A Ala dos Namorados. Panel of azulejos by Jorge Colaço (1922), depicting an episode of the battle of Aljubarrota. Lisboa, Pavilhão Carlos Lopes

The azulejos are a typical form of Portuguese or Spanish painted, tin-glazed, ceramic tilework. They have become a typical aspect of Portuguese culture, manifesting without interruption during five centuries the consecutive trends in art. Image File history File links Metadata Size of this preview: 482 × 599 pixelsFull resolution (2387 × 2966 pixel, file size: 3. ... Image File history File links Metadata Size of this preview: 482 × 599 pixelsFull resolution (2387 × 2966 pixel, file size: 3. ... The Battle of Aljubarrota took place on August 14, 1385, between Portuguese forces commanded by King João I and his general Nuno Alvares Pereira, and the Castilian army of King Juan I. The place was Aljubarrota, between the towns of Leiria and Alcobaça in central Portugal. ... Tin-glazing is the process of giving ceramic items a tin-based glaze which is white, shiny and opaque, normally applied to red or buff earthenware. ... Fixed Partial Denture, or Bridge The word ceramic is derived from the Greek word κεραμικός (keramikos). ... Mission, or barrel, roof tiles A tile is a manufactured piece of hard-wearing material such as ceramic, stone, porcelain, metal or even glass. ... The tone or style of this article or section may not be appropriate for Wikipedia. ...

Wherever one goes in Portugal, azulejos are to be found inside and outside churches, palaces, ordinary houses and even train stations or subway stations. They constitute a major aspect of Portuguese architecture as they are applied on walls, floors and even ceilings. They were not only used as an ornamental art form, but also had a specific functional capacity like temperature control at homes. Many azulejos chronicle major historical and cultural aspects of Portuguese history. For the architectural structure, see Church (building). ... The quintessential medieval European palace: Palais de la Cité, in Paris, the royal palace of France. ... Passengers bustle around the typical grand edifice of Londons Broad Street station in 1865. ... A metro station is a train station for a metro. ... A brick wall A wall is a usually solid structure that defines and sometimes protects an area. ... A hardwood floor (parquetry) is a popular feature in many houses. ... This intricate ceiling is part of the Capitol Theatre in Melbourne, Australia, designed by architect Walter Burley Griffin. ... In architecture, ornament is decorative detail on buildings. ... Temperature control is a process in which the temperature of an object is measured and the passage of heat energy into or out of the object is adjusted to achieve a desired temperature. ... Wikipedia does not yet have an article with this exact name. ...

History

15th century

Andalusian traditional house with Azulejos alicatados

The art was introduced to Portugal, via Spain, by the Moors, who had learned the craft from the Persians. The word azulejo is derived from the Arabic word: الزلليج (al zulaycha) : Zellige, meaning "polished stone". This origin explains the unmistakable Arab influences in many tiles : interlocking curvilinear, geometric or floral motifs. Seville, Spain, had become the major centre of the Hispano-Moresque tile industry, employing the old techniques of cuerda seca ('dry string') and cuenca. Image File history File linksMetadata Download high-resolution version (1210x1062, 1064 KB) Alicatado de Azulejos. ... Image File history File linksMetadata Download high-resolution version (1210x1062, 1064 KB) Alicatado de Azulejos. ... For other uses, see Andalusia (disambiguation). ... Look up moor, Moor in Wiktionary, the free dictionary. ... Arabic redirects here. ... Zellige used for a fountain Zellige (Arabic: ‎) (also Zellidj) is a terra cotta square covered with enamel in the form of chips set into plaster. ... For other uses, see Seville (disambiguation). ... A Hispano-Moresque jar The Hispano-Moresque ware is a term referring to an Islamic pottery style created in Andalusia. ...

Cuenca tiles with the armillary sphere in the Sintra National Palace (15th century)

The earliest azulejos in the 15th-century were dry-string tiles (cuerda seca) and azulejos alicatados (panels of tile-mosaic) in Moorish tradition, imported from Seville by king Manuel I after a visit to that town in 1503. They were glazed in a single colour and decorated with geometric patterns. They were applied on walls and used for paving floors, such as can be seen in several rooms, and especially the Arab Room, of the Sintra National Palace (including the famous cuenca tiles with the armillary sphere, symbol of king Manuel I). The Portuguese adopted the Moorish tradition of horror vacui ('fear of empty spaces') and covered the walls completely with azulejos. Image File history File linksMetadata Size of this preview: 450 × 600 pixel Image in higher resolution (1536 × 2048 pixel, file size: 475 KB, MIME type: image/jpeg) File links The following pages on the English Wikipedia link to this file (pages on other projects are not listed): Azulejo Metadata This... Image File history File linksMetadata Size of this preview: 450 × 600 pixel Image in higher resolution (1536 × 2048 pixel, file size: 475 KB, MIME type: image/jpeg) File links The following pages on the English Wikipedia link to this file (pages on other projects are not listed): Azulejo Metadata This... Manuel I of Portugal (pron. ... Main façade of the Sintra National Palace. ...

