#: locale=en
## Action
### URL
PopupWebFrameBehaviour_31998AEF_0630_1748_4197_95220303F8DA.url = /mnt-en/ficha_tecnica/ficha_tecnica.html
PopupWebFrameBehaviour_3EE4314D_0650_7280_417E_D0A674B90874.url = /mnt-en/ficha_tecnica/ficha_tecnica.html
## Hotspot
### Text
HotspotPanoramaOverlayTextImage_6A74744C_79B8_A9DA_41C7_3818B11A9BA1.text = MUSEUM
HotspotPanoramaOverlayTextImage_D3ADE03A_F87C_B48E_41E9_F4F9E800B929.text = MUSEUM
### Tooltip
FlatHotspotPanoramaOverlayArea_BFA14793_BE17_1068_41E0_D015EC717FFF.toolTip = Véstia de criança
## Media
### Description
photo_8B614A48_02C5_1A30_416F_88D3DBA901B4.description = Auracária, 1976. Arquivo do MNT.
photo_8B614A48_02C5_1A30_416F_88D3DBA901B4.description = Auracária, 1976. Arquivo do MNT.
album_926E990A_02C7_2687_4111_7A5F151E94F0_0.description = Escadaria, 1976. Arquivo do MNT.
album_19C41AD5_0272_9820_4175_81CAC634513C_0.description = Escultura, estado inicial, 1976. Arquivo do MNT.
album_4C63BB37_025B_7B50_4134_39F5807D6FA0_0.description = Fonte, estado inicial, 1976. Arquivo do MNT.
album_6CB2D64D_02C5_6A0F_4173_C26A17D5AD02_0.description = Lago, estado inicial, 1976. Arquivo do MNT.
album_317BC097_03C5_E44F_4160_AF06FA7F52FF_0.description = Morcego-de-peluche. Arquivo do MNT.
album_19E7ABA8_0276_F861_4180_E80221BD52AE_0.description = Parque, estado inicial, 1976. Arquivo do MNT.
album_37B3E1EE_03C7_677F_416B_6191D9F3F11C_0.description = Restaurante, estado inicial, 1976.
Arquivo do MNT.
### Floorplan
### Image
imlevel_5F73B68B_D513_901A_41CA_CD4959B9E931.url = media/map_4CA297EC_5984_9145_41A5_CB89116447F2_en_0.png
imlevel_5F73868B_D513_901A_41DE_0E9915304642.url = media/map_4CA297EC_5984_9145_41A5_CB89116447F2_en_1.png
imlevel_5F73E68B_D513_901A_41DC_CE49DA426A11.url = media/map_4CA297EC_5984_9145_41A5_CB89116447F2_en_2.png
imlevel_5F73C68C_D513_901E_419D_395054BB7030.url = media/map_4CA297EC_5984_9145_41A5_CB89116447F2_en_3.png
imlevel_5F73268C_D513_901E_41DA_1437775CC2B6.url = media/map_4CA297EC_5984_9145_41A5_CB89116447F2_en_4.png
imlevel_5F2E0B2E_D513_901A_41E6_E9B8ECDFD62C.url = media/map_4D4C8234_5985_72C6_41A1_DFAE3A1BD3A4_en_0.png
imlevel_5F2E7B2E_D513_901A_41E6_368920329893.url = media/map_4D4C8234_5985_72C6_41A1_DFAE3A1BD3A4_en_1.png
imlevel_5F2E4B2E_D513_901A_41E2_F4F16457506F.url = media/map_4D4C8234_5985_72C6_41A1_DFAE3A1BD3A4_en_2.png
imlevel_5F2E5B2F_D513_901A_41E8_4836BB131BC6.url = media/map_4D4C8234_5985_72C6_41A1_DFAE3A1BD3A4_en_3.png
imlevel_5F5F1B30_D513_9006_41BF_CE11E3306D29.url = media/map_4D4C8234_5985_72C6_41A1_DFAE3A1BD3A4_en_4.png
imlevel_59532502_D536_B1F4_41E9_4157D599D0F3.url = media/panorama_F0A2B480_E356_59A3_41E9_F6E8FF84B548_HS_rtarqtaj_en.png
imlevel_593F3552_D536_B014_41B6_C74A4DDF167F.url = media/panorama_F65B8B65_E356_2F6D_41D1_FCB0DF1AAEC5_HS_7cmuw622_en.png
### Subtitle
panorama_D1AAFF84_E37E_265B_41B6_91301489921E.subtitle = Arch Room
panorama_CE727FCD_E376_25F1_41B1_5D96A5629C0A.subtitle = Arch Room
panorama_CE5422C2_E34A_5FC0_41D7_B3C760927E20.subtitle = Arch Room 1930-1950
panorama_CE67E72E_E37A_66BD_41D2_C43DD735FB27.subtitle = Arch Room 1930-1950
panorama_CEA847AE_E37A_25BA_41DB_7B867420B82F.subtitle = Arch Room 1930-1950
panorama_CE41B4DE_E37E_3BE5_41E9_7B0289316552.subtitle = Arch Room 1930-1950
panorama_D6DDB635_E376_2698_41EB_FB4CF5A2C3BD.subtitle = Arch Room 1960-1970
panorama_CE8A96DB_E375_E788_41E0_1E0EF13036A8.subtitle = Arch Room 1960-1970
panorama_CE9F2C50_E34E_6A84_41E4_2B4FCD87765F.subtitle = Arch Room 1980-1990
panorama_CE379A44_E34A_2E91_41A0_D17D4505E73C.subtitle = Arch Room 1980-1990
panorama_CE838904_E34A_6A91_41C5_D5F5C7B66401.subtitle = Arch Room 1980-1990
panorama_D2E04B67_E34E_2E8C_41E6_3EEE617470D3.subtitle = Arch Room 1980-2020
panorama_CEB3BAEC_E34E_2F9E_41D8_EDD4D7969A51.subtitle = Arch Room 2000-2020
panorama_CE63103B_E34A_3AF5_41E2_F46562944142.subtitle = Arch Room 2000-2020
panorama_CFE4DFB3_E3BA_262B_41C1_409CD3D8253C.subtitle = Cantonal Room – Empire Style
panorama_CFE554C4_E3BB_DA6D_41CE_01D737528E24.subtitle = Cantonal Room – Empire Style
panorama_CF950255_E3BA_DE6C_41E0_F15CD4CB4DF7.subtitle = Cantonal Room – Empire Style
panorama_CF057C31_E3BA_6A24_41E7_48B84632EEC6.subtitle = Cantonal Room – Empire Style
panorama_CEC078E5_E35A_6A11_41E8_DA55CE863A3B.subtitle = Chapel
panorama_CEC716D2_E35D_E632_41CD_564A75DD726E.subtitle = Chapel
panorama_CEFD223E_E35E_3E75_41DD_FE5509E25861.subtitle = Chapel
panorama_CED7B641_E35A_2611_41D8_C1F448B06AC1.subtitle = Chapel
panorama_CEFB7BB1_E35A_2E70_41D0_149B8A374464.subtitle = Chapel
panorama_CECF7EF1_E35A_2600_41C8_6A64D5FE5B6C.subtitle = Chinoiserie Room – Undergarments
panorama_35E6A0A9_03C6_E585_4145_43F45438133B.subtitle = Chinoiserie Room – Undergarments
panorama_CEFF3C42_E35A_6A02_41C7_CC2B8050A889.subtitle = Chinoiserie Room – Undergarments
panorama_CD8A49C0_E35A_2A7E_41D7_BEBB2A080117.subtitle = Chinoiserie Room – Undergarments
panorama_F65B8B65_E356_2F6D_41D1_FCB0DF1AAEC5.subtitle = Courtyard
panorama_F0A2B480_E356_59A3_41E9_F6E8FF84B548.subtitle = Courtyard
panorama_F78B6FAD_E356_E7FC_41B1_2C1BA32D2AB8.subtitle = Courtyard
panorama_F7AC0EB3_E355_E9E4_41D6_DFCD061F0A70.subtitle = Entrance
panorama_F7BE3499_E35A_59A7_41DC_2D73B1051FA8.subtitle = Entrance
panorama_7A2B5AD8_89FD_C11F_41D0_3EB6AEEF1861.subtitle = Exterior Entrance
panorama_C5DE905D_E34E_594F_41D1_1AD354545A52.subtitle = Grand Hall – 18th Century
panorama_DB444F38_E35E_6772_41E4_4B3D34D5671B.subtitle = Grand Hall – 18th Century
panorama_D134C7B7_E35A_2708_41D0_F9BDABDB2875.subtitle = Grand Hall – 18th Century
panorama_D74B4E16_E35E_2931_41E0_2117C8CB0DD5.subtitle = Grand Hall – 18th Century
panorama_CD2D0C99_E356_2907_41E3_CDD26DFE1030.subtitle = Grand Hall – 18th Century
panorama_D326F3A1_E355_DF09_41C9_9826B73E53B4.subtitle = Grand Hall – 18th Century
panorama_CB2F8990_E34E_EBD5_41DB_6DD4D679D479.subtitle = Grand Hall – 18th Century
panorama_CF0DD1B5_E34A_7BD8_41E8_9A7434D3E561.subtitle = Grand Hall – 18th Century
panorama_D94D8FFC_E35E_E6F2_41CF_90710A5D7D8D.subtitle = Grand Hall – 18th Century
panorama_C9377DB0_E34D_EBD6_41B8_391F6A843AF2.subtitle = Grand Hall – 18th Century
panorama_CFEA419B_E3BA_FA1E_41D6_E9880645B03D.subtitle = Hall of Flags – Romanticism
panorama_CFF7E08B_E3B5_FAFE_41C6_96B4BA20C2A8.subtitle = Hall of Flags – Romanticism
panorama_CFFF047D_E3B6_3A15_41DE_6AC9D19EA67A.subtitle = Hall of Flags – Romanticism
panorama_CFEC4CF2_E3BA_2A2E_41EB_E931E9C5BBD6.subtitle = Hall of Flags – Romanticism
panorama_CFFB3B0A_E3BA_6FF9_41D7_FA02782EFA22.subtitle = Hall of Flags – Romanticism
panorama_CF3DEE7E_E3BA_2619_41D3_6F6D313D4314.subtitle = Hall of Flags – Romanticism
panorama_CFFFF3ED_E3BB_DE3B_41EB_6DA84A0C1EEB.subtitle = Hall of Flags – Romanticism
panorama_CF0D3769_E3BA_263A_41E7_415B5CF1FFFD.subtitle = Hall of Flags – Romanticism
panorama_C7C1A9AA_E356_2BF0_41E2_CAFD0F832012.subtitle = Hall – 17th and 18th Centuries
panorama_C1F0EB38_E356_68D1_41E2_C0DC89DE9B65.subtitle = Hall – 17th and 18th Centuries
panorama_C382E3A7_E356_FFF0_41D6_AB0BE7C1A2E8.subtitle = Hall – 17th and 18th Centuries
panorama_FC5E34FE_E356_5953_41E8_A2474ADDF655.subtitle = Hall – 17th and 18th Centuries
panorama_CFF16212_E34A_3E13_41E2_DA986FF80028.subtitle = Music Room – Belle Époque
panorama_CF4719C5_E34A_EA76_41CD_E7E37BAC6C7B.subtitle = Music Room – Belle Époque
panorama_EF736EF4_FCC7_84C4_41E3_40FD35A141DC.subtitle = Music Room – Belle Époque
panorama_CF8A8C4A_E34A_2A72_41B3_C63BC4DEC419.subtitle = Music Room – Belle Époque
panorama_CFFC5373_E34B_DE12_41D8_613DD6D179B6.subtitle = Music Room – Tournure
panorama_407F15ED_FD46_870F_41DD_9043C20C12D9.subtitle = Music Room – Tournure
panorama_CFF180EE_E34A_5A35_41E4_729A3B00C0D8.subtitle = Music Room – Tournure
panorama_CFFAE285_E34B_DEF7_41E8_4C5010E4AE33.subtitle = Music Room – Tournure
panorama_CF94401F_E34A_7A13_41D0_622885740E6A.subtitle = Music Room – Tournure
panorama_CE7CB9E8_E356_6DEF_41E8_45AE4674C843.subtitle = Room 1910–1918
panorama_CEE91A45_E356_2E20_41DC_3D30FF7685DE.subtitle = Room 1910–1918
panorama_CEEBEE63_E356_E6E7_41E3_5BD2E9A5FA35.subtitle = Room 1910–1918
panorama_CEE5C75F_E357_E622_41CC_091F092C4402.subtitle = Room 1910–1918
panorama_CEE722B7_E356_5E63_4191_082254950417.subtitle = Room 1910–1918
panorama_CEE48DE3_E356_2A1C_41E0_AED8FC577D4F.subtitle = Room 1910–1918
panorama_CED148C8_E356_EA2B_41DD_87FDAE40042E.subtitle = Room 1910–1918
panorama_CF27364D_E34A_2634_41D7_448557C9A5A5.subtitle = Room 1920-1930
panorama_CE97DF9E_E34A_6655_41E9_028C2B5AD1F8.subtitle = Room 1920-1930
panorama_CE5BA6FF_E34E_27D2_41E8_8E99B7E0DAFC.subtitle = Room 1920-1930
panorama_CE959235_E34A_3E56_41E0_0233DED973FB.subtitle = Room 1920-1930
panorama_CE88CDE9_E34E_65F0_41E2_CBAD042A96EE.subtitle = Sala 1920-1930
panorama_CD7B92B9_E34E_5E11_41E1_66FF3B43359D.subtitle = Showcase Room – Cloaks
### Title
panorama_F7AC0EB3_E355_E9E4_41D6_DFCD061F0A70.label = 00 Entrada 23
panorama_F78B6FAD_E356_E7FC_41B1_2C1BA32D2AB8.label = 00 Pátio 2
panorama_F65B8B65_E356_2F6D_41D1_FCB0DF1AAEC5.label = 00 Pátio 5
model_5A6B8982_7D6D_B500_41D7_0ED375DA1D50.label = 01 Hall - MNT 03998 Véstia
model_460CF20C_D631_7C38_41C3_38277EB9F870.label = 01 Hall - MNT 4270 Sapatos
panorama_FC5E34FE_E356_5953_41E8_A2474ADDF655.label = 01 Hall 28
panorama_C1F0EB38_E356_68D1_41E2_C0DC89DE9B65.label = 01 Hall 30
panorama_C7C1A9AA_E356_2BF0_41E2_CAFD0F832012.label = 01 Hall 31
model_BF9E856D_BE2D_10A4_41E5_87C683C777DA.label = 02 Salaõ Nobre - MNT 04312 Véstia de Criança
model_5A5E992C_D632_AC74_41E3_072AF18F96F7.label = 02 Salão Nobre - MNT 01013
model_EEBE3BCE_DD0A_6D25_41E9_6726C40C2CE4.label = 02 Salão Nobre - MNT 03966-67-68 Casaca, colete e calção
model_BF8DB750_BE2F_7031_41DC_57AB9BB840FE.label = 02 Salão Nobre - MNT 03972 Casaca
model_C15AF2BF_D2B7_DC3E_41E0_B14622EDA22B.label = 02 Salão Nobre - MNT 07617 Véstia de Criança
model_589D0A2E_D631_6C71_41DB_102A9EB982F1.label = 02 Salão Nobre - MNT 33879 Casaquinha
model_A42F0B77_B24B_B7E6_41CA_0423932F4568.label = 02 Salão Nobre - MNT04045 Véstia
panorama_C9377DB0_E34D_EBD6_41B8_391F6A843AF2.label = 02 Salão Nobre 035
panorama_D326F3A1_E355_DF09_41C9_9826B73E53B4.label = 02 Salão Nobre 038
panorama_CD2D0C99_E356_2907_41E3_CDD26DFE1030.label = 02 Salão Nobre 041
panorama_D74B4E16_E35E_2931_41E0_2117C8CB0DD5.label = 02 Salão Nobre 042
panorama_D94D8FFC_E35E_E6F2_41CF_90710A5D7D8D.label = 02 Salão Nobre 044
panorama_CF0DD1B5_E34A_7BD8_41E8_9A7434D3E561.label = 02 Salão Nobre 122
panorama_CB2F8990_E34E_EBD5_41DB_6DD4D679D479.label = 02 Salão Nobre 123
panorama_DB444F38_E35E_6772_41E4_4B3D34D5671B.label = 02 Salão Nobre 124
panorama_D134C7B7_E35A_2708_41D0_F9BDABDB2875.label = 02 Salão Nobre 125
model_F0EF2E57_D2DF_E467_41D7_9EDF35DF0924.label = 03 Sala Cantonal - MNT 00967 Bolsa
model_C1516220_D2AA_5FCC_41DA_5533727C22A6.label = 03 Sala Cantonal - MNT 04184 Spencer
model_F7FCC3AE_D2FE_DC0C_41B5_BFCFED870381.label = 03 Sala Cantonal - MNT 04705 Botão
model_F62BC06A_D2EE_5C00_41C5_20AE16A0FE12.label = 03 Sala Cantonal - MNT 04706 Botão
model_E04A0082_D3BF_BD23_41C9_63A6C152B067.label = 03 Sala Cantonal - MNT 04935 Cartola
model_C39B09E1_A86B_CB85_41B9_DA6A686F407E.label = 03 Sala Cantonal - MNT 04989
panorama_CF950255_E3BA_DE6C_41E0_F15CD4CB4DF7.label = 03 Sala Cantonal 45
panorama_CFE4DFB3_E3BA_262B_41C1_409CD3D8253C.label = 03 Sala Cantonal 47
panorama_CFE554C4_E3BB_DA6D_41CE_01D737528E24.label = 03 Sala Cantonal 48
model_46EAB0C8_D671_5D8D_419F_F9EA16B5C79D.label = 04 Sala das Bandeiras - MNT 00063 Sapato
model_83B1D6C9_D3B6_E22B_41E8_30CE54CB8FDC.label = 04 Sala das Bandeiras - MNT 11957 Vestido
model_5CE90A2F_D676_AC92_41C9_EA690D5C4C70.label = 04 Sala das Bandeiras - MNT 38072-3
panorama_CFFFF3ED_E3BB_DE3B_41EB_6DA84A0C1EEB.label = 04 Sala das Bandeiras 052
panorama_CFEC4CF2_E3BA_2A2E_41EB_E931E9C5BBD6.label = 04 Sala das Bandeiras 053
panorama_CFEA419B_E3BA_FA1E_41D6_E9880645B03D.label = 04 Sala das Bandeiras 054
panorama_CF0D3769_E3BA_263A_41E7_415B5CF1FFFD.label = 04 Sala das Bandeiras 055
panorama_CFF7E08B_E3B5_FAFE_41C6_96B4BA20C2A8.label = 04 Sala das Bandeiras 056
panorama_CFFF047D_E3B6_3A15_41DE_6AC9D19EA67A.label = 04 Sala das Bandeiras 057
panorama_CFFB3B0A_E3BA_6FF9_41D7_FA02782EFA22.label = 04 Sala das Bandeiras 060
model_9CF33821_D3AA_6E33_41DC_51CD22EB7256.label = 05 Sala da Música - MNT 05626 Vestido
model_7E1B20B6_A8E7_5943_41A3_FDF0529BFD09.label = 05 Sala da Música - MNT 20426
panorama_CFF180EE_E34A_5A35_41E4_729A3B00C0D8.label = 05 Sala da Música 062
panorama_CFFAE285_E34B_DEF7_41E8_4C5010E4AE33.label = 05 Sala da Música 063
panorama_CFFC5373_E34B_DE12_41D8_613DD6D179B6.label = 05 Sala da Música 064
panorama_CF94401F_E34A_7A13_41D0_622885740E6A.label = 05 Sala da Música 065
panorama_CF4719C5_E34A_EA76_41CD_E7E37BAC6C7B.label = 05 Sala da Música 067
panorama_CF8A8C4A_E34A_2A72_41B3_C63BC4DEC419.label = 05 Sala da Música 068
panorama_CFF16212_E34A_3E13_41E2_DA986FF80028.label = 05 Sala da Música 070
panorama_EF736EF4_FCC7_84C4_41E3_40FD35A141DC.label = 05 Sala da Música 138
model_502FA825_A8EB_C995_41E4_DC43158050E5.label = 06 Belle Epoque - MNT 28519
model_BF98091F_BE35_1041_41E5_54D0F5084C03.label = 06 Belle Epoque - MNT 06373 Visite
model_44FA202E_D5B7_A0F0_41CA_8F240287FAE2.label = 06 Belle Epoque - MNT 32065 Vestido
model_51E1BABE_D5A9_E13A_41E3_4C5DCCE18149.label = 06 Belle Epoque - MNT 38783 Vestido
model_8BA5BB9D_AC8F_54A6_41C4_FE91A0FABD9F.label = 07 Sala Vitrine MNT 15255
model_CE960D25_AC81_CC5B_41E3_16E20DCA98D3.label = 08 Sala Chinoiserie - MNT 38746
panorama_CD8A49C0_E35A_2A7E_41D7_BEBB2A080117.label = 08 Sala Chinoiserie 075
panorama_CECF7EF1_E35A_2600_41C8_6A64D5FE5B6C.label = 08 Sala Chinoiserie 077
panorama_35E6A0A9_03C6_E585_4145_43F45438133B.label = 08 Sala Chinoiserie 078
model_7BC391B8_D5EF_A371_41D7_EDDB09E48AC6.label = 09 Sala 1910-1918 - MNT 03375 Vestido
model_46A2A595_D5AE_A3FD_41C0_015D572277B4.label = 09 Sala 1910-1918 - MNT 14835 Vestido
model_48240899_D5DE_6110_41DA_0BFEA86E2C1A.label = 09 Sala 1910-1918 - MNT 15748 Casaco e Saia
model_04B29107_AC81_F787_41DF_CA5B9F02FD1D.label = 09 Sala 1910-1918 - MNT 16572
panorama_CED148C8_E356_EA2B_41DD_87FDAE40042E.label = 09 Sala 1910-1918 089
panorama_CEE722B7_E356_5E63_4191_082254950417.label = 09 Sala 1910-1918 091
panorama_CEE5C75F_E357_E622_41CC_091F092C4402.label = 09 Sala 1910-1918 093
panorama_CE7CB9E8_E356_6DEF_41E8_45AE4674C843.label = 09 Sala 1910-1918 094
panorama_CEE91A45_E356_2E20_41DC_3D30FF7685DE.label = 09 Sala 1910-1918 096
panorama_CEEBEE63_E356_E6E7_41E3_5BD2E9A5FA35.label = 09 Sala 1910-1918 097
model_1B20494F_AC81_5605_41C1_06389558952B.label = 09 Sala 1910-1918 MNT 24112
panorama_CF27364D_E34A_2634_41D7_448557C9A5A5.label = 10 Sala 1920-1930 098
panorama_CE97DF9E_E34A_6655_41E9_028C2B5AD1F8.label = 10 Sala 1920-1930 099
panorama_CE5BA6FF_E34E_27D2_41E8_8E99B7E0DAFC.label = 10 Sala 1920-1930 102
panorama_CE88CDE9_E34E_65F0_41E2_CBAD042A96EE.label = 10 Sala 1920-1930 103
panorama_CE727FCD_E376_25F1_41B1_5D96A5629C0A.label = 11 Sala do Arco 106
panorama_CE41B4DE_E37E_3BE5_41E9_7B0289316552.label = 11 Sala do Arco 108
panorama_CE67E72E_E37A_66BD_41D2_C43DD735FB27.label = 11 Sala do Arco 109
panorama_CEA847AE_E37A_25BA_41DB_7B867420B82F.label = 11 Sala do Arco 110
panorama_CE5422C2_E34A_5FC0_41D7_B3C760927E20.label = 11 Sala do Arco 111
