Queiroz. Round the walls are a thousand blue and white azulejos representing pictorially a unique and interesting panorama of Lisbon before the earthquake.
Malhõa's well-known name in Portuguese art is represented in the first gallery of paintings by the great picture of the last moments of the Marquis de Pombal surrounded by his family. A painting of Santo Antonio, by Columbano deserves attention. This is an artist whose portraits are esteemed for their vigorous, and at the same time sympathetic, treatment. Of the work of Domingos Sequeira who lived from 1761 to 1837 there are several interesting, good specimens. The Flagellation of Christ, a small picture, slight in treatment but delicate and artistic, is full of movement. Two others by the same artist merit notice, a large canvas painted in Rome 1824, representing the Casa Pia allegorically; and another named The Promulgation of the Constitution, which not only displays good dramatic action in the figures, but a Turneresque feeling for effect and colour in the scheme of tender pinks and blues. There is a St Jerome (Jeromymos), attributed to Albrecht Dürer, but the dark, Moorish head with its silky, waved beard, the black cap and rich crimson coat suggest rather a Spanish painter or one of the primitive Portuguese school. In the Dutch school of painting a little portrait of Vasco da Gama, and a picture of the Calvario strike attention. Pedro Alexandrino, whose name soon becomes familiar in going through the churches is represented, and Viera Lusitano; also Morgado of Setubal noted for his pictures of still life—realistic studies of birds, fish, fruit, vegetables—particularly esteemed by the ordinary Portuguese visitor to picture galleries.
As a collection it is difficult to describe and still more to criticize these paintings of the Museu das Janellas Verdes,
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