SURVIVING THE LAST DAY OF THE UNIVERSE.
RETHINKING, REBUILDINGAND RELIVING IN LISBON
AFTER THE EARTHQUAKE OF 1755
JAPANWORLD TSUNAMI MUSEUM CONFERENCE OCTOBER 2017
LISBOALISBON
1 DE NOVEMBRO DE 1755 NOVEMBER
1Surviving the last day of the Universe .
Rethinking, rebuilding and reliving in Lisbon a�er the earthquake of 1755
That horror of that day, is not for those who only read about it
Le�er from a Portuguese friar to his brother, in Goa, 1756
Introduc�on. Earth, water and fire: the fury of the elements
When the French philosopher Voltaire (1694-1778) heard about the Lisbon
earthquake of 1755, he wrote a poem that would mark a boundary between divine
providen�alism which legi�mised the eventual injus�ces of theodicy and
enlightenment which sought to explain ra�onally the death of thousands of
ordinary people who, being innocent, could not of course raise such a
dispropor�onate wrath of God. Voltaire's long text also launched, in a certain sense,
a global way of thinking: Lisbon was in ruins and they danced in Paris, as the poem
says. The statement is sarcas�c, as Voltaire implicitly cri�cised the aliena�on of his
compatriots regarding a catastrophe that, in such an arbitrary manner, could have
taken place anywhere on Earth.
1No�cia do Terramoto de 1755 (News of the 1755 Earthquake), manuscript of an Italian Capuchin friar (ed. Barata, et alli, 1989: 325-326).
1
Voltaire portrait by Nicolas de Largilliére,c.1724public domain
Tsunami caused by the earthquake of 1755. Engraving. Unknown loca�on
Voltaire's words illustrate the interna�onal repercussions of the
earthquake which struck Lisbon. In Portugal, the wri�ngs on the catastrophe were
much more numerous, the authors confron�ng it with the impossibility of
describing, in words, the magnitude of that earthquake and the sheer speed with
which Lisbon became ruins. The number of tes�monies, although not coincidental
among themselves, cons�tutes an informa�onal source that allows us to
reconstruct, in general terms, the succession of occurrences on that first day of
November in the year 1755, All Saints' Day.
The day would break sunny and calm. Around 9.40 a.m. the earthquake
struck; its beginning was compared to the passing of a carriage, which quickly
became a "formidable Trembling" that lasted 7 to 8 minutes. The a�ershocks, more
than 60, were felt up to the a�ernoon and the phenomenon was accompanied by
two other catastrophes: before 11 a.m., about half an hour a�er the first impact, the
city was swept by a tsunami with at least five waves, and by that �me there were
Model of Lisboa before the earthquake of 175520th century
Museum of Lisbon
several fires that consumed considerable parts of Lisbon; the fire burnt for four days,
although other sources admit that it con�nued uninterruptedly for six days. The
earthquake had an es�mated magnitude of 8.7 on the Richter scale and would have
reached grade 9 at the riverside.
It is impossible to know exactly how many people died, but it is es�mated
that the number was between 20,000 and 40,000 people
on that day and during the following days, in a city of some
250,000 inhabitants at the �me. Only 8 nobles perished
due to the fact that the Court had not yet returned to
Lisbon. Around six months later, the Priest Pereira de
Figueiredo wrote that, since that first day of November
1755, Lisbon had experienced over 250 small earthquakes.
Lisbon's triple catastrophe, which destroyed two-
thirds of the city's dwellings, also captured the a�en�on of
many ar�sts. The physiognomy of the Portuguese capital
was known in engravings which circulated around Europe
and it was from these that some designers, who had never
been to Lisbon, portrayed the phenomenon of what had
happened. Most of the views of the earthquake show a city
of hills, with buildings composed of tall towers distributed
here and there to the le� or to the right, a detail that coincides with the stories that
suggested that parts of the city had been shaken from west to east (from S. Roque to
the Castle) and others from north to south (from Terreiro do Paço to Rossio).
The river, riotous, reaches the banks and the whole central zone is
consumed by fire, while some inhabitants seem to run through the riverside
squares, with open arms, not knowing exactly what to do besides ge�ng away.
Other prints show the a�empt to escape in small boats, an op�on which
condemned many to being shipwrecked, succumbing beneath the waves of the
tsunami.
