Southern Façade of the Don Quixote Room

This façade represents one of the most finely ornamented on the Robillion Pavilion.
Located on the west wing of the Palace, the Pavilion was added to the original plan by Jean-Baptiste Robillion, who took over from Mateus Vicente de Oliveira following the latter's requisition by the Marquis of Pombal to work on the reconstruction of Lisbon in the wake of the 1755 earthquake.
The Pavilion, named after the architect responsible for its design and construction, was built following the wedding of Pedro (future Pedro III) to Maria (future Maria I). The extension went onto house the private chambers of many of the monarchs that inhabited the Palace (Pedro III, João VI, Carlota Joaquina, Miguel, Pedro IV). This is the only area of the Palace with its flooring in exotic Brazilian wood panels, with the pau-santo and pau-cetim species predominant, and with gold-leafed and polychromatic decorations in paper mache.
Also contained within the extent of the Robillion Pavilion are the Dispatch Room, the Ladies-in-Waiting Room, the Private Lunch Room, the Don Quixote Room, the Oratory, the Queen's Room and the Queen's Dressing Room.
At the northern end of this wing, in front of the Tiled Canal, the Lions Staircase constitutes the architectural solution applied by Robillion to overcome the difference in levels existing between the Hanging Garden and the lower garden section. The location in front of the Canal, the three diverging flights of stairs, the two balustrades and the terrace statues combine to ensure a scenographic effect of great impact.

ABOUT JEAN-BAPTISTE ROBILLION
This French architect had worked in Paris, the Hague and London prior to arriving in Lisbon. He would decisively influence the Palace not only through the design of new extensions but also through the decoration of many of the interiors.
Disciple and collaborator with the great goldsmith Thomas Germain, he was nominated goldsmith to the House of Infantado in 1756. This architect, in accordance with the choices of the Portuguese and French artifices that pervaded his work, was largely responsible for the introduction of the French style, the alterations made to the original plan and especially in terms of the decorative style applied.