Earth's material shaped by human hands

Produced in Seville using the "corda seca" technique, this ceramic panel, is a rare document as it portrays the arms of Dom Jorge de Almeida, bearing his motto Nequid Nimis (In moderation). The original use for this piece and the exact site of where it was located are unknown, but it had always been in the ownership of the Bishop’s Palace before being transferred to the Museum in 1912 as part of its legacy.

The "corda seca" technic, of Moorish hispanic origin, consist on drawing the outline of the decorative motifs with the mixture of linseed oil and manganese, which prevented the colors from mixing.

A panel consisting of polychrome small tiles with geometrical, zoomorphic and anthropomorphic singular motifs by using "corda seca" and "aresta" techniques.

Altar frontal of tiles in blue, white and yellow. A fringe, blue and yellow, delimits the "cloth". In the lower plane, ducks, fishes, plants, trees and a boat appears on the surface or emerge from the water.

Typical decoration of birds and branches, centered by a Carmelite coat of arms flanked by pheasants.

This altar frontal, originally from the Monastery of Lorvão, is a beautiful example of the crossing of cultures, combining themes of Indian chintz in the panels, with motifs of damask and European brocades in the frame. Altar frontals employing tiles arose following the decision of the Council of Seville in 1509, which advised against the use of luxurious fabrics in the adornment of churches.

The panels, in blue, green and yellow tones on a white background, depict delicate foliage with large flowers with magnificent petals, small leaves and fruits, and birds with long tails soaring over the scene. The lower parts of the panels are made up of a landscape with a Chinese-style pagoda and varied fauna, composed of gazelles, rabbits and ducks in movement.

Tiles of the "single figure" pattern, so typical of Coimbra production, are notable for their decorative effect. They had their origins in the Delft tiles imported from 1675.

This bottle is one of the rare examples produced in the 17th century. It is from a Lisbon factory, in the second evolutionary phase of 17th century Portuguese faience, notable for the combination of European and Oriental motifs. It formerly belonged to the Ameal Collection.

It is one of a series decorated with the royal coat of arms or important historical figures from the struggle that culminated in the Restoration of Independence in 1640.

This is a very rare piece, both in its relatively naturalistic serpentine form, and in its being earthenware. It is from Coimbra, but difficult to date precisely. The arrangement of the snake scales is reminiscent of the bead motif typically used up until the last quarter of the 18th century.