3
Fire destroying the Hospital of All Saints
th 19 centuryMuseum of Lisbon
Lisbon before and during the earthquake of 1755According to a german engraver of Augsburg, a�er 1755, Museum of Lisbon
Some prints intended to be more rigorous. In this group are the six works of
Jacques Philippe le Bas (1707-1783), engraver of
the French court who drew up a set of six views
from inverted drawings by Miguel Tibério
Penegache (1730? -1794), sent from Lisbon to
Paris. Although less exaggerated than other views
of the city in ruins, the works of Le Bas also include
fanciful elements designed to reinforce the
desola�on caused by the earthquake, as can be
seen in the representa�on of the cathedral (where
it is known that the Cross tower and the South
tower of the façade both fell, but there was no
generalised destruc�on of the building). The other
engravings seem more reliable, especially that of
the Tagus Opera House, a luxurious and Italianised
theatre inaugurated on March 31, 1755 and
devastated by the earthquake, having retained
only the side walls, which curiously s�ll exist,
The Cathedral of Lisbon and the Ópera House, a�er the earthquake of 1755Jacques Philippe le Bas, a�er a drawing of Miguel Tibério
Penegache c. 1755 Museum of Lisbon
Aardbeeving te Lissabon in den Jaare 1755. Dutch engraving. Museum of Lisbon
integrated in the reconstruc�on of the western block of Praça do Comércio. In the
Tagus Opera House, for the night of the first of November 1755, was scheduled the
premiere of the piece The Destruc�on of Troy ...
2«Bury the dead; care for the living; close the ports» . The response to the
catastrophe by the Prime Minister of King D. José
On the day when the earthquake took place, Sebas�ão José de Carvalho e
Melo (1714-1777), prime minister of the King D. José (1714-1777)
and the future Marquis of Pombal, launched the works for the
rebuilding of Lisbon. If the earthquake had le� Lisbon shrouded in
chaos, the swi� and energe�c ac�on of the minister revealed the
full extent of State authority within the reach of the leaders of the
Old Regime in the behavioural regula�on of the inhabitants, in
carrying out the many tasks of the city's rebuilding and even in the
area of interna�onal economic rela�ons.
It was the lot of this statesman to perform what was
already classified as the "normalisa�on of chaos", as he began his
rise to the posi�on of Secretary of State of the Kingdom in these
"days of distress". A�er crea�ng a command structure, where
some ministers and nobles of the trust of Sebas�ão José de
Carvalho e Melo were involved in the planning process, the
priority was to bury the dead. In the absence of a large enough cemetery, or even of
cemeteries belonging to the parish churches (some of them also destroyed), the
op�on was to cast many of the dead to the sea and, in the work of clearing the
buildings - an ac�vity that became a profession in the days that followed the
earthquake - the decaying bodies that were found were covered with tar, to avoid
contamina�on of the air and the spread of diseases.
In the area of regula�on, King José's minister fixed prices, wages and
incomes at the level of those prac�sed on the eve of the earthquake, to control
2This sentence was a�ributed to Pedro de Almeida Portugal, 1st Marquis of Alorna, when he was ques�oned by the King, D. José, on what should be done regarding the calamity which had assailed. 5
Portrait of the Marquis de Pombal
thJoana do Salitre, 18centuryMuseum of Lisbon
Lisbon a�er the Earhquake of 1755, according to a german engraver of Augsburga�er 1755Museum of Lisbon
specula�on, concentrated the sale and distribu�on of supplies in the army and
senate of the Chamber, ordered the policing of the port and the entrances to Lisbon
to prevent the escape of any thieves, and was relentless with criminals, which is why
some engravings show the hanging of men convicted of the�, among the ruins,
among the homeless and among those working. Even in a chao�c se�ng, it was
impera�ve that the law should prevail. Finally, a customs duty of 4% was imposed
on all goods imported a�er 1756 to help finance the reconstruc�on of Lisbon.
Reconstruc�on: a new (idea of the) city
Lisbon fell in on Lisbon. And I do not know if it fell in on itself
Francisco de Pina e Mello, 1756
Undoubtedly, the reconstruc�on of the city was the main mission of
Sebas�ão José de Carvalho e Melo. In 1763, eight years a�er the earthquake, Lisbon
remained prac�cally in ruins. A drawing by Bernardo de Caula reveals that the
central riverside area was clear of debris, which appeared to form landfills towards
the river, but most of the buildings remained par�ally destroyed and large areas of
the interior were s�ll unoccupied. What Caula does not seem to have represented
were the more than 9,000 shacks that were built in the months following the
earthquake, especially in the western and northern areas. Only the Real Barraca
Lisbon. However, the sentence characterises more objec�vely the ac�ons of the future Marquis of Pombal.
