2018
Thais
Gonçalves Pinheiro Costa
The Wonderful Wizard of Sintra
An Illustrated Fantasy Novel

2018
Thais
Gonçalves Pinheiro Costa
The Wonderful Wizard of Sintra
An Illustrated Fantasy Novel
Projeto apresentado ao IADE – Universidade Europeia, para
cumprimento dos requisitos necessários à obtenção do grau de
Mestre em Design e Cultura Visual realizado sob a orientação
científica do Doutor Eduardo Côrte-Real, Professor Associado do
IADE – Faculdade de Design, Tecnologia e Telecomunicação.

To Imagination; our most powerful magic.
 
Acknowledgements First of all, I’d like to thank my mother, who taught me never to give
up on my dreams and has supported me unconditionally in all my
endeavours. Without her, none of this would be possible.
Secondly, I’d like to thank all my loved ones, for contributing in their
own way to my growth as an artist and most of all, as a human being.
I thank my friends from all over the world for giving me inspiration
and motivation during this process.
Thirdly, I’d like to thank my advisor, Prof. Dr. Eduardo Côrte-Real,
for actively guiding me throughout the elaboration of this project and
for gladly sharing his vast culture and knowledge during this master. 
And lastly, I thank all others who kindly provided me with any
assistance regarding this project. Amongst those I’d like to give
special thanks to Professor Manuel Gandra; to Professor Ana Luísa
Marques; to IADE’s library staff, Susana and Ana; and to illustration
artist Jim Kay, with whom I established email correspondence, and
who agreed to offer precious feedback. 
If there is anyone I’ve forgotten to mention, please know that I am
thankful from all my heart for your contribution, be it big or small. As
Harry Potter suggests in The Order of the Phoenix, he wouldn’t have
achieved any of his great deeds without a great load of help. Well,
neither would have I.  
 

Palavras-chave
Resumo
Quinta da Regaleira; Harry Potter; Ficção; Ilustração; Simbolismo.
Este projeto The Wonderful Wizard of Sintra teve por objetivo
primordial a elaboração de uma narrativa de ficção ilustrada e
baseada na História de Portugal e mais precisamente no edifício
arquitetónico conhecido como Quinta da Regaleira, em Sintra. 
A narrativa pretende resgatar os elementos mais simbólicos da
supracitada propriedade, transportando-os para um universo
fantástico inspirado em diversas obras de ficção e sobretudo na
sequência de livros da autora J. K. Rowling que contam a história do
bruxo Harry Potter. 
Como é esclarecido adiante neste documento, é possível estabelecer
paralelos entre a obra de Rowling e certos aspetos da cultura
portuguesa, visto que esta pode ter servido como fonte de inspiração à
autora. Deste modo, este projeto foi concebido no intuito de explorar
esta conexão, através da realização de um livro ilustrado que poderia
vir a configurar uma prequela à saga Harry Potter passada em
Portugal. 
A escolha da Quinta da Regaleira como palco principal a esta
narrativa está relacionada ao carácter simbólico e misterioso do
palácio e de seus jardins, que apresentam uma linguagem visual
evocativa do universo da mitologia, dos contos de fada, e da fantasia
em geral. 
E ainda que esta narrativa seja essencialmente fictícia, ela articula os
eventos históricos que se sucederam acerca da Quinta da Regaleira,
de seu proprietário António Augusto Carvalho Monteiro, de Portugal
e da Europa durante o início do século XX. 
Finalmente, podemos dizer que através deste projeto foi possível não
somente a criação de um livro ilustrado — e a apreensão de todo o
aprendizado fruto deste processo — como também a concepção de
uma obra que poderá futuramente enriquecer o imaginário entorno da
Quinta da Regaleira, património português.
    

Keywords
Abstract
Quinta da Regaleira; Harry Potter; Fiction; Illustration; Symbolism.
This project The Wonderful Wizard of Sintra aimed to elaborate an
illustrated work of fiction based on the History of Portugal and, more
precisely, on the architectural complex known as Quinta da Regaleira,
located in Sintra.
The story aspires to recover the most symbolical elements of the
previously mentioned property, transporting them to a fantastic
universe inspired by multiple literary works of fiction, especially by J.
K. Rowling’s series of books that narrate the tale of the wizard Harry
Potter.
As it is further clarified in this document, it is possible to stablish a
few parallels between Rowling’s work and Portuguese culture, since
it is likely that the last served as a source of inspiration to the author.
