Abstract:
A series of disperse renaissance azulejos with images in white with blue contours over a yellow background was recently uncovered, secluded by the basal wall of the altar of the Cathedral of Setúbal, near Lisbon. The azulejos were probably once part of a chapel lining that was removed and some were re-applied here at an unknown time. They were spread without any concern whatsoever about continuity, also because they were not intended for visibility.
We attempted a partial digital reconstruction that allowed the perception of two feminine winged figures, together with flowers and fruits. One of the figures is an elderly woman with bird wings and the other a young lady with butterfly wings. Both have crowns, although of different sorts.
The painting of motives in white with blue contours against a yellow background relates them graphically with the panels of the São Roque Chapel in Lisbon, but there are tantalizing differences. The Setúbal panels seem to bear testimony of a more archaic technology; the vertical placement of at least some azulejos in the kiln left remains of the supporting pieces and resulted in extensive drips that tarnished the composition. Another aspect is that the hand of the painter of Setúbal is amateurish compared to the proficiency of Francisco de Matos, the painter of São Roque. Yet, these azulejos can be highly important in establishing the evolution of the majolica technology in Portugal of which they may well be one of the earliest examples.
This communication depicts a partial restitution of the painting, reports the first study made of the azulejos with instrumental support and discusses their technological placement towards other examples of known origin.