Terreiro do Paço in 1763. Bernardo de Caula, Na�onal Library of Portugal
7
Topographic Plan of Lisbon with the rebuilding project. 1758. Captain Eugénio dos Santos
Museum of Lisbon
(Royal Hut), named Royal Palace of Ajuda, is iden�fied, but in the first decades a�er
the earthquake, the housing situa�on in Lisbon favoured construc�on in wood.
Some wooden huts had chapels, others, imported from Holland, had two
floors, and others were luxuriously decorated, in the manner of ancient noble
palaces. In 1766, a foreigner who passed through Lisbon observed that the huts
arrived prefabricated and could be put up in just one day.
The rebuilding plan began on November 29, 1755, when the future Marquis
ordered the measurement of squares, streets and houses that had been destroyed.
By December of that year, the areas to be des�ned for building had already been
defined. The Catholic Church joined this process only in August 1756, channeling
one-third of the incomes of the parish churches of Lisbon. At that �me, the plan of
the team led by Manuel da Maia had already been approved. The military engineer
had presented a preliminary project as early as December 4, 1755, which included 5
alterna�ves for the rebuilding of the city.
The op�on was to rebuild the lower part of Lisbon, according to an
ambi�ous program that provided for the total destruc�on of any pre-exis�ng
structures. New streets were organised according to a rigid orthogonal mesh, which
did not have diagonal paths, and new commercial buildings, iden�cal to each other
and which also had to observe a strict "symmetry in doors, windows and heights",
according to drawings made by the captain Eugénio dos Santos, at the �me
architect of the Senate of the Chamber of Lisbon. The projects of the la�er were
delivered in April 1756 and are based on values that imposed a change in the
architecture of the city, as they privileged the u�litarianism of buildings and a
repe��ve construc�ve module, later cri�cised for its aesthe�c monotony ...
Despite the radical nature of the plan, two pre-exis�ng structures
remained: the most important squares of the old city - Terreiro do Paço, in the
south, where it was already known that the royal family would not live again; and
Rossio to the north, where it was also known that its main monument, the Royal
Hospital of All Saints, was not to be rebuilt. Between these squares, unlike the single
street which connected them, as there was previously (Rua Nova de El-Rei), there
were now three streets and the main public buildings were organized according to
the hierarchy provided by the two squares.
Symptoma�cally, the technical staff in charge of equipping the Downtown
area of Lisbon with a new landscape was composed of military engineers and not by
architects. The future Marquis of Pombal had chosen the men of the For�fica�on
Class, not those of the Class of Civil Architecture from the Palace, he chose those
who had built the Aqueduct of the Águas Livres and not those who had built the
Na�onal Palace of Mafra (two of the most emblema�c works of the �me of D. João V
and which resisted the earthquake, although the intensity of the earthquake in
Mafra cannot be compared to that registered in Lisbon). With this op�on, the
engineering solu�ons were favoured, to the detriment of a purely architectural
vein. Speed, safety and ra�onalisa�on of methods and resources were also given
preference. The country was faced with a problem and it was necessary to act
swi�ly, simply and efficiently, values that the Portuguese school of military
engineering was accustomed to pursuing.
Manuel da Maia (1677-1768) was the true ideologue of the reconstruc�on
process. Graduated from the Class of For�fica�on, he took an ac�ve role in the last
fortresses of the "restora�on", like Estremoz
and Elvas. In 1718 he made a survey of Lisbon,
and in 1731 he made comments on the Águas
Livres aqueduct program, which was already in
development under his guidance. Despite
having a career fragmented by the calling to
several military posi�ons, he was appointed
chief engineer of the kingdom in 1754, close to
comple�ng 80 years of age, a posi�on in which
the earthquake found him.