This way, this project was conceived with the intent of exploring this
connexion, throughout the realisation of an illustrated book that could
configure a prequel to the Harry Potter saga set in Portugal.
The choice of Quinta da Regaleira as main stage in this narrative is
related to its symbolical and enigmatic character, with a palace and
gardens that present a visual language which evokes the universe of
mythology, fairy tales and fantasy, in general. 
Still, though this narrative is essentially fictional, it articulates the
historical events that happened around Quinta da Regaleira, its owner
António Augusto Carvalho Monteiro, Portugal and Europe during the
beginning of the 20th century.
Finally, we can say that through this project it was not only possible
to create an illustrated book — and to apprehend all the learning
resulting from this process — but also to conceive an object that
could, in the future, enrich the imaginary that encircles Quinta da
Regaleira, Portuguese heritage.
0
Table of Contents
Index of Tables
1. Introduction
1.1.  Framework of the Project
1.2. Objectives
1.3. Structure of the Document
Part One — Theoretical Research
1. Chapter One — Quinta da Regaleira: A Moving Opera
1.1. A Brief Chronology from the 17th Century to Present Time
1.2. A Quest of the Soul as Sang by Camões and Dante
2. Chapter Two — António Augusto Carvalho Monteiro
2.1. Collector
2.2. Entomologist
2.3. Lover
2.4. Patriot
2.5. Time-Changing Man
3. Chapter Three — Intersections between the Trivial and the Absurd
Part Two — The Project
1. Chapter One — General Considerations
2. Chapter Two — Methodology
3. Chapter Three — Intended Audience
4. Chapter Four — Realization
4.1. Narrative
4.1.1. Time Period and Locations
4.1.2. Main Characters
1
4.1.3. Other References
4.2. Illustrations
4.2.1. Visual References
4.2.2. Technique
4.3. Book
4.3.1. Format
4.3.2. Layout
4.3.3. Lettering
4.4. Examples of Pagination
5. Conclusion
6. Bibliography
7. Annexes
7.1. Photographic Portfolio
7.2. Process
7.3. Narrative
8. Curriculum Vitae
2
Index of Tables
T a b l e 1 : M a s t e r H o n o r é , T h e B r e v i a r y o f P h i l i p p t h e F a i r. R e t r i e v e d f r o m
https://commons.wikimedia.org/wiki/File:MASTER_HONOR
%C3%89_David_anointed_by_Samuel_and_battle_of_David_and_Goliath,_folio_7_verso_of_the_Breviary
_of_Philippe_le_Bel,_from_Paris,_France,_1296_Biblioth%C3%A8que_Nationale,_Paris.jpg
T a b l e 2 : J e a n P u c e l l e , T h e H o u r s o f J e a n n e d ’ É v r e u x . Retrieved from
https://www.metmuseum.org/art/collection/search/470309
Table 3: The Limbourg Brothers, The Très Riches Heures du Duc de Berry. Retrieved from
https://commons.wikimedia.org/wiki/File:Les_Tr%C3%A8s_Riches_Heures_du_duc_de_Berry_juin.jpg?
uselang=fr 
Table 4: J. K. Rowling, Harry Potter and the Philosopher’s Stone. Retrieved from www.amazon.com/Harry-
Potter-Prisoner-Azkaban-Illustrated/dp/0545791340 
Ta b l e 5 : J . K . R o w l i n g , Harry Pot ter and the Chamber of Secre ts . Retrieved from
https://www.harrypottershop.com/products/harry-potter-and-the-sorcerers-stone-the-illustrated-edition
Table 6: J. K. Rowling, Harry Potter and the Prisoner of Azkaban. Retrieved from https://images-na.ssl-
images-amazon.com/images/I/61%2BabdOC5gL.jpg 
Table 7: Baroness of Regaleira. Retrieved from https://www.flickr.com/photos/job2006/5254336185
Ta b le 8 : H e n r i L u sse a u , F i r s t P r o j e c t f o r Q u in t a d a Re g a le i r a . Re t r i e v e d f r o m
http://arbor.revistas.csic.es/index.php/arbor/article/viewArticle/2098/2720
Tab le 9 : Lu ig i Man in i , Second Pro jec t fo r Qu in ta da Rega le i ra . Re t r ieved f rom
http://arbor.revistas.csic.es/index.php/arbor/article/viewArticle/2098/2720
T a b l e 1 0 : W i l l i a m B o u g u e r e a u , Y o u t h o f B a c c h u s . R e t r i e v e d f r o m
https://commons.wikimedia.org/wiki/File:Bouguereau,_La_jeunesse_de_Bacchus,_1884_(5612442003).jpg
Table 11: Rubens, The Four Rivers of Paradise. Retrieved from www.khm.at/de/object/e9fd7c2c66/ 
Table 12: The Tripartite Cosmos, Quinta da Regaleira. Photography, 2017.
