10 PAINTING IN PORTUGAL Not very many examples of Portuguese paintings left--Early connection with Burgundy; and with Antwerp--Great influence of Flemish school--The myth of Grão Vasco--Pictures at Evora, at Thomar, at Setubal, in Santa Cruz, Coimbra--'The Fountain of Mercy' at Oporto--The pictures at Vizeu: 'St. Peter'--Antonio de Hollanda 10-17 CHURCH PLATE Much plate lost during the Peninsular War--Treasuries of Braga, Coimbra, and Evora, and of Guimarães--Early chalices, etc., at Braga, Coimbra, and Guimarães--Crosses at Guimarães and at Coimbra--Relics of St. Isabel--Flemish influence seen in later work--Tomb of St. Isabel, and coffins of sainted abbesses of Lorvão 17-20 TILES Due to Arab influence--The word _azulejo_ and its origin--The different stages in the development of tile making--Early tiles at Cintra Moorish in pattern and in technique--Tiles at Bacalhôa Moorish in technique but Renaissance in pattern--Later tiles without Moorish technique, _e.g._ at Santarem and elsewhere--Della Robbia ware at Bacalhôa--Pictures in blue and white tiles very common 20-28 CHAPTER I THE EARLY BUILDINGS IN THE NORTH