Stained glass from Palácio da Pena
This window, dating from 1841, was ordered by D. Fernando II and produced in Nuremberg (Germany). The window is divided in
4 fields, each with episodes of the history of Portugal and of the monastery. Above, the armillary sphere, the cross of Christ
and the real weapons of Portugal. The panels above depict Our Lady of Pena and Saint Jorge, patron of the Portuguese army.
Below are represented the King Manuel I, holding a model of the original convent, and Vasco da Gama in the Tower of Belém.
The stained glass panels were covered with dirt (mainly dust and remains of animal presence). In some cases, the glass
presented small fractures and was separated from the lead canes. The following methodology of conservation and restoration
was followed, according to the Guidelines for the Conservation and Restoration of Stained Glass of Corpus Vitrearum Medii Aevii.
Diagnosis: I) photographic record; Ii) mapping of main patologies; iii) characterization of corrosion products.
The surface of the glass was first cleaned with soft brush and vacuum cleaner to remove the particulate and superficial dirt.
After, wet cleaning with water and ethanol was performed. Traces of other materials were removed mechanically after laboratory analysis to determine their nature.
Union of the glass fragments was made with Paraloid B72.
Exhibiton - Stained Glass
"Glass and Stained Glass: Ferdinand II’s Passion"
The most eclectic collection of stained glass in Portugal for the first time shown to the public, following ten months of conservation and restoration. It includes the most ancient stained glass known in Portugal
Organized by Parques de Sintra – Monte da Lua
Inauguration: 21 de Setembro, 18h
Free entry with a ticket to the Palácio da Pena visit.
Summer: 09h30 às 19h00
Winter: 10h às 18h
Glass and Stained Glass: Ferdinand II’s Passion
In the collection of works of art assembled by Ferdinand II (1816-1885) throughout his life, glass occupied pride of place. In the Glass Room of the Palace of Necessidades in Lisbon, pieces such as Roman funerary urns, Venetian plates and Germanic beer beakers were brought together. In the dining room, the openings were decorated with various antique stained-glass panels mounted in frames. Pena Palace also benefited from this passion. Stained-glass panels dating from the seventeenth to the nineteenth centuries were placed in the window sashes of the Great Hall, commissions were undertaken in Nuremberg for the nave and choir of the chapel, and the use of heraldic panels even came to be considered for the openings in the Stag Room. Ferdinand II’s interest in the art of the stained-glass window was an important factor behind the decision to initiate the restoration of Batalha Monastery, and must also have inspired the introduction of stained-glass windows in the chapel of the National Palace of Sintra.
The stained-glass panels on display in the Stag Room correspond to the set that survived from the Palace of Necessidades. After the establishment of the Republic in 1910, the stained-glass panels were taken down and transferred to the storerooms of Ajuda Palace, where they remained until 1949. In that year, they were brought to Pena Palace to decorate its windows. However, they would end up remaining in storage, practically forgotten, for the next six decades. In taking over the management of the palace in 2007, the PSML sought to restore, exhibit and study these stained-glass panels. In November 2010, an agreement was signed with the Department of Conservation and Restoration of the Faculty of Science and Technology of the Universidade Nova de Lisboa (DCR-UNL), which has acquired vast experience in the fields of glassware and stained glass. This agreement has already resulted in the cleaning, restoration and reconstitution of the panels and intends to proceed not only with their historical-artistic study but also with the gathering, processing and analysis of data concerning the materials and techniques used to produce them.
By including other glass objects from Pena Palace’s storerooms, this exhibition aims to make a hitherto neglected collection available for the public's enjoyment. It also aims to offer the scientific community, both in the field of the history of art and in the areas of conservation and restoration, a new subject to study, research and divulge.