PRIMÁRT_Portugal Rediscovering Mural ART: Historical and Scientific study of Evora Archiespiscopal (1516-1615)

Cofinanciado por:
Designação do projeto | PRIMÁRT_Redescoberta da ARTe Mural em Portugal: Estudo Histórico e Científico do Arquiespiscopado de Évora (1516-1615)
Código do projecto | PTDC/CPC-EAT/4769/2012
Objetivo principal |

Região de intervenção |

Entidade beneficiária |
  • Universidade de Évora(líder)
  • Direcção Regional de Cultura do Alentejo(parceiro)
  • Universidade de Lisboa - Faculdade de Letras(parceiro)
  • Universidade de Lisboa - Fundação da Faculdade de Ciências(parceiro)

Data de aprovação | 18-12-2012
Data de inicio | 03-07-2013
Data de conclusão | 30-11-2015

Custo total elegível |
Apoio financeiro da União Europeia |
Apoio financeiro público nacional/regional |

Objetivos, atividades e resultados esperados/atingidos


Project PRIM’ART_Portugal Rediscovering Mural ART: Historical and Scientific Study of  Evora Archiepiscopal (1516-1615)  ( website:

Mural paintings were one of the most recurrent arts in the Southern Portugal and it has reached its maximum splendor in the 16th and 17th centuries. However, little is still known about the operant modus of its performers. Knowledge of the raw materials and paintings techniques used to execute wall paintings is essential in the fields of history of art and for proper conservation projects. Taking these aspects  under consideration, the  two main goals of projet PRIM’ART were:


-to assess the pictorial praxis in the town of Évora and  its ouskirst in the 16th and 17 th c. and to assess the extent to which the painters were influenced by the Évora’s cultural environment, performing compositions of classic and humanist nature or, in other cases, breaking up with external novelties;


-to obtain data about the raw materials and pictorial techniques used  to execute the mural paintings. Particularly interesting was to assess to which extent painters followed the practice of buon fresco emphasized by Art theorists, like the Portuguese Francisco de Holanda after his contact with Michelangelo in Rome (1541) or did  they  seized and reinterpreted these guidelines in light of their personal experience and taste;


Secondary goals

-To identify contact points between mural and easel paintings at the level of formal elements and building compositions, the use of materials and colour palette setting, in order to clarify authorship. To this end, the projet has combined a documentary and bibliographic data of the results of a wide range of techniques for surface analysis and materials characterization;


- the compare the historical, technical and material documentation produced with comparable data from studies on mural paintings from the same chronological period in Portugal and other European countries ( especially Italy).