The History of Palacio do Grilo is in itself a tale to be told. The Palace, (Portuguese: Palácio do Grilo) classified as PIM (Public Interest Monument) since 2011, also known as Palace of the Dukes of Lafões (Portuguese: Palácio dos Duques de Lafões), is located at the at the corner of Grilo Street (Portuguese: Rua do Grilo) with the Dukes of Lafões Sidewalk (Portuguese: Calçada dos Duques de Lafões), standing in the Beato parish in the heart of the city of Lisbon.
The magnificent structure constitutes an architectonic complex of the 18th century and predominantly Neoclássic style punctuated by baroque expressions and motifs. The construction of the building is intimately related to a few historical contingencies that have witnessed the Palacio do Grilo extensive erection process.
The Palacio do Grilo is set upon a pre-existent palatian structure located at the Grilo Farm that previously belonged to D. António de Mascarenhas. This farm was constituted by a very large land property that ascended the uphill slope, known today as Dukes of Lafões Sidewalk.
As reported by José Sarmento de Matos and Jorge Ferreira Paulo in the book Caminhos do Oriente – Guia Histórico (Lisboa, Livros Horizonte, 1999), D. António de Mascarenhas offered his eldest daughter as an endowment to D. Henrique de Sousa Tavares, 1st Marquis of Arronches (Portuguese: 1.º Marquês de Arronches). Later, the great-granddaughter and sole heir to this couple married to D. Miguel de Bragança, natural son of the King D. Pedro II and, therefore, half-brother of D. João V, future heir to the throne.
Thus, it happened the inheritance of Grilo Farm by the Dukes of Lafões, included among the immense heritage within the legacy of the House of Arronches.
When the first son of D. Miguel de Bragança and D. Luísa Casimira de Sousa Nassau e Ligne was born, of his name D. Pedro Henrique de Bragança, the King D. João V endowed his nephew with the title of 1º Duque de Lafões in the day of the child’s baptism.
Following Lisbon’s massive earthquake on the 1st November of 1755, the 1st Duke of Lafões, D. Pedro de Bragança, found himself unexpectedly without an accommodation in Lisbon. An after-effect of the complete destruction that went all the way from his residence to Convent of Carmo.
One would expect the Duke to lodge himself in his Grilo Vila. But the fact is D. Pedro went to live temporarily on accommodation facilities bestowed by the King. Presumably, this was due to the Palace being under (re)construction at the time.
D. Pedro, in addition to being a prince by blood right and also a close relative to the king, played a rather important role concerning the traditional hierarchy of portuguese administration at the time. Namely, because the 1st Duke of Lafões was in charge of the function of the kingdom’s Authority in Justice. Being such a highly regarded figure, D. Pedro was undoubtedly a prominent character within the forefront of the 18th century Portugal. His power and emergence as a well-established leading personality at the time have been steadily strengthened throughout the years. An evidence of this circumstance would be to note that the Duke was the last person to be dismissed by Marquis de Pombal (Portuguese: Marquês de Pombal) in his race to the exclusivity in power of the kingdom as Prime Minister.
Regardless of the Duke’s prestigious status, in the year of 1760, D. Pedro is exiled from the Court of King D. José I, withdrawing to his Granja Vila (Portuguese: Quinta da Granja de Alpriate.). This unexpected event is attributed to D. Pedro having refused to light up his residence on the occasion of the marriage between the Infant D. Pedro III and the king’s eldest daughter and future queen, D. Maria I, princess of Brazil. This episode, in turn, stemmed from the fact that the Duke D. Pedro de Bragança was also one of the only two pretenders to the princess’s hand, and consequently also to the portuguese throne as consort king. It’s important to understand that this particular occurrence happened a few years after the Duke found himself in a dispute with his uncle, king D. João V, that originated due to D. Pedro’s romantic relationship with Luísa Clara de Portugal.
Effectively, years later in 1760, only Infant D. Pedro III, as the king’s younger brother and consequently uncle of D. Maria I, and the Duke D. Pedro Henriques de Bragança, as a prominent figure in portuguese Court of the 18th century, also uncle to D. Maria I – as the first son of D. Miguel de Bragança, and, therefore, descendant of King. D. Pedro II, both were legitimate (and the only) candidates to be considered in the succession to the title of King of Portugal. The Duke ended up losing the race to the Infant, certainly by defect of his father’s bastardism, but also for being notoriously a stronger character than his opponent, able to disturb the future projects of Marquis de Pombal given the Duke’s elevated social and political status, as well as his wealth.
