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Escadarias de aparato na Corte de Lisboa no século XVIII: manifestações de poder e riqueza no Antigo Regime. O caso do Real Edifício de Mafra
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Resumo(s)
A escadaria de aparato é uma estrutura arquitetónica que, além de fazer a ligação entre pisos num
edifício, tem uma dimensão simbólica e de representação do seu proprietário, instituição ou
funcionalidade. O seu aparecimento ocorreu no último quartel do século XV em Castela, quando se
operaram duas mudanças culturais importantes. Por um lado, com a Devotio Moderna surgem novos
equipamentos tal como hospitais, colégios e universidades, que implicavam uma constante
movimentação entre pisos por parte dos seus muitos utilizadores. Por outro, com a conclusão da
Reconquista, a pequena nobreza de cavaleiros perdeu importância política e social e reagiu reafirmando
o seu estatuto através de escadarias de aparato construídas nos seus palácios.
Esta vocação de afirmação ideológica da escadaria de aparato foi adotada pela Coroa Hispânica,
nos seus palácios construídos em Castela, nomeadamente em Madrid, Toledo e por fim no Escorial. A
escadaria de aparato torna-se num meio de afirmação política e económica de um Estado.
Com este entendimento, as escadarias de aparato foram adotadas pelas famílias de banqueiros
de Génova, precisamente os principais credores de Filipe II. Também foi adotado pelos principais estados
da Europa, principalmente por aqueles que se pretendiam afirmar no plano europeu: pelos reis na França
feudal, pela contestada Santa Sé, pela empobrecida Veneza, pelas novas monarquias que se pretendiam
legitimar (Bourbon de Espanha e Nápoles), pelas novas famílias dinásticas emergentes (Saboias na
Itália), e pelos pequenos estados no muito fragmentado e instável mosaico alemão.
Em Portugal, a escadaria de aparato era conhecida, estando presentes os modelos europeus.
Muitos edifícios lisboetas sofreram profundas alterações para receber novas escadarias de aparato. A
dimensão de afirmação política da escadaria de aparato é, porém, assumida com D. João V no Real
Edifício de Mafra. Este enorme complexo arquitetónico, construído entre 1729 e 1755, possui várias
escadarias que, em conjugação com a análise das salas do seu interior, denunciam o seu real propósito
nunca assumido, nunca concretizado e deliberadamente encobrido: um complexo político, administrativo
e burocrático que agilizasse a administração régia e eclesiástica, convertendo Portugal numa potência
universal, assente na boa administração, na riqueza do ouro do Brasil, na sua efetiva implantação
pluricontinental e na interdependência económica, cultural, política e religiosa dos seus numerosos,
variados e dispersos domínios. Apesar de não concretizado, este edifício, através do seu gabinete
técnico, impulsionou a construção de outros que lhe são anexos, subsequentes ou mesmo
oposicionistas.
The grand staircase is an architectural structure that, besides connecting floors in a building, has a symbolic and representative dimension for its owner, institution or functionality. It was born in the last quarter of the 15th century in Castile (Spain), when two important cultural changes took place. One was the Devotio Moderna when new buildings emerged, such as hospitals, colleges and universities, which implied a constant movement between floors by its many users. The other was the conclusion of the Peninsula’s reconquest, when the knights lost political and social importance and reacted by reaffirming their status through the grand staircase built in their palaces. This character of ideological affirmation by the grand staircase was adopted by the Hispanic crown, in its palaces built in Castile, namely in Madrid, Toledo and finally in Escorial. The grand staircase becomes a way to state’s political and economic affirmation. With this understanding, grand staircases was adopted by the banking families of Genoa, precisely the main creditors of Filipe II. It was also adopted by the main states of Europe, mainly by those who intended to assert themselves at the European level: by kings in feudal France, by the contested Holy See, by impoverished Venice, by the new monarchies longing for legitimization (Spanish and Neapolitan Burbons), by the new emerging dynastic families (Savoias in Italy), and by the small states in the very fragmented and unstable German mosaic. In Portugal, the grand staircase was known, and European models were present. Many Lisbon buildings underwent profound alterations to receive new staircases. The dimension of political affirmation of the stately staircase is, however, assumed with King João V in the Royal Building of Mafra. This huge architectural complex, built between 1729 and 1755, has several staircases that, in conjunction with the analysis of the rooms inside, reveal its real purpose never assumed, never realized and deliberately covered up: a political, administrative and bureaucratic complex that would streamline royal and ecclesiastical administration, converting Portugal into a universal power, based on good administration, on the wealth of Brazil's gold, on its effective pluricontinental implantation and on the economic, cultural, political and religious interdependence of its many, varied and dispersed domains. Despite not being implemented, this building, through its technical office, boosted the construction of others that are attachments, subsequent or even oppositionists.
The grand staircase is an architectural structure that, besides connecting floors in a building, has a symbolic and representative dimension for its owner, institution or functionality. It was born in the last quarter of the 15th century in Castile (Spain), when two important cultural changes took place. One was the Devotio Moderna when new buildings emerged, such as hospitals, colleges and universities, which implied a constant movement between floors by its many users. The other was the conclusion of the Peninsula’s reconquest, when the knights lost political and social importance and reacted by reaffirming their status through the grand staircase built in their palaces. This character of ideological affirmation by the grand staircase was adopted by the Hispanic crown, in its palaces built in Castile, namely in Madrid, Toledo and finally in Escorial. The grand staircase becomes a way to state’s political and economic affirmation. With this understanding, grand staircases was adopted by the banking families of Genoa, precisely the main creditors of Filipe II. It was also adopted by the main states of Europe, mainly by those who intended to assert themselves at the European level: by kings in feudal France, by the contested Holy See, by impoverished Venice, by the new monarchies longing for legitimization (Spanish and Neapolitan Burbons), by the new emerging dynastic families (Savoias in Italy), and by the small states in the very fragmented and unstable German mosaic. In Portugal, the grand staircase was known, and European models were present. Many Lisbon buildings underwent profound alterations to receive new staircases. The dimension of political affirmation of the stately staircase is, however, assumed with King João V in the Royal Building of Mafra. This huge architectural complex, built between 1729 and 1755, has several staircases that, in conjunction with the analysis of the rooms inside, reveal its real purpose never assumed, never realized and deliberately covered up: a political, administrative and bureaucratic complex that would streamline royal and ecclesiastical administration, converting Portugal into a universal power, based on good administration, on the wealth of Brazil's gold, on its effective pluricontinental implantation and on the economic, cultural, political and religious interdependence of its many, varied and dispersed domains. Despite not being implemented, this building, through its technical office, boosted the construction of others that are attachments, subsequent or even oppositionists.
Descrição
Palavras-chave
Palácio Nacional de Mafra. Escadarias de aparato - Portugal - séc.18 Arquitectura barroca - Mafra (Portugal) Portugal - Política e governo - séc.18 Teses de doutoramento - 2022