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- The altarpiece of the chapel of Saint Anne’s Shelter in Diu: uncovering an important artwork of the former Portuguese India (turn of the 17th century)Publication . Santos, Joaquim Rodrigues dos; Meco, José; Antunes, Vanessa; Serrão, VitorDiu Island (India) was a Portuguese territory for more than four centuries until its integration into India in 1961. Portuguese influence can be seen in many buildings and works of art on the island, although many of these are in danger of deteriorating or vanishing altogether. The altarpiece in the chapel of Saint Anne’s Shelter is a poor- ly conserved work which remains almost unknown. Overlooked by art historians, this important work of art is probably the oldest remaining painting in Diu, directly linked to Goa and Portugal, exemplifying the journey of art forms between Europe and Asia. This article intends to understand the context in which the altarpiece was produced, and its influences and origins. The history of the building where the altarpiece stands is also important, as it likewise reveals the altarpiece’s history and context in Diu.
- Angelo Maria Spinazzi argentiere nella Roma del Settecento: la committenza portoghesePublication . Vale, Teresa Leonor. M.
- ’Che sarà cosa curiosissima e delle più belle’ : A escultura barroca da Igreja do Loreto.Publication . Vale, Teresa Leonor. M.
- L’azulejo portugais : patrimoine, mémoire et identitéPublication . Salema de Carvalho, Rosário; Curvelo, Alexandra; Pais, Alexandre
- A Portuguese bishop’s pontifical mass service by Luigi ValadierPublication . Vale, Teresa Leonor. M.
- Gate of the Palace of Adil Shah, Old Goa: A misunderstood monumentPublication . Santos, Joaquim Rodrigues dosIn the mid-nineteenth century, all that was left of the city of Goa, the former Portuguese capital of the Estado da Índia, was a vast field of palm trees dotted by some large churches stoically resisting time and surrounded by the many ruins of what was once known as “Golden Goa”. Among all the ruins of Old Goa stands a built structure, now classified as a national monument of India, known as the Gate of the Palace of Adil Shah. However, this structure is not a ruin but can rather be considered a folly ruin erected at the beginning of the twentieth century. This article aims to study this structure by analysing its evolution, the creation of its late-Romantic ruinism and its appropriation for ideological purposes, focusing also on the ongoing misunderstanding of it.