It was therefore strikingly evident that the Duke had to handle diligently of the image of the House of Lafões. And, at that time, such feat always meant a solid investment in limestone and mortar. Besides, his strongest opponent to the hand of the future queen was sparing no effort to transform his Queluz Vila in a country house appropriate to someone who had almost guaranteed for himself, sooner or later, a royal crown.
In this sense, it is possible to understand the peculiar approach by the 1st Duke of Lafões when directing the construction of Palacio do Grilo, once the latter was guided by core lines that find the nobility of their character resonating in the history that marks D. Pedro Henrique’s life.
Equipped with his immense portfolio of architectonical knowledge, and equally moving seamlessly among his peers – whom on him depended functionally given their condition of architects – D. Pedro strove relentlessly for years in trying to find a unique eco that could resonate with the unprecedented nature of this composition and somehow mirror the way in which he felt and understood this project.
Indeed the Duke was deeply committed in conveying some sort of reflection of a dreamlike realm that could imprint on the sumptuous structure the mark of a fate destined to the royal crown, but never came to be true.
Due to D. Pedro premature death in 1761, it wasn’t possible for the Duke to realize the utter expression of his desire regarding the architectonic project for the Palace.
The task to continue with the edification of the building would then be delegated to the Duke’s notorious younger brother: D. João Carlos de Bragança, 2nd Duke of Lafões. However, D. João grants the construction a vision with a distinguishable new styling genre, while yet remaining truthful to the neoclassical tradition and baroque inspirations, that reveal the conflation of a very particular elegance, simultaneously revealing and subtle, and that also exhibits an inherently singular core nature.
It is understood that the palace was already liveable at the time of return of D. João de Bragança, as the historical notes indicate that the Academia Lounge (Portuguese: Sala da Academia) was the place for meetings, that, in turn, have been at the genesis of the Academia Real de Ciências de Lisboa.
Nevertheless, it is presumed that only under the observance of the 3rd Duchess of Lafõesalready in the first half of the 19th century, that the great Oculus Room (Portuguese: Sala dos Óculos) would be finalised.
Regardless of being nearly impossible to determine the exact date of construction concerning the pre-existing palatian structure, through the attentive reading of the initial floor plan it is certainly possible to recognize the building that already existed at the time of beginning of construction works.
The structure was arranged in L shape, having it’s major compound oriented in the North-South direction, being thus vertical to Tejo River (Portuguese: Rio Tejo) whilst the structure’s minor compound was in turn facing towards the river, as well as the public avenue. In the interior part of the L structure, a patio used to exist, contained by other more modest constructions. The patio was located at the upper level of the street and could be accessed through a ramp that went under the shorter compound of the L shaped structure.
The main part of the palace, the larger body of the L shaped compound is, to this day, sensible to the already existing complex formed by the western wing. It was it’s distinctive ancient character that certainly led José Augusto França addressing the 16th century style facades (A Arte em Portugal no Século XIX, vol. 1, pág. 167). Of the previous structure, the large main section was kept including the internal division at the noble floor level.
The main section standing on the avenue was doubled forming a facade of 11 apertures divided in 2 levels: ground level and noble floor. Similarly, the patio at the superior level with fairly approximate dimensions was also kept in the reconstruction project, with only minor corrections being necessary in order to maintain symmetry.
However, the ramp that once gave access from the outside street would come to disappear. At the ground level, springing from the facade a great lounge was suggested, from the which a simplified staircase would come to lead the way to a grand open ballroom, towering that same patio.
In the east side another main section symmetrically disposed to the already existent one was proposed. Taking advantage of the slope in a masterly way, this new building provided access directly into the patio through a ramp today known as Duke of Lafões Sidewalk.
Finally, to north of the central patio, stood another new main section, remarkably complex in its articulation. In the back, over the gardens displayed in cascate through the hill, an immense lounge of unusual dimensions in Portugal opened, exhaling itself expressively in the economy of the whole. At the same level and connected to this lounge, was displayed another partition of extensive spaciousness, presumably destined to become a library considering the delimited markings on the plant.
By simply observing the initial blueprint for the renewal project of the building one is able to comprehend that the styling of this palace has little or nothing to do with portuguese aristocratic tradition.
In opposition to the tradition of other Lisbon palaces, the Grilo project is composed by a scholarly complexity, characteristic of whom was used to maneuver architecture as a theoretical exercise of styling and to whom great palatianconstructions would extend throughout Europe. This unprecedented character is well enhanced by the collation of the frontal and side elevations.
It’s indeed an extremely erudite architecture, familiar to a certain aesthetic eclecticism dominant on the european continent at the time where the revaluation of classical values that served as an anchoring basis for the baroque style, would be tempered by occasional formal ornaments that endow a balanced elegance to the final result.
In this way arises a building that brilliantly adapts to the topography of the area, ascending the hillslide taking masterly advantage of the rhythmic variations.
The author plays exquisitely with the differences of taste by setting several successive facades – all of them different from one another – but each one claiming a strong aesthetical unity of the whole by means of an ambiguous dialogue between them.
There is irrevocably an almost breathable patent cenografism that unveils itself as the complex is visited, allowing the comprehension of a subtle refinement that imposes itself as the preset of the corpus.
The Lafões Palace occupies a relatively large area, limited at south by the Grilo Street, in the east side by the Duke of Lafões Sidewalk, at north by the gardens, and in the west by the Military Maintenance facilities (Portuguese: ManutençãoMilitar), that used to be the former garden and vegetable cultures. The blueprint of the project depicts an apparently confusing scheme. However, the primitive compound that overpasses the old road in the western wing surrounding area, is distinctly regular. Indeed, it’s perceivable that up to a given point in time the intention was to follow the erection of the complex with as much truthfulness to the original project as possible. Nontheless, it’s on the passage to the 19th century that the idea of completing the palace is abandoned. Although it’s worth mentioning that by this time the enclosurement area had already started being sectioned, sighting it’s profitability.
In fact, by the last decade of the 19th century between somewhere 1892 and 1893, the frontal main section of the palace had already been adapted and transformed into a housing building.
It’s highly likely that in 1911 the lower main section constructed to the northern wing of the palace, had already been completed. This northern wing apparently continues the plinth of the palace in spite of the architectonic language being quite different, given it comprehends a much less noble character.
The coping in the terrace of this main section evidences a strong presence in the area and is visible from the upper levels of every surrounding building. Throughout the 20th century, this lower main section that partially conceals itself behind the old stone plinth, served as a scenario to several cinematographic projects, bank branches, firefighters facilities, various small businesses, etc… (Monumentos, 2016)
Residential neoclassical pombaline architecture.
Urban palace of irregular quadrangular floor plan. Composed in U shape at the floor level and by two rectangular main sections on the upper levels forming an L. Having it’s larger body displayed at North-South direction and, in the interior of this L, a patio at the level above the street possessing a yard in raised allotment.
Unfinished main facade. Palatine chapel, of rectangular floor plan with a triumphal arch in stonework dividing the space in half. Polychromed gilded woodwork and marble-like effects. Altarpiece dating back to the second half of the 18th century.
Rooms and minor divisions richly decorated portraying tile sidings and rococo style paintings, as well as ornamental neoclassical themes on the roofings. Old summer villa with palatian building project of large dimensions. Patio, gardens and promenade in the event it had been concluded. It’s actual floor plan, only matches half of the designed project. Out of the four facades, only the posterior, to the North, is completed.
In spite of it’s unfinished exterior, the compound hasn’t suffered any core changes regarding the initial project (being it’s conclusion possible without great alterations or pastiches).
The initial project would develop in three different platforms that are connected between them over a slope terrain. Above the street (facing the river), two floor facade of neoclassical features. Further down the hillside on more elevated ground, the North facade facing over the gardens with more baroque elements.
Remarkable interiors, be it through their decoration, namely the mural paintings signed by Cirilo Wolkmar Machado, be it through the diverse shutters painted with flower garlands and a collection of 18th and 19th century tiling, as well as the artistic filling and furnishing with a few historic pieces at the level of portrait paintings of the 18th and 19th centuries.
To the north of the posterior facade, extents in ascending ramp a formal garden of rectangular floor plan constituted by 3 levels. The first one rests by the facade characterized by rectangular box hedges with central corridor that ends in a tank with shell-like shape and which core motif translates on a stonework sculptoric ensemble representing young newts under the shell, outlined by a representation of Ganymedes and Zeus as Jupiter Eagle.
The second level repeats the same scheme finalising in a third one with a central concrete plaque (where once a central water tank existed). On both sides, wide paths run concurrently, covered partially by trellised.
On the blueprint solicited by Filipe Folque, one is able to understand the true dimension of the original garden that extended well beyond the railway track that sliced the property in half.
On the side of the currently existing Military Maintenance facilities, extended another formal garden of great dimensions with vegetable cultures and flowerbeds, as well as an enormous circular yard, the latter destroyed by the passage of the railway tracks.
L shaped floor-plan, articulated volumes and differentiated coverages. Distinguishable single main section at south, presenting itself organized in 3 storages. At the ground level, revested in stonework plaque, 3 primitive stable doors are distinguishable, while at the noble floor level 4 french windows with knotted curtain bars and surmounted by protruding cornices and, in the last floor, 4 flush (casement) windows of simple framing.
A second main section develops at East, with a single a floor, presenting upper embellishment with balustrade.
On the posterior North side elevation, facing the garden and outlined by balustrade, a central main body is distinguishable. This structure is animated by 3 doors in round arch topped by an equal number of glassed oculus decorated with garlands, and 2 side bodies, separated by pilasters, each of them with a garland ornamented door on the window crown topped by flush (casement) window. On the continuation to the West wing and in direct recoiled angle 4 aperture facade of each level stretch descending a small staircase into a strip of the garden.
The access to the south and east facades is accomplished through an iron plate gate. At the end, the eastern facing facade presenting 5 doors with 5 upper rectangular windows with painted wooden casements and in the roof, 4 attics. 7 doors are presented on the south facing facade. At the ground level, providing central access to the staircase (sided by two arm lamps) and on the right side. On the upper levels, 7 windows and, on the roof, 7 attics. At east, interrupted wing corresponding volume, with 4 upper windows and an archway into a ramp connected to the garden.
The access to the interior is done by the staircase of 18 stone stretches coated in glazed tiles of the late 18th century in blue and white representing mythological and gallant style (Diana and Actaeon). In the upper level section, 3 doors, with cocking-cloths in carmine velvet with coat of arms, topped with 19th century tiled panels in blue and white, trimmed with heraldic coats of arms of the Lafões, Cadaval, and Marialva Houses;
Primitive terracotta tiled floor; 17th century tiled skirting board; smooth walls and ceiling (after restoration); portraits of family personalities and 1 depicting Isabel de Farnese;
Restored in the mid-20th century, with fluted pilasters belonging to the Doric order embedded in the walls; the wall openings (vãos) lined in silk; a great vessel of italian marble, on a niche at the top; D. Pedro II and D. João V portraits. In the primitive western wing, in a more inferior plan, the rooms, witnessing the passage of time, have been spared to further restorations.
Opening from the end of the patio, with the (restored) smooth plaster ceiling in smooth ovals; the upper garnish of the walls, with suspended garlands, ashlars of polychromed tiles, and also D. Maria I, in Estrela Basilica type; terracotta tiled floor;
OCULUS ROOM: accessible through the central gate, squared floor plan (originally rectangular) with 10 door spans, and 3 of them, to the North, opening upon the garden, another 4, to the South, access the facilities and the 2 pairs at the eastern-western axis open into 2 rooms that date back to the 19th century; under the shafts, vertical oval oculus with spider-web fluted casement; the room presents a wooden pavement and the stucco walls are painted with friezes in yellow and green tonalities; contiguous room in the West, accessed through descending staircase into the floor located at the central patio level, where rooms belonging to the original building are displayed; through the staircase atrium, is the passage room of side access to the chapel.
Rectangular floor plan with stonework triumph arch, dividing the space in half; 4 doors in gilded wood at the ground level (2 in the main-chapel, 2 at the nave), with trimmed wooden shutters, with upper lintel displaying embossment representing the ducal crown crossed by an oak branch and a palm; at the upper floor level, horseshoe handrail/small balcony, with wrought-iron balustrade running through the entire circular space, supported by corbels. At the main-chapel, 2nd half of the 18th century altarpiece in polychromed gilded wood with marble-like effects resembling malachite, canopy over the niche of the eucharistical throne; over the altar bench, monstrance in gilded wood.
Of rectangular plant with wooden pavement and door decorated with perpectivated painting; the ceiling presents ornamental paintings of large feasts, flower garlands and, over the communicating doors, putti pediments.
Of rectangular floor plan with 8 shafts and wooden pavement presenting stucco ceiling and walls painted with late 18th century polychromatic decoration, white background profusely filled with flowers, putti, birds, large feasts with musical instruments; on a great central oval in the ceiling, is depicted a winged feminine figure with attributes related to science and arts, and at walls on the western side walls, between shafts, 2 niche paintings depicting art allegories; on the opposite wall a great mural painting, with arched framing, depicting a musical allegory with feminine figure playing the harp and circled by several children playing other musical instruments or representing tragedies, on a landscape with a small temple and a Mercury statue.
Squared floor plan with wooden pavement, presenting 5 shafts and walls in plaster with neoclassical style paintings depicting camafeus, feminine figures in fencings, flower garlands and large feasts with birds and diverse objects separated by delineated pilasters; at the end of the room, in opposition to the window and facing the garden, a rectangular vertical mirror framed by painting and sided by 2 glassed doors (1 of them turned into closet) finished by painting with ovals.
Squared floor plan with wooden pavement, 6 shafts with flowery painted motifs, plaster walls painted with delicate ornamental, ceiling with great central oval and painting framed by fencing depicting Vénus emerging from the waters supported by 2 newts. The contiguous room presents upper garnishing of the walls with paintings of suspended farlands, ashlars of polychromed tiling in rococo and neoclassical style of ornamental composition.
South of this room, is located the staircase that gives access to the residential area of bedrooms and toilets, which rooms present ashlars of identical tiles at the ground level. In a dining room, adjacent to the staircase, a squared fireplace in stone, and the corners trimmed with closets of glassed shutters granting the space an 8-like shape with neoclassical style decoration (renewed in mid-20th century).
Squared floor plan, located on the eastern side of the Oculus Room, presenting in the North facing facade a door with curbed stonework lintel and sided by 2 windows; the interior is spacious with a few divisions for storage and ceiling with wooden beams and Marseille type roof tiling in sight; on the eastern side of the arena descends the rap that, passing the walkway, connects to the central patio of the property.
The construction structures that integrate the current architectonic complex of Palacio do Grilo is constituted by the the sum of the interventions made throughout the years.
Commonly attributed to Eugénio dos Santos, several doubts persist regarding the authorship of the late captain engineer with the trade of architect over the complex, considering the level of scholar and cosmopolitan education entailed by these illustrations.
José Sarmento de Matos e Jorge Ferreira Paulo raise the hypothesis of the authorship of the project being attributed to Gian-Carlo Bibiena (Grilo, Palácio do inDicionário da Arte Barrocaem Portugal), the only architect by education that existed so far in Portugal, as well as Professor at the Academia Clementina, and who curiously passed away in the tumultuous year of 1760 for the Lafões family.
Bibiena was the king’s architect, for whom he draw the initial project of the Igreja da Memória, as well as the meanwhile vanished Ópera do Tejo and the luxurious Real Barraca da Ajuda. Besides the typical eclecticism, professed in the Academia where Bibiena was both student and master, it’s the scenographic sense detected on the collection of the frontal and side elevations that unveils itself as a signature mark, natural of someone who was raised in the bosom of the most notorious family of scenographer architects in the Europe of the 18th century.
Recently, HelderCarita (2015), establishes a connection between José Manuel de Carvalho e Negreiros with the building having him as an “architect of a certain Lisbon aristocracy”, due to his projects for the Palace of the Marquis of Louriçal (Portuguese: Marquês do Louriçal) and Quinta do Marquês de Angeja.
18th century, 1st half – The Grilo Farm belonged to D. AntónioMascarenhas (c.1610-1654); mids – the Grilo Farm is vinculated and given as endowment to D. Mariana de Castro (1630-?) on the occasion of her marriage with Henrique de Sousa Tavares, 3rd Conde de Miranda(Portuguese: Count of Miranda) and 1st Marquês de Arronches (Portuguese:Marquês de Arronches) (1626-1706);
1715 – Luísa Casimira de Sousa Nassau e Ligne, 1st duchess of Lafões (1694-1729), daughter of Mariana Luísa Francisca de Sousa Tavares Mascarenhas e Silva, 2nd marquess of Arronches and Carlos José, Ligne prince, marries with D. Miguel de Bragança (1669-1724), passing down the Grilo for the Lafões dukes, where a palace already existed;
1756 – beginning of construction of the palace, upon pre-existent structure of the summer villa (and included on the new project) by order of D. Pedro Henrique de Bragança e Ligne Sousa Tavares Mascarenhas da Silva, 1º Duque de Lafões (1718 – 1761);
1760 – 1st duque de Lafões is exiled from the court, which leads to the first stop on the palace construction works;
1761 – death of the 1st duke of Lafões;
1779 – D. João Carlos de Bragança, 2nd duke of Lafões (1719-1806), returns to Portugal, continuing the palace construction works within an irregular schedule;
1779 – the first sessions of the Academia Real das Ciências, of the which the 2nd duke of Lafões was one of the two founders, take place at the palace.
1788 – the palace serves as the setting for the marriage between the 2nd duke of Lafões and D. Henriqueta Maria Júlia de Lorena e Meneses, daughter of the Marquises of Marialva (Portuguese: Marqueses de Marialva);
1806 – death of the 2nd duke of Lafões at the Palacio do Grilo;
1851 – passing of the 3rd duchess of Lafões, D. Ana Maria José Carlota de Bragança e Ligne de Sousa Tavares Mascarenhas da Silva;
1886 – under the ownership and command of D. Caetano Segismundo de Bragança e Ligne de Sousa TavaresMascarenhas da Silva, 4th duke of Lafões (1846 – 1927), a partition process of the erected property and surrounding areas takes place, bearing in mind future tenancy as well as both industrial and commercial exploitation;
1892 – the 4th duke of Lafões sets the beginning of a project sighting the partition of the rooms of the palace;
1917 – beginning of the activity of the Cine Pátria cinema, in a section of the ground floor of the palace accessible through doors numbers 44 and 46 of the Grilo Street;
1932 – settlement of the Beato’s Firefighting Corpus (Portuguese: Companhia de BombeirosVoluntários do Beato – Olivais), in another section of the ground floor;
1939 – construction works of beneficiation campaign, restoring namely the ceiling of the so-called Oculus Room;
1946 – passing of D. Afonso de Bragança, 5th duke de Lafões and 8th Marquis of Arronches, passing down the palace to the eldest son of the duke’s 7 children, D. Lopo de Bragança (n. 1921);
1950 – the palace is a permanent residency of the 6th dukes of Lafões and of the widowed duchess of the 5th duke, D. Alice de Macedo;
1952 – alterations to a wing of the palace for transformation in private apartment of one of the proprietaries;
1966 – settlement of the bank agency CaixaGeral de Depósitos at n. 48 of the Grilo Street;
1977 – the City Museum (Portuguese: Museu da Cidade (CML)) acquires from the action company “Soares&Mendonça”, by direct purchase, a bundle of drawings (blueprints and elevations), attributed to Eugénio dos Santos, some of the which signed by him. Among those projects is a collection of Plans, Elevations or Prospects, and Split (“Espacatos”), concerning the augmentation of the Palacio do Grilo, ordered by the 1st duke of Lafões, D. Pedro Henrique de Bragança;
1978 – beginning of the classification process by DGPC (General Direction of Portuguese Culture);
1985 – study on how to take advantage of the areas for the construction of new buildings conducted by the architect António de Sousa Ribeiro;
1991 – presentation of new proposal of apartment buildings construction presented by the owner;
2007, February 5th – dispatch of opening of process for classification by the councillor of culture of the City Council of Lisbon (Portuguese: CMLisboa), for classification as PIM;
2008, August 17th – proposal of opening of process of national scope classification, by the Direcção Regional de Cultura de Lisboa e Vale do Tejo Regional Direction Board for the Culture in Lisbon and Tejo Valley (Portuguese: DRCLVTejo);
2010, September 19th – Dispatch of opening of proccess of classification by the sub-director of the Architectonic and Archeological Legacy Administration Institute (Portuguese: IGESPAR);
2011, May 31st – assent procedure regarding the classification by the National Culture Committee;
2011, November 28th – draft decision regarding the classification as PIM and fixation of pertaining Special Protection Area (Portuguese: Zona Especial de Protecção) of the building, published as Dispatch 17543/2011, DR, 2. série, n.º 228;
2011, December 06th – Rectification declaration of the police number 1879/2011, DR, 2.ª série, n.º 233.