Un�l April 1756, Maia presented the Disserta�on on the renewal of the city
of Lisbon cons�tuted by three parts, in which the evolu�on of the various proposals
for the rebuilding of the city was shaped. Assuming urban planning as a prime value,
superimposed on architectural or aesthe�c issues, the work coordinated by this
military engineer was intended to simplify the reconstruc�on process before it
became complex, which is why he was concerned with understanding how the
former landowners could be reimbursed in the new plan. In addi�on, he worked
quickly, recommending that the buildings should not exceed the width of the
streets in height and also taking into considera�on a sewage system under the roads
and even private water pipes for the buildings, but advising against the existence of
pavements, because they made the work more expensive and land would have to
be removed from the owners.
The project approved was Nr. 5, signed by Eugénio dos Santos (1711-1760),
with minor correc�ons and changes. The right arm of Maia, who he accompanied in
several for�fica�on works, Santos not only signed the "winning" project, but also
9
Architect Manuel da MaiaMãe d’ Água
AmoreirasMuseum of Water
Project for new buildings in Downtown Lisbon by Eugénio dos Santos and reconstruc�on model of behaviour in case of earthquake, Museum of Lisbon
designed the façades of the buildings in the Downtown area, the authorship of the
whole reconstruc�on program, and the engineering solu�on known as the
Pombaline cage, which was also a brainchild of his, although the most consensual
opinion a�ributes this "inven�on" to Carlos Mardel.
The Pombaline cage was an empirical solu�on found to provide mul�-
storey buildings with sufficient elas�city to withstand earthquakes, or to delay their
impact. This system was already prac�sed in some of Lisbon's buildings, usually
located on steep slopes, but it gained importance and uniformity in the
reconstruc�on of the city. It is a wooden structure which, embedded in masonry
walls, can detach itself from these in the event of a strong jolt, but remaining intact.
For this reason, the first builders to be called were the carpenters, who built the
cage, and only later did the masons begin their work.
This system was not built on stone
founda�ons, because the military engineers also
introduced innova�ons in this area. The various
levels of rubble were to be drilled by thick, deep
wooden stakes on which the cage was erected, thus
making the building and founda�ons a whole unit.
The stakes, formed by bars of pine, which was s�ll
green, from which the resin was not extracted,
Pombaline Founda�ons in the area of the Money Museum and reconstruc�on model of the founda�ons
Model of Pombaline cage. Ins�tuto Superior Técnico
should cohabit with the water, since a substan�al part of the downtown area of the
city occupied the river-bed and the banks of the old Tagus estuary. This type of
founda�on had other advantages: it allowed the conserva�on of wood inside water,
it prevented the founda�ons from burning and also, an aspect which was li�le
appreciated by those who wrote on the subject, provided a great stability for the
buildings, laying their founda�ons well below the ever more unstable landfill levels.
The buildings also had a restraining wall above the roof, a kind of firebox designed to
delay the spread of possible fires.
Shortly a�er the death of Eugénio dos Santos,
it was necessary to carry out new measurements and
readjustments, a process that was led by Carlos Mardel
(1696-1763), a successor of Santos as architect of the
Senate of the Chamber. Although he was a military
graduate and had had a career in the Portuguese
military engineering area, Mardel was a full-fledged
architect and had completed the final stretch of the
Aqueduto das Águas-Livres (the Aqueduct), including
the Mãe d'Água das Amoreiras and the Arco de Triunfo
(Triumphal Arch) in Rua das Amoreiras . These
terminals of the immense water supply system to the
capital bore witness to his crea�ve genius but also the
convic�on of hia ideas, since Mardel had to fight to
implant the Mãe d'Água in Amoreiras, in a high zone
and of easy access to Príncipe Real, in detriment to its
ini�ally designed deployment, in the lower and
peripheral area of the city. He also designed the main set of fountains that were to
become some of Lisbon's highlights. The connec�on to the future Marquis of Pombal
also bore an influence on Mardel's decision to design the Marquis' palace in Oeiras
and the architect was also involved in the crea�on of the Rato Porcelain Factory,
another emblema�c project of the Marquis, implemented in the brand new
Industrial District of Águas Livres. Based on this biographical data, it came as no
surprise that Mardel contributed to the reconstruc�on of Lisbon, in the course of the
works from 1760 un�l his death; examples of his contribu�on to the rebuilt city are
the most dynamic profile of the roofs of the Rossio buildings, which contrast with the
repe��on and s�ffness of the façades designed by Eugénio dos Santos, or a drawing
for the Triumphal Arch of Rua Augusta, which symbolically crowned the most
important street that linked Terreiro do Paço (renamed Praça do Comércio, or
Commerce Square) to Rossio. And it was also by the hand of Mardel that the
reconstruc�on of Lisbon was opened to the architects trained in Mafra, for Reinaldo
11
Portrait of Carlos Mardel c. 1760, unknown author
Manuel dos Santos (1731-1791) succeeded him;
he was already at the head of Lisbon's main
religious enterprise at the �me: the Basilica
(Basilica da Estrela). The last director of the works
was Honorato José Correia de Macedo e Sá, who
was responsible for the office of Águas Livres
(1799) and the Plan for the Rebuilding of the City
(1807).