panorama_D6DDB635_E376_2698_41EB_FB4CF5A2C3BD.label = 11 Sala do Arco 112
panorama_CE8A96DB_E375_E788_41E0_1E0EF13036A8.label = 11 Sala do Arco 114
model_46B04F8E_AC87_C914_41E4_488301EC9512.label = 11 Sala do Arco 1930-1950 - MNT 23392
model_6DC709E2_AC87_4972_41E4_B9C0654DFB31.label = 11 Sala do Arco 1930-1950 - MNT 20025-1-2
model_716C4274_AC87_3B26_41E0_AEE55E1DB480.label = 11 Sala do Arco 1930-1950 - MNT 22525
model_ACF6842F_AC81_3F58_41D2_8F34FBBB7A9C.label = 12 Sala do Arco 1960-1970 - MNT 30701
panorama_CE9F2C50_E34E_6A84_41E4_2B4FCD87765F.label = 13 Sala do Arco 116
panorama_CEB3BAEC_E34E_2F9E_41D8_EDD4D7969A51.label = 13 Sala do Arco 117
panorama_CE379A44_E34A_2E91_41A0_D17D4505E73C.label = 13 Sala do Arco 119
panorama_CE838904_E34A_6A91_41C5_D5F5C7B66401.label = 13 Sala do Arco 120
panorama_CE63103B_E34A_3AF5_41E2_F46562944142.label = 13 Sala do Arco 121
photo_8B614A48_02C5_1A30_416F_88D3DBA901B4.label = 1976_PBMM_Auracária
photo_8B614A48_02C5_1A30_416F_88D3DBA901B4.label = 1976_PBMM_Auracária
album_4C63BB37_025B_7B50_4134_39F5807D6FA0_0.label = 1976_PBMM_Estado Inicial_2
album_19E7ABA8_0276_F861_4180_E80221BD52AE_0.label = 1976_PBMM_Estado Inicial_3
album_19C41AD5_0272_9820_4175_81CAC634513C_0.label = 1976_PBMM_Estado Inicial_5_DIG_escultura
album_37B3E1EE_03C7_677F_416B_6191D9F3F11C_0.label = 1976_PBMM_Estado Inicial_6_restaurante
album_6CB2D64D_02C5_6A0F_4173_C26A17D5AD02_0.label = 1976_PBMM_Lago_Estado Inicial
album_926E990A_02C7_2687_4111_7A5F151E94F0_0.label = 1976_PBMM_escadaria
album_317BC097_03C5_E44F_4160_AF06FA7F52FF_0.label = 2014_Morcego
panorama_D1AAFF84_E37E_265B_41B6_91301489921E.label = Arch Room 1930-1970
panorama_D2E04B67_E34E_2E8C_41E6_3EEE617470D3.label = Arch Room 1980-2020
panorama_CF057C31_E3BA_6A24_41E7_48B84632EEC6.label = Cantonal Room
panorama_CEFD223E_E35E_3E75_41DD_FE5509E25861.label = Capela 81
panorama_CEC716D2_E35D_E632_41CD_564A75DD726E.label = Capela 82
panorama_CED7B641_E35A_2611_41D8_C1F448B06AC1.label = Capela 83
panorama_CEC078E5_E35A_6A11_41E8_DA55CE863A3B.label = Capela 86
panorama_CEFB7BB1_E35A_2E70_41D0_149B8A374464.label = Chapel
panorama_CEFF3C42_E35A_6A02_41C7_CC2B8050A889.label = Chinoiserie Room
panorama_F0A2B480_E356_59A3_41E9_F6E8FF84B548.label = Courtyard
map_4CA297EC_5984_9145_41A5_CB89116447F2.label = Courtyard
panorama_F7BE3499_E35A_59A7_41DC_2D73B1051FA8.label = Entrada_026
panorama_7A2B5AD8_89FD_C11F_41D0_3EB6AEEF1861.label = Entrance
panorama_C5DE905D_E34E_594F_41D1_1AD354545A52.label = Grand Hall
panorama_C382E3A7_E356_FFF0_41D6_AB0BE7C1A2E8.label = Hall
panorama_CF3DEE7E_E3BA_2619_41D3_6F6D313D4314.label = Hall of Flags
photo_3B1882D7_FDC2_82E4_41D4_088992CCB01E.label = MNT0077-1
photo_3B1882D7_FDC2_82E4_41D4_088992CCB01E.label = MNT0077-1
photo_3E8C2698_FDC2_856D_41EB_28FB00D9548A.label = MNT0077-2
photo_3E8C2698_FDC2_856D_41EB_28FB00D9548A.label = MNT0077-2
photo_3E8C79D0_FDC2_8EFC_41EC_1AC24C6B202E.label = MNT0077-3
photo_3E8C79D0_FDC2_8EFC_41EC_1AC24C6B202E.label = MNT0077-3
photo_3E8C1D48_FDC2_87ED_41E0_0DC5E89E53B6.label = MNT0077-4
photo_3E8C1D48_FDC2_87ED_41E0_0DC5E89E53B6.label = MNT0077-4
photo_EF10590B_FDAD_C6C5_41EF_0871419E473C.label = MNT01408e9-3
photo_EF10590B_FDAD_C6C5_41EF_0871419E473C.label = MNT01408e9-3
photo_EFE74B71_FDAD_B945_41E4_9BB20186A686.label = MNT01408e9-4
photo_EFE74B71_FDAD_B945_41E4_9BB20186A686.label = MNT01408e9-4
photo_EFE63D08_FDAD_BEC4_41EC_5216F37DFE4B.label = MNT01408e9-5
photo_EFE63D08_FDAD_BEC4_41EC_5216F37DFE4B.label = MNT01408e9-5
photo_EFE7AE9E_FDAD_BBFF_41B9_2FBF988B7E7E.label = MNT01408e9-6
photo_EFE7AE9E_FDAD_BBFF_41B9_2FBF988B7E7E.label = MNT01408e9-6
photo_D36237C0_F895_7A8A_41E8_2B804C0ED989.label = MNT03546-2
photo_D36237C0_F895_7A8A_41E8_2B804C0ED989.label = MNT03546-2
photo_D18F5C16_F895_6DB6_41AD_1731A026C9A6.label = MNT03546-3
photo_D18F5C16_F895_6DB6_41AD_1731A026C9A6.label = MNT03546-3
photo_D18E711D_F895_97BB_41E4_4305402ADFE7.label = MNT03546-4
photo_D18E711D_F895_97BB_41E4_4305402ADFE7.label = MNT03546-4
photo_D18E657E_F895_9E76_41D2_2D945D93FCA3.label = MNT03546-5
photo_D18E657E_F895_9E76_41D2_2D945D93FCA3.label = MNT03546-5
photo_2B0A3E52_FDC3_8584_41DD_D0A4F98EBD68.label = MNT038848-2
photo_2B0A3E52_FDC3_8584_41DD_D0A4F98EBD68.label = MNT038848-2
photo_2FA92207_FDC3_9D8C_41B9_BFEAC5EC92B2.label = MNT038848-3
photo_2FA92207_FDC3_9D8C_41B9_BFEAC5EC92B2.label = MNT038848-3
photo_2FA9058C_FDC3_8683_41CF_CA447052B111.label = MNT038848-4
photo_2FA9058C_FDC3_8683_41CF_CA447052B111.label = MNT038848-4
photo_2FA91949_FDC3_8F84_41EE_952E341EF93D.label = MNT038848-5
photo_2FA91949_FDC3_8F84_41EE_952E341EF93D.label = MNT038848-5
photo_2FB6DD55_FDC3_878C_41E7_8DB365F0A614.label = MNT038848-6
photo_2FB6DD55_FDC3_878C_41E7_8DB365F0A614.label = MNT038848-6
photo_2FA94119_FDC3_BF84_41EC_04FE3E1FE70E.label = MNT038848-7
photo_2FA94119_FDC3_BF84_41EC_04FE3E1FE70E.label = MNT038848-7
photo_D7EE48A7_F794_F561_41DA_D70CA5649D0F.label = MNT04130
photo_D7EE48A7_F794_F561_41DA_D70CA5649D0F.label = MNT04130
photo_BAED0FD5_F8AC_AA74_41E3_F8D1EB320E40.label = MNT11595-3
photo_BAED0FD5_F8AC_AA74_41E3_F8D1EB320E40.label = MNT11595-3
photo_C03B835B_F8AC_BA7C_41D3_DF96CDDAFCA0.label = MNT11595-4
photo_C03B835B_F8AC_BA7C_41D3_DF96CDDAFCA0.label = MNT11595-4
photo_C0399681_F8AC_BACC_41CD_E20DC49E0A49.label = MNT11595-5
photo_C0399681_F8AC_BACC_41CD_E20DC49E0A49.label = MNT11595-5
photo_C039CAC0_F8AC_AA4C_41D9_B14BD9017951.label = MNT11595-6
photo_C039CAC0_F8AC_AA4C_41D9_B14BD9017951.label = MNT11595-6
photo_D110574C_F89C_FB81_41E5_57E251791A10.label = MNT12045-1
photo_D110574C_F89C_FB81_41E5_57E251791A10.label = MNT12045-1
photo_D0D4DB2F_F89C_EB9F_41E1_A45F42A1974B.label = MNT12045-2
photo_D0D4DB2F_F89C_EB9F_41E1_A45F42A1974B.label = MNT12045-2
photo_D0D4EFC3_F89C_EA87_41D6_E300339C3CCC.label = MNT12045-3
photo_D0D4EFC3_F89C_EA87_41D6_E300339C3CCC.label = MNT12045-3
photo_3F731F81_FDC2_8316_41E9_55061A05A883.label = MNT12049
photo_3F731F81_FDC2_8316_41E9_55061A05A883.label = MNT12049
photo_3D5522E6_FDC2_9D1A_4178_DC73641BDDAB.label = MNT12049-1
photo_3D5522E6_FDC2_9D1A_4178_DC73641BDDAB.label = MNT12049-1
photo_DCCE0F3E_F877_6BAB_41EC_494030986AC7.label = MNT12179-1
photo_DCCE0F3E_F877_6BAB_41EC_494030986AC7.label = MNT12179-1
photo_DB188275_F874_95BE_41E0_D38D0519B90E.label = MNT12179-2
photo_DB188275_F874_95BE_41E0_D38D0519B90E.label = MNT12179-2
photo_DB18C5C7_F874_9ED9_41EA_45FC0D517DB8.label = MNT12179-3
photo_DB18C5C7_F874_9ED9_41EA_45FC0D517DB8.label = MNT12179-3
photo_DB18E88A_F874_956B_41E4_B9B93D80AB91.label = MNT12179-4
photo_DB18E88A_F874_956B_41E4_B9B93D80AB91.label = MNT12179-4
photo_DB195BE3_F874_AADA_41EB_B58030291642.label = MNT12179-5
photo_DB195BE3_F874_AADA_41EB_B58030291642.label = MNT12179-5
photo_3F4A1040_FDC2_BD19_41E3_64D07A845FBA.label = MNT12846-1
photo_3F4A1040_FDC2_BD19_41E3_64D07A845FBA.label = MNT12846-1
photo_3D5F2386_FDC2_8319_41B5_0F8F2123C959.label = MNT12846-2
photo_3D5F2386_FDC2_8319_41B5_0F8F2123C959.label = MNT12846-2
photo_3D5F16CE_FDC2_8529_41DA_44C32E646301.label = MNT12846-4
photo_3D5F16CE_FDC2_8529_41DA_44C32E646301.label = MNT12846-4
photo_DE1F96EC_F873_9AA4_41DF_6437B8587005.label = MNT16925-1
photo_DE1F96EC_F873_9AA4_41DF_6437B8587005.label = MNT16925-1
photo_DC4AD9D6_F873_96E4_41D5_E2D6CD6CBBF7.label = MNT16925-2
photo_DC4AD9D6_F873_96E4_41D5_E2D6CD6CBBF7.label = MNT16925-2
photo_DC4B9CCD_F873_AEE4_41A5_1C359E1FFC3B.label = MNT16925-3
photo_DC4B9CCD_F873_AEE4_41A5_1C359E1FFC3B.label = MNT16925-3
photo_DC4B8003_F873_B55C_41CD_9DB95FF8C7CB.label = MNT16925-4
photo_DC4B8003_F873_B55C_41CD_9DB95FF8C7CB.label = MNT16925-4
album_2BA23770_FDCE_838C_41EB_07789B857793_0.label = MNT18247-1
album_2BA23770_FDCE_838C_41EB_07789B857793_1.label = MNT18247-2
album_2BA23770_FDCE_838C_41EB_07789B857793_2.label = MNT18247-3
album_2BA23770_FDCE_838C_41EB_07789B857793_3.label = MNT18247-4
photo_3537EB7C_FDC6_839E_41ED_1008842608F0.label = MNT19673-1
photo_3537EB7C_FDC6_839E_41ED_1008842608F0.label = MNT19673-1
photo_38DECF30_FDC6_83A6_41E5_6344E9339FA6.label = MNT19673-2
photo_38DECF30_FDC6_83A6_41E5_6344E9339FA6.label = MNT19673-2
photo_38DEA30F_FDC6_837A_41DC_DBB2A67EB3CB.label = MNT19673-3
photo_38DEA30F_FDC6_837A_41DC_DBB2A67EB3CB.label = MNT19673-3
photo_38DEF6B8_FDC6_82A6_41E1_F953F22004D0.label = MNT19673-4
photo_38DEF6B8_FDC6_82A6_41E1_F953F22004D0.label = MNT19673-4
photo_38DE8A59_FDC6_8D99_41E2_20C30411D5E5.label = MNT19673-5
photo_38DE8A59_FDC6_8D99_41E2_20C30411D5E5.label = MNT19673-5
album_1A387B2B_FDC1_83E4_41D2_5C001B33FD0B_0.label = MNT22958
album_1A387B2B_FDC1_83E4_41D2_5C001B33FD0B_1.label = MNT22958-1
album_1A387B2B_FDC1_83E4_41D2_5C001B33FD0B_2.label = MNT22958-2
album_1A387B2B_FDC1_83E4_41D2_5C001B33FD0B_3.label = MNT22958-3
album_1A387B2B_FDC1_83E4_41D2_5C001B33FD0B_4.label = MNT22958-4
album_1A387B2B_FDC1_83E4_41D2_5C001B33FD0B_5.label = MNT22958-5
photo_D49527CA_F895_FA91_41E7_EAD3A39CF801.label = MNT26143-1
photo_D49527CA_F895_FA91_41E7_EAD3A39CF801.label = MNT26143-1
photo_D2B38B4A_F895_EB96_41E6_373B7B9ED8C0.label = MNT26143-3
photo_D2B38B4A_F895_EB96_41E6_373B7B9ED8C0.label = MNT26143-3
photo_D2B21EBE_F895_EAEE_41EC_327167DC9659.label = MNT26143-4
photo_D2B21EBE_F895_EAEE_41EC_327167DC9659.label = MNT26143-4
photo_D2B20367_F895_9B9E_41C5_2388726B526A.label = MNT26143-5
photo_D2B20367_F895_9B9E_41C5_2388726B526A.label = MNT26143-5
photo_D2B387B9_F895_9AF2_41D6_218E2FBF32D8.label = MNT26143-6
photo_D2B387B9_F895_9AF2_41D6_218E2FBF32D8.label = MNT26143-6
photo_D94C99F0_F86F_96D0_41ED_2691F93083D7.label = MNT26738-1
photo_D94C99F0_F86F_96D0_41ED_2691F93083D7.label = MNT26738-1
photo_D8086D5F_F86F_AFCF_41C3_AF6BA7D2EE32.label = MNT26738-2
photo_D8086D5F_F86F_AFCF_41C3_AF6BA7D2EE32.label = MNT26738-2
photo_3B4DA869_FDCE_8DA8_41EC_99B56287BE7E.label = MNT28668-2
photo_3B4DA869_FDCE_8DA8_41EC_99B56287BE7E.label = MNT28668-2
photo_3EE27C4E_FDCE_85E9_41E7_CAB7E55B6D28.label = MNT28668-3
photo_3EE27C4E_FDCE_85E9_41E7_CAB7E55B6D28.label = MNT28668-3
photo_3EE2AFE2_FDCE_82D9_41E7_715935B0CFEE.label = MNT28668-4
photo_3EE2AFE2_FDCE_82D9_41E7_715935B0CFEE.label = MNT28668-4
photo_38EB866A_FDC6_85DF_41CB_A26DD10E0547.label = MNT29432-1
photo_38EB866A_FDC6_85DF_41CB_A26DD10E0547.label = MNT29432-1
photo_3FD53A09_FDC6_8D5D_41EE_B24F8BCCA37B.label = MNT29432-2
photo_3FD53A09_FDC6_8D5D_41EE_B24F8BCCA37B.label = MNT29432-2
photo_3FD50DB1_FDC6_874D_41C0_CDB69341CF9E.label = MNT29432-3
photo_3FD50DB1_FDC6_874D_41C0_CDB69341CF9E.label = MNT29432-3
photo_3FD552B8_FDC6_82BB_41E9_49C6B1659A6C.label = MNT29432-4
photo_3FD552B8_FDC6_82BB_41E9_49C6B1659A6C.label = MNT29432-4
photo_39B380FF_FDC2_9EB2_41DE_E48B8770F5C6.label = MNT30148-1
photo_39B380FF_FDC2_9EB2_41DE_E48B8770F5C6.label = MNT30148-1
photo_3FECE4FB_FDC2_86B2_41EE_D4CB62E793D3.label = MNT30148-2
photo_3FECE4FB_FDC2_86B2_41EE_D4CB62E793D3.label = MNT30148-2
album_FD87D4DC_FD41_866B_41E2_CAF0E60C2B3B_0.label = MNT31711-1
album_FD87D4DC_FD41_866B_41E2_CAF0E60C2B3B_1.label = MNT31711-2
album_FD87D4DC_FD41_866B_41E2_CAF0E60C2B3B_2.label = MNT31711-3
album_FD87D4DC_FD41_866B_41E2_CAF0E60C2B3B_3.label = MNT31711-4
album_FD87D4DC_FD41_866B_41E2_CAF0E60C2B3B_4.label = MNT31711-5
album_FD87D4DC_FD41_866B_41E2_CAF0E60C2B3B_5.label = MNT31711-6
photo_DDE9D7C1_F86C_BADF_41EB_6D9EB78A8E8E.label = MNT3200
photo_DDE9D7C1_F86C_BADF_41EB_6D9EB78A8E8E.label = MNT3200
photo_3A211313_FDC1_8367_41E9_5A9211FC0474.label = MNT32487-1
photo_3A211313_FDC1_8367_41E9_5A9211FC0474.label = MNT32487-1
photo_39C1B6C7_FDC1_82EE_41EB_0CE302E8E93F.label = MNT32487-2
photo_39C1B6C7_FDC1_82EE_41EB_0CE302E8E93F.label = MNT32487-2
photo_39C19ADB_FDC1_82E6_41C9_3CBF4E56EBCD.label = MNT32487-3
photo_39C19ADB_FDC1_82E6_41C9_3CBF4E56EBCD.label = MNT32487-3
photo_39C1DF24_FDC1_83A2_41D3_336D42F96419.label = MNT32487-4
photo_39C1DF24_FDC1_83A2_41D3_336D42F96419.label = MNT32487-4
photo_39C18287_FDC1_9D6F_41E4_16CB20DA48A8.label = MNT32487-5
photo_39C18287_FDC1_9D6F_41E4_16CB20DA48A8.label = MNT32487-5
photo_2C2E5C82_FDC6_854A_41D6_B5C38090E8AB.label = MNT32709-1
photo_2C2E5C82_FDC6_854A_41D6_B5C38090E8AB.label = MNT32709-1
photo_3F8F9079_FDC6_BDB9_41E2_66BE55DC7BBE.label = MNT32709-2
photo_3F8F9079_FDC6_BDB9_41E2_66BE55DC7BBE.label = MNT32709-2
photo_3F338404_FDC6_854F_41C1_B1A804F2F283.label = MNT32709-3
photo_3F338404_FDC6_854F_41C1_B1A804F2F283.label = MNT32709-3
photo_3F33F795_FDC6_8349_41EB_35BEF509A754.label = MNT32709-4
photo_3F33F795_FDC6_8349_41EB_35BEF509A754.label = MNT32709-4
photo_3F3C7BDC_FDC6_82FF_41EC_2BF283512AE7.label = MNT32709-5
photo_3F3C7BDC_FDC6_82FF_41EC_2BF283512AE7.label = MNT32709-5
album_B3EB3341_A83D_D84C_41E4_7777B2D844E3_0.label = MNT37654-1
album_B3EB3341_A83D_D84C_41E4_7777B2D844E3_1.label = MNT37654-2
album_B3EB3341_A83D_D84C_41E4_7777B2D844E3_2.label = MNT37654-3
album_B3EB3341_A83D_D84C_41E4_7777B2D844E3_3.label = MNT37654-4
album_B3EB3341_A83D_D84C_41E4_7777B2D844E3_4.label = MNT37654-5
photo_3402DA28_FDFE_8DBF_41DA_E27E49903589.label = MNT38127-1
photo_3402DA28_FDFE_8DBF_41DA_E27E49903589.label = MNT38127-1
photo_3B3F1E53_FDFE_8591_41DC_583D196F2431.label = MNT38127-2
photo_3B3F1E53_FDFE_8591_41DC_583D196F2431.label = MNT38127-2
photo_3B3EE1F4_FDFE_FE97_41E2_2DD52269349D.label = MNT38127-3
photo_3B3EE1F4_FDFE_FE97_41E2_2DD52269349D.label = MNT38127-3
photo_3B3ED5F0_FDFE_86AF_41EB_8AB7C0C7A8F9.label = MNT38127-4
photo_3B3ED5F0_FDFE_86AF_41EB_8AB7C0C7A8F9.label = MNT38127-4
photo_3B3E9948_FDFE_8FF0_41EA_AE065F24B13B.label = MNT38127-5
photo_3B3E9948_FDFE_8FF0_41EA_AE065F24B13B.label = MNT38127-5
photo_2A222AB1_FDC1_82FB_41E5_BA95E4CD75DE.label = MNT38458-1
photo_2A222AB1_FDC1_82FB_41E5_BA95E4CD75DE.label = MNT38458-1
photo_291C3F2D_FDC1_83EB_41B4_A11F826E82C7.label = MNT38458-2
photo_291C3F2D_FDC1_83EB_41B4_A11F826E82C7.label = MNT38458-2
photo_291C430F_FDC1_83A7_41CE_8411EECC2168.label = MNT38458-3
photo_291C430F_FDC1_83A7_41CE_8411EECC2168.label = MNT38458-3
photo_291C670B_FDC1_83AF_41E0_E40BE18152AC.label = MNT38458-4
photo_291C670B_FDC1_83AF_41E0_E40BE18152AC.label = MNT38458-4
photo_272D5775_FDC6_827C_41E5_60CB78B1B14B.label = MNT38538-1
photo_272D5775_FDC6_827C_41E5_60CB78B1B14B.label = MNT38538-1
photo_297DBBC6_FDC6_829C_41B7_D8573D8AE492.label = MNT38538-2
photo_297DBBC6_FDC6_829C_41B7_D8573D8AE492.label = MNT38538-2
photo_297D4059_FDC6_9DB7_41E8_A7B59B2D6C5B.label = MNT38538-3
photo_297D4059_FDC6_9DB7_41E8_A7B59B2D6C5B.label = MNT38538-3
photo_297D0448_FDC6_8594_41BE_E0733AFAE4A0.label = MNT38538-4
photo_297D0448_FDC6_8594_41BE_E0733AFAE4A0.label = MNT38538-4
photo_2B525112_FDC7_BFBA_41C8_0D8F46DCBB47.label = MNT38567-1
photo_2B525112_FDC7_BFBA_41C8_0D8F46DCBB47.label = MNT38567-1
photo_2975E567_FDC7_8799_41C9_4361FC0152B9.label = MNT38567-2
photo_2975E567_FDC7_8799_41C9_4361FC0152B9.label = MNT38567-2
photo_283DC06D_FDC1_FD99_41BA_711C3D8FE9FF.label = MNT38727-1
photo_283DC06D_FDC1_FD99_41BA_711C3D8FE9FF.label = MNT38727-1
photo_2FB07444_FDC1_858E_41D3_EC59C50C09BB.label = MNT38727-2
photo_2FB07444_FDC1_858E_41D3_EC59C50C09BB.label = MNT38727-2
photo_2FB077CA_FDC1_829B_41B7_2EBE12315F11.label = MNT38727-3
photo_2FB077CA_FDC1_829B_41B7_2EBE12315F11.label = MNT38727-3
photo_2FB06B8B_FDC1_8299_41EA_53C687644F12.label = MNT38727-4
photo_2FB06B8B_FDC1_8299_41EA_53C687644F12.label = MNT38727-4
