Page:Lisbon and Cintra, Inchbold, 1907.djvu/70

Rh Close to the garden of S. Pedro d' Alcantara at the head of the Calçada da Gloria stands an ancient pile of buildings with many quaint roofs, chimneys and angles. At this point it is stated that the old City Wall (which we traced from the Citadel rampart) after climbing the western steep turned towards the river by way of the Rua d'Alecrim to the water front. The front of the large building—it is the Casa da Misericordia—is attached to the Church of S. Roque which looks out upon the square of its own name. The Jesuits owned the original edifices and in 1556 built the plain, solid church on the site of an ancient chapel in which D. Manuel allowed the relics of S. Roque to be shown to devout pilgrims. The interior of to-day is remarkable for containing the noted shrine known as the Capella de S. João Baptista, another reliquary of the lavish expenditure of the same King, D. João V, who built the Patriarchal on the Principe Real. Struck one day by the poor appearance of the chapel dedicated to his patron saint, he was smitten with the idea of replacing it by one surpassing in value and rarity all other chapels that had been erected. Every detail of the chapel was ordered and prepared in Rome from the design of the Italian architect Vaneteli, the execution of the whole extending over ten years. When completed, the work was consecrated by the Pope who for D. João's rich gifts to ecclesiastical establishments had already granted him the title of Most Faithful. It was packed up and conveyed to Lisbon, where it was erected in its present position.

The general effect at first sight is one of excessive costliness rather than beauty. On the other hand, as an example of a type and period of church decorative art, the chapel is unique. Mosaics, rare polished stones, marbles, are combined to form walls, roof and pavement. The mosaics, representing pictures after Guido Reni, Raphael 46