The Memory of the Earthquake.
Past and present in the life of the city
On the twel�h of May 1758, the law of the
reconstruc�on of Lisbon was published, which
provided a period of five years to finish the
project. The period of the greatest intensity of
works was, however, the 1780s, when the country
experienced a more favourable situa�on. But in
1802, state support for reconstruc�on ceased,
and that responsibility was le� exclusively to
private hands. This decision paved the way for the
programma�c and architectural diversity of the
buildings, which did not follow the formal rigidity
of the Pombaline programme. The city gained
something in a variety of shapes and colours, but
it lost the rigour of the construc�ve method and
the pombaline cage gave way to a simplified and
misleading form known as "gaioleiro", a system that dispensed with some elements
of horizontal solidarity on the structural or master walls and which was generically
con�nued in the buildings of the first half of the twen�eth century.
By this �me, the Chiado area had not yet been subjected to the rebuilding
programme, and it was here that the nineteenth century le� more marks, especially
along the axis formed by Rua da Misericórdia and Rua D. Pedro V, where a recent
inventory managed to iden�fy only three buildings that were not affected by works
in the nineteenth century. In 1802, Terreiro do Paço itself was not finished, although
the equestrian statue of D. José, designed in 1759 by Eugénio dos Santos, was finally
inaugurated in 1775.
Rossio Square nowadays, showing the bulldings of Carlos Mardel on the right
Project for the Triunphal Arch of Rua Augusta. Carlos MardelMuseum of Lisbon
Model of «Gaioleiro», a misleading form of the Pombaline cage Museu do Regimento de Bombeiros
As for the triumphal arch of Rua Augusta, the process was even more drawn
out. In 1815 only the support columns were placed and the bid for finishing the work
took place only in 1843. The works of the winning proposal only began a�er 1862
and the project was to be inaugurated in 1875, more than a century a�er the
reconstruc�on plan was approved. With a sculptural program by Vítor Bastos and
Céles�n Anatole Calmels, it is an ultra-roman�c performance on a Pombaline basis.
The Marquis of Pombal was not forgo�en in this roman�c period of �me, as he is
represented in the Triumphal Arch, alongside "heroes" of classical history and the
glorious past of Portugal (Viriatus, Nuno Álvares Pereira and Vasco da Gama). And,
shortly a�erwards (1881-83), the City Council commissioned the painter Miguel
Ângelo Lupi to perform a monumental pain�ng that glorified the role of the Marquis
in the reconstruc�on of the city.
13
Triunphal Arch of Rua Augusta nowadays, showing a Statue of Marquis de Pombal.
th19 century
The Marquis of Pombal and collaboratorsexamining the plans for rebuilding Lisbon
Miguel Ângelo Lupi, 1881 - 1884Museum of Lisbon
15
In this second half of the
nineteenth century, the fashion of
placing registers of saints on the
front doors of the houses had
already become widespread, thus
invi�ng the protec�ve saints of each
individual, family, professional
corpora�on or community to
protect those who lived there. In
fact, this devo�onal prac�ce started
as far back as the seventeenth
century, not only in Lisbon, but gained prominence a�er the earthquake, the
popula�on being affected by a generalised psychosis which feared the repe��on of
such a catastrophe.
The Portuguese capital never again experienced an earthquake like that of
1755. For many, the memory of the great earthquake in Lisbon is a distant historical
fact, shelved in the chronological records of the city and revisited conceptually in
the museological discourse and academic exercises of urban planning. But the
earthquake is more present in the daily life of the city than one might think. In the
cloister of the Cathedral of Lisbon, the south wing was consumed by the ensuing
fire, ruining all the chapels and even fracturing the vaults. This area has not been
rebuilt and the reddish stone that s�ll remains, illustrates the violence of the fire
that struck it. Across the hill on the other side, the former Convent of Carmo also
shows the scars of the earthquake. Converted into the Archaeological Museum of
Carmo, on entering one of the largest Gothic churches in Portugal, the visitor
discovers that the dome, destroyed in the earthquake, has not been rebuilt. Shortly
Cloister of the Cathedral of Lisbon nowadays Aisles of the Convent Church of Carmo nowadays
Tile panel represen�ng the Holy Family, Saint Marçal, Saint Bárbara and Saint Emídio.Museum of Lisbon
a�er 1755, the Carmelites began the rebuilding of the church, with a pioneering
neo-Gothic project which provided for a greater height of the naves, but financial
and opera�onal difficul�es interrupted the undertaking. The Roman�cism
movement dictated that it would remain as a feigned ruin and guaranteed for the
city of Lisbon an everlas�ng memory of the impact of the earthquake, now
shrouded in the charm of an eclec�c museum, a hanging garden in the heart of
Lisbon.
Archeology has been a fer�le field for understanding the consequences of
the earthquake and the extensive urban renewal that followed it. In Terreiro do
Paço, excava�ons carried out in 2009 discovered the surface level of that square
(Comércio) before the earthquake. The ground had been surfaced with pebbles
from the river, as was customary in the paving of the city before and a�er 1755, but
the main feature was that it was about 4 metres deep. This a�ests how deep the
landfill was in the main square of Lisbon in the decades that followed the
earthquake. Another elucida�ve example was discovered in the Money Museum (in
the vicinity of the destroyed patriarchal chapel). The excava�ons carried out since
Wooden stake system found in the area of Money Museum
Sta�graphic model of Terreiro do PaçoExcava�on 2009
2008 have revealed a par�cularly homogeneous and well-preserved core of
Pombaline staking, which was the main point of interest of the temporary exhibi�on
named (Re)Founda�ons of Lisbon. The ini�a�ve, which was complemented by a
series of lectures on the 260th anniversary of the earthquake, provided a direct
insight into how the buildings of Baixa de Lisboa (the Downtown area) were
constructed as well as the current state of conserva�on of a system that has
remained ac�ve for over two centuries.
Other ini�a�ves have shown the importance of the 1755 earthquake
mainly for tourists, as is the case of the Lisbon Story Centre, a space symptoma�cally
located in Terreiro do Paço and which appeals to a sensorial experience related to
the earthquake.
� It is, however, the Museum of Lisbon which exhibits the most important
collec�on on the catastrophe of 1755 and the rebuilding processes of the city. As a
moment of rupture, the terminal of an urban dynamics inherited from the Middle
Ages and founder of a new idea of the city, the theme is periodically revisited by the
Museum of Lisbon, not only in its permanent collec�on (which focuses par�cularly
on the panorama of the city before, during and a�er the earthquake), but also in
temporary exhibi�ons, the last of which was held between November 2015 and
March 2016. En�tled “When Lisbon Shakes, from 1755 to the Resilient City”, it was
the result of a partnership among several organic units of the Lisbon City Hall
17
WHEN LISBON TREMBLES. Temporary exhibi�on, 2016 - 2017, Museu of Lisbon
(Lisbon Museum, Civil Protec�on and Regiment of Firefighters), the Dom Luiz
Ins�tute of the Faculty of Sciences of the University of Lisbon, Ins�tuto Superior
Técnico (Technical University of Lisbon) and the Portuguese Ins�tute of the Sea and
Atmosphere. Equipped with a strong didac�c content, it allowed visitors to interact
with earthquake-genera�ng simula�ons, to witness the behaviour of "oscilla�ng
buildings", to play on online pla�orms and learn how to act in the event of an
earthquake. This ini�a�ve aimed, above all, to contribute to the specific training of
Lisbon's popula�on, which was not sensi�sed to (or was even totally alienated
against) the city's seismic situa�on. Because, a�er all, the great Lisbon earthquake
was already/only 262 years ago, too long on the ordinary human scale, but a just
second ago in the history of the planet.
WHEN LISBON TREMBLES. Temporary exhibi�on, 2016 - 2017, Museu of Lisbon
Text Paulo Almeida Fernandes Collabora�on Rita Fragoso de Almeida José Avelar Graphic project Paula Serpa Transla�on Timothy Hinchey