The Portuguese have had a lasting love affair with azulejos – painted ceramic tiles – ever since they first set eyes on those imported from Seville in the 15th century. Azulejos are not unique to Portugal, but they have become almost a national emblem.

Local production of tiles began soon after the arrival of the geometric Sevillian prototypes. Early ones, used mostly in church interiors, were mainly in shades of blue, with patterns established during the course of firing by separating the colours using rivulets of linseed oil or ridges of clay. Quality improved with the introduction of the Italian majolica technique, in which the tile was covered with white enamel onto which paint could be applied directly. This greater freedom permitted more artistic expression. Tapestry designs, based on Moorish patterns, began to appear, founded on a module of four tiles, in blue, yellow, green and white.

The next leap was the introduction of tin-glazing techniques used in the production of Delftware from Holland. It dominated tile production for a period, but by the mid-18th century there was a return to polychrome tiles. During the rebuilding of Lisbon after the great earthquake of 1755, the demand for tiles escalated. They were used for internal and external decoration in every aspect of architecture: churches, private homes, public buildings and even on park benches. New factories opened to supply the demand but, inevitably, artistic standards fell and many tiles had to be imported. The best place to trace the development of the tiles is in the Museu Nacional do Azulejo, in Lisbon (for more information, click here).

Tiles along the Miradouro Santa Luzia in Lisbon.

Lydia Evans/Apa Publications