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415:). He exercised a great influence on his contemporaries with his wood sculpture. A good example is the retable on the main altar of the church of Santo Ildefonso in Porto, where he used the same thematic decorative elements as in his architectural designs (asymmetrical shells, acanthus foliage, volutes and husks, with the addition of flying angels).
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in Porto. This would become, according to scholars, his greatest work (1732–63). It would become the most significant and innovative architectural event in the renovation of Porto during the first half of the 18th century. Together with his other realizations, it would transform Porto into the most
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this wealth of ornament was encouraged to impress the believers with the wealth and the richness of the
Catholic faith. Nicolau Nasoni introduced in Portugal the concave form of the retable and the undulant arch at the top. By applying these elements, he followed the example of
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display for the parade in his honour. The theatrical design of this display attracted the attention of Count
Francisco Picolomini, who in turn informed the Grand Master. NiccolĂł Nasoni then received a commission to paint the ceilings and corridors of the
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In his designs for ecclesiastical silver, he used these same motifs again: winged angels, acanthus leaves and garlands (silver altarpiece in the cathedral of Porto). And again in the iron railings and gates of the chancel arch in the same cathedral.
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style, is an elaborate work. He also designed the two organ-cases. He decorated the doorcases in the apse of the cathedral and in the cloister (1733–1736) with a rich variety of ornament, whose designs go back to the
Florentine
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woman of noble descent. She died the next year through complications of childbirth. The godfather of José, his son, was a
Portuguese nobleman who asked him in 1731 to design the church and the spectacular granite tower of
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He had, as an architect and painter, an enormous influence in the northern part of
Portugal even if he didn't found a school or train new followers. One of his successors was the painter and architect
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in the cathedral of Siena and the triumphal arch for the reception of the new archbishop. At the same time he studied architecture and painting while working with his master for the Opera del
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264:, next to the cathedral. Its façade is 58 m long. He designed it in 1734 but the construction only started in 1741. Only part of the palace was completed during his lifetime.
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Quinta da
Prelada (finished before 1758): one of his most theatrical designs, full of fantasy, such as the granite fountain of the Tortoise (but not completed)
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205:. His work was much appreciated and he soon became famous as a decorative painter. Nasoni also painted frescoes in other buildings in Malta, such as
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Baroque of
Portuguese cities. The ground plan has an oval form, something most unusual in churches. It withstood the great earthquake of 1755.
220:, whose brother Roque de Távora, he had met in Malta, Nasoni moved to Porto in 1723 (or 1725), where he would remain till his death in 1773.
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Colaços, Monteiros e
Mascarenhas Malafaias - dos Açougues do Porto ao SĂłlio Patriarcal Lisbonense. O Percurso de TrĂŞs FamĂlias Portuenses
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In 1743 he entered the Clérigos
Brotherhood. He was buried, at his request, in an unmarked tomb in the crypt of the Clérigos Church.
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Robert C. Smith (1971). "Baroque and Rococo Braga: Documenting
Eighteenth-Century Architecture and Sculpture in Northern Portugal".
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Ana de Mascarenhas Nasoni (26 May 1737 – 26 January 1800), married António Félix de Campos e Mesquita Pirralho, had issue
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the central part of the palace of Mateus (Solar de Mateus) (attributed to Nasoni on stylistic grounds; finished in 1750) (
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Margarida Nasoni de Mascarenhas (27 July 1731– 23 April 1821), married Manuel de Matos Pereira, Professed Knight in the
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Quinta do Chantre (1743): garden walls with fountains along a central axis, leading to the house with a central tower
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in 1725, which are now fading. Here he introduced to Portugal the illusionist effects, called
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In 1731 he was married again, this time to a Portuguese woman, AntĂłnia Mascarenhas Malafaia.
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Cathedral of Lamego (1738–1743): rebuilding of the cathedral and painting of the false
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AntĂłnio Nasoni Barberino de Mascarenhas Malafaia (20 December 1732), exiled in India
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giving an overwhelming impression of opulence on entering a church. During the
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157:(1657–1736) from 1713 and 1720. During this early period he constructed a
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Quinta de Ramalde (1746): adding Neo-Gothic elements such as decorative
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with his original and vigorous and theatrical style of Baroque and
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At the invitation of Jerónimo de Távora e Noronha, the Dean of
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Designs for the orphanage of Nossa Senhora da Esperança (1746)
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Igreja do Bom Jesus (1743), a magnificent Baroque church in
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He became one of the most influential figures in Portuguese
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A Dictionary of Architecture and Landscape Architecture
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In 1729 he married Isabella Castriotto Ricciardi, a
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441:José Nasoni Barberino de Mascarenhas Malafaia, or
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675:Portuguese people of Italian descent
460:By AntĂłnia de Mascarenhas Malafaia:
445:José Nasoni (8 June 1730), monk and
670:People from the Province of Arezzo
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172:He was then employed, first as a
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231:overlooking the Ribeira in Porto
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640:18th-century Italian architects
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145:Born in San Giovanni Valdarno,
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184:. The new Grand Master of the
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580:. MacMilllan Publishers Ltd.
550:Curl, James Stevens (2006) .
507:. 7 July 2005. Archived from
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16:Italian artist and architect
620:Nicolau Nasoni (1691-1773).
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477:Francisco (14 January 1736)
474:JerĂłnimo (7 September 1734)
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606:Nicolau Nasoni (1691–1773)
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339:Igreja de Santo Ildefonso
262:Episcopal Palace of Porto
229:Episcopal Palace of Porto
194:AntĂłnio Manoel de Vilhena
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604:Smith, Robert C. (1973)
655:Architects from Tuscany
578:Grove Dictionary of Art
374:Capela Nova (Vila Real)
310:Frescoes depicting the
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378:His specialty was the
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351:to the central tower.
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239:on the walls of the
163:Ferdinando de Medici
131:Baroque architecture
76:Artist and architect
625:University of Porto
511:on 6 November 2015.
404:Counter Reformation
303:on the nave, using
135:Rococo architecture
66:Kingdom of Portugal
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623:Biography,
388:altarpieces
349:battlements
307:techniques.
118:artist and
36:2 June 1691
634:Categories
485:References
400:baldachins
319:Matosinhos
312:Apocalypse
305:quadratura
269:Neapolitan
245:quadratura
190:Portuguese
159:catafalque
451:Canon law
366:Vila Real
253:Manueline
241:cathedral
141:Biography
120:architect
100:Tower of
81:Signature
447:Bachelor
396:retables
249:azulejos
237:frescoes
218:Portugal
124:Portugal
562:pages.
392:statues
337:in the
335:Retable
301:cupolas
227:Former
174:painter
116:Italian
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384:altars
341:(1745)
188:was a
453:from
443:Friar
433:Issue
214:Porto
182:Malta
153:from
151:Siena
62:Porto
582:ISBN
564:ISBN
398:and
357:the
198:Mars
178:Rome
161:for
51:Died
29:Born
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