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| Catarina de Bragança, infanta de Portugal, em 1660-1661, Dirk Stoop. Imagem: Alchetron |
Se Catarina, com este penteado inconveniente, pôde entusiasmar a admiração de Charles, poderia tê-la entusiasmado muito mais com a moda de pentear que mais tarde adoptou [...]
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A valiosa série de sete imagens de Stoop que representam a viagem de Catarina para Inglaterra são do maior auxílio e importância para nos dar uma visão exacta desses tempos e eventos. A partir delas, é possível ver com precisão todo o desenrolar do acontecimento [clique nas imagens para ampliar].
| A magnífica entrada do embaixador e almirante Montagu em Lisboa |
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| "O Magnifique Entrada do Ambassador e Admiral Montagu em Lixboa" and "The Entrance of the Lord Ambassador Mountague into the Citty of Lisbone the 28 day of March 1662" Dedication to Lord Montague in Latin in three lines in the lower margin: "... Dedicat Theodorus Stoop suae Matis. Regina Anglia Pictor" cf. British Museum Imagem: Rijksmuseum |
The ambassador rode with six horses and postillions. Heralds, mounted and trumpeting, preceded him. On either side of his coach marched an escort of gentlemen and pages on foot, their plumed hats in hand, and swords at their sides [...]
| Reais festas e arcos triumfais em Lisboa que se fizeram na partida da Sereníssima Dona Catarina rainha de Grã-Bretanha |
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| "The publique proceeding of the Queenes Matie. of Greate Britaine through ye Citty of Lisbone ye 20th day of Aprill 1662" and "Reais Festas e arcos triumfais Em Lixboa q. se Fuzerao no Partido da Serenssa. Donna Catarina Rainha de gram Bretanha" Numbers 1-8 indicating persons or places of the composition, explained in an English key in the left and right corner of the lower margin. Dedication to King Charles II in the centre of the lower margin in Latin: "... Carolo IIdo D.G. Magnae Britanniae Franciae et Hiberniae Regi.... consecrat. Theod. Stoop. 1662" cf. British Museum Imagem: Rijksmuseum |
On April 23 everything was ready for the departure, and the Royal Charles waited to receive Catherine on board. Poor Catherine had now to part from her mother, whom she dearly loved, and who from the day she was born had lavished on her affection and indulgence.
On this morning Catherine came from the apartments of the Queen Regent, closely followed by her two brothers, King Alphonzo and Dom Pedro. Behind them stepped, in a long and imposing procession, with all the dignity and solemnity of a Portuguese function, the grandees of the kingdom, the officers of the household, and the Court nobles [...]
| Vista de Lisboa e como a rainha da Grã-Bretanha embarcou para Inglaterra |
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| "The manner hon her Matie. Dona Catherina jmbarketh from Lisbon for England" and "Vista de Lixboa e cum o rainha da gran Bretan se Embarguo per Englaterra" Numbers 1-8 indicating persons or boats of the composition, explained in an English key in the left and right corner of the lower margin. Dedication to Francisco de Mello in the centre of the lower margin in three lines in Spanish: "... Francisc de Mello Conde da Ponte Marques de Sande.../ ... Dedicat V.C. Rodrigo Stoop" cf. British Museum Imagem: Rijksmuseum |
Directly the barge began to move deafening salutes of cannon burst out a new, and never ceased till Catherine came to the side of the Royal Charles, which had a complement of six hundred in her crew, and was a ship of eighty brass cannon.
Catherine was helped up the companion — which was one of special ease for her accommodation. As soon as she reached the deck of the Royal Charles a royal salute was fired by the fleet, and answered from the forts on shore, the guns firing alternately [...]
| O encontro com o duque de York no Canal entre a frota de Inglaterra |
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| "The Duke of York meeting with ye Royal Navy after it came into the Channel" and "O cheqado duque de Jorck no Cannal entro o Froto d'Englaterra" Numbers 1-16 indicating ships of the composition, explained in an English key in the left and right corner of the lower margin. Dedication to the Prince James Duke of York in the centre of the lower margin in three lines in English: "...This plate is humbly dedicated by his most obedient and humble servant Ro. Stoop" cf. British Museum Imagem: Rijksmuseum |
There was real danger now and then to the fleet, and the northwest wind blew with such violence that several of the ships suffered damage. This made it necessary to run for Mount's Bay, between the Lizard and the Land's End, to seek shelter till the wind should moderate enough to let them safely continue the voyage.
This was the first slice of her new territory that the bride-Queen of England saw. The people welcomed her with fireworks along the shore, and fired salvos of artillery. At last the Isle of Wight came into sight, and there the fleet dropped sail, for the Duke of York, her bridegroom's brother, was putting out from Portsmouth to meet and welcome her [...]
| Desembarque da rainha de Grã-Bretanha em Portsmouth, 25 de maio |
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| "The Maner of the Queenes Maties. Landing at Portsmouth" and "Dis Embarcasao de Rainha da Gran Bretan em Portsmuit 25 majo" Numbers 1-10 indicating ships of the composition, explained in an English key in the left and right corner of the lower margin. Dedication to the Prince James Duke of York in the centre of the lower margin in three lines in English: "...This plate is humbly dedicated by his most obedient and humble servant / Roderigo Stoop" cf. British Museum Imagem: Rijksmuseum |
It was a glorious day in May, the 14th, when the fleet was seen from the Portsmouth forts sailing up the Solent. Rather it was the combined fleets, for the Duke of York had added his as escort. The Royal Charles came into sight, all sails set, and the royal ensign streaming in the wind. Directly behind came the Duke of York's ship, bearing the standard with the second son's cognizance.
The Royal Charles cast anchor off Spithead, and the Duke of York was immediately at her side with his own handsome barge; but it was in the Montagues barge that Catherine started for the shore. They rowed to the Sally Port, while mobs of cheering and excited people crowded the bastions. The Countess of Penalva had to be left behind on board the Royal Charles^ as she was ill of a fever, and had to be bled several times before she could be brought ashore [...]
| A chegada de Portsmouth a Hampton Court |
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| "The Comming of ye King's Matie. and ye Queenes from Portsmouth to Hampton Court" and "Passage du Roi de gran Bretanha Carolo II e o Rainha Dona Catarina de Portsmuit per a Hamton court" cf. British Museum Imagem: Rijksmuseum |
After the long, hot, dusty journey in a lumbering, jolting coach, she must have been thankful to see her own rooms before her, and to rest from her fatigues. The general impression she made was very favourable.
Pepys relates that the people said of her that "she was a very fine and handsome lady, and very discreet, and that the King was pleased enough with her." [...]
| Entrada publica.... na cidade de Londres e como foi magnificamente recebida pela nobreza e povo desta cidade, 2 de setembro de 1662 |
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| "The triumphal entertainment of ye King and Queenes Maties. / by ye Right honble. ye Lord Mayor and Cittizens of London. / at their Coming from Hampton Court to Whitehall (on ye River of Thames) / Aug ye 32 1662" and "Entrada publica .... 2 de sept 1662" Dedication to John Frederick the Lord Mayor of the City of London in the lower margin in two lines in English: "...This plate is humbly dedicated by his most obedient and humble servant Rod. Stoop" cf. British Museum Imagem: Rijksmuseum |
The shores of the river were lined with soldiery, and mobs of eager people pressed on each other to see the sight. When they came within eight miles of London they had to alight from their barges, and reembark in others, so much larger that they could not come further up the river.
This inconvenient change of barge might have been considered sufficient. The second barge had glass windows and a crimson and gold canopy. But at Putney there was another disembarkation, and at last the Royalties were in the state barge, prepared for the entry.
Four-and-twenty watermen rowed her. They were in red from head to foot. On the barge's sides and bow were the royal arms, and the canopy of gold brocade flashed back the sunshine to the gilding within and without. The canopy had plumes of feathers at the corners and top.
In Stoop's plates Catherine is shown sitting beneath it, and delightedly watching the procession of boats. She is pictured as very slight, very girlish — almost infantile — and very sweet. She looks animated and happy. She had forgotten for a while her tears [...] (1)
(1) Lillias Campbell Davidson, Catherine of Bragança..., London, John Murray, 1908
Mais informação:
Rijksmuseum
British Museum
Catherine of Braganza, the portuguese queen of England, Gresham lecture by professor Thomas Earle
D. Catarina de Bragança, triste vida a das princesas
Leitura relacionada:
Júlio Dantas, Cartas de Londres, Lisboa, Arthur Brandão & C.a
Referências:
Samuel Hinde [S.H.], Iter Lvsitanicvm, or, The Portugal Voyage: with what memorable passages interveen'd at the shipping, and in the transportation of her Most Sacred Majesty Katharine, Queen of Britain, from Lisbon, to England: exactly observed by him that was eye-witnesss of the same (London: 1662; repr. Edinburgh, 1662), accessed as an electronic resource at Early English Books Online, Henry E. Huntington Library copy (Wing: 603:08).
The poem does not extend to coverage of the waterborne pageant on the Thames.
A book of a similar name by Lilian Campbell Davidson, Iter Lusitania was published in London by John Murray in 1908.
It draws together a narrative of Catherine's journey and arrival in England, drawing on a range of documents but presented rather more in the form of an historical novel than an analytical account.
It does offer a description of the water pageant in chapter VII.
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