16th century

Azulejos were used in large quantities to cover walls from the late 15th - early 16th century. A fine collection of 16th-century Hispano-Moorish azulejos (azulejos hispano-mouriscos) can be found in the Museu da Reinha D. Leonor in Beja, Portugal, ( the former Convento da Conceição). Beja can refer to: The Beja people, an ethnic group in the Horn of Africa The Beja language Beja, Portugal Béja, Tunisia This is a disambiguation page — a navigational aid which lists other pages that might otherwise share the same title. ...

After the Portuguese had captured Ceuta (Spain) in 1415 they became acquainted with the azulejo technique themselves. But until the mid-16th century the Portuguese continued to rely on foreign imports mostly from Spain, but also on a smaller scale from Antwerp (Flanders) (such as the two panels by Jan Bogaerts in the Paço Ducal, Vila Viçosa, Alentejo) and Italy (such as the Annunciation by Francisco Niculoso in Évora, and Orazio Fontana). Capital Ceuta City Official language(s) Spanish Area  â€“ Total  â€“ % of Spain Ranked  28 km²   Population  â€“ Total (2006)  â€“ % of Spain  â€“ Density Ranked  75,861    2,709. ... For other uses, see Antwerp (disambiguation). ... Coat of Arms Vila Viçosa is a municipality in Portugal with a total area of 195. ... Location    - Country Portugal    - Region Alentejo  - Subregion Alentejo Central  - District or A.R. Évora Mayor Ernesto Oliveira  - Party PS Area 1,307. ...

When in the early 16th century, potters from Spain, Flanders and Italy came to Portugal and established workshops there, they brought with them the maiolica techniques (which made it possible to paint directly on the tiles). This technique allowed the artists to represent a much larger number of figurative themes in their compositions. Majolica is earthenware with a white tin glaze, decorated by applying colorants on the raw glazed surface. ...

One of the early local masters of the 16th century was Marçal de Matos to whom Susanna and the Elders (1565) in Quinta da Bacalhoa, Azeitão, is attributed, as well as the Adoration of the Shepperds (in the National Museum of Azulejos in Lisbon). The Miracle of St. Roque (in the Church of S. Roque, Lisbon) is the first dated Portuguese azulejo composition (1584). It is the work of Francisco de Matos, probably the nephew and pupil of Marçal de Matos. Both drew their inspiration on Renaissance and Mannerist paintings and engravings from Italy and Flanders. Engraving is the practice of incising a design onto a hard, flat surface, by cutting grooves into it. ...

Checkered azulejos on the façade of the Igreja Matriz de Cambra, Vouzela

This had an important repercussion on the ceramic industry, leading to polychrome tin-glazed tile panels in Renaissance style (azulejo renascentista), such as in the Church of S.Roque, Lisbon, and later Hispano-Flemish Mannerist styles (azulejo maneirista), such as in the Capela de Sto. Amaro, Lisbon. Most of the azulejos depict allegorical or mythological scenes, biblical scenes, scenes from the lives of saints or hunting scenes. In the same church of São Roque, we can also find diamond-point azulejos (ponta de diamante) with diamonds shown in trompe l'oeil- effect and grotesques, in the style of a Seville workshop. These grotesques with their bizarre representations would be frequently used until the end of the 18th century. Image File history File links No higher resolution available. ... Image File history File links No higher resolution available. ... This article is about the European Renaissance of the 14th-17th centuries. ... In Parmigianinos Madonna with the Long Neck (1534-40), Mannerism makes itself known by elongated proportions, affected poses, and unclear perspective. ... This article is about the word itself. ...

In the late 16th century checkered azulejos (azulejos enxaquetado) were used as decoration for large surfaces, such as in churches and monasteries. Diagonally placed plain white tiles were surrounded by blue square ones and narrow border tiles.

17th century

Shortly afterwards, these plain white tiles were replaced by polychrome tiles (enxaquetado rico) often giving a complex framework such as in the Church of Santa Maria de Marvila in Santarém with one of the most outstanding tile-based interior decorations in Portugal. There are a number of places called Santarém: Santarém, Brazil Santarém, Portugal Santarém is also a Portuguese cheese. ...

When the diagonal tiles were replaced by a repetitive pattern of horizontal polychrome tiles, one could obtain a new design with different motifs, interlacing Mannerist drawings with representations of roses and camelias (sometimes roses and garlands). An inset votive usually depicts a scene from the life of Christ or a saint. These carpet compositions (azulejo de tapete), as they were called, elaborately framed with friezes and borders, were produced in great numbers during the 17th century. The best examples are to be found in the Igreja do Salvador, Évora , (Igreja de S. Quintino, Obral de Monte Agraço, Igreja de S. Vicente, Cuba (Portugal) and the university chapel in Coimbra. Look up garland in Wiktionary, the free dictionary. ... An icon of Aghia Paraskevi with votive offerings hung beside it. ... Frieze of the Tower of the Winds. ... Location    - Country Portugal    - Region Alentejo  - Subregion Alentejo Central  - District or A.R. Évora Mayor Ernesto Oliveira  - Party PS Area 1,307. ... Location    - Country Portugal    - Region Centro  - Subregion Baixo Mondego  - District or A.R. Coimbra Mayor Carlos Encarnação  - Party PSD Area 319. ...

The use of azulejos for the decoration of antependia (front of an altar), imitating precious altar cloths, is typical for Portugal. The panel may be in one piece, or composed of two or three sections. They were used in the 16th, 17th and 18th centuries. Some antependia of the 17th century imitate oriental fabrics (calico, chintz). The golden fringes of the altar cloth were imitated by yellow motifs on the painted border tiles. Excellent examples can be found in the Hospital de Sta. Marta, Lisbon, or in the church of Almoster and the Convent of Buçaco. Calico can refer to: Calico (fabric) A cheap fabric Calico (fish) A domesticated goldfish Calico (band) An eclectic folk-rock band from Atlanta, Georgia. ... Chintz is calico cloth printed with flowers and other devices in different colours, originally from India. ... Serra de Bussaco, (also Buçaco or Busaco) is a mountain range on the frontiers of Portugal, formerly included in the province of Beira. ...

During the same period another motif in friezes was introduced : floral vases flanked by birds, dolphins or putti , the so-called albarradas. They were probably inspired by Flemish paintings of flower vases, such as by Jan Brueghel the Elder. These were still free-standing in the 17th century, but they would be used in repetitive modules in the 18th century. The putto is a figure of a pudgy baby, almost always male, often naked and having wings, found especially in Italian Renaissance art. ... Jan Brueghel the Elder (1568-1625) was a Flemish painter, son of Pieter Brueghel the Elder and father of Jan Brueghel the Younger. ...

Carpet-style decoration Museu da Reinha D. Leonor; Beja Image File history File linksMetadata Size of this preview: 450 × 600 pixel Image in higher resolution (960 × 1280 pixel, file size: 724 KB, MIME type: image/jpeg) File links The following pages on the English Wikipedia link to this file (pages on other projects are not listed): Azulejo Metadata This...

Albarrada, flower vase by Valentim de Almeida (between 1729 and 1731); Cathedral of Porto Image File history File linksMetadata Size of this preview: 450 × 600 pixel Image in higher resolution (960 × 1280 pixel, file size: 744 KB, MIME type: image/jpeg) File links The following pages on the English Wikipedia link to this file (pages on other projects are not listed): Azulejo Metadata This...

Antependium decorated with azulejos Church of Nossa Senhora da Graça; Sagres Image File history File linksMetadata Size of this preview: 450 × 600 pixel Image in higher resolution (960 × 1280 pixel, file size: 491 KB, MIME type: image/jpeg) File links The following pages on the English Wikipedia link to this file (pages on other projects are not listed): Sagres Azulejo Metadata...

Another type of azulejo composition, called aves e ramagens ('birds and branches'), came into vogue between 1650 and 1680. They were influenced by the representations on printed textiles that were imported from India : Hindu symbols, flowers, animals and birds This article discusses the adherents of Hinduism. ...

In the second half of the 17th century, the Spanish artist Gabriel del Barco Y Minusca introduced into Portugal the blue-and-white tiles from Delft in the Netherlands. The workshops of Jan van Oort and Willem van der Kloet in Amsterdam created large tile panels with historical scenes for their rich Portuguese clients, such as for the Palace of the Marqueses da Fronteira in Benfica (Lisbon). But when king Pedro II stopped all imports of azulejos between 1687 and 1698, the workshop of Gabriel del Barco took over the production. The last major production from Holland was delivered in 1715. Soon large, home-made blue-and-white figurative tiles, designed by academically trained Portuguese artists, became the dominant fashion, superseding the former taste for repeated patterns and abstract decoration. Delftware panel. ... Coordinates: Country Netherlands Province South Holland Area (2006)  - Municipality 24. ... Benfica is a civil parish of the Portuguese capital, Lisboa (Lisbon). ... Peter II (Portuguese Pedro, pron. ...

18th century

Azulejos by Willem van der Kloet (1708) in the transept of the Church of Nossa Senhora da Nazaré; Nazaré

The late 17th, early 18th century became the 'Golden Age of the Azulejo', the so-called Cycle of the Masters (Ciclo dos Mestres). Mass production was started not just because of a greater internal demand, but also because of large orders came in from Brazil. Large one-off orders were replaced by the less expensive use of repetitive tile patterns. Churches, monasteries, palaces and even houses were covered inside and outside with azulejos, many with exuberant Baroque elements. Image File history File linksMetadata Size of this preview: 450 × 600 pixel Image in higher resolution (960 × 1280 pixel, file size: 573 KB, MIME type: image/jpeg) File links The following pages on the English Wikipedia link to this file (pages on other projects are not listed): Azulejo Church of... Image File history File linksMetadata Size of this preview: 450 × 600 pixel Image in higher resolution (960 × 1280 pixel, file size: 573 KB, MIME type: image/jpeg) File links The following pages on the English Wikipedia link to this file (pages on other projects are not listed): Azulejo Church of... General view The Igreja de Nossa Senhora da Nazaré is an imposing church located on the hilltop O Sitio overlooking Nazaré, Portugal. ... There are places that have the name Nazaré : In Brazil Nazaré, Bahia Nazaré, Tocantins Related: Nazaré Paulista, São Paulo In Portugal Nazaré, a municipality This is a disambiguation page — a navigational aid which lists pages that might otherwise share the same title. ... For other uses, see Baroque (disambiguation). ...

The most prominent master-designers in these early years of the 18th century were: António Pereira (artist), Manuel dos Santos, the workshop of Antonio de Oliveira Bernardes and his son Policarpo de Oliveira Bernardes; the Master PMP (only known by his monogram) and his collaborators Teotónio dos Santos and Valentim de Almeida; Bartolomeu Antunes and his pupil Nicolau de Freitas. As their production coincided with the reign of king João V (1706-1750), the style of this period is also called the Joanine style. Manuel António dos Santos is a Portuguese politician and Member of the European Parliament for the Socialist Party; part of the Party of European Socialists. ... John V, King of Portugal (Portuguese João pron. ...

Azulejos in Rococo-style in the Queluz Palace

During this same period appear the first 'invitation figures' (figura de convite), invented by the Master PMP and produced in the 18th and 19th centuries. These are cut-out panels of azulejos with life-size figures (footmen, halberdiers, noblemen or elegantly dressed ladies), usually placed in entrances of palaces (see Palacio da Mitra), patios and stair landings. Their purpose was to welcome visitors. They can only be found in Portugal. Image File history File linksMetadata Size of this preview: 450 × 600 pixel Image in higher resolution (1536 × 2048 pixel, file size: 654 KB, MIME type: image/jpeg) File links The following pages on the English Wikipedia link to this file (pages on other projects are not listed): Azulejo Queluz National... Image File history File linksMetadata Size of this preview: 450 × 600 pixel Image in higher resolution (1536 × 2048 pixel, file size: 654 KB, MIME type: image/jpeg) File links The following pages on the English Wikipedia link to this file (pages on other projects are not listed): Azulejo Queluz National... Swedish halberds from 16th century This article is about the weapon. ...

In the 1740s the taste of Portuguese society changed from the monumental narrative panels to smaller and more delicately executed panels in Rococo style. These panels depict galant and pastoral themes as they occur in the works of the French painter Antoine Watteau. Fine examples are the façade and the gardens of the Palace of the Dukes de Mesquitela in Carnide (Lisbon) and the Corredor das Mangas in the Queluz National Palace. The mass-produced tiles acquired a more stereotypic design with predominant polychrome irregular shell motifs. North side of the Catherine Palace in Tsarskoye Selo - carriage courtyard: all the stucco details sparkled with gold until 1773, when Catherine II had gilding replaced with olive drab paint. ... Jean-Antoine Watteau (October 10, 1684 - July 18, 1721) was a French Rococo painter. ... Ceremonial façade of the Palace of Queluz. ...

The reconstruction of Lisbon after the Great Earthquake of 1755 gave rise to a more utilitarian role for decoration with azulejos. This bare and functional style would become known as the Pombaline style, named after the Marquis of Pombal, who was put in charge of rebuilding the country. Small devotional azulejo panels started to appear on buildings as protection against future disasters. Typical building in Baixa Pombalina in the Pombaline style The Pombaline style was a Portuguese architectural style of the 18th century, named after Sebastião José de Carvalho e Melo, 1st Marquês de Pombal who was instrumental in reconstructing Lisbon after the earthquake of 1755. ... Sebastião José de Carvalho e Melo, Marquis of Pombal, by Louis-Michel van Loo, 1766) Sebastião José de Carvalho e Melo, 1st Count of Oeiras, 1st Marquis of Pombal (in Portuguese, Marquês de Pombal, pron. ...

As a reaction, simpler and more delicate Neoclassical designs started to appear with more subdued colours. These themes were introduced in Portugal by the engravings of Robert and James Adams. The Real Fábrica de Louça do Rato, with the master-designer Sebastião Inácio de Almeida and the painter Francisco de Paula e Oliveira, became in this period an important manufacturer of the characteristic so-called Rato-tiles. Another important tile painter in this period was Francisco Jorge da Costa. Late Baroque classicizing: G. P. Pannini assembles the canon of Roman ruins and Roman sculpture into one vast imaginary gallery (1756) Neoclassicism (sometimes rendered as Neo-Classicism or Neo-classicism) is the name given to quite distinct movements in the decorative and visual arts, literature, theatre, music, and architecture that...

19th century

In the first half of the 19th century, there was a stagnation in the production of decorative tiles, owing first to the incursion of the Napoleonic army and later to social and economic changes. When around 1840 immigrant Brazilians started an industrialized production in Porto, the Portuguese took over the Brazilian fashion of decorating the façades of their houses with azulejos. While these factories produces high-relief tiles in one or two colours, the Lisbon factories started using another method : the transfer-print method on blue-and-white or polychrome azulejos. In the last decades of the 19th century, the Lisbon factories started to use another type of transfer-printing: using creamware blanks. Location    - Country Portugal    - Region Norte  - Subregion Grande Porto  - District or A.R. Porto Mayor Rui Rio  - Party PSD Area 41. ... There are very few or no other articles that link to this one. ... Creamware is a cream-coloured earthenware created about 1750 by the potters of Staffordshire, England, which proved ideal for domestic ware. ...

While these industrialized methods produced simple, stylized designs, the art of hand-painting tiles wasn't dead, as applied by Manuel Joaquim de Jesús and especially Luis Ferreira. Luis Ferreira was the director of the Lisbon factory Viúva Lamego and covered the whole façade of this factory with allegorical scenes. He produced panels, known as Ferreira das Tabuletas, with flower vases, trees, and allegorical figures, applying the trompe-l'oeil technique. These hand-painted panels are fine examples of the eclectic Romantic culture of the late 19th century. [[: Le Image:Mural de Narbonne. ... Look up Eclectic in Wiktionary, the free dictionary. ...

20th century

Art Nouveau azulejos on a shop in Porto

At the turn of the century, Art Nouveau azulejos started to appear from artists such as Rafael Bordalo Pinheiro, Júlio César da Silva and José António Jorge Pinto. In 1885 Rafael Bordalo Pinheiro founded a ceramics factory in Caldas da Rainha, where he created many of the pottery designs for which this city is known. In this factory he has his own a museum São Rafael devoted to his fantastically imaginative work, especially the decorative plates and his satirical stone figures, such as the Zé Povinho (a representation of the worrying common man). Image File history File links Size of this preview: 450 × 600 pixel Image in higher resolution (600 × 800 pixel, file size: 208 KB, MIME type: image/jpeg) Created by: esmuz Upload by: User:Rei-artur Foto: Flickr File links The following pages on the English Wikipedia link to this file... Image File history File links Size of this preview: 450 × 600 pixel Image in higher resolution (600 × 800 pixel, file size: 208 KB, MIME type: image/jpeg) Created by: esmuz Upload by: User:Rei-artur Foto: Flickr File links The following pages on the English Wikipedia link to this file... Vitebsk Railway Station one of the finest examples of Art Nouveau architecture. ... Rafael Bordalo Pinheiro Rafael Bordalo Pinheiro (21 March 1846, Lisbon, Portugal - 23 January 1905, Lisbon, Portugal) was a Portuguese artist known for his illustration, caricatures, sculpture and ceramics designs. ... Júlio César da Silva (born March 8, 1963 in Bauru) was a Brazilian football player (defender). ... Ceramics can refer to: Ceramic, a type of material Ceramics (art), a fine art. ... District Leiria Mayor   - Party Fernando José da Costa Area 254. ...

Around the 1930's Art Deco-azulejos made their appearance with their principal artist António Costa. The monumental decorations, consisting of 20,000 azulejos, in the vestibule of the São Bento railway station in Porto, created by Jorge Colaço, show in its historical themes the narrative style of the romantic 'picture-postcard'. This one of the most notable creations with azulejos of the 20th century. The façades of the churches of Santo Ildefonso and Congregados equally attest to the artistic mastery of Jorge Colaço. Other artists from this period include Mário Branco and Silvestre Silvestri, who decorated in 1912 the lateral façade of the Carmo Church, and Eduardo Leite for his work on the Almas Chapel (imitating the style of the 18th century), both in Porto. Asheville City Hall. ... António Costa (born 17 July 1961 in Lisbon) is a Portuguese politician and was a Member of the European Parliament for the Socialist Party; part of the Party of European Socialists. ...

Leading contemporary artists include Jorge Nicholson Moore Barradas, Jorge Martins, Menez and Paula Rego. Maria Keil designed the large abstract panels in nineteen stations of the Lisbon Underground over a period of 25 years (1957-1982). Through these works she became a driving force in the revival and the updating of the art of the azulejo, which had gone in some decline. Her decorations of the station Intendente is considered a masterpiece of contemporary tile art. In 1988 the following contemporary artists were commissioned to decorate the newer subway stations Júlio Pomar (the Alto dos Moinhos station), Maria Helena Vieira da Silva (the Cidade Universitária station), Rolando Sá Nogueira (Laranjeiras station) and Manuel Cargaleiro (the Colégio Militar station). Julio Pomar, GOL, GCM (born in Lisbon, 1926) is a Portuguese painter. ... Maria Helena Vieira da Silva (1908–1992) was a Portuguese-French abstractionist painter. ...

The Museu Nacional do Azulejo in Lisbon houses the largest collection of Portuguese tiles in the world.

'Henry the Navigator at the Conquest of Ceuta'
Panel by Jorge Colaço in the São Bento railway station in Porto

Image File history File links Size of this preview: 800 × 543 pixel Image in higher resolution (1608 × 1092 pixel, file size: 3. ... Image File history File links Size of this preview: 800 × 543 pixel Image in higher resolution (1608 × 1092 pixel, file size: 3. ...

See also

• Spanish architecture
• Zellige

Sagrada Família church, by Gaudí Spanish architecture refers to architecture carried out during any era in what is now modern-day Spain, and by Spanish architects worldwide. ... Zellige used for a fountain Zellige (Arabic: ‎) (also Zellidj) is a terra cotta square covered with enamel in the form of chips set into plaster. ...

References

• Azulejo Article by Vania Costa in Accessible Travel Magazine, September 2006
• Meco, José, O Azulejo em Portugal, Lisboa, Alfa, 1988 (in Portuguese)
• João Castel-Branco Pereira - Portuguese Tiles From The National Museum Of Azulejo, Lisbon; 1995; ISBN 0302006613
• Turner, J. - Grove Dictionary of Artof Art (Article : Tile - History and Uses, Portugal)- MacMillan Publishers Ltd., 1996; ISBN 0-19-517068-7
• The Rough Guide to Portugal - 11th edition March 2005 - ISBN 1-84353-438-X
• Rentes de Carvalho J. - Portugal, um guia para amigos - In Dutch translation : Portugal - De Arbeiderspers, Amsterdam; ninth edition August 1999 ISBN 90-295-3466-4
• Sonia Mucznik : The Azulejos of Lisbon (pdf)
• R. Sabo, J. N. Falcato, N. Lemonnier : Portuguese Decorative Tiles, New York, London and Paris, 1998; ISBN 0-789-20481-9
• A J Barros Veloso & Isabel Almasqué : Portuguese Tiles and Art Nouveau/ O Azulejo Portugués ea Arte Nova; Edições Inapa, Portugal, 2000; ISBN 97-283-8764-4
• The Art of Azulejo in Portugal

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Azulejos

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