photo_2FB02F7D_FDC1_8279_41C2_C7625E37034C.label = MNT38727-5
photo_2FB02F7D_FDC1_8279_41C2_C7625E37034C.label = MNT38727-5
photo_E826EBD5_FDB4_5973_41E5_20AF9E16D9E9.label = MNT38746-1
photo_E826EBD5_FDB4_5973_41E5_20AF9E16D9E9.label = MNT38746-1
photo_EE76DE44_FDB4_5B51_41E1_95351EDB9868.label = MNT38746-1c
photo_EE76DE44_FDB4_5B51_41E1_95351EDB9868.label = MNT38746-1c
photo_EE75C05B_FDB4_4777_41D9_7B1F2C44DDE3.label = MNT38746-2
photo_EE75C05B_FDB4_4777_41D9_7B1F2C44DDE3.label = MNT38746-2
photo_EE75E20D_FDB4_4AD3_41B6_203753527E50.label = MNT38746-3
photo_EE75E20D_FDB4_4AD3_41B6_203753527E50.label = MNT38746-3
photo_EE7693A6_FDB4_49D1_41DB_D43770EF575F.label = MNT38746-4
photo_EE7693A6_FDB4_49D1_41DB_D43770EF575F.label = MNT38746-4
photo_EE76A549_FDB4_4950_41E0_70784A2FDDF1.label = MNT38746-5
photo_EE76A549_FDB4_4950_41E0_70784A2FDDF1.label = MNT38746-5
photo_257DAADD_FDC6_8281_41EC_A243C2AAB5E2.label = MNT38853-1
photo_257DAADD_FDC6_8281_41EC_A243C2AAB5E2.label = MNT38853-1
photo_2F85EEE3_FDC6_8280_41D1_6F98EBE249DB.label = MNT38853-3
photo_2F85EEE3_FDC6_8280_41D1_6F98EBE249DB.label = MNT38853-3
photo_2F855267_FDC6_9D81_41E3_490DBFAB7C4A.label = MNT38853-5
photo_2F855267_FDC6_9D81_41E3_490DBFAB7C4A.label = MNT38853-5
photo_2F853632_FDC6_8580_41E6_029473BEBA60.label = MNT38853-6
photo_2F853632_FDC6_8580_41E6_029473BEBA60.label = MNT38853-6
photo_2F85DA1E_FDC6_8D83_41C5_3903D428DB10.label = MNT38853-7
photo_2F85DA1E_FDC6_8D83_41C5_3903D428DB10.label = MNT38853-7
photo_DA69CDA5_F874_AF41_41EB_5A10F1ACCDEB.label = MNT3969 70e1-2
photo_DA69CDA5_F874_AF41_41EB_5A10F1ACCDEB.label = MNT3969 70e1-2
photo_D8B0F0B0_F874_955F_41C2_EBEB133513AD.label = MNT3969 70e1-3
photo_D8B0F0B0_F874_955F_41C2_EBEB133513AD.label = MNT3969 70e1-3
photo_D8B1647E_F874_9DC0_41DF_F51622C0D286.label = MNT3969 70e1-4
photo_D8B1647E_F874_9DC0_41DF_F51622C0D286.label = MNT3969 70e1-4
photo_D8B177F2_F874_9AC0_41EA_7BDB1EBB4C30.label = MNT3969 70e1-5
photo_D8B177F2_F874_9AC0_41EA_7BDB1EBB4C30.label = MNT3969 70e1-5
photo_D8B1CB45_F875_6BC0_41DA_B7F7C33B8508.label = MNT3969 70e1-6
photo_D8B1CB45_F875_6BC0_41DA_B7F7C33B8508.label = MNT3969 70e1-6
photo_DCC6B470_F874_9DBA_41E4_935631B0FA6D.label = MNT4184-1
photo_DCC6B470_F874_9DBA_41E4_935631B0FA6D.label = MNT4184-1
photo_DBE1383D_F874_95AA_41D9_79634443401D.label = MNT4184-2
photo_DBE1383D_F874_95AA_41D9_79634443401D.label = MNT4184-2
photo_DBE10C66_F874_EDA7_4192_4E1CCB8F1DE7.label = MNT4184-3
photo_DBE10C66_F874_EDA7_4192_4E1CCB8F1DE7.label = MNT4184-3
photo_DBE180CC_F874_F6EA_41EB_AA1DD24C6BA1.label = MNT4184-4
photo_DBE180CC_F874_F6EA_41EB_AA1DD24C6BA1.label = MNT4184-4
photo_DBE1E4F9_F874_FEAA_41EC_DB99D1841D1A.label = MNT4184-5
photo_DBE1E4F9_F874_FEAA_41EC_DB99D1841D1A.label = MNT4184-5
album_1A868D3D_023F_FC09_4157_F5FC1111D6EC_0.label = MNT4186-2
album_1A868D3D_023F_FC09_4157_F5FC1111D6EC_1.label = MNT4186-3
album_1A868D3D_023F_FC09_4157_F5FC1111D6EC_2.label = MNT4186-4
album_1A868D3D_023F_FC09_4157_F5FC1111D6EC_3.label = MNT4186-5
album_1A868D3D_023F_FC09_4157_F5FC1111D6EC_4.label = MNT4186-6
photo_DE4EE96F_F86F_77BF_41D7_A9E674260FF0.label = MNT4657
photo_DE4EE96F_F86F_77BF_41D7_A9E674260FF0.label = MNT4657
photo_D7111B93_F794_AB2B_41EB_44518249E42A.label = MNT4703
photo_D7111B93_F794_AB2B_41EB_44518249E42A.label = MNT4703
photo_D6CD8D08_F793_AF3A_41C8_3E0CB71218EA.label = MNT6869-1
photo_D6CD8D08_F793_AF3A_41C8_3E0CB71218EA.label = MNT6869-1
photo_E89ABFE8_F793_AAF9_41CA_41713FC05693.label = MNT6869-2
photo_E89ABFE8_F793_AAF9_41CA_41713FC05693.label = MNT6869-2
photo_C2668EBC_F8AF_EA31_41EE_AB2E42B98647.label = MNT7619-2
photo_C2668EBC_F8AF_EA31_41EE_AB2E42B98647.label = MNT7619-2
photo_C00492A0_F8AF_9AD0_41E2_3960FD120EA4.label = MNT7619-3
photo_C00492A0_F8AF_9AD0_41E2_3960FD120EA4.label = MNT7619-3
photo_C0049712_F8AF_9BF1_41EB_B40A62499A7E.label = MNT7619-4
photo_C0049712_F8AF_9BF1_41EB_B40A62499A7E.label = MNT7619-4
photo_C004FACA_F8AF_AA51_41B9_B9DE0DB65504.label = MNT7619-5
photo_C004FACA_F8AF_AA51_41B9_B9DE0DB65504.label = MNT7619-5
photo_C0046E4A_F8AF_AA50_41E2_C4C82CD46871.label = MNT7619-6
photo_C0046E4A_F8AF_AA50_41E2_C4C82CD46871.label = MNT7619-6
photo_C004518E_F8AF_B6D1_41D1_8CBC104A96A6.label = MNT7619-7
photo_C004518E_F8AF_B6D1_41D1_8CBC104A96A6.label = MNT7619-7
photo_D71C2845_F794_F523_41E9_C4E52EF5F91B.label = MNT8699-1
photo_D71C2845_F794_F523_41E9_C4E52EF5F91B.label = MNT8699-1
photo_E8D5BB03_F794_EB26_41CA_50FDF3418E75.label = MNT8699-2
photo_E8D5BB03_F794_EB26_41CA_50FDF3418E75.label = MNT8699-2
photo_E28EFBDE_F837_8BDA_41E1_FAF56E97A2CA.label = MNT9343-1
photo_E28EFBDE_F837_8BDA_41E1_FAF56E97A2CA.label = MNT9343-1
photo_E090BE5D_F837_8CDE_41E9_850DEB27B910.label = MNT9343-2
photo_E090BE5D_F837_8CDE_41E9_850DEB27B910.label = MNT9343-2
photo_E09C602F_F834_747A_41ED_D4EB689523CB.label = MNT9343-3
photo_E09C602F_F834_747A_41ED_D4EB689523CB.label = MNT9343-3
photo_E09C9252_F834_742A_41D1_6BC5610291B2.label = MNT9343-4
photo_E09C9252_F834_742A_41D1_6BC5610291B2.label = MNT9343-4
photo_E09CE513_F834_7C2A_41D8_48D534386CBF.label = MNT9343-5
photo_E09CE513_F834_7C2A_41D8_48D534386CBF.label = MNT9343-5
photo_DEA08D5B_F86D_6F9B_41EC_AAB6F4CCC8E4.label = MNT9396
photo_DEA08D5B_F86D_6F9B_41EC_AAB6F4CCC8E4.label = MNT9396
photo_DEB492FC_F86D_7A9C_41EB_AA1A7B9C83F9.label = MNT992-1
photo_DEB492FC_F86D_7A9C_41EB_AA1A7B9C83F9.label = MNT992-1
photo_DCCEC670_F86D_7DA4_41E3_105126CE1CC9.label = MNT992-2
photo_DCCEC670_F86D_7DA4_41E3_105126CE1CC9.label = MNT992-2
photo_F9C2F79E_D652_A57B_41E2_F906F77F369C.label = MNT_10430_2D_001
photo_F9C2F79E_D652_A57B_41E2_F906F77F369C.label = MNT_10430_2D_001
photo_F8FDA9D6_D652_ACCB_41D5_9864A1811030.label = MNT_10430_2D_002
photo_F8FDA9D6_D652_ACCB_41D5_9864A1811030.label = MNT_10430_2D_002
photo_97C1EC46_D631_ABFE_41DE_8C71535F3D75.label = MNT_12727_2D_001
photo_97C1EC46_D631_ABFE_41DE_8C71535F3D75.label = MNT_12727_2D_001
photo_964EDEC1_D631_A4F2_41E6_91E5AF2A9137.label = MNT_12727_2D_002
photo_964EDEC1_D631_A4F2_41E6_91E5AF2A9137.label = MNT_12727_2D_002
photo_964F3138_D631_BD92_41CB_885E62274309.label = MNT_12727_2D_003
photo_964F3138_D631_BD92_41CB_885E62274309.label = MNT_12727_2D_003
photo_964F9345_D631_BDFD_41A3_71E265478CFE.label = MNT_12727_2D_004
photo_964F9345_D631_BDFD_41A3_71E265478CFE.label = MNT_12727_2D_004
photo_964FD542_D631_A5F7_41E0_2DED5E6B797B.label = MNT_12727_2D_005
photo_964FD542_D631_A5F7_41E0_2DED5E6B797B.label = MNT_12727_2D_005
photo_964C474F_D631_A58D_41D7_36768A5727AC.label = MNT_12728_2D_001
photo_964C474F_D631_A58D_41D7_36768A5727AC.label = MNT_12728_2D_001
photo_964C395C_D631_AD93_41A5_931F33124305.label = MNT_12728_2D_002
photo_964C395C_D631_AD93_41A5_931F33124305.label = MNT_12728_2D_002
photo_964C6B68_D631_ADB3_41E0_BC3A96C38FB4.label = MNT_12728_2D_003
photo_964C6B68_D631_ADB3_41E0_BC3A96C38FB4.label = MNT_12728_2D_003
photo_964C1D6B_D631_A5B5_41DA_74513DA16D15.label = MNT_12728_2D_004
photo_964C1D6B_D631_A5B5_41DA_74513DA16D15.label = MNT_12728_2D_004
photo_964C6F85_D631_A57D_41D5_A0356CC0F691.label = MNT_12728_2D_005
photo_964C6F85_D631_A57D_41D5_A0356CC0F691.label = MNT_12728_2D_005
album_E29AA4EA_D64E_A4AE_41E2_AD3711C691F3_0.label = MNT_19663_2D_001
album_E29AA4EA_D64E_A4AE_41E2_AD3711C691F3_1.label = MNT_19663_2D_002
album_E29AA4EA_D64E_A4AE_41E2_AD3711C691F3_2.label = MNT_19663_2D_003
album_CC32D9A8_D64F_6D38_41C2_5D9892A5B014_0.label = MNT_38461_2D_001
album_CC32D9A8_D64F_6D38_41C2_5D9892A5B014_1.label = MNT_38461_2D_002
album_CC32D9A8_D64F_6D38_41C2_5D9892A5B014_2.label = MNT_38461_2D_003
album_CC32D9A8_D64F_6D38_41C2_5D9892A5B014_3.label = MNT_38461_2D_004
photo_C33727BB_D652_A523_41B4_2AAB73A252CD.label = MNT_4704_2D_001
photo_C33727BB_D652_A523_41B4_2AAB73A252CD.label = MNT_4704_2D_001
album_83829103_D7D2_BD92_41BC_D29DF8B59D3C_0.label = MNT_5642_2D_001
album_83829103_D7D2_BD92_41BC_D29DF8B59D3C_1.label = MNT_5642_2D_002
album_83829103_D7D2_BD92_41BC_D29DF8B59D3C_2.label = MNT_5642_2D_003
album_83829103_D7D2_BD92_41BC_D29DF8B59D3C_3.label = MNT_5642_2D_004
album_83829103_D7D2_BD92_41BC_D29DF8B59D3C_4.label = MNT_5642_2D_005
photo_D3CCE695_F894_BAB1_41EA_A7B037E537B3.label = MNTraje10429
photo_D3CCE695_F894_BAB1_41EA_A7B037E537B3.label = MNTraje10429
photo_E3B8F6F8_F854_7DC0_41E8_8FD945DCB575.label = MNTraje12726-1
photo_E3B8F6F8_F854_7DC0_41E8_8FD945DCB575.label = MNTraje12726-1
photo_E26BA9D0_F854_77C0_41C3_7E0B5E96C6D4.label = MNTraje12726-2
photo_E26BA9D0_F854_77C0_41C3_7E0B5E96C6D4.label = MNTraje12726-2
photo_E26A4B9F_F854_7440_41E3_99C44CBE84A5.label = MNTraje12726-3
photo_E26A4B9F_F854_7440_41E3_99C44CBE84A5.label = MNTraje12726-3
photo_E26A6D7F_F855_8CC0_41B0_6FF8DED78210.label = MNTraje12726-4
photo_E26A6D7F_F855_8CC0_41B0_6FF8DED78210.label = MNTraje12726-4
photo_E26BEF4F_F855_8CC0_41CF_FAA9E6A2848F.label = MNTraje12726-5
photo_E26BEF4F_F855_8CC0_41CF_FAA9E6A2848F.label = MNTraje12726-5
photo_3A6B461E_FD3E_853E_41D7_031A153DDB61.label = MNTraje15075-1
photo_3A6B461E_FD3E_853E_41D7_031A153DDB61.label = MNTraje15075-1
photo_42191A09_FD3E_8D05_41E7_E88073EB8199.label = MNTraje15075-2
photo_42191A09_FD3E_8D05_41E7_E88073EB8199.label = MNTraje15075-2
photo_4216D044_FD3E_BD03_41D0_ED63A9D4FF34.label = MNTraje15075-3
photo_4216D044_FD3E_BD03_41D0_ED63A9D4FF34.label = MNTraje15075-3
photo_4216C7DF_FD3E_833D_41ED_DE8325A77522.label = MNTraje15075-4
photo_4216C7DF_FD3E_833D_41ED_DE8325A77522.label = MNTraje15075-4
photo_42197E7B_FD3E_8505_41B3_B4CB581031E4.label = MNTraje15075-5
photo_42197E7B_FD3E_8505_41B3_B4CB581031E4.label = MNTraje15075-5
photo_34DA858B_FDCE_876A_41D6_8B6A702345E2.label = MNTraje38264-1
photo_34DA858B_FDCE_876A_41D6_8B6A702345E2.label = MNTraje38264-1
photo_3E3DE916_FDCE_8F7A_41E3_81E48BE96F19.label = MNTraje38264-2
photo_3E3DE916_FDCE_8F7A_41E3_81E48BE96F19.label = MNTraje38264-2
photo_3E3D4CEB_FDCE_86AA_41ED_792362B00B15.label = MNTraje38264-3
photo_3E3D4CEB_FDCE_86AA_41ED_792362B00B15.label = MNTraje38264-3
photo_3E3D2044_FDCE_9DDE_41E3_92928D04D171.label = MNTraje38264-4
photo_3E3D2044_FDCE_9DDE_41E3_92928D04D171.label = MNTraje38264-4
photo_3E3D8421_FDCE_8556_41E4_4C46D02A8774.label = MNTraje38264-5
photo_3E3D8421_FDCE_8556_41E4_4C46D02A8774.label = MNTraje38264-5
photo_E090584E_F83C_9429_41E0_A936DA49573F.label = MNTraje5622-1
photo_E090584E_F83C_9429_41E0_A936DA49573F.label = MNTraje5622-1
photo_EFBA5A48_F83C_942A_41EE_A7E4F4F578F3.label = MNTraje5622-2
photo_EFBA5A48_F83C_942A_41EE_A7E4F4F578F3.label = MNTraje5622-2
photo_EFBA4C6C_F83C_8CEA_41E1_5CCEC5DEAF42.label = MNTraje5622-3
photo_EFBA4C6C_F83C_8CEA_41E1_5CCEC5DEAF42.label = MNTraje5622-3
photo_EFBAEE94_F83C_8C39_41D9_7DEF7B38CE3C.label = MNTraje5622-4
photo_EFBAEE94_F83C_8C39_41D9_7DEF7B38CE3C.label = MNTraje5622-4
photo_EFBAA087_F83C_F426_41EC_5DD26C4C77DE.label = MNTraje5622-5
photo_EFBAA087_F83C_F426_41EC_5DD26C4C77DE.label = MNTraje5622-5
map_4D4C8234_5985_72C6_41A1_DFAE3A1BD3A4.label = Museum
panorama_407F15ED_FD46_870F_41DD_9043C20C12D9.label = Music Room
album_887EB88F_02C6_E632_4160_BDA620E98EF2.label = Photo Album 1976_PBMM_Auracária
album_19C41AD5_0272_9820_4175_81CAC634513C.label = Photo Album 1976_PBMM_Escultura_Estado Inicial
album_37B3E1EE_03C7_677F_416B_6191D9F3F11C.label = Photo Album 1976_PBMM_Estado Inicial_6_restaurante
album_4C63BB37_025B_7B50_4134_39F5807D6FA0.label = Photo Album 1976_PBMM_Estado Inicial_Fonte
album_6CB2D64D_02C5_6A0F_4173_C26A17D5AD02.label = Photo Album 1976_PBMM_Lago_Estado Inicial
album_19E7ABA8_0276_F861_4180_E80221BD52AE.label = Photo Album 1976_PBMM_Parque_Estado Inicial
album_926E990A_02C7_2687_4111_7A5F151E94F0.label = Photo Album 1976_PBMM_escadaria
album_317BC097_03C5_E44F_4160_AF06FA7F52FF.label = Photo Album 2014_Morcego
album_49689FC5_63D4_120B_41D8_2EC4C7A6791D.label = Photo Album MNT0077
album_4039E7F9_5F0B_8743_41D1_9485F5BAC8CD.label = Photo Album MNT01408-09
album_3239ACBA_20A4_55B1_4193_D749D9F62A7C.label = Photo Album MNT03546
album_1ECED7CE_0BE9_1C0D_41A2_8C5AEB8217D1.label = Photo Album MNT04130
album_3D008B79_2AEB_20DE_41A5_363025365E5E.label = Photo Album MNT11595-1
album_324B6F8F_20A4_B46F_41B5_5056C5278FD6.label = Photo Album MNT12045-1
album_7B6191B2_6354_0E08_41D6_B22D52B4DAF9.label = Photo Album MNT12049
album_071B88AF_1BD5_3B50_41B0_DD8D213DAC61.label = Photo Album MNT12179
album_761893A2_6374_1208_41D4_6EADA18B4DAB.label = Photo Album MNT12846
album_0B6A7D32_1BEE_F5B0_41B0_7CE955936AAF.label = Photo Album MNT16925
album_2BA23770_FDCE_838C_41EB_07789B857793.label = Photo Album MNT18247
album_2A7E376A_30B1_CFE0_4189_42D9E9DC5601.label = Photo Album MNT19673
album_1A387B2B_FDC1_83E4_41D2_5C001B33FD0B.label = Photo Album MNT22958
album_322AD7E5_20A3_D3D0_41A1_D6A3E1354ABC.label = Photo Album MNT26143
album_1F434791_0BE7_1C17_418A_EEDFC19C4A82.label = Photo Album MNT26738-1
album_43B99BF9_63CC_11F8_41C8_9DB511E28D7B.label = Photo Album MNT28668
album_43FFB821_63BC_1E08_41BD_45D1E538360E.label = Photo Album MNT29432
album_439DF6BF_63BC_F278_41B8_11449BEEEB5C.label = Photo Album MNT30148
album_FD87D4DC_FD41_866B_41E2_CAF0E60C2B3B.label = Photo Album MNT31711
album_025FC32F_1BDD_ED51_41AB_1E91E740CF11.label = Photo Album MNT3200
album_4E2CA3C5_63CC_120B_41BA_A4929517B38E.label = Photo Album MNT32487
album_7BB71F84_634C_1208_41B7_DBD87E4ADC84.label = Photo Album MNT32709-1
album_B3EB3341_A83D_D84C_41E4_7777B2D844E3.label = Photo Album MNT37654-1
album_5B3B191D_63D4_1E38_41C5_318E315F32CE.label = Photo Album MNT38127
album_253DFF16_63B4_1209_41C9_E614EF478B51.label = Photo Album MNT38458-1
album_24AEA513_63B4_7608_41CE_24CDE5249664.label = Photo Album MNT38538
album_249B6EE1_63B4_1208_41D7_60AC465EBCFF.label = Photo Album MNT38567
album_103A01A5_3050_C360_41BC_CF50311587E3.label = Photo Album MNT38727
album_6C00964B_5FF8_EE3D_41C8_4987EF6B3420.label = Photo Album MNT38746
album_10C82E67_3050_41E0_41BC_05EE0638FDA8.label = Photo Album MNT38848
album_10091528_3050_4360_41AE_531FC605314F.label = Photo Album MNT38853
album_045EE8AE_16FF_615C_41AB_AD0159A69D71.label = Photo Album MNT3969-70-71
album_01E26B70_1BDD_7DB0_419D_813A6B79C87A.label = Photo Album MNT4184
album_1A868D3D_023F_FC09_4157_F5FC1111D6EC.label = Photo Album MNT4186
album_0224E479_1BD3_6BB0_416A_91C7DB446578.label = Photo Album MNT4657
album_1F7CAF9A_0BE7_0C15_41A6_5D5E5FAF655A.label = Photo Album MNT4703-04
album_1F457C62_0BE7_0C3A_413E_338AECBC897C.label = Photo Album MNT6869-1
album_316E4DFF_2AEB_23D2_41B8_4548FFB70E26.label = Photo Album MNT7619-1
album_7B762463_5E67_9CD4_41CE_0ABAA1A90AA5.label = Photo Album MNT8699-1
album_7E9261FB_5FD9_E5DD_41D5_E0E1D9600CC2.label = Photo Album MNT9343
album_03BD90C6_1BD3_6CD0_4189_C62082D55B47.label = Photo Album MNT9396
album_01F3DD5D_1BDF_75F1_41AA_D150B8C4CD64.label = Photo Album MNT992
album_E29AA4EA_D64E_A4AE_41E2_AD3711C691F3.label = Photo Album MNT_19663_2D_001
album_CC32D9A8_D64F_6D38_41C2_5D9892A5B014.label = Photo Album MNT_38461_2D_001
album_83829103_D7D2_BD92_41BC_D29DF8B59D3C.label = Photo Album MNT_5642_2D_001
album_7E66569B_5F08_99C7_41B1_89EECD92AF9B.label = Photo Album MNTraje10429
album_6D879F3F_5FF9_BE55_41C2_B23F003E7AD4.label = Photo Album MNTraje12726
album_764D2F8C_6374_1218_41C5_28789181D2D5.label = Photo Album MNTraje15075
album_7C4ADE33_63CC_120F_41CB_EEEF90B77E81.label = Photo Album MNTraje38264
album_72E70159_5F78_9B43_41B0_C76B208506F0.label = Photo Album MNTraje5622
panorama_CEE48DE3_E356_2A1C_41E0_AED8FC577D4F.label = Room 1910–1918
panorama_CE959235_E34A_3E56_41E0_0233DED973FB.label = Room 1920-1930
panorama_CD7B92B9_E34E_5E11_41E1_66FF3B43359D.label = Showcase Room
## Popup
### Body
htmlText_3BF6BA8F_1BAD_FF50_4171_CBAAB0530D29.html = Coat and Breeches, c. 1820
Cream and blue patterned silk, forming small geometric motifs. The coat has a high waistband. The fronts are rounded at the top, featuring two shaped flaps. Sleeves are fitted, with cuffs. The back has a central seam and a large opening from the waist down, with an inset pocket and sewn pleat. Trimmed with cream silk taffeta piping. Circular buttons covered with the same silk are applied on the fronts, flaps, sleeve cuffs, and the top of the sewn pleats. Fastens with two buttons. Lined with cream silk taffeta. Pockets lined with white linen.
Breeches have a high waistband. The front features an opening, a small flap, and three inset pockets. Pockets have side openings fastened with covered buttons. At the leg openings, there are strips of the same silk applied. Side seams have openings fastened with covered buttons. Fastens with buttons at the central opening and flap. The waistband is decorated with four buttons matching the others. Lined with cream linen.
MNTraje inventory nos. 1408; 1409
, in their various styles—short cape, mantle, mantelet, or visite—were widely worn by ladies throughout the 19th century and into the early decades of the 20th century.
Made from patterned silks, velvets, or wool and decorated with embroidery, lace, bugle beads, fur, or feathers, they served both as warm accessories and as statements of elegance, combining contrasting textures and diverse materials.
Mantelets, short capes, and visites evolved in style alongside changes in women’s fashion, adapting to the volumes of romantic wide skirts, the bustle shapes of the tournure, and the Belle Époque skirts.
By the late 19th century, the length of women’s capes varied depending on the style, and it was common for ladies to own two or three evening capes. During this period, capes with high collars and lengths above the waist were especially popular.
Between 1910 and 1915, capes were gradually replaced by jackets, which were more practical and functional for everyday wear, though capes remained a preferred choice for evening dress due to their elegance and richness.
"Sailor-style" Outfit, 1910–1920
Boy’s outfit consisting of a blouse and shorts in white cotton twill. Blouse with sailor collar and cuffs in blue cotton twill, decorated with applied white cotton stripes. Long sleeves. Front with patch pocket and waistband with belt loops. Fastens at the front with mother-of-pearl buttons. Shorts with inset side seam pockets. Fastens at the fly with cream composite buttons. Waistband with six matching buttons for suspenders.
MNTraje inv. no. 15075
Child’s Dress, 1840–1850
Silk taffeta brocaded with floral and geometric motifs in shades of blue, brown, and salmon. Large round neckline trimmed with blue silk cord. Short gathered sleeves. Skirt with a pleat at the front, gathered at the back, and trimmed with a ruffle of the same taffeta at the hem. White silk bobbin lace applied on the neckline, bodice, sleeves, and skirt. Large brown silk ribbon bows on the skirt. At the back waist, two strips of the same fabric trimmed with the same lace cross near the ruffle and fasten with a brown silk bow matching those at the front. Fastens at the back with glass buttons and two metal hooks.
MNTraje inv. no. 3546
Jacket, skirt and blouse, c. 2000
Jacket and skirt in sea-green silk satin. The jacket has a rounded collar forming a V-neckline. Structured panels create a fitted bodice with darts. The fronts are rounded at the hem. Long sleeves with a straight cut. Silk satin-covered buttons are applied at the sleeve ends and front. The jacket fastens inside at the front with three hooks. Lined with cream artificial fibre taffeta. The skirt features a waistband in the same fabric. It is fitted with darts at the waist and fastens at the back with a zipper and hooks. Lined with cream artificial fibre taffeta. The blouse (top) is made from a green and gold artificial fibre fabric with a cut neckline forming a pointed front, decorated with gold artificial fibre mechanical lace with floral motifs, suggesting a stomacher. Sleeveless. Fitted body finishing in a point at the hem, trimmed with gold mechanical lace. Open at the back, fastening with a zipper. Lined with cream artificial fibre taffeta.
Label: "Paulo Matos / Haute Couture."
MNTraje inv. no. 38848
Visite, c. 1880
Black silk embroidered with iridescent, multicoloured beads forming a geometric decoration. Fitted bodice, ending in a point at the lower edge. Waist, front panels, sleeves, and lower edge adorned with flounces of black machine-made lace. On the shoulders, at the waist, and the lower back, appliqués of black ribbed silk ribbons and bows. Lined with brown silk taffeta.
MNTraje inv. no. 15255
Attributed to Juan Pantoja de la Cruz (1553–1608)
Oil painting on canvas. Gilded wooden frame.
MNTraje inv. no. 14398
D. Joana de Albuquerque was the wife of D. Aires de Saldanha (1542–1605), governor of Tangier in 1591 and appointed Viceroy of India in 1600, during Spanish rule.
Juan Pantoja de la Cruz (Valladolid, 1553 – Madrid, 1608), a painter of religious themes, still lifes, and frescoes, began his career as a portrait artist during the reign of Philip II, after collaborating in the workshop of Alonso Sánchez Coello. After Philip III ascended the throne, Pantoja de la Cruz became one of the most prominent portrait painters of his time, exploring the drama of light that envelops his figures in contrasts of color, light, and shadow. (Museo del Prado, 2024).
Attributed to Juan Pantoja de la Cruz (1553–1608)
Oil painting on canvas. Gilded wooden frame.
MNTraje inv. no. 14399
D. Aires de Saldanha (1542–1605) was governor of Tangier in 1591 and appointed Viceroy of India in 1600, during Spanish rule.
Juan Pantoja de la Cruz (Valladolid, 1553 – Madrid, 1608), a painter of religious themes, still lifes, and frescoes, began his career as a portrait artist during the reign of Philip II, after collaborating in the workshop of Alonso Sánchez Coello. After Philip III ascended the throne, Pantoja de la Cruz became one of the most prominent portrait painters of his time, exploring the drama of light that envelops his figures in contrasts of light and shadow. (Museo del Prado, 2024).
Bem-vindo ao Museu Nacional do Traje e ao Parque Botânico do Monteiro-Mor!
Mesmo estando encerrado, o museu e as suas coleções mantêm-se acessíveis online, no seu computador, telemóvel ou tablet.
Entre na visita virtual e descubra os espaços, a exposição, as peças e as suas histórias, imagens, fotografias e outros tesouros escondidos.
O Museu Nacional do Traje apresenta na sua exposição virtual coleções de trajes e acessórios dos séculos XVII ao XXI, peças de traje feminino, masculino e de criança que traçam uma evolução cronológica dos diferentes estilos e tendências da moda em Portugal.
A visita virtual permite-lhe explorar ao seu próprio ritmo os espaços e as coleções, sala a sala ou a partir de galerias de imagens.
Da mesma forma, o passeio virtual pelo Parque Botânico do Monteiro-Mor proporciona a visualização e informação acerca das espécies de flora e fauna, bem como do património escultórico que compõe o Jardim de Esculturas.
Dom Domingos de Sousa Holstein held the title of Marquis of Faial at the time he acquired the palace in 1840.
By 1850, in addition to being the 1st Marquis of Faial, 2nd Count of Calhariz, and Count of Sanfrè in Piedmont (Italy), he also inherited the title of 2nd Duke of Palmela upon the death of his father, thereby assuming the headship of one of Portugal's most prestigious noble houses.
During the Ancien Régime, European courts lived in an atmosphere of great luxury and ostentation, where clothing displayed wealth and opulence through exuberant shapes, luxurious fabrics, and vivid colours. Asymmetrical lines and floral patterns were favoured. Bodies were shaped to follow the curved lines and volumes dictated by fashion.
At the beginning of the 18th century, the more rigid and solemn Baroque style was replaced by the more elegant, light, and frivolous Rocaille style, which incorporated exotic decorative motifs from distant countries.
The prestige of the French court, established at Versailles, influenced other European courts that followed its lead. Portugal was no exception, adopting the attire and ceremonial customs of French absolutism during the reigns of King João V and King José I.
During this period, fashions evolved alongside the emergence of the first specialised magazines and the development of trades related to garment making and fabric production.
Women’s Costume
Women dressed sumptuously, with lace and bows being constant features of their attire. Generous necklines, makeup, and perfume were also essential elements of their seduction.
In the Baroque period, women’s dress generally consisted of three main pieces: a fitted bodice, a skirt, and an overskirt. By the mid-18th century, in the height of the Rocaille period, the lighter and flowing dress evolved into the “à la française” gown, made up of a tight-fitting bodice and skirt, accompanied by the famous “Watteau pleats” — fabric folds that fell loosely down the back. Sleeves were fitted at the top and opened out in a pagoda shape, decorated with flounces and lace.
The “à l’anglaise” dress was characterised by a tight bodice with pointed lower edges both front and back, and narrow sleeves, worn with an underskirt and an overskirt.
Court dresses worn for grand ceremonies had wide side volumes, a cinched bodice, and an overskirt open at the front, forming a triangular opening that revealed the underskirt. These dresses were all the more extravagant depending on the size of their paniers and decorations. The paniers—frameworks worn under the skirts—added lateral volume to the gowns and defined the silhouette of the era.
Women’s hairstyles, which in the Baroque period had been hidden by artificial wigs, became an integral part of their adornment in the following period, styled artistically and, later, eccentrically.
At this time, women’s shoes featured high heels, pointed or slightly upturned round toes. They were covered with silk fabric, often matching the dress on formal occasions. The wooden heels were covered with kid leather or contrasting fabric. Decorative buckles of various shapes, applied to the front, were made of silver, steel, or rhinestones. Later, shoe openings were trimmed with pleated ribbons.
Men’s Costume
The basic form of men’s costume appeared in France at the end of the 17th century during the reign of Louis XIV, consisting of a coat, waistcoat, and breeches. This ensemble was maintained in the Rocaille period, though coats became less voluminous and richly embroidered.
Coats and waistcoats were profusely embroidered with silk threads in vivid colours and gold and silver metallic threads, forming floral and vegetal motifs. Breeches were fitted and ended below the knees. These superbly ornamented garments gave their wearers an elegant posture and were only worn by court members. Around 1780, men began adopting simpler, more functional clothing inspired by English styles.
The 18th century was the golden age of buttons. On coats and waistcoats, these small accessories played an important decorative role. These highly artistic pieces could be embroidered fabric, painted, mother-of-pearl, or faceted gemstones set in gold or silver.
The véstia, a part of men’s costume worn beneath the coat until then, was made from luxurious fabrics. Initially long, it gradually became shorter and simpler, eventually evolving into the waistcoat.
Accessories included jabots, powdered wigs, lace cuffs, silk stockings, and high-heeled shoes. The jabot was a neck accessory resembling a cravat, usually made of lace or embroidered cambric, formed of pleats and gathers.
Artificial wigs and powdered hair defined the image of this period. Over the century, wig styles and sizes changed, from extravagantly long and curled wigs to simpler ones with a ponytail tied with a black silk ribbon. The most common men’s hat was the tricorne.
During the Belle Époque, from 1895 to 1914, Europe experienced a period of stability, progress, and economic security that fostered a vibrant social life, luxury, and celebrations. The artistic renewal brought by the Art Nouveau style rejected the constraints of traditional forms and drew inspiration from Nature, introducing new shapes and patterns to fashion. These features were reflected in the fluidity of dresses, floral motifs in fabrics, and jewellery designs depicting butterflies and other insects.
In Portugal, King Carlos embraced British fashion, while Queen Amélia, of French origin, influenced Portuguese society with Parisian trends. At the end of the century, Lisbon saw the opening of the Armazéns do Chiado and Grandella department stores, inaugurating a new way of shopping that would shape trends for decades.
Women’s Fashion
By 1890, women adopted the so-called “healthy” corsets that created an undulating “S” silhouette. This style lifted and accentuated the bust, known as the “dove’s breast.” Long bell-shaped skirts typically featured a small train. Day dresses had high necklines and bodices of lace or tulle, while evening gowns showed wide necklines with long gloves protecting the arms.
Favourite colours included pink, light blue, yellow, mauve, and black. Floral motifs dominated, and preferred fabrics were crepe, chiffon, muslin, and tulle.
Hairstyles were worn piled high on the head, and wide-brimmed capelines were decorated with feathers, flowers, and ribbons.
Lace, feather boas, and jewellery were highly prized. Fans were an essential accessory in women’s toilettes, available in various sizes and materials such as mother-of-pearl, tortoiseshell, lace, silk, or ostrich feathers. Different ways of handling the fan conveyed ladies’ intentions in public settings.
Men’s Fashion
Overcoats and tailcoats remained in use for formal occasions, accompanied by top hats. For everyday wear, three-piece suits—jacket, waistcoat, and trousers—were worn with bowler hats.
For travel, three-quarter-length English coats with belts and patch pockets were chosen, often paired with caps.
Accessories were essential not only as fashion complements but also as markers of social behaviour. Strict rules governed their use, which were mandatory to follow.
During the First Portuguese Republic, in a climate of freedom of expression, the number of newspapers and magazines increased, and access to education became more widespread in an effort to integrate the population into a shared political and social framework.
Fashion trends continued to arrive from France via the bourgeois elites who purchased and drew inspiration from the Parisian haute couture houses. However, it was the milliners and dressmakers—more accessible to the general public—who brought most women’s fashion dreams to life. At the same time, large department stores introduced new consumer habits and helped democratise fashion.
Women’s Dress
In urban areas, Portuguese women quickly embraced a new slender silhouette proposed by Paul Poiret, the leading fashion figure in Paris. Inspired by Napoleonic-era clothing, Poiret introduced dresses as a replacement for the previously popular two-piece women’s suits. His designs featured straight lines and a high waist, allowing women to free themselves from the corset. This marked a new beauty ideal that emphasised a more elongated figure. The liberation from corsets and artificial volumes was undoubtedly the most significant change introduced to women’s wardrobes during this period.
In Paris, Diaghilev’s Ballets Russes inspired fashion with its oriental influences, introducing new shapes, vibrant colours, and luxurious fabrics. Their impact was also felt in Portugal when the company performed at the Coliseu dos Recreios and Teatro de São Carlos between 1917 and 1918.
Headwear fashions included oriental-inspired turbans, while wide-brimmed capelines remained the preferred style.
Men’s Dress
Men’s fashion retained the late 19th-century forms. For formal occasions, the accepted attire was still the tailcoat, while everyday wear consisted of three-piece suits—jacket, waistcoat, and trousers. High, starched white linen collars adorned the neck, with ties and bowties chosen according to the occasion. Straw hats were very popular and worn by both men and women in informal settings.
From 1912 and 1913, the first signs of “modernity” in Portuguese men’s fashion emerged through students at Academies and Fine Arts schools who had studied in Paris, bringing new dynamism and different attitudes to Lisbon society.
The Futurist movement, closely linked with fashion, presented bold proposals anticipating the future. In Portugal, artist Almada Negreiros followed the “Futurist Manifesto on Men’s Clothing” of 1914 by Balla, advocating dynamic, voluminous, and colourful one-piece garments, such as aviator suits.
In the 1930s, women’s fashion returned to more curvilinear lines, skirts lengthened, and the waistline resumed its natural position. Even after the 1929 New York Stock Market Crash, fashion remained elegant and sumptuous.
Evening dresses were long with bare backs. The most prized fabrics were crepes and satins. Hairstyles grew longer with gentle waves. Small, highly creative hats were indispensable in any feminine toilette.
Cinema actresses, with their glamour, inspired women and became style icons, such as Greta Garbo and Marlene Dietrich. In Portugal, film production and the rest of the media were controlled by the political regime, which conveyed its ideology. In 1933, Cottinelli Telmo’s film A Canção de Lisboa successfully marked the transition from silent to sound cinema.
Madeleine Vionnet introduced bias-cutting, a technique that gave garments elasticity and fluidity, sensual shaping the female form. Elsa Schiaparelli, known for her surrealist-inspired creations, also presented sportswear, reflecting the growing interest in outdoor activities.
World War II imposed severe material restrictions, causing several Haute Couture houses in France to close. Rationing required tighter, shorter, and more practical clothing. Women wore tailleurs with sharply defined waists, straight skirts, padded shoulders, and large pockets, lending their silhouette a masculine, almost military, posture.
Cork wedge shoes compensated for leather shortages. Scarves and turbans adorned heads.
Far from the battlefields, Portugal experienced a high society life filled with diplomatic receptions, parties, and public inaugurations. In 1940, the Portuguese State organised the Exposição do Mundo Português, a large event commemorating important national anniversaries and serving as regime propaganda. However, grand displays of luxury and wealth were generally avoided, in solidarity with Europe.
Simultaneously, the arrival in Lisbon of European refugees en route to America or other destinations brought fresh air to Portuguese society with new fashions and more relaxed customs.
During these two decades, the most common male attire consisted of three pieces: broad-lapelled jackets, waistcoats, and trousers in sober tones. For public occasions, tailcoats with wide patterned trousers were adopted. The double-breasted overcoat became common and much appreciated. The tailcoat and morning coat continued to mark formal events, and the tuxedo was the most suitable for evening parties. Changes were still noted in details such as jacket width, collar variations, and trouser lengths.
The 1960s marked a new shift in fashion. Youth became a role model, expressing an attitude of nonconformity and opposition to the prevailing politics and mindset. Fashion movements originated on the streets and began to influence Haute Couture. Clothing manufacturers saw young people as potential customers and started creating pieces specifically for them.
At the heart of women’s fashion in this decade was the miniskirt, introduced by André Courrèges in 1965 and popularised by Mary Quant in England.
At the same time, tights (collants) emerged, making miniskirts easier to wear, protecting from the cold and prying eyes, and eliminating the need for garters. They were adopted by most women, who found them comfortable and warm.
Paco Rabanne, André Courrèges, and Pierre Cardin embodied the avant-garde trends of the ’60s and were associated with futuristic fashion. Inspired by the space race between the United States and the Soviet Union, they developed a “space age” look characterised by geometric shapes in black and white tones. They used synthetic and shiny materials such as plastics and metal rings.
Men’s fashion finally began to break free from the trends that had dominated previous decades. Men started daring to wear new garments and bright colours, embracing an image of freedom combined with comfort.
At the end of the decade, the hippie movement emerged in San Francisco, California. Primarily a mindset movement, it spread through pop music. Young people who joined the movement lived unconventionally and without restrictions or taboos. Although the movement faded by the late 1970s, it continues to influence Western societies. The 1969 Woodstock Music Festival, recognised as one of the greatest events in popular music history, became an emblem of this generation.
Their clothing was inspired by international ethnic styles: young men wore raw cotton tunics and jeans, with long hair and beards; young women wore long tunics, wore their hair loose with flowers, and went without makeup.
Alongside the hippie movement arose the psychedelic style, characterised by the use of bright, acidic, almost fluorescent colours, and by mixed, rounded shapes. It emerged at the end of the ’60s, reflecting the visions induced by hallucinogenic drug use.
The 19th century, an era of industrialisation, witnessed rapid technological advances across various sectors of production, to which the fashion industry was no exception.
In the 1850s, King Pedro V inaugurated Portugal’s first railway line between Lisbon and Carregado, introduced the first electric telegraph, and established regular maritime connections between Portugal and Angola, in addition to implementing the metric system. In the following decade, King Luís I expanded the road and railway networks, in a period marked by political and cultural development.
Department stores began to emerge, and etiquette manuals set the rules for “proper dress”. Fashion newspapers multiplied, and magazines brought the latest trends from Paris.
It was during this period that the English dressmaker Charles Frédéric Worth opened his fashion house in Paris. His style came to dominate women’s fashion for much of the century. Worth laid the foundations of Haute Couture, characterised by the systematic presentation and promotion of collections, the use of live models, and the commercial organisation of the business. These features enabled the spread of Worth’s designs across Europe and America.
Women’s Dress
In the 1850s, skirts reached their maximum volume with the introduction of the crinoline. This internal structure gave the skirts dramatic, symmetrical fullness without the added weight—previously achieved by layering multiple petticoats. In the following decade, the volume shifted towards the back, and crinolines were adapted accordingly. Meanwhile, the torso remained tightly encased in a whalebone corset.
Favoured fabrics included silk and cotton muslins with floral sprigs, foliage patterns, checks, and stripes. Colours were generally simple and muted, with blues and greens being predominant.
Hair was worn up with a centre parting, adorned with flowers, lace, and ribbons. Bonnets with ties and wide straw hats were the most common headwear. Footwear consisted mainly of ankle boots and low-heeled shoes.
Men’s Dress
Men’s fashion in the 1850s maintained many trends from previous decades. In urban daily life, it was considered poor taste to wear trousers made from the same fabric as the coat. Coats in black or other subdued colours were commonly worn with checked trousers. Evening wear consisted of a black tailcoat with matching trousers and waistcoat, a starched shirt front, and a bow tie.
Neck accessories became more discreet compared to the elaborate styles of previous decades. The plastron—a wide-knot cravat with short ends in sober colours—became particularly fashionable.
The 20th century was marked by major changes in the concept of fashion. The pace of renewal and creation accelerated, fashion became more democratic, and transformed into a mass phenomenon. In France, luxury accessory production resumed and Haute Couture houses reopened, much to the delight of a new, wealthy American clientele.
After the end of the Second World War, Christian Dior responded to women’s desires by creating a feminine and luxurious silhouette. The style proposed by the French couturier was called the New Look, as it arose in reaction to the functional fashion of the 1940s. Presented in Paris in 1947, it aimed to restore women’s sensual appearance.
This new image was characterised by straight or full skirts, very wide and structured, a narrow and delicate waist, small rounded shoulders, and a corseted body with a well-defined bust.
In the 1950s, hats and gloves were essential accessories for formal outfits. Women wore wide-brimmed hats (capelines) and small hats called toques. By the mid-1960s, hats were mostly reserved for ceremonial occasions or protection from sun and cold.
Among the accessories necessary to complete the New Look outfits, shoes were fundamental. Usually simple in shape, they came in various colours, but high heels were indispensable to add a feminine touch. It was during this period that the famous stiletto heel, reinforced with steel, was introduced.
Bright colours were preferred, and patterns were much appreciated. Floral motifs in cheerful tones and various sizes—from subtle to fully covering the fabric—were popular. Geometric patterns, such as checks and stripes, were also widely used.
While the New Look dominated appearances, a restless generation from the middle class began to reject prevailing materialism. This existentialist movement infiltrated fashion and influenced Haute Couture, as seen with designer Yves Saint Laurent, who, inspired by the Rive Gauche trend, presented the “Beat” collection for Dior in 1960.
In the United States, t-shirts became outerwear, especially after Marlon Brando appeared wearing a white t-shirt in the 1954 film On the Waterfront.
At the same time, denim trousers, known as jeans, started being adopted by young people as an expression of their rebellion.
The Military Order of Christ is a Portuguese honorary order that inherited the name of the extinct Order of Christ (1834). It is awarded for outstanding services rendered in the exercise of functions in positions of sovereignty, public administration, the judiciary, or diplomacy, which deserve special recognition.
The National Costume Museum holds in its collections clothing and accessories from the 17th to the 21st centuries, including items of women's, men's, and children's attire. In addition to these urban garments influenced mainly by European – particularly French and English – styles, the Museum also houses examples of traditional Portuguese and foreign regional dress, religious vestments, and toys. The permanent exhibition, currently on display on the Noble Floor of the Angeja-Palmela Palace, features pieces that trace the chronological evolution of the various styles and trends in clothing worn by the nobility and bourgeoisie in Portugal.
The National Costume Museum is housed in the Angeja-Palmela Palace, so named because it once belonged to these two families. The palace was commissioned by the 3rd Marquis of Angeja, D. Pedro de Noronha (1716–1788), after the 1755 earthquake. It features Pombaline architecture, characterized by its anti-seismic structural system and austere forms, although the architect remains unknown.
Acquired in 1840 by the 2nd Duke of Palmela, D. Domingos de Sousa Holstein (1818–1864), the palace continued to serve as a secondary residence and underwent several interior renovations, including the addition of wall paintings in the style of the period, which complemented the existing stuccoes and azulejos (decorative tiles).
In 1975, the Portuguese State acquired the palace along with the adjoining Monteiro-Mor Botanical Park to establish the National Costume Museum, which opened its doors to the public in July 1977.
The National Museum of Costume is housed in the Angeja-Palmela palace, named after the two families who owned the property. The palace was built by the 3rd Marquis of Angeja (1716-1788), after the earthquake of 1755. It presents Pombaline features, characterised by its anti-seismic structural system and its austere forms, but its authorship is unknown.
Acquired in 1840 by the 2nd Duke of Palmela (1818-1864), the Palace continued to be used as a secondary residence and was object of internal upgrading works, such as the parietal paintings which were added to the decorative stucco and existing tiles (azulejos).
Eventually, in 1975 the Portuguese State purchased the palace together with the Monteiro-Mor Botanical Garden for the installation of the Nacional Museum of Costume, which opened to the public in July 1977.
The National Museum of Costume is housed in the Angeja-Palmela palace, named after the two families who owned the property. The palace was built by the 3rd Marquis of Angeja (1716-1788), after the earthquake of 1755. It presents Pombaline features, characterised by its anti-seismic structural system and its austere forms, but its authorship is unknown.
Acquired in 1840 by the 2nd Duke of Palmela (1818-1864), the Palace continued to be used as a secondary residence and was object of internal upgrading works, such as the parietal paintings which were added to the decorative stucco and existing tiles (azulejos).
Eventually, in 1975 the Portuguese State purchased the palace together with the Monteiro-Mor Botanical Garden for the installation of the Nacional Museum of Costume, which opened to the public in July 1977.
The Republic, established on 5 October 1910, brought an end to the monarchy and transformed the social dynamics of Portuguese life. Many formalities and social constraints disappeared, and both the arts and fashion became arenas for significant change.
In 1911, the first female public servants in Portugal caused a sensation in a space previously occupied exclusively by men, although they still lacked the right to vote.
With the onset of the First World War (1914–1918), social and political conditions across Europe shifted dramatically. Many women gained new roles and achieved greater autonomy.
Women’s Dress
At the end of the 19th century, a movement arose in England advocating for simplicity and comfort in women’s clothing as a reaction against the excessive fashions of the period. Although the new styles followed prevailing trends, dresses became looser, corsets were abandoned, sleeves widened, and flat shoes replaced heels.
This movement, known as the rational dress movement, promoted healthier clothing and anticipated the era of female emancipation that would only fully arrive in the 20th century.
During the Belle Époque, sports and outdoor activities fostered a new lifestyle, and ladies adopted masculine-style attire such as the tailleur. Originating in England, the tailleur—a suit composed of skirt and jacket—was ideal for outings and especially popular among young women increasingly entering the workforce. The blouse worn with the tailleur became an important and delicate piece, often decorated with pleats, lace inserts, or embroidery.
During the First World War, skirts were cut in an évasée style to allow greater mobility, with a slightly raised waistline. Ending above the ankle, skirts made stockings an essential accessory. Opaque stockings in cream, grey, or black were worn during the day, while evening wear favoured shades that best complemented the dresses.
The advent of automobiles and expanding railway networks led to the rise of the guarda-pós—long, loose overcoats made from lightweight fabrics in cream or white shades, designed to protect men and women from dust on unpaved roads during their travels.
The notion of underwear is relatively recent in the history of dress, with the Middle Ages often cited as the starting point for the evolution of this type of clothing, since it was then that wearing garments beneath everyday outerwear became common. In the 17th century, underwear became associated with hygiene habits—a concept that at that time referred more to the cleanliness of the fabrics than to the body itself. For this reason, undergarments were usually made of white cotton or linen, as the whiteness revealed the wearer’s level of hygiene.
The corsets in the Museum’s collection are mostly white or cream cotton, though there are examples in black, green, or pink—colours unusual compared to the prevailing whiteness. They were cut in panels and stiffened internally with whalebone to maintain the torso’s rigidity, often decorated with lace, flounces, and embroidery. They fastened with hooks and eyes, sometimes a time-consuming task. The corset was worn over a cotton bodice and aimed to compress the bust and narrow the waist, slimming the silhouette.
From 1842 onwards, a circular frame called the crinoline was introduced to support the skirt. Initially made of horsehair hoops and later of cane or metal, joined by tape or cotton fabric strips, crinolines underwent several changes in size and construction method but always aimed to give volume to the skirt. Beneath the crinoline, culottes were worn to protect and cover the legs, and over it, petticoats.
In 1870, a new frame called the tournure appeared. Made of flexible semicircles and fastened with buttons, eyes, and cords, it created an elegant silhouette by raising the area around the lower back, projecting the skirt fabric backward into a voluminous drape.
The early 20th century, after the tournure disappeared, was marked by a feminine “S” silhouette created by the corset, which projected the bust, and by small padded cushions placed around the hips. The corset fell out of fashion from 1906, when Paul Poiret redefined the female silhouette of the coming decades, freeing it from the constraints of the corset. Both women’s and men’s underwear gradually diminished throughout the 20th century.
The period known as the Roaring Twenties was an era of prosperity, the pursuit of pleasure, vibrant nightlife, and artistic renewal. The development of radio and the record and gramophone industry boosted popular music, spreading it to a wider audience. The consumption of fashion magazines became widespread, with Voga, Modas & Bordados and Eva being the most popular.
Women’s Fashion
In this decade, women’s clothing made a decisive step towards functionality, following the Art Deco style, characterised by decorative and elegant geometry. Dresses with straight lines and dropped waists revealed legs from the knees down. Stockings and shoes became prominent accessories, filled with colour. Long hair worn up gave way to short hairstyles. The bell-shaped cloche hats defined the female silhouette of the time.
The Garçonne, with her androgynous silhouette, embodied the modern and liberated woman, sporting very short hair and heavy makeup. She drove cars, exercised, danced the foxtrot and the charleston, and smoked in public places.
Dresses for dancing were short, with round or square necklines, usually with an évasée skirt and fully covered with beads, sequins, and bugle beads. Colours were vivid, although black was also chosen.
At this time, Gabrielle Chanel’s creations stood out for their simple and sober proposals, reflecting the aspirations of this new female attitude in society. She successfully introduced simple black dresses and trousers into women’s wardrobes, as well as the use of Jersey knitwear.
Men’s Fashion
In the 1920s, fitted tweed jackets in herringbone or check patterns, in sober tones, became common in cities, paired with wide trousers featuring pleats and cuffs in plain or patterned fabrics. Soft felt hats and straw hats were preferred for headwear. Mid-decade saw ties take on their current form, made of silk or wool, with bow ties available in various colours and patterns. Gaiters fell out of fashion and lace-up shoes were worn. Following the previous decade, tailcoats and morning coats continued to be used for formal occasions.
The tuxedo (smoking) definitively became the preferred men’s attire for semi-formal events such as public or private dinners, balls, and parties. Black with silk lapels, it was paired with a matching black bow tie.
The publication of Almeida Garrett’s poems Camões (1825) and D. Branca (1826) marked the beginning of Romanticism in Portugal, a movement that would last for around forty years. The aesthetic tastes of this period drew inspiration from historical revivalism, the exoticism of distant lands, and emerging nationalisms.
It was a politically turbulent time, with the struggle for the throne between D. Pedro and D. Miguel culminating in the coronation of Queen Maria II in 1834. The rise of the bourgeoisie and the emergence of liberalism were also key factors in this context.
Women’s Dress
Corsets returned to fashion, and the waistline slowly resumed its natural position, as the style ideal demanded a slender figure. Skirts now revealed the ankles, and elegantly decorated stockings became an important fashion accessory. Flat shoes retained the features of the previous style.
In the 1830s, the most striking elements of the female silhouette were extremely wide sleeves at the top, tight high cuffs, and wide “boat-shaped” necklines, which were covered during the day with fichus or capes. The waist was marked by wide belts adorned with decorative buckles. In the following decade, the overall style of the dress remained similar, but sleeves became narrower. To balance the silhouette, women wore large hats or bonnets adorned with feathers, artificial flowers, and ribbons.
The Romantic ideal of femininity exalted delicate, fragile, pale women, consumed by melancholy.
Men’s Dress
In keeping with bourgeois ideals, men’s fashion became more austere, shedding unnecessary details in favour of comfort. Tailcoats, frock coats, overcoats, redingotes, and high-buttoned jackets were common, often in sober colours. Cravats were simple in form but colourful, paired with starched collars. Hairstyles were neat and smooth, beards were short, and the top hat became an essential accessory. Shoes and ankle boots had low heels.
In contrast to this restrained fashion, a trend emerged in England known as dandyism, which reacted against the puritanism of English society. Being a dandy meant not only adopting a striking and surprising appearance, but also embracing a cultural attitude linked to Romanticism. The most famous dandies were the writer Lord Byron and George Brummell.
In Portugal, Almeida Garrett embraced this style in both fashion and literature, and his extravagance was even imitated by Lisbon’s high society. These men wore finely tailored overcoats and trousers, along with exuberant waistcoats—accessories being an essential part of their toilette.
The second half of the 19th century was marked by a strong sense of eclecticism in the arts, which extended into fashion. The influence of styles from earlier periods became increasingly evident. In 1862, King Luís I married Maria Pia of Savoy, who, accustomed to the opulence of the Turin court, brought to Portugal a taste for luxury, grand social events, and masquerade balls.
This period also witnessed numerous political events, from the foundation of new parties to parliamentary conflicts, alongside major cultural developments such as the Coimbra Question and the Casino Conferences initiative. The latter involved key intellectuals like Antero de Quental and Eça de Queirós, whose generation defined the cultural life of the time.
In Lisbon, the Passeio Público was demolished in 1879 to make way for the Avenida (now Avenida da Liberdade), which became a promenade for fashionable ladies and their companions—a place to see and be seen, and where the rising middle class strove to imitate elite fashion trends.
Women’s Dress
Women wore two-piece dresses made of heavy fabrics, consisting of a bodice and skirt. Corsets remained in fashion and were worn beneath the bodice to shape the torso. Skirts were long and richly adorned with drapes, braids, tassels, ribbons, bows, pompoms, and fringes. This taste for decorative exuberance came to be known as the “Upholstery” style.
A distinctive feature of women’s fashion at this time was the use of a voluminous understructure called a tournure (bustle), worn beneath the back of the skirt. Popularised by couturier Charles Worth, this structure created a pronounced rear silhouette that varied in prominence between 1870 and 1890—from subtle gathering to extravagant projection.
In the evening, women wore dresses in velvet, satin, and brocade with wide necklines. Trains were worn both during the day and at night. Bold floral patterns were especially fashionable.
Hair was styled up, often with soft curls framing the forehead. Until 1885, women favoured small bonnets, after which they transitioned to wearing small hats. The most common footwear included ankle boots and heeled shoes.
To go out, women wore visites, a type of coat with flared sleeves, narrow at the shoulders and richly decorated. Designed to drape elegantly over the bustle, visites featured long front panels and a shortened back.
Men’s Dress
By day, urban men typically wore frock coats or short, rounded jackets. Double-breasted jackets in a “sailor” style were becoming fashionable. Dark colours dominated, intended to convey sobriety and seriousness.
For evening wear, tailcoats were preferred, with morning coats reserved for formal ceremonies.
Top hats remained popular, while bowler hats began to appear.
Union of Domingos António Pedro de Sousa Holstein with Maria Luísa de Noronha Sampaio on July 3, 1836.
With the French Revolution in 1789, the sumptuous fashion of the Old Regime disappeared, giving way to a simpler style. The revolutionary ideals of “Liberty, Equality and Fraternity,” combined with a taste for Greco-Roman Antiquity, radically transformed both women’s and men’s clothing.
From Napoleon’s coronation in 1804, the Empire style dress became dominant across Europe, following the excesses of the post-revolutionary period. In Portugal, the Napoleonic invasions forced King João VI, as regent, and his mother, Queen Maria I, to flee with the court to Brazil, where they stayed until 1821.
Women’s Dress
Women abandoned corsets and panniers, as well as the heavy, rich fabrics of the previous period. Dresses were made from light, translucent materials such as cotton, featuring straight lines, high waistlines, and short puffed sleeves, often worn with long gloves. Skirts reached the ankles, and trains were mainly worn at court. Preferred colours were light tones, with white being the colour of choice.
Embroidered or woven fabrics featured delicate patterns. Small floral, vegetal and geometric motifs—such as circles—were popular. The lower hems of dresses were usually adorned with richly decorated borders.
For warmth, ladies wore fichus—small triangular scarves draped over the shoulders to cover the neckline of dresses. They also used Kashmir shawls with cornucopia patterns, long coats cut in the redingote style, and short jackets called spencers.
During the Empire style period, the simple, straight dresses did not allow for pockets, so women carried bags. These truly useful and complementary accessories, called “indispensables,” quickly became charming decorative additions to the female wardrobe.
Hair was styled “à la Grecque,” pulled back and adorned with curls. Bonnets, caps, and turbans protected the head. Shoes or ankle boots had no heels, allowing for a natural gait.
Men’s Dress
On the eve of the French Revolution, there was great enthusiasm for the English style of men’s clothing, admired both for its quality and functional appearance.
The major innovation of this period was the introduction of trousers into men’s wardrobes. Originating from working-class and sailor dress, trousers began to be worn as a symbol of revolution, since breeches were associated with aristocratic attire.
During the day, men wore sober-coloured coats, trousers, and boots. Around the neck they wrapped a long white cloth tied in a decorative knot, indicating the wearer’s elegance. Despite these changes, evening dress for men still included embroidered coats and waistcoats, breeches, and silk stockings, much like the previous period.
Short hair was topped with top hats or bicornes, sometimes decorated with feathers. Footwear consisted of high boots or flat shoes.
1st Marquis of Faial and 2nd Duke of Palmela
Coat of Arms of the Dukes of Palmela – quartered shield:
In the first and fourth quarters, the royal arms of Portugal.
In the second and third quarters, the arms of the Sousa family – a group of silver crescents (a "quaternion" of argent crescents).
Bag, 1700–1750
Silk fabric entirely embroidered with polychrome silk threads, gilt and silver-gilt metal threads, and gold braid, forming floral motifs. Flap cut into a pointed shape, trimmed with braid. Lined with blue silk.
MNTraje inv. no. 8699
Bag, 1910–1915
Black ribbed silk, embroidered on both sides with polychrome silk threads in stem stitch and cord work, forming floral and vegetal motifs. Lower edge adorned with black glass bead and sequin fringes.
Clasp in cream and black Bakelite, decorated with animal motifs (two elephants), and a fastening button featuring an oriental figure. Handle made of a chain with links in cream and translucent brown Bakelite, imitating tortoiseshell. Lined with black silk satin.
In the first decade of the 20th century, up to the First World War, women’s handbags ranged from the most exotic to the most practical, continuing the styles of the previous century: silver mesh bags, chatelaine bags, and intricately beaded purses remained in use. At the same time, the influence of Orientalism and Art Nouveau inspired a taste for antique textiles, velvets, tapestries, and lace. Suffragettes were also pioneers in wearing larger shoulder bags.
MNTraje inv. no. 12049
Bathing Suit (jacket and shorts), 1900–1905
Dark blue and black checked wool fabric bathing suit. Jacket with a small waistband in matching fabric. Three-quarter-length sleeves with slight gathering. Matching fabric belt. Fronts, hem and cuffs decorated with applied white cotton fabric strips. Neckline and cuffs trimmed with cutwork white machine-made lace. Fastens at the front with cream composite buttons.
Gathered shorts at the waist, finished with applied white cotton fabric strips at the hem. Adjustable waist with white cotton tape.
MNTraje inv. no. 16572
It was only with the Industrial Revolution that bathing once again became a widespread practice, especially sea bathing. In England, the expansion of the railway network increased mobility, allowing people to travel to the coast for seaside leisure. In France, by 1850, the aristocracy had also embraced swimming and the beaches of Normandy. In Portugal, by the late 19th century, seaside holidays had grown in popularity, facilitated by the country’s long coastline. Consequently, clothing had to adapt to this new kind of leisure and to the emerging custom of "going to the baths" — a phrase closely tied to the summer holiday habits introduced by King Carlos I and the Royal Family.
This shift gave rise in many countries to a specific kind of bathing costume, typically made of wool fabric. In some cases, these suits could consist of six pieces: trousers, a loose long shirt, belt, bathing cap, stockings and shoes. More than prioritising comfort or hygiene, these early bathing suits aimed to conceal the body. Exposing it was considered immodest and even indecent, often associated with prostitution. Tanned skin, too, carried class stigma — linked with peasants and lower-income individuals who worked outdoors.
To safeguard modesty, many beaches featured "bathing machines" — mobile beach huts on wheels. Pulled by attendants or even horses into the sea, they allowed women to enter the water discreetly and away from prying eyes. After bathing, the huts were brought back to shore, where they served as changing rooms offering greater privacy. A trip to the beach was a time-consuming ritual, mainly intended for bathing rather than swimming.
In the early 20th century, as sea bathing became more widespread, bathing suits began to lighten. Medical professionals and hygienists recommended loose wool garments and the use of a bathing hat or cap. Women were required to wear two-piece bathing suits — knee-length trousers and a long, loose blouse. Men were gradually allowed to bare their arms, but not their torso, under threat of fines for public indecency.
Among the earliest examples in the museum's collection are women’s bathing suits from this period. Made of dark blue wool, these suits usually consist of several pieces and share the aim of covering the body almost completely. They are adorned with contrasting fabric strips, typically white, in a nautical style inspired by sailors’ uniforms.
Bicorne Hat, 1790–1800
Black felt with an applied black satin rosette, cord, and braid trims of the same colour. Lined with black silk taffeta.
Label: "Real Fábrica de Chapéus; Dep. Tiro; e Dep. Corosso Bucellas."
MNTraje inv. no. 4989
Blouse and Skirt, c.1900
Blouse made of cream cotton machine-made tulle, featuring pintucks flanked by pink silk cord, with guipure lace inserts decorated with floral and vegetal motifs.
The high collar is reinforced with stays and composed of guipure lace insert, trimmed with machine-made tulle. The bodice is gathered at the front lower edge, forming a “pigeon breast” silhouette. Long, fitted sleeves in machine-made tulle with pintucks and guipure lace inserts. Fastens at the back with press studs. Lined with machine-made lace.
Skirt in green silk satin brocaded in shades of pink, yellow, and white, forming large floral and vegetal motifs (lilies). Panel-cut and shaped into a train. Inside, a white pleated cotton flounce is applied, trimmed with white machine-made lace. Fastens at the back waistband with hooks and eyes. Lined in white cotton taffeta.
MNTraje inv. no. 29018; 32065
Bonnet, 1840–1860
Cream silk taffeta. Circular-shaped crown with a wide brim formed by gathers and reinforced with wire. At the back, a ruffle made of the same silk. On the left side, an arrangement of fabric flowers in cotton and velvet in shades of green, yellow, and pink. Fastens under the chin with two silk ribbons. The crown is lined with cream gauze.
MNTraje inv. no. 26143
Buttons (three), 18th century (2nd half)
Circular buttons with painted glass tops in black and cream, depicting a dragonfly, a scarab beetle, and a spider. The border is painted with blue, black, and gold geometric motifs. Set in gilded metal frames.
The 18th century was undoubtedly the golden age of buttons. This small accessory played an important decorative role. These highly artistic pieces could be made from embroidered or painted fabrics, mother-of-pearl, and faceted gemstones set in gold or silver. After c.1780, buttons grew larger and became extravagant elements on men’s coats and waistcoats.
MNTraje inventory nos. 4657; 4658; 4659
Buttons (two), c. 1780
Circular buttons featuring polychrome watercolor engravings depicting a female and a male figure in profile. Gilt metal frame with glass cover.
MNTraje inv. nos. 4703; 4704
Buttons (two), c. 1800
White paper watercoloured in shades of green, brown, blue, and yellow, depicting a landscape with a tree trunk and bird. The bird is made with natural feathers and a glass eye. Set in silver metal frames with glass protection.
The early 19th-century passion for nature in art is also reflected in various fashion accessories featuring natural history elements, as seen in these buttons with bird feather appliqués.
The painted surfaces, enriched with natural elements such as shells, dried plants, insects, or feathers, protected by glass over a metal base, were true miniature paintings.
MNTraje inventory nos. 4705 and 4706
Cap and Box, 1980–1996
Cap fully embroidered with multicoloured pearls, beads, sequins, and gemstones. Fringe formed by nine rows of beads and pearls. Lined with black silk taffeta. Box with a cardboard lid covered in cream paper printed in black.
Label: "Florencio Morgado."
MNTraje inv. no. 31711
Cape, 1860–1870
Woven wool fabric (Cashmere) in polychrome tones, forming geometric, floral, and cornucopia motifs. Trimmed with wool fringe in the same colours around the neckline, front edges, and hem. Rounded neckline. Back shaped with darts. Fastens at the front, at the upper part, with gilt metal hooks.
MNTraje inv. no. 11595
Cape, 1890–1910
Black silk taffeta, pleated. Front panels and back strip made of silk embroidered with beads, bugle beads, and black sequins, forming vegetal and geometric decoration. Tassels of the same silk and bugle beads applied. Neckline and edges trimmed with black bobbin lace.
MNTraje inv. no. 9343
Cape, 1910–1915
Pink moiré silk velvet. V-shaped neckline with a turned-down collar in cream plush. Large front and back yoke in matching velvet. Front panels cut on the bias. Arm openings located at the sides beneath the yoke. The back is gathered from the yoke, with a central seam and two lower pleats creating a draped effect. The entire cape is finished with a bias trim in the same velvet. Fastens at the front with two large velvet-covered semi-spherical buttons and matching velvet frog fastenings.
Lined in cream silk satin with woven vegetal motifs.
Label: "Atelier Pilar Matta / Avenida da Liberdade, 30 / Lisbon"
MNTraje inv. no. 24112
Children's Shoes (Pair) and Box, 2012–2013
Dark blue plastic (Melflex). Round neckline. Rounded toe with a small opening. Bow detail on the front made of the same plastic. Strap with two circular gold-colored metal appliqués, fastened with Velcro on the inside.
Label inside: “mimi melissa”.
Pink cardboard shoe box with lid.
Gray inscription on the lid: “mini melissa / + / The Little Prince”.
MNTraje inv. nºo.38458
Child’s Dress, 1900–1915
Ribbed silk in tones of blue, red, yellow, and black forming a check pattern, combined with dark red ribbed silk. Wide collar in red ribbed silk, trimmed with a pleated frill of the same fabric, with a plastron in checked silk. Straight-cut bodice, flaring slightly at the sides. Long sleeves gathered at the shoulder and featuring an inverted box pleat flanked by tucks at the cuff. High red silk cuffs with pleated frill. At the waist, a belt formed by a double red silk passementerie cord with matching tassels. Lined in cream silk taffeta. Fastens with metal hooks.
Label: “ENGLISH WAREHOUSE / boulevard de la Madeleine / 66, Rue Basse du Rempart / 3, Rue de Sèze, Paris”
MNTraje inv. no. 28519
Child’s Dress, 2010
Red printed cotton taffeta featuring floral motifs in shades of pink, green, and black, with the "Kenzo" brand. The upper part is made of pink cotton taffeta, embroidered at the front with sequins, beads, and faceted stones in green, gold, and pink. Round neckline. Sleeveless. Front and back darts create an A-line silhouette. Side pockets applied. Fastens at the back with a zipper. Lined with pink cotton taffeta.
Pocket label: "KENZO."
Interior label: "KENZO Kids / 5A / 108."
MNTraje inv. no. 38853
Child’s véstia (child’s cloak), 1700-1720
Brown silk (brocade) fabric woven with gold thread, forming large floral and vegetal motifs. Round neckline. Open at the front. Two inset pockets with shaped flaps. Large side openings from the hips downward. Long, tight-fitting sleeves fastening at the side seams. Back with central seam ending in an opening. Circular silver-coloured metal buttons with raised geometric decoration, placed on the front, pockets, and sleeves. Lined with red silk taffeta.
MNTraje inventory no. 4312
Child’s véstia (child’s cloak), 1700-1720
Yellow silk satin woven with pink, blue, cream, and green silk threads, and brocaded with silver-coloured metal thread, forming floral and vegetal motifs enclosed within circles of palmettes, outlined with rosettes and geometric patterns. Round neckline. Shaped front panels. Two applied shaped flaps. Large side openings. Long, tight-fitting sleeves fastening at the side seams. Back with central seam ending in an opening. Buttons covered with base-metal thread and bugle beads suggesting a flower design, placed on the front and pockets. Buttonholes edged with silver-coloured metal thread on the front panels, flaps, and sleeves. Lined with red silk taffeta.
MNTraje inventory no. 7617
Clutch Bag, c. 1950
Pearl-coloured amonite/lucite (?) with a cylindrical shape. Handle made of the same material. Gold-tone metal snap clasp. Application of screws in the same metal.
Label inside: "DORSET - REY / Fifth Avenue".
During the Second World War, partly due to restrictions on leather, metal, and other materials, clutch bags became more sober, with a focus on practicality. However, the post-war period saw a revival of femininity and the exploration of new synthetic materials, alongside the rise of important fashion houses. Lucite, a new rigid plastic, became emblematic of the second half of the 1950s and was sold in various store chains.
MNTraje inv. no. 38127
Coat, 1780–1790
Brownish-green silk taffeta, embroidered with polychrome silk threads using satin stitch, long stitch, daisy stitch, knot stitch, and shaded stitch, forming floral and vegetal motifs.
High waist. Round neckline. Features three buttons and shaped pocket flaps. Long, fitted sleeves with cuffs and three buttons.
At the back, a redingote-style cut with pleats forms straight-cut skirts, finished with two buttons. The central back seam opens from the waist down. The coat fastens at the front with embroidered, fabric-covered buttons. The lining is made of white silk fabric, with three inset pockets at the front. The upper back lining is made of cotton fabric.
In the second half of the 18th century, coats were richly embroidered on the front, edges, pocket flaps, cuffs, and buttons.
The cut became progressively more fitted to the body, resulting in a closer silhouette. From around 1760 onwards, coats became less voluminous, and the front edges were cut in a more rounded line.
Likewise, the side and back pleats became less full compared to earlier in the century.
MNTraje inv. no. 3972
Coat, Waistcoat and Breeches, 1770-1780
Mustard-yellow silk velvet, embossed with small floral and geometric motifs.
The coat features a short waistband. The front includes two inset pockets with shaped flaps. The sleeves are tight-fitting with cuffs. The back has a central seam and a wide opening with a pleat on each side. At the side seams, groups of sewn pleats are separated by openings. Large circular buttons covered in the same velvet are applied. The lining is blue silk taffeta.
The waistcoat has a short skirt. The front has two inset pockets with shaped flaps and buttonholes. It fastens at the front with 14 fabric-covered buttons. The back is made of wool fabric with a central seam ending in a small slit. The front is lined in light blue silk taffeta, and the back in cream linen.
The breeches have a high waistband. The front features a large flap and three inset pockets. At the hem, a light brown cotton braid is applied, with an opening and a tassel made of matching cotton thread. They fasten at the side seams, waistband, and flap with fabric-covered buttons. The lining is in cream linen, and the flap is lined in light blue silk taffeta.
The basic form of the male costume emerged in France at the end of the 17th century, during the reign of Louis XIV, and consisted of a coat, waistcoat, and breeches. This ensemble persisted into the Rocaille period, although the coats became less voluminous and were richly embroidered. The breeches were fitted and ended just below the knees.
Silk was the most commonly used material for formal, ceremonial, or court dress, including taffeta, velvet, or patterned fabrics. Vibrant colors in men's attire were an original and very expressive feature of the 18th century, with various shades of pink, red, blue, green, and yellow being popular.
MNTraje inv. nos. 3966; 3967; 3968
Coat, Waistcoat and Breeches, 1770–1780
Red brocaded silk velvet, featuring small cream geometric motifs and embroidered with threads in shades of black, yellow, cream, and green to form floral and vegetal patterns.
The coat has a waistband. The front includes two inset pockets with shaped flaps. The sleeves are fitted, with cuffs. The back has a central seam and an opening with pleats on either side. Circular buttons are applied on the front, cuffs, and pleats, covered in silvered paper and embroidered with bugle beads, silver metal sequins, and green and red metal foil, forming floral motifs. Buttonholes are worked into the front. The lining is in cream silk and cotton twill.
The waistcoat features a rounded neckline and two side slits forming a short skirt. The front includes two inset pockets with shaped flaps. Both the front panels and pockets are embroidered. It fastens with circular buttons matching those on the coat. The back is made of the same velvet and cream cotton fabric, with cream cotton ties for adjustment. The lining is in cream silk taffeta.
The breeches have a high waistband. The front includes an opening with a small flap and three inset pockets. At the hem, there is applied decorative braid. The waistband and side openings fasten with buttons identical to those on the coat and waistcoat. The back is gathered and includes an opening with four eyelets at the waistband. The lining is in cream linen.
The basic form of men’s attire emerged in France at the end of the 17th century, during the reign of Louis XIV, consisting of a coat, waistcoat, and breeches. This ensemble remained standard throughout the rocaille period, although coats became less voluminous and were richly embroidered. Breeches were tight-fitting and ended below the knee. Coats and waistcoats were often lavishly decorated with brightly coloured embroidery forming floral and vegetal patterns. Embroidery was done on the fabric before the cloth was cut for coats or waistcoats.
MNTraje inv. nos. 3969; 3970; 3971
Coin Purse, 2010–2015
Coin purse made of shiny red-orange leather. Flap with a gold metal appliqué depicting a greyhound (brand bimba&lola). Interior with red-orange leather dividers and a pocket secured by a gold metal zipper. Closes under the flap with a gold metal snap fastener.
Inscription inside: "bimba & lola."
MNTraje inv. no. 38567
Coin purse, c. 1800
Coin purse made of red cotton thread mesh embroidered with silver beads. At the ends, two rings of base silver-coloured metal and two polished steel tassels are attached.
These coin purses were very popular throughout the 19th century. They were made from netting, knit, or crochet, elongated in shape with a central opening. Two metal rings were applied as sliders to adjust and separate the coins stored at the purse’s ends. They could be carried by hand, inside a handbag or pocket, or hung from a belt. Many of these coin purses were common gifts and considered appropriate as masculine presents.
MNTraje inv. no, 9396
Crinoline, 1865–1870
Underskirt structure formed by hoops of wire covered in cream cotton fabric. Cream cotton taffeta waistband printed in black with the inscription: “Célebre Jupe Cage Thomson / Paris (…) / Médaille Unique à L’Exposition de Londres 1862.”
A circular-shaped understructure designed to support and expand the volume of women’s skirts, worn between approximately 1842 and 1870. Originally made from cotton fabric and horsehair, it was later replaced by a structure of lightweight, more durable metal hoops.
MNTraje inv. no. D.1106
Dress (Two-Piece), c.1880
Brown ribbed velvet and cut velvet. Fitted bodice ending in a point. Cut velvet appliqués on the waistband, collar, panel, and cuffs. Cream silk satin appliqués on the collar and cuffs. Three-quarter-length sleeves. Fastens with hooks and eyes. Skirt in cut velvet with draped ribbed velvet forming a tournure (bustle). The hem is finished with box-pleated ribbed velvet flounce.
MNTraje inv. no. 5626
Dress (three pieces), 1850–1860
Bodice, skirt and pelerine made of blue and black silk Pequim fabric, woven with stripes and geometric motifs. The bodice has a round neckline and opens at the front, fastened with five black-painted metal buttons depicting a neoclassical bust. Front and back panels are cut in sections. Long sleeves, shaped to the arm and narrowing at the cuff, which is trimmed with a strip of black silk velvet. Fastens at the front with metal hooks. Lined in cream cotton taffeta, stiffened with whalebone at the front. Skirt is heavily gathered at the waist, cut in panels and with a small train at the back. Fastens at the waistband with hooks.
Pelerine with round neckline, ending in a point at front and back. Trimmed with black and blue woven silk braid and flounces, cut and finished with fringe in matching silks. Fastens at the front with black silk satin-covered buttons. Lined in white silk taffeta.
MNTraje inv. no. 38072
Dress (two-piece), c.1850
Bodice and skirt made of purple figured silk taffeta, woven with floral and vegetal motifs. Round neckline with an applied white bobbin lace collar. Fitted bodice with darts, ending in a shaped peplum at the waist. Three-quarter length sleeves. On the bodice, peplum, and sleeve edges, applied woven silk ribbon in black and purple featuring floral motifs, trimmed with matching fringed and patterned silk braid.
Fastens at the front with gilt metal hooks.
The skirt is tightly gathered and features a wide flounce of purple figured silk woven with floral and vegetal patterns.
MNTraje inv. no. 11957
Dress Element (plis Watteau), c.1750
A robe volante or element of a dress made from blue silk, richly brocaded and woven with silver thread and foil, forming floral and vegetal decoration. Open at the front. Sleeveless. The back features loose double box pleats – plis Watteau – extending into a short train.
Widely depicted in the works of the painter Antoine Watteau (1684–1721), the robe volante came to be known as plis Watteau for this reason. It represented the image of the elegant mid-18th-century woman, characterised above all by the flowing pleats at the back that extended into a slight train. Worn over a fitted bodice and an underskirt of the same fabric, it is a perfect illustration of rocaille aesthetics, reflected in the floral and vegetal motifs of the fabric.
MNTraje inv. no. 1013
Dress and Jacket, 1935–1940
White silk crepe. Dress with straps of the same fabric. Bodice with back and sides made of silk taffeta of the same colour, featuring a à-jours hem at the upper edge. Cut at the waist. Long skirt, cut in panels forming godets. Central seam at front and back. Fastens at the waist with hook and eye and press studs. Jacket open at the front with a lower edge suggesting a flap. Short sleeves. Structured with gathers at the shoulders extending over the fronts and forming a tuck at the waist beneath the neckline. The opening, sleeves, shoulders, and lower edge trimmed with embroidery of transparent bugle beads on a silver background. Fitted back at the waist with darts. Application of padding at the shoulders.
Label: "Robes & Manteaux / Beatriz Gomes / Porto".
MNTraje inv. no. 32487
Dress, 1804
Cream silk mechanical tulle embroidered with metallic thread and twisted thread forming geometric motifs and garlands. Bodice with a high waistline, gathered over the shoulders. V-shaped neckline crossed at the front and rounded at the back, trimmed with lace and adjusted at the back with a cord. Short balloon sleeves trimmed with a cream silk bobbin lace ruffle. Satin ribbon and bow appliqués. Skirt straight at the front and gathered at the sides and back. Hem embroidered with garlands, floral, and vegetal motifs appliquéd.
MNTraje inventory no. 12179
Dress, 1822
Silk taffeta forming a checked pattern in shades of blue, yellow, and green (Madras fabric). Large oval neckline, front and back. Cut below the bust, with an applied strip of the same fabric. The neckline trimmed with a bias-cut strip of the same fabric, pleated and gathered at the centre front and back. At the top of the sleeve, two ruffles of the same fabric, cut on the bias and trimmed with cream and purple silk satin ribbons, suggesting a balloon sleeve. At the cuff, lilac silk satin trim and a cream silk satin piping. Skirt gathered at the back. At the hem, lilac silk satin appliqués trimmed with cream silk satin forming a border. Fastens at the back with hooks and a cream cotton ribbon.
The “madras” pattern originates in India, referring to a cotton fabric woven on a loom and hand-dyed. It is made by crossing stripes and checks of two or three colours, creating a fourth colour at the intersections with a changeant (iridescent) effect. The pre-Romantic character of this dress is emphasised by the accentuated shoulders and the double sleeves, which foreshadow the sleeves and half-sleeves of the Romantic period.
MNTraje inv. no. 16925
Dress, 1830–1840
Blue and white checked cotton taffeta, printed with multicoloured floral motifs. Wide round neckline at the front and back. Fitted bodice ending in a pointed front, trimmed with a band of the same fabric. Sleeves fitted at the top and cuffs, with gathered fullness at the shoulders and mid-arm, creating a puffed effect. Cuffs made of the same fabric. Gathered skirt. Fastens at the back with silver-coloured metal hooks.
MNTraje inv. no. 12045
Dress, 1905-1909
Black silk figured satin, embroidered tulle, and black silk thread guipure lace with floral and vegetal motifs, with appliqués of black mousseline embroidered in cream silk thread.
The bodice features a front panel and a guipure lace insert forming a V-shaped neckline, with a black silk velvet ribbon, mousseline appliqués, ending in a decorative tassel and fringe. The front is structured with pleats and cut above the waistline, trimmed with a wide pleated band of figured satin.
Long sleeves with pintucks and gathered embroidered tulle applied at the shoulder. The skirt is structured with darts and pintucks, decorated with embroidered tulle at the front and ending in a small train at the back.
The bodice is lined in black cotton taffeta, stiffened with boning. Fastens at the back with hooks and press studs.
This dress was originally worn as a wedding dress and later used on other occasions. It belonged to the donor’s grandmother, Marie Rose Hattenberger, born in Morzweiler, Alsace (France) on 19/10/1879. She moved to Paris at age 18, where she worked as a nanny and governess for the Cardoso Bettencourt family, of Portuguese origin. She returned to Portugal with the family between 1903 and 1905. She married Joaquim Rosa Bernardo, a pharmacist (1875–1949), between 1905 and 1909, and they lived in Lisbon, on Rua do Salitre. She died in Lisbon in 1957. According to the donor, this was her wedding dress.
MNTraje inv. no. 38783
Dress, 1905–1910
Dark blue ribbed silk. Fitted bodice ending in a pointed front. The bib features a small band of cream machine-made tulle with pintucks, embroidered with circular motifs in matching cotton thread. Three-quarter length gathered sleeves with rounded openings at the ends, from which emerge undersleeves of tulle.
The bodice front, neckline, and sleeves are trimmed with machine-made dark blue tulle braid, embroidered in satin stitch, long and short stitch, and stem stitch with dark blue, light blue, pale green silk threads and gold metallic thread, forming floral and vegetal motifs. A dark blue silk cord is applied along the neckline and bodice front, forming geometric designs. Fastens on the front left side with metal press studs.
Cream cotton twill lining with stripes, structured with boning. At the waist, a black silk twill band fastens with a metal hook.
The long skirt features panels forming a pleat on each side, topstitched in blue cotton thread and decorated with five round buttons covered in matching silk. At the back, a box pleat opens at the hem, fastened with a hook and metal press studs. The hem is trimmed with a blue silk dust ruffle. Brown cotton lining.
MNTraje inv. no. 20426
Dress, 1908–1910
Black silk mousseline, embroidered tulle, and blue satin. Round neckline. Short raglan sleeves. Long skirt with a small train at the back.
Yoke and sleeves made of black machine lace with floral and vegetal motifs. Front, back, and sleeves decorated with black embroidered tulle featuring geometric patterns, edged with black silk satin bias tape.
Waistband adorned with white glass beads, faceted black glass, and imitation grey pearls. Fastens at the back with fourteen hooks and seven black-painted base-metal press studs.
Underdress in blue silk satin.
Label: "Doucet / 21, rue de la Paix, Paris"
MNTraje inv. no. 5642
Dress, 1930–1940
Purple silk taffeta. Small rounded collar of the same fabric. Bodice open at the front, cut at the waist. Front panels deeply gathered from the shoulder, ending at the waist with six pleats. Along the central opening, appliqué of black machine-made tulle with floral and vegetal motifs of the same fabric, cut out and machine-embroidered with purple cotton cord stitch. Long, fitted sleeves with four darts at the upper end, appliqué matching that on the front, and a small slit at the lower end. Skirt made of twelve bias-cut panels. Belt of the same silk, ending with two rolls of the fabric wrapped at the ends to form bows. Fastens at the front near the neck with rolls identical to those on the belt and buttons covered in the same fabric at the front and sleeve ends. On the left side, fastens with hooks and eyes. Shoulders decorated with padding.
MNTraje inv. no. 23392
Dress, 1950–1960
Dark blue silk taffeta. V-neckline with collar and bands of the same fabric. Sleeveless. Fitted bodice with two darts at the front. Waist seam. Skirt cut on the bias. At the front and sides, at hip level, appliqués of five bias-cut panels suggesting godets. Belt with buckle covered in the same fabric and dark blue cotton fabric belt loops. Fastens at the back with a zip and at the front with buttons covered in the same fabric.
MNTraje inv. no. 22525
Dress, 1960–1965
Pink wool. High waistband of the same fabric and shaped front panels, with darts at the bust and side seams. Straight cut. Cut just below the waist. Front and back box pleats. Inset pockets at the waist. Long sleeves. Pink plastic buttons applied at the front, fastening with matching buttons. Lined with pink silk taffeta.
Labels: "Mary Quant's / Ginger Group / Made in England"; "Certification Trade Mark / (...) Old Mark / Pure New Wool"
The miniskirt is the iconic and revolutionary fashion creation of the 1960s. Popularised by Mary Quant, its invention is also credited to another important designer of the time, the French André Courrèges. Mary Quant famously said it was the street that invented the miniskirt—the street and the young women who inspired her. Whether from Mary Quant, Courrèges, or the street, what matters most is that the miniskirt expresses the attitude of its time—of femininity and freedom.
The model Twiggy is the image of 1960s youth fashion and also helped popularise this skirt style.
MNTraje inv. no. 30701
Dress, 2004
Light blue silk mousseline dress. Fitted bodice cut in panels, embroidered with blue and silver silk thread, featuring appliqués of blue and white silk flowers and small silver faceted rhinestones. Straps made from narrow strips of the same silk. Cut at the waist with a small ruffle appliqué at the front. Skirt cut on the bias, forming godets. At the back, below the waist, an appliqué of gathered fabric in the same silk. Fastens at the back with a zipper. Lined with blue silk and artificial fibre (viscose) taffeta. Scarf made from a wide strip of light blue silk mousseline.
Label: "augustus / collection."
MNTraje inv. no. 38727
Dress, c. 1979
Red silk satin and red (Calais) lace embroidered with gold lamé and sequins, and red and gold silk braid. High waistband. Long sleeves. The waistband, upper inset, and right sleeve are made of machine-made lace. The bodice, skirt, and left sleeve are made of satin. The bodice is structured with loose pleats, forming draping gathered by a draped strip from the waistband over the left side. The skirt is short and fitted. The long sleeve is very puffed, with openings under the arm and at the cuff, finishing in a knot with a dropped tip over the skirt. Fastens on the left side with a zipper and hooks.
Labels: "Tony Miranda / 5, Rue Cambon Paris"; "100% silk".
MNTraje inv. no. 37654
Dress, c.1895
Brown wool satin featuring floral motifs created with supplementary weft threads in cream and yellow wool. Trimmed with dark grey silk velvet ribbon and embellished with beadwork, sequins, and silver metallic thread embroidery forming floral and geometric designs.
The bodice has a high waistline, structured with pleats at the front and side back panels, tapering to a point at the bottom. Long, fitted sleeves are gathered at the shoulders. Velvet ribbon and embroidered decoration are applied to the waistband, front opening, and cuffs. The front opening fastens with hooks and eyes. Interior boning provides structure.
The long skirt is made of the same fabric and gathered at the waist, with a front box pleat for added volume. It features matching velvet and embroidery trim and fastens at the back with a hook.
Waistband label: "Serra & Ciª / Lisbõa"
MNTraje inv. no. 5622
Dress, c.1910
Black tulle embroidered with gold thread, turquoise beads, and black silk thread. Salmon-coloured satin slip with applied cream machine lace.
Bodice in white machine lace with a small waistband. Raglan sleeves with applied lace flounces. Waist with embroidered panel in gold thread and applied beads forming a stylised floral motif. Neckline and sleeve edges trimmed with a salmon-pink silk satin ribbon and turquoise sequins. Hem of the skirt features a wide black silk satin band opening into an inverted box pleat. Underneath, cream silk thread embroidered tulle forming floral and geometric motifs. At the back, a black silk satin panel is applied and trimmed with a matching black velvet bias-cut strip, rounded and left loose at the bottom. The ends are finished with tassels in black silk passementerie. Fastens on the left side and back with hooks.
Label: "Lambert Schneider Soeurs / 10, rue du Mont Thabor, Paris"
MNTraje inv. no. 14835
Dress, c.1910
Green silk velvet, with insets on the bodice, sleeves, and skirt hem of dark green silk velvet printed in black, blue, and red, forming geometric, floral, and cornucopia motifs, trimmed with gold braid. Round neckline.
The bodice features an applied panel with a high waistband in cream silk tulle, embroidered with gold thread in floral and vegetal motifs, trimmed with cream lace and gold braid.
Three-quarter length sleeves with cuffs. The back is cut in panels, forming a small train, and decorated with frogging and green velvet buttons.
Fastens with hooks and metal press studs.
MNTraje inv. no. 3375
Dress, c.1920
Dark blue silk mousseline embroidered with cord stitch using blue, purple, and pink silk threads, along with beads and bugle beads in gold, blue, purple, pink, and transparent, forming floral and vegetal motifs. Large round neckline. Sleeveless. Straight cut. Skirt structured with gores and bias-cut mousseline panels on the sides.
In the 1920s, fashion trends continued to arrive from France through the bourgeois elite, who purchased and drew inspiration from the Parisian Haute Couture houses. At the same time, department stores introduced new consumer habits and democratized fashion. Women’s clothing made a definitive shift towards functionality, following the Art Deco style, characterised by decorative and elegant geometry. Dresses with straight lines and dropped waists emphasised a flat chest and a body without curves. Skirt lengths varied throughout the decade; however, it was only between 1926 and 1928 that hemlines rose to the knees, becoming a defining image of the era. Evening wear always reflected daywear trends but with specific features. For dancing, dresses were short, with round or square necklines, generally cut evasée. The most prized fabrics were chiffons, mousselines, crepes, and satins, embellished with beads, sequins, embroidery, lace, and fringes. Black, although a favourite colour, competed with brightly coloured dresses. Armholes exposed the arms, which were soon covered with long gloves.
MNTraje inv. no. 38264
Family Portrait, 1860–1870
Unknown artist
Oil painting on canvas depicting a family group. Gilded wooden frame.
MNTraje inv. no. 26510
With the political triumph of the bourgeoisie in the 19th century, formal portraiture gradually disappeared. In the second half of the century, historical painting began to lose ground, while other genres gained prominence — among them portraiture, which suited bourgeois taste. Portraits not only served individual identification but also expressed a desire for collective belonging, particularly through the genre of the family portrait.
The social portrait of the new urban bourgeoisie absorbed naturalist and realist trends, portraying family groups in both outdoor and indoor settings, within their properties or on festive occasions.
Fan, 1750–1800
Gouache-painted paper depicting three phases of the eruption of Vesuvius, separated by bands with Pompeian motifs. The collar and guards are made of blond tortoiseshell with pierced decoration and polished steel appliqués. Wooden sticks. Gold-coloured metal rivet at the collar.
Historical themes were very popular in the 18th and early 19th centuries, exemplified by this fan with a painting divided into three panels, representing the story of Vesuvius’s eruption in three distinct phases.
MNTraje inv. no. 3200
Fan, 1777
Commemorative fan with guards and sticks made of pierced mother-of-pearl, decorated with engraved, openwork, and gilded designs featuring figurative, animal, floral, vegetal, and geometric motifs. Paper leaf painted on the front in polychrome tones, depicting a landscape with human figures and an angel. The reverse is also painted, featuring floral and vegetal motifs. The upper edge of the fan is trimmed on both sides with a painted paper binding. Inscription: "MARIA . I . FIPFIRUS . III".
Provenance: Belonged to Alda Lino, wife of the Portuguese architect Raúl Lino (1879–1974) and mother of the donors.
MNTraje inv. no. 26738
The commemorative theme, with its implicit political message, is clearly represented in this fan, dated between 1777 and 1786. It alludes to the sovereignty of Queen Maria I and King Pedro III over the Portuguese Empire in the East.
Fan, 1924
Dark brown wooden sticks and guards. Paper leaf printed in polychrome tones depicting a female figure reclining on a chaise longue, an advertisement for the perfume “M’LATI,” and silk stockings with baguette detail. The reverse features large floral motifs in polychrome shades with shadows of 18th-century male and female figures set against a natural landscape, framed by a border of small floral motifs in matching tones.
Inscriptions include:
"Aux / Galeries / Lafayette / maison vendant / le meilleur marché / de tout Paris";
"LES FAVORIS" and "M. LATI - Parfum - Étrange aux effluves fluvas. subtil. tenace. Le flacon: 30 FRCS. La poudre de riz au même parfum en blanc, rose, rachel, chair et ocre. La boîte 6F50";
"BAS PURE SOIE des CÉVENNES baguette à jours haut et pied fil avec couture. Se fait en noir, blanc, beige, mauresque, gris-taupe, acier, mordoré, tourterelle, rose et acier. Prix 19.50."
New functions attributed to fans document their use as simple souvenirs from parties or travels, or as advertising vehicles. The emergence of advertising on fans set a precedent for the current custom of wearing clothes emblazoned with emblems, brands, and inscriptions.
MNTraje inv. no. 30148
Future heiress of the 1st Count of Póvoa
Coat of Arms of the Counts of Póvoa – quartered shield.
In the first quarter, the arms of the Teixeiras.
In the second quarter, the arms of the Sampaios, themselves quartered.
In the third quarter, the arms of the Amares.
In the fourth quarter, the arms of the Guedes.
Garters (pair), late 18th century
Men’s garters made of silk fabric embroidered with polychrome silk threads in satin stitch and petit-point, forming floral, vegetal, animal, and geometric motifs, along with the monogram "D.L.B." Fastened with a silvered metal buckle. Ends decorated with a tassel made of green and pink silk threads. Lined with cream silk taffeta.
MNTraje inv. no. 6869
Hat (canotier), 1920–1930
Men’s hat made of natural-coloured braided straw. Elliptical-shaped crown, trimmed with black silk taffeta ribbon and an application of the same ribbon suggesting a knot. Right-side brim.
MNTraje inv. no. 28668
Hat, 1910–1918
Cream cotton twill. High, wide crown. Wide, topstitched brim. Embellished with a silver-coloured metal buckle securing a bow made from the same fabric.
MNTraje inv. no. 12846
Hat, 1920–1930
Dark blue straw. Round crown with silk grosgrain ribbon appliqués, tied into a bow at the back. Small brim, folded over the crown at the front and sides. Over this, an application of black and cream plastic ribbon spirally wrapped. The inside of the crown is lined with black silk satin ribbon.
In the 1920s, fashion favoured functionality and a new trend began. Women’s hats became smaller and shed their extravagant decorations. Wide brims prevailed in toques, turbans, and “sailor” styles. From 1923 onwards, the cloche (from the French for “bell”), with its round crown, very short and slightly curved brim, moulding closely to the head, was worn in all seasons. It was made in a variety of materials and often decorated with ribbons, jewels, buckles, or pins.
MNTraje inv. no. 29432
Hat, 1955–1960
Black cut cotton velvet. Silver metal pin with a spherical head covered in black cotton velvet. Circular crown shape. On the top, appliqué of black silk satin ribbons and two flowers made of black organza, silk taffeta, and velvet of the same colour. The interior is finished with a black silk grosgrain ribbon. Lined with white artificial silk taffeta.
Label: "Christian - Dior – Paris / Made in France".
MNTraje inv. no. 22958
Hat, c.1970
Black velvet with appliqué of circles in the same fabric in blue and white. Rounded crown and small asymmetrical brim. Lined and trimmed with blue velvet.
Labels: "Creation Philippe Nileant / Paris / Made in France" and "Alda Diniz / Lisbon."
MNTraje inv. no. 18247
In the Park, 1926–1927
Adriano de Sousa Lopes (1879–1944)
Oil on canvas painting depicting a portrait of the artist’s wife, Marguerite Gros. Wooden and plaster frame with relief decoration of floral motifs.
MNTraje inv. no. 11773
Adriano de Sousa Lopes (Vidigal, Leiria, 20 February 1879 – Lisbon, 21 April 1944) was a Portuguese painter and draftsman, and director of the National Museum of Contemporary Art from 1929 to 1944. He studied at the Academy of Fine Arts, where he was a pupil of Veloso Salgado and Luciano Freire. In 1903, he travelled to Paris and attended the École Nationale des Beaux-Arts and the Académie Julian.
Considered a stylistically versatile and thematically eclectic artist, he explored various genres such as portraiture, landscape, still life, and historical events, working in oil on canvas or wood, watercolours, drawings, and prints. Between 1917 and 1918, he served as the official artist responsible for the iconographic record of the Portuguese Expeditionary Corps, producing numerous drawings, prints, and paintings that bear witness to the tragic episodes and devastated environments of the Great War (1914–1918).
Living between Lisbon and Paris, he married Marguerite Gros Perroux in 1920. During this decade, he painted several portraits of his wife, depicted in different settings where colour and light play a striking role.
Indo-Portuguese Cape, 17th century
White linen embroidered with natural-colored silk thread in chain stitch, forming floral, figurative, and animal motifs. Cut from panels joined by needle lace inserts executed with the same silk thread, using open and closed stitches, representing small rosettes and geometric designs.
Long or short capes were very common garments in European dress of the 16th and 17th centuries, widely mentioned in written sources and depicted in paintings, engravings, and drawings of the time.
Embroidered pieces described as Indo-Portuguese combine Asian elements with interpretations of European motifs and objects, resulting in compositions of great originality and richness within the context of 17th-century European dress. These pieces incorporate imagery of sea creatures, biblical scenes, European figures, animals, birds, and floral and vegetal motifs. The use of wild silk (tussah) with a yellowish tone, chain stitch embroidery, and needle lacework are also recognized as common characteristics of so-called Indo-Portuguese pieces.
Textile production for export is known to have taken place in India, particularly in Bengal and Gujarat, encouraged by the Portuguese presence and the subcontinent's long tradition of embroidery, as well as the great availability of silk on the Indian or Chinese markets. However, many pieces were also produced in Portugal. Indeed, the Portuguese were the first to establish trading posts in India, and by the 16th century, Indian embroiderers were known to be working in Lisbon.
The fabric of the cape has been identified as linen, a fiber not produced or commonly used in India, where cotton was the usual material. Two hypotheses can thus be considered: the linen may have been brought to India and used there as the base fabric, or the cape may have been made in Portugal by Indian embroiderers familiar with the Bengal embroidery style, featuring winding foliage, crowned double-headed eagles, and figures (mermaids) playing instruments and surrounded by marine animals.
Similar and contemporary pieces are held in the collections of the National Museum of Ancient Art in Lisbon, the Metropolitan Museum of Art in New York, the Museum of Cultures in Helsinki, and the Victoria & Albert Museum in London.
Bibliography:
Encompassing the Globe. Portugal and the World in the 16th and 17th Centuries (ed. Jay Levenson), Smithsonian Institution, 2007;
Finn, Patrick, Indo-Portuguese Quilting Tradition: the Cross-Cultural Context, Digital Commons @ University of Nebraska, 2009;
Irwin, John, “Indo-Portuguese Embroideries of Bengal,” in Journal of the Royal India, Pakistan and Ceylon Society, 1952;
Varadarajan, Lotika, “Indian Textiles in Portuguese Collections,” in Indo-Portuguese History. Old Issues. New Questions, 1984.
At the Cooper Hewitt Museum of Decorative Arts and Design, New York, there is an embroidered cape classified as from India-Bengal, possibly Hughli, dated to the 17th century. On this cape, one of the horseback figures appears to be Portuguese, suggesting that the embroidery is Indo-Portuguese. (Information provided by Maria Helena Mendes Pinto)
Bibliografia(Bibliography: Encompassing the Globe. Portugal and the World in the 16th and 17th centuries (ed. Jay Levenson), Smithsonian Institution, 2007; Finn, Patrick, Indo-Portuguese Quilting Tradition: the cross-cultural context, Digital Commons @ University of Nebraska, 2009; Irwin, John, “Indo-Portuguese embroideries of Bengal”, in Journal of the Royal India, Pakistan and Ceylon Society, 1952; Varadarajan, Lotika, “Indian Textiles in Portuguese Collections”, in Indo-Portuguese History. Old Issues. New Questions, 1984.
MNTraje inv. no. 4130
Jacket and Skirt, 1948–1950
Black wool. Jacket with a round collar featuring two bands ending in gold metal appliqués and black silk fringes. Fitted, cinched bodice. Inset pockets at the front. Fastens with black plastic buttons arranged in a faux placket. Sleeves decorated with black plastic buttons. Lined with black artificial silk. Straight-line skirt, supported by a small kick pleat. Fastens at the back with a silver metal zip.
Label: "COSTURA MARIA PINTO / 173, Av. da Liberdade – Lisbon".
MNTraje inv. no. 20025
Jacket and Skirt, c.1910
Suffragette ensemble in black ribbed wool and silk fabric.
Jacket with V-neckline, wide collar and matching fabric bands. The bodice features topstitched pintucks and an applied bias-cut strip of the same fabric extending to the back. Embellished with round black composite buttons with mother-of-pearl centres and black silk cord, evoking the look of frog fastenings. Long sleeves with rounded cuffs. Collar and cuffs are finished with a trim of the same ribbed silk. Fastens at the front with a button and hand-embroidered buttonhole in black silk thread. Lined in cream silk twill.
Long skirt made of overlapping shaped panels with a topstitched pleat at the hem. Centre front detail with three matching buttons. Fastens at the back with a hook and eyes.
Label: "Madame Beatriz Santos / Rua Augusta, 89 – 3º / Lisboa"
MNTraje inv. no. 15748
The Suffragette
The suffragette campaigns were deeply intertwined with the organised feminist movement that emerged in the late 19th century, advocating for legal equality between men and women. In the early 20th century, women began demanding political participation and representation, becoming suffragettes engaged in powerful campaigns for the right to vote.
The suffragette’s attire was both a political statement and a symbol of female emancipation. Many suffragettes adopted a distinct style of dress, incorporating elements traditionally associated with men’s clothing. They favoured tailored suits with jackets and skirts, paired with white blouses featuring collars and cuffs. Jackets, often inspired by men’s frock coats, were simple in cut, three-quarter length, with collars and decorative front bands. Skirts, though still long, were short enough to reveal shoes or boots. The ensemble was typically accessorised with lace jabots or masculine-style ties, handbags, gloves, black leather boots with heels, parasols, and hats. Hats remained a symbol of femininity, often adorned with silk linings, feathers, plumes or flowers.
Although white was a popular colour for dresses and suits, darker hues and sober tailoring conveyed the seriousness of these women’s political goals. This new style of dress was not only practical and aligned with modern aesthetics, but also encoded values of rationality and professionalism. It challenged traditional notions of femininity and embodied new ideas of womanhood.
In Portugal, feminist ideas and movements also took root. In 1905, Ana de Castro Osório published As Mulheres Portuguesas, considered a feminist manifesto. In 1909, she co-founded the Liga Republicana das Mulheres Portuguesas with Adelaide Cabete and Maria Veleda, among others. The organisation advocated for legal equality, divorce rights and women's education. After the establishment of the Republic, the League campaigned for women’s suffrage. Another group, the Associação de Propaganda Feminista, was founded in 1911 to continue this fight.
That same year, significant achievements marked the Portuguese feminist movement: women were granted the right to work in the civil service; physician Carolina Beatriz Ângelo became the first woman to vote in the National Constituent Assembly; and Carolina Michaëlis de Vasconcelos was appointed to the Chair of Philology at the University of Lisbon.
Matiné, 1880-1890
White cotton cambric with inserts and appliqués of English embroidery in white cotton thread, forming geometric and floral decoration, and white silk thread lace forming geometric patterns. Round neckline with an applied cambric collar trimmed with lace. Skirt made of English embroidery inserts and gathered cambric panels, forming a small train at the back. Three-quarter length sleeves trimmed at the ends with a lace flounce and decorated with a bow of greenish-water ribbed silk. Lower hem adorned with lace flounces. At the back waist, greenish-water ribbed silk ribbons are applied, tied at the front. The bodice fastens with covered buttons.
MNTraje inv. no. 38746
Pair of Boots, 1900–1910
Black leather on the lower part and shaft, which forms cream woollen gaiters. Scalloped edges on the front. At the back, on the heel, there is also a scalloped strip. The gaiters fasten with grey mother-of-pearl buttons. Lined with brown leather and cream cotton taffeta.
Leather sole and heel.
MNTraje inv. no. 32709
Petticoat, 1880–1890
White linen cambric. Monogram “E” embroidered in white cotton thread using satin stitch. The lower part is adorned with machine-made lace in matching white cotton thread; an insertion (passe-fita) of English embroidery featuring geometric motifs and salmon-coloured silk ribbon; and an insertion of stiffened cambric with ribs, embroidered in white cotton thread with satin stitch, eyelets, and open hems, forming floral and vegetal motifs. At the back, two gathered flounces made from the same cambric are applied. Back opening fastened with white cotton ribbons gathered into pleats.
MNTraje inv. no. 16415
Pin and Earrings (pair), c. 1850
Oval-shaped gold-coloured metal, with a lilac-coloured glassy cameo (amethyst?) featuring engraved and relief decoration depicting a female bust profile. The setting is decorated with engraved and relief motifs of vegetal and geometric designs.
MNTraje inv. nos. 10429; 10430
Portrait of Maria Luísa Cabral Metelo, c.1925
Jean-Gabriel Domergue (1889–1962)
Oil on canvas painting depicting a seated lady. Wooden painted frame featuring an oriental decoration with floral, vegetal, animal motifs and human figures.
MNTraje inv. no. 14807
Jean-Gabriel Domergue (Bordeaux, 4 March 1889 – Paris, 16 November 1962) was a French painter dedicated to fashion iconography in the 1920s. At 17, he held his first exhibition at the Salon des Artistes Français and was awarded the Prix de Rome in 1920. In 1955, he was appointed curator of the Musée Jacquemart-André and was made a Knight of the Légion d'Honneur.
Initially focused on landscape painting, he later specialised in female portraiture. He counted among his patrons and clients the French high aristocracy and worked for renowned fashion designers such as Paul Poiret. Known as the "peintre des beautés," he was famous for elongating ladies in his portraits. Maria Luísa Cabral Metelo was a figure in Lisbon’s social life, sister of the modernist writer Francisco Cabral Metello, both closely connected to artistic and literary circles, including Fernando Pessoa and Aquilino Ribeiro.
Portrait of a Lady, 1841
António Santa Bárbara (1838–1864)
Watercolour portrait on paper, depicting a seated lady shown half-length. Gilt wooden frame.
Signed: "Sta. Barbara 1841".
MNTraje inv. no. 11459
António Joaquim de Santa Bárbara was a Portuguese engraver, known for his lithographed portraits of politicians, members of high society, and artists of 19th-century Portugal.
"(...) What remained were the miniaturists, masters of an art that was also a highly valued gift in society. The Romantic tradition naturally developed from one that had begun in the late 18th century and would last well into the 19th century, in both Lisbon and Porto — the latter probably with greater success. (...) In Lisbon, alongside P. A. Guglielmi, son of Italians, the two Santa Bárbaras (António Joaquim and António Manuel) were also well known between 1838 and 1875. At least the latter practised both oil painting and photography."
(From FRANÇA, José Augusto, "A Arte em Portugal no Século XIX", Vol. I, Lisbon: Bertrand, 1966, p. 287)
Portrait of a Man, 1844
António Santa Bárbara (1838–1864)
Watercolour portrait on paper, depicting a seated man shown half-length. Gilt wooden frame.
Signed: "Sta. Barbara 1844".
On the reverse:
"COCHAT & Co. / Gilder from Paris and house painter / Makes frames and all kinds of / Gilded works / Rua Larga de S. Roque No. 79 and 80 Lisbon".
MNTraje inv. no. 11460
António Joaquim de Santa Bárbara was a Portuguese engraver, known for his lithographic portraits of politicians, high society members, and artists of 19th-century Portugal.
“(...) What remained were the miniaturists, masters of an art that was also a much-treasured gift in society. The Romantic tradition naturally followed on from that which had taken shape in the late 18th century, and would endure well into the 19th century, in both Lisbon and Porto — probably with greater success in the latter. (...) In Lisbon, alongside P. A. Guglielmi, son of Italians, the two Santa Bárbara brothers (António Joaquim and António Manuel) were also well known between 1838 and 1875; at least the latter also practised oil painting and photography.”
(From FRANÇA, José Augusto, "A Arte em Portugal no Século XIX", Vol. I, Lisbon: Bertrand, 1966, p. 287)
Purse, c. 1800
Cream moiré silk taffeta embroidered with sequins, beads, and spangles, forming floral and vegetal motifs. Polished steel articulated frame with a central steel leaf-shaped ornament. Closes at the top with an adjustable cream silk ribbon, creating a gathered ruffle.
MNTraje inv. no. 967
Purse, c. 1800
Dark red velvet embroidered with steel beads, forming a geometric decoration and a central floral motif. Rounded shape. Steel bead fringe applied to the lower edge. At the top, a silver clasp with engraved and embossed decoration featuring scrolls and roses. Handle made from a chain of the same metal.
The development of the specifically female handbag is mainly identified from the late 18th century onwards. Women's purses existed before the emergence of Empire-style dresses, but became established as a female accessory by accompanying the simple lines, lightweight fabrics, and the straight high-waisted silhouette that completely eliminated space for pockets or interior pouches. Small purses with a cord handle were called “indispensables” in England or “reticules” in France, named after the Roman reticulum mesh bags. Due to their small size, they were satirically nicknamed “ridicule.”
MNTraje inv. no. 992
Sandals (pair), 2010–2015
Patent leather in orange and red tones. Front formed by crossed straps. Open toe design. High heel covered in the same leather. Side fastening with a red patent leather strap and gold metal buckle. Lining and insole made of white leather.
Label on the insole: "GEOX / Respira."
MNTraje inv. no. 38538
Set (day shirt, nightshirt, corset and culottes), 1900–1910
Cream cotton taffeta and silk thread, with inserts and machine-made white cotton lace forming floral and vegetal motifs, inserts and tape inserts (passe-fita) of English embroidery with floral motifs, and applications of guipure lace.
MNTraje inv. nos. 12726; 12727; 12728; 12729
Shoes (pair), 1840–1860
Brown kid leather. Upper decorated with bead embroidery and gathered blue silk ribbon suggesting a bow at the throat. Square toe. Small covered heel. Leather sole. Inscription: "MAYER / Julien / A. PARIS".
MNTraje inv. no. 63
Shoes (pair), c. 1750
Cream brocaded silk, patterned with multicolored threads forming stripes and floral motifs. Trimmed with an applied strip of cream silk. Slightly pointed toe. High heel covered with blue silk damask fabric. On the front, a strip of the same silk with an applied oval-shaped silvered metal buckle set with faceted glass. Leather sole.
MNTraje inv. no. 4270
Shoes (pair), c.1930
Gold-painted leather, decorated with engraved and painted geometric motifs in polychrome tones. High heel covered with the same painted leather. Rounded toe and topline. Leather sole. Interior and insole of brown leather with a gold-stamped mark: "Vayaris / Paris".
MNTraje inv. no. 77
Short Jacket (Casaquinha), 1740–1745
Cream ribbed silk taffeta, patterned with polychrome silk threads forming large floral and vegetal motifs, along with fruit and urn designs.
Features a wide, round neckline. Open at the front. At the lower section, a shaped peplum made from the same fabric is applied, open at the sides and overlapping at the back.
The sleeves are wide, three-quarter length, and finished with a high cuff.
Trimmed with salmon-coloured silk taffeta bias binding.
Lined with matching salmon-coloured silk taffeta.
MNTraje inv. no. 4186
Short Jacket, c.1950
Black wool. Round neckline and fitted bodice ending in a small peplum. Sleeves widening at the lower edge. Neckline trimmed with a strip of black silk grosgrain finishing in points. Fastens at the front with black plastic buttons.
Decoration on the left side: a white stiffened fabric flower (camellia), shaped and waxed. Lined with black patterned artificial silk featuring the letter “M”.
Label: “Molyneux”.
MNTraje inv. no. 19673
Short jacket, 1780–1790
Yellow patterned silk satin with decoration of floral and vegetal motifs in shades of pink, green, and white. Edges are scalloped and rounded. Three-quarter length sleeves, wide, with high cuffs shaped with pleats and gathers. The back is panel-cut, ending with a bias-cut peplum and two central box pleats. Trimming in pink fringe braid and cream silk thread decorates the neckline, front edges, side seams, cuffs, and sleeve ends. Lined with brown linen taffeta.
MNTraje inv. no. 33879
Smoking Cap, 1880–1900
Black silk velvet, gathered at the crown and embroidered in coloured floss silk with floral motifs. Trimmed with a cord of gold metallic thread forming geometric designs. Finished with a tassel made from black silk fringe. Lined in black silk.
Smoking caps became popular from the 1850s onwards, worn by men when retiring to the smoking room after dinner to enjoy a cigarette or cigar, helping to prevent smoke from lingering in the hair.
The embroidered decoration, often of Oriental inspiration, frequently echoed the décor of these spaces, styled in a Turkish or Islamic fashion. These smoking rooms were exclusively male domains.
MNTraje inv. no. 19663
Spencer, c. 1820
Green silk satin. Twenty braid-covered buttons of the same colour applied to the front. V-shaped neckline. Round collar trimmed with piping. Fitted fronts decorated with piping, suggesting bands over the shoulders and triple-cut details resembling epaulettes. Waistline trimmed with cut details of the same fabric. Long, fitted sleeves with the same motifs applied at the cuffs. Gathered back.
Short jackets were popular, complementing the high waistlines of Empire-period dresses. They became known as “spencers” after the English politician and noble George Spencer (1758–1834), who is said to have worn short, collarless jackets while serving as Lord of the Admiralty in the 1790s, thereby starting the fashion. Initially a male garment, the spencer became a staple of women’s wardrobes between about 1815 and 1825.
MNTraje inventory no. 4184
Three Generations, 1922
Veloso Salgado (1864–1945)
Oil painting on canvas depicting an interior scene with three female figures: two women and a young girl. The painting features Maria da Piedade Zuzarte Sárrea d'Orey, her daughter Maria das Dores D'Orey Pereira Coutinho, and her granddaughter, Maria da Penha d'Orey Pereira Coutinho.
MNTraje inv. no. 15592
José Maria Veloso Salgado (Ourense, 2 April 1864 – Lisbon, 22 July 1945) was a painter of the second naturalist generation and a professor at the Lisbon Academy of Fine Arts, where he also studied. In 1888, he travelled to Paris as a State scholarship holder and enrolled at the École des Beaux-Arts. In Paris, he began his work as a portrait artist. Considered a conventional artist even by his contemporaries, his work is distinguished by an academic treatment of the human form and a naturalistic framing of scenes.
Continuing his career as a portraitist, Veloso Salgado accepted a commission from Waldemar de Albuquerque d'Orey (1866–1950) for a painting featuring his wife, Maria da Piedade Zuzarte Sárrea d'Orey (1873–1949), their daughter Maria das Dores d'Orey Pereira Coutinho (1899–1990), and their first granddaughter, Maria da Penha d'Orey Pereira Coutinho (1920–2015).
Top Hat, c. 1817
Black felt. Tall crown, widening slightly at the top. Narrow brim, reinforced on the underside with velvet. Inside the crown lined with cardboard, bearing the inscription: "5 1".
MNTraje inv. no. 4935
Visite, 1880-1890
Brown silk velvet and brown ostrich feathers. Round neckline with high collar. Open at the front. Three-quarter-length sleeves. Back cut in panels, extending into a tab with box pleats. Feathers applied to the collar, front edges, and cuffs. Fastens at the front with hooks and adjusts at the waist internally with a brown silk ribbon. Brown passementerie tassels applied to the lower edge of the front and the back tab.
Lined in brown patterned silk (liseré) with floral and vegetal motifs.
MNTraje inv. no. 7619
Visite, 1890-1900
Black silk velvet embroidered with black silk thread, forming floral and vegetal motifs, trimmed with tassels of the same silk. High-waisted neckline. Shoulders padded with gathers. Front panels extending into two long flaps. Lined with black silk satin.
Label: "[illegible] / Robes & Manteaux / 3 Rue Boudreau Paris."
MNTraje inv. no. 6373
Véstia, 1712-1720
Cream silk satin, brocaded with coloured silk wefts in shades of green, yellow, and blue, and woven with gilt metal thread (brocade), forming floral and vegetal motifs.
Round neckline. The front features two inset pockets with shaped flaps. From the hip, two large side openings. Long, fitted sleeves with openings. The back has a central seam with an opening from the waist down.
Buttons covered in silver metal thread are applied to the front, pockets, and sleeves. Buttonholes are worked in the same metallic thread. The lining consists of patterned cream silk at the back and matching silk satin at the front.
The véstia, a component of men's dress traditionally worn beneath the coat, was made from luxurious fabrics. Initially long, it became shorter and more simplified over time, evolving into the waistcoat by the 1760s when it lost its sleeves.
The use of multicoloured floral and vegetal silk brocades and damasks, especially in véstias, is illustrative of the decorative luxury displayed throughout the 18th century.
MNTraje inv. no. 4045
Véstia, c. 1670
White linen embroidered in white with applied cord using Bologna stitch, forming floral and geometric motifs. Round neckline. Open at the front. Three-quarter length sleeves embroidered at the lower edge. The front features applied, cut, and embroidered panels. Fastens at the front with buttons and corresponding buttonholes.
MNTraje inv. no. 3998
Waistcoat, 1800–1820
Green silk taffeta embroidered with couching, silk thread, and silk braid in shades of green, yellow, pink, white, and black, forming floral and vegetal motifs. The front panels are cut with a collar of the same embroidered fabric, creating a V-shaped neckline. Eighteen covered buttons applied. Inset pockets with embroidered flaps. The back is made of undyed (natural-coloured) silk taffeta, featuring an opening and six white cotton tape ties for adjustment.
MNTraje inventory no. 38461
Welcome to the National Museum of Costume and the Monteiro-Mor Botanical Park!
Although currently closed to the public, the museum and its collections remain accessible online—on your computer, mobile phone, or tablet.
Step into the virtual tour and discover the spaces, exhibitions, objects and their stories, images, photographs, and other hidden treasures.
The National Museum of Costume presents, in its virtual exhibition, a collection of clothing and accessories from the 17th to the 21st century. The exhibition features women’s, men’s, and children’s garments that trace the chronological evolution of styles and fashion trends in Portugal.
The virtual visit allows you to explore the museum at your own pace—room by room or through curated image galleries.
Likewise, the virtual stroll through the Monteiro-Mor Botanical Park offers an overview of the park’s flora and fauna, as well as information about the sculptural heritage that makes up the Sculpture Garden.
Bem-vindo ao Museu Nacional do Traje e ao Parque Botânico do Monteiro-Mor!
Mesmo estando encerrado, o museu e as suas coleções mantêm-se acessíveis online, no seu computador, telemóvel ou tablet.
Entre na visita virtual e descubra os espaços, a exposição, as peças e as suas histórias, imagens, fotografias e outros tesouros escondidos.
O Museu Nacional do Traje apresenta na sua exposição virtual coleções de trajes e acessórios dos séculos XVII ao XXI, peças de traje feminino, masculino e de criança que traçam uma evolução cronológica dos diferentes estilos e tendências da moda em Portugal.
A visita virtual permite-lhe explorar ao seu próprio ritmo os espaços e as coleções, sala a sala ou a partir de galerias de imagens.
Da mesma forma, o passeio virtual pelo Parque Botânico do Monteiro-Mor proporciona a visualização e informação acerca das espécies de flora e fauna, bem como do património escultórico que compõe o Jardim de Esculturas.