Table 13: Lintel from Abbey Church of Saint Foy of Conques. Retrieved from https://www.tourisme-
conques.fr/fr/conques/tympan 
T a b l e 1 4 : S a n d r o B o t t i c e l l i , T h e M a p o f H e l l . R e t r i e v e d f r o m
https://commons.wikimedia.org/wiki/File:Sandro_Botticelli_-_La_Carte_de_l%27Enfer.jpg
T a b l e 1 5 : G u s t a v e D o r é , T h e C e l e s t i a l R o s e . R e t r i e v e d f r o m
https://commons.wikimedia.org/wiki/File:Paradiso_Canto_31.jpg 
T a b l e 1 6 : Q u i n t a d a R e g a l e i r a , I n i t i a t o r y W e l l . R e t r i e v e d f r o m
https://www.flickr.com/photos/28259211@N02/3079485601 
Table 17: Quinta da Regaleira, Palace. Photography, 2017.
T a b l e 1 8 : S t u d i o l o o f I s a b e l l a d ’ E s t e . R e t r i e v e d f r o m h t t p s : / / h p c -
forge.cineca.it/files/visit_Dissemination/public/Isabella/
3
T a b l e 1 9 : S t u d i o l o o f F r a n c e s c o I d e ’ M e d i c i . R e t r i e v e d f r o m
https://commons.wikimedia.org/wiki/File:Vista_del_Studiolo_de_Francisco_I.jpg 
T a b l e 2 0 : S t u d i o l o o f F e d e r i c o I I I d a M o n t e f e l t r o . R e t r i e v e d f r o m
https://www.pinterest.pt/pin/336714509611828966/?lp=true
Ta b l e 2 1 : E d u a r d E n d e r, R u d o l p h I I a n d Ty c h o B r a h e i n P r a g u e . Retrieved from
https://artuk.org/discover/artworks/rudolph-ii-and-tycho-brahe-in-prague-221260
T a b l e 2 2 : M a n t e g n a , C a m e r a d e g l i S p o s i . R e t r i e v e d f r o m
https://www.flickr.com/photos/50879678@N03/16653459981
Table 23: François Gérard, Psyche and Amour. Retrieved from https://www.louvre.fr/oeuvre-notices/psyche-
et-l-amour 
Table 24: Thereus ortalus. Retrieved from Gandra, 2014, p. 51.
T a b l e 2 5 : D e t a i l f r o m C a r v a l h o M o n t e i r o ’ s g r a v e . R e t r i e v e d f r o m
https://78.media.tumblr.com/tumblr_mcznbi5F1z1rhuh6yo1_1280.jpg
T a b l e 2 5 : C a r v a l h o M o n t e i r o ’ s g r a v e a t P r a z e r e s . R e t r i e v e d f r o m
https://commons.wikimedia.org/wiki/File:Jazigo_da_Fam%C3%ADlia_Carvalho_Monteiro_2017-02-08.png
Table 27: Carvalho Monteiro’s bed. Retrieved from Gandra, 2014, p. 144.
Table 28: Portraits from the Room of Kings. Retrieved from Gandra, 2014, p. 211.
Table 29: Portrait of Inês de Castro. Retrieved from https://commons.wikimedia.org/wiki/File:D._In
%C3%AAs_de_Castro_(Quinta_da_Regaleira).png
Table 30: LeRoy 01, verso. Retrieved from http://www.mdt.besancon.fr/retour-de-la-leroy-01/ 
Table 31: LeRoy 01, front. Retrieved from https://www.watchonista.com/fr/articles/ventes-aux-
encheres/ventes-aux-encheres-les-marques-oubliees-part-2
Table 32: LeRoy 01, verso with closed lid. Retrieved from Gandra, 2014, p. 130.
Table 33: Saturn, Fresco from Pompeii. Retrieved from https://books.google.pt/books?
id=s_BnmrAKRRUC&pg=PA200&lpg=PA200&dq=attributs+de+cronos&source=bl&ots=ZuTfEUHGZp&s
ig=U76d58kAUMaq3w-
B5MaC03sKHcg&hl=fr&sa=X&ved=2ahUKEwigiOOW7fPaAhVF6xQKHR2PDUwQ6AEwC3oFCAAQng
E#v=onepage&q=attributs%20de%20cronos&f=false 
Table 34: Lello. Retrieved from http://www.natgeotraveller.in/booked-in-porto-inside-portugals-most-
famous-bookstore/
T a b l e 3 5 : F l o u r i s h a n d B l o t t s . R e t r i e v e d f r o m
http://harrypotter.wikia.com/wiki/File:FlourishAndBlottsInterior1.jpg 
T a b l e 3 6 : P o s t c a r d , S t u d e n t f r o m C o i m b r a . R e t r i e v e d f r o m
http://www.museodelestudiante.com/Estampas_y_tarjetas/EstudanteDeCoimbra.htm 
Table 37: Jim Kay, Draco Malfoy. Retrieved from http://www.bbc.co.uk/newsround/34209419
Table 38: Alleyway of the Gods, Quinta da Regaleira. Photography, 2017.
4
T a b l e 3 9 : S t a t u e o f L e d a , Q u i n t a d a R e g a l e i r a . R e t r i e v e d f r o m
https://upload.wikimedia.org/wikipedia/commons/3/39/Palacio-da-Regaleira_Gruta-da-Leda_Sintra_Set-
07.jpg 
Table 40: Metopes of the Temple of Zeus at Olympia. Retrieved from http://www.maquetland.com/article-
phototheque/11560-statuaire-grece-metopes-temple-de-zeus-olympie-paris
Table 41: Graphic Journal. Photography, 2018.
Table 42: Page from used bookstore. Photography, 2018.
Table 43: Books from used bookstore. Photography, 2018.
Table 44: Manuscript from Ancient Art National Museum. Photography, 2018.
T a b l e 4 5 : J . R . R . T o l k i e n , T h e F e l l o w s h i p o f t h e R i n g. R e t r i e v e d f r o m
http://www.tolkienbooks.net/php/details.php?reference=41100
T a b l e 4 6 : L . F r a n k B a u m , T h e W o n d e r f u l W i z a r d o f O z . Retrieved from
https://en.wikipedia.org/wiki/The_Wonderful_Wizard_of_Oz#/media/File:Wizard_oz_1900_cover.jpg
T a b l e 4 7 : G e o r g e R . R . M a r t i n ,  A G a m e o f T h r o n e s . Retrieved from
https://en.wikipedia.org/wiki/File:AGameOfThrones.jpg
Table 48: Thais Costa, Santa Justa Lift. Photography, 2018.
Table 49: Arch of Rua Augusta. Retrieved from http://lisboadeantigamente.blogspot.pt/2017/10/arco-triunfal-
da-rua-augusta-ou-da.html
Table 50: Thais Costa, Arch of Rua Augusta. Photography, 2018.
Table 51: Cathedral of Lisbon. Retrieved from http://monumentosdesaparecidos.blogspot.pt/2015/10/se-de-
lisboa-obras-de-restauro-no-sec-xx.html
Table 52: Roque Gameiro, Casa dos Bicos. Retrieved from http://tribop.pt/TPd/01/70/Lisboa%20Velha
Table 53: Thais Costa, Cathedral and House of Spikes. Photography, 2018.
Ta b le 5 4 : H e n r i L u sse a u , Palacete Conceição e S i lva . Retrieved from http://www.cm-
lisboa.pt/equipamentos/equipamento/info/palacete-conceicao-e-silva 
Table 55: Thais Costa, O Escriba. Photography, 2018.
Table 56: Torre do Bugio. Retrieved from https://paixaoporlisboa.blogs.sapo.pt/forte-do-bugio-73089 
Table 57: Thais Costa, Baalbur. Photography, 2018.
Table 58: Roque Gameiro, Casa da Rua dos Cegos. Retrieved from http://tribop.pt/TPd/01/70/Lisboa
%20Velha
Table 59: Old House in Alfama, Photography, 2017.
Table 60: Ombú Tree in Alfama. Retrieved from https://urbantreesoftheworld.com/2017/09/27/bela-sombra/ 
5
Table 61: Thais Costa, Kvasir’s. Photography, 2018.
Table 62: Mosque of Cordoba. Retrieved from https://guias-viajar.com/espana/cordoba-fotos-puertas-
exteriores-mezquita/ 
Table 63: Thais Costa, Arraiolo Voador. Photography, 2017.
Table 64: Thais Costa, Condão & Co. Photography, 2018.
Table 65: Antoni Gaudí, Casa Battló. Retrieved from https://commons.wikimedia.org/wiki/File:Gaudi-Batllo-
0279ret.jpg
Table 66: Thais Costa, Fernando Pessoa. Photography, 2018.
T a b l e 6 7 : P o r t r a i t o f F e r n a n d o P e s s o a . R e t r i e v e d f r o m
http://www.lavanguardia.com/cultura/20171225/433793618593/exposicion-fernando-pessoa-madrid.html 
Table 68: Thais Costa, Portrait of Fernando Pessoa. Photography, 2017.
Ta b l e 6 9 : J o s é d e A l m a d a N e g r e i r o s , Retra to de Fernando Pessoa. Retrieved from
https://gulbenkian.pt/museu/works_cam/retrato-de-fernando-pessoa-139004/  
T a b l e 7 0 : L a g o a H e n r i q u e s , F e r n a n d o P e s s o a . Retrieved from http://www.cm-
lisboa.pt/equipamentos/equipamento/info/fernando-pessoa 
T a b l e 7 1 : P o r t r a i t o f A l e i s t e r C r o w l e y . R e t r i e v e d f r o m
https://en.wikipedia.org/wiki/File:Aleister_Crowley.jpg
Table 72: Lord Voldemort. Frame taken from Harry Potter and the Deathly Hallows Part 2 movie picture.
Table 73: Thais Costa, The Crow in Trance. Photography, 2018.
Table 74: Thais Costa, The Crow’s Script. Photography, 2018.
Table 75: Thais Costa, Coimbra University Coat of Arms. Photography, 2018.
Table 76: Sculptures of Four Symbolic Animals from Quinta da Regaleira. Photography, 2017.
Table 77: António Augusto Gonçalves, Insignia of Coimbra University. Retrieved from
https://www.uc.pt/identidadevisual/identidadevisual/epsjpg
Table 78: MinaLima, Hogwarts’ Crest. Retrieved from https://www.pottermore.com/features/the-macusa-
seal-and-other-emblems-of-the-wizarding-world
Table 79: Thais Costa, The Oraculum. Photography, 2017.
Table 80: Rock from Quinta da Regaleira. Photography, 2017.
Table 81: Jim Kay, Diagon Alley. Retrieved from http://harrypotter.wikia.com/wiki/File:Diagon_Alley_-
_Jim_Kay.jpg
Table 82: Thais Costa, Alfama Wizarding Market. Photography, 2018.
Table 83: Thais Costa, Circe’s Island. Photography, 2018.
6
Table 84: Thais Costa, The Old Caravel. Photography, 2018.
Table 85: Thais Costa, Tricks & Treats. Photography, 2018.
Table 86: Thais Costa, Sardine Sled Drollery. Photography, 2018.
Table 87: Doorknob in Mouraria in the shape of Khamsah. Photography, 2017.
Table 88: Doorknob in Lumiar in the shape of Khamsah. Photography, 2018.
Table 89: Chapel of Quinta da Regaleira, Front Porch. Photography, 2017.
Table 90: Chapel of Quinta da Regaleira, Altar. Retrieved from http://turomaquia.com/quinta-da-regaleira-
guia-pratico-de-visita/
Table 91: Chapel of Quinta da Regaleira, window. Retrieved from http://vphotus.blogspot.com/
Table 92: Thais Costa, Kvasir’s magical hand. Photography, 2018.
Table 93: Thais Costa, Magical hand’s lens. Photography, 2018.
T a b l e 9 4 : M . C . E s c h e r , H a n d w i t h R e f l e c t i n g S p h e r e . Retrieved from
https://en.wikipedia.org/wiki/File:Hand_with_Reflecting_Sphere.jpg
Table 95: Thais Costa, Painting from the Old Convent. Photography, 2018.
T a b l e 9 6 : H . B o s c h , T e m p t a t i o n s o f S a i n t A n t h o n y . Re t r i e v e d f r o m
https://commons.wikimedia.org/wiki/File:Temptation_of_Saint_Anthony.jpg
Table 97: Thais Costa, Drollery. Photography, 2018.
Table 98: A. Rackham, Fasolt suddenly seizes Freia and drags her to one side with Fafner.  Retrieved from
https://commons.wikimedia.org/wiki/File:Rhinegold_and_the_Valkyries_p_032.jpg
Table 99: A. Rackham, Frontispiece for Nathaniel Hawthorne's A Wonder Book. Retrieved from
https://www.flickr.com/photos/spookytreasures/24483948996
Table 100: Thais Costa, Kvasir’s (detail). Photography, 2017.
Table 101: Jim Kay, Harry Potter and the Chamber of Secrets Deluxe Edition. Retrieved from
https://www.bloomsbury.com/au/harry-potter-and-the-chamber-of-secrets-9781408876831/
Table 102: Thais Costa, Mockup for Book Cover. Photography, 2018.
Table 103: Thais Costa, details from two illustrations Kvasir’s and Meeting Point. Photography, 2017.
Table 104: Albrecht Dürer, St. Paul (detail). Retrieved from https://artinprint.org/article/remaking-durer-
investigating-the-master-engravings/ 
Table 105: Table of Formats. Retrieved from E. Bosquet, 1903.
Table 106: Incunabulum. Retrieved from http://gallica.bnf.fr/ark:/12148/btv1b2200005d/f50.item
Table 107: Thais Costa, Book Cover. Photography, 2018.
7
Table 108: Thais Costa, Example of Chapter Cover (Chapter one). Photography, 2018.
Table 109: Thais Costa, Example of first page of a chapter (Chapter One). Photography, 2018.
Table 110: Thais Costa, Example of (only text) page. Photography, 2018.
Table 111: Thais Costa, Example of page (text and image). Photography, 2018.
Table 112: Thais Costa, Alphabet in Font Garamond. 
Table 113: Thais Costa, Example of page. Photography, 2018.
Table 114: Thais Costa, Cover of Chapter Two. Photography, 2018.
Table 115: Thais Costa, Cover of Chapter Five. Photography, 2018.
Table 116: Thais Costa, Cover of Chapter Six. Photography, 2018.
Table 117: Thais Costa, Cover of Chapter Ten. Photography, 2018.
Table 118: Thais Costa, Illustration of Quinta da Regaleira's palace. Photography, 2018.
Table 119: Thais Costa, Illustration of the Cork Cave. Photography, 2018.
Table 120: Thais Costa, The Well. Photography, 2018.
Table 121: Thais Costa, Page with initial and decorated margins. Photography, 2018.
Table 122: Thais Costa, Page with initial and decorated margins. Photography, 2018.
8
1.  Introduction
1.1. Framework of the Project
The material object around which this project revolves and ultimately aims to
constitute is an illustrated printed book. The book, in general — or codex, as opposed to
scroll1 —has evolved in regard to its techniques of manufacture, style and even physical
nature, if we take into account the relatively recent advent of the E-book2. 
In its earliest manifestations, the book was designed by hand — from where comes
the term manuscript — reflecting a uniqueness which we, nowadays, seem to have lost.
More than a mere support for the written word — verbum — the book used to be
considered in western culture as a sacred object, a vessel carrying out the word of God to
humanity (or for, at least, an educated humanity). The largest manufacturers of such items
were — from 8th century Carolingian Renaissance until 15th century emergence of the
printing press3— monastic scribes who worked in their scriptoria4, writing, copying and
illuminating the sacred texts. The aesthetic beauty and religious significance of these
manuscripts increased their popularity among the educated people from European nobility,
turning the book into a valuable merchandise and collectible object. From holy to artistic,
the European book-making industry flourished, revealing in the process the mastership and
name of some prominent secular artists and manuscript illuminators such as the Parisian
Master Honoré5 and Jean Pucelle6, as well as the Dutch Limbourg brothers7. 
With the invention of the movable type in Europe during the second half of the 15 th
century, books became less expensive to produce and therefore more widely accessible.
Also, the figurative elements and ornaments accompanying the text — earlier manually
illuminated — followed the same reproducible logic through adoption of the engraving
process.  
1 Codex is a latin term used to describe a specific format of manuscript which is composed by a number of sheets of
paper/ vellum or papyrus, where the pages are stacked and bound together by fixing one edge. From the first century
to the fifth century of our era, this format gradually replaced the scroll format — where the pages are glued together
to form a roll — for its many advantages over the last.  
2 Electronic Book; supposably invented during the second half of the 20 th century.
3 By Johannes Gutenberg (c. 1400 – