Social-Historical Analysis of the Reconstruction Era (1870)

Portugal had just emerged from the rule of the Prime Minister Marquês de Pombal, who was dismissed by her royal highness Maria I, and a period of ascension of the nobility to the detriment of the bourgeoisie began.
It meant that the buildings of the day would be of large dimensions to demonstrate a socially powerful and wealthy state.

With the earthquake of November 1, 1755, most of the existing buildings in Lisbon had been destroyed. In the face of the catastrophe, the Prime Minister Marques de Pombal, with the support of the Risco studio, developed a construction system that responded to the eminent needs at the time. Speed, lightness of structure and resistance to future earthquakes.
This system was used for a long time, until the arrival of concrete and iron structures.

By the time the “Quinta dos Álamos” palace was rebuilt, the influences of the Nordic courts were implemented in Portuguese high society. One can see the similarities present in palaces from the same period in different countries where absolutist power was a reality.
Neoclassical in style and imperial in size, it denotes an austerity and grandeur typical of a clear demonstration of power.

Frederico Tavares Bonacho, who ordered the reconstruction of the Palace, was a very coherent person with refined taste, brother-in-law of Manuel dos Anjos, who was a decorator at Queen Maria’s court and had access to the most refined trends of the time. For this reason, similar characteristics are found to palaces such as Queluz Palace, dating from the same period.

Frederico Bonacho dos Anjos, his nephew and heir to Quinta dos Álamos (13.01.1877 – 03.1947), characterized as a farmer and artist.
He dedicated part of his life to the study and development of the technique of photography and bromide development.
His social sensitivity, together with his technical development, made him stand out in the different events in which he participated.
For his research work he created his studio in the back of the house, where he controlled the natural light through curtains and translucent glass in the windows, where the pool area is now. To develop the photographs, he created a couple of darkrooms on the first floor outside the entrance door.
In the attic waters we can observe a composition of the roof waters, different from the rest of the roof structure, it is supposed to be prepared to go up one more floor, or to put a glass roof, like his friend and master, Carlos Relvas, had done in his studio house, in the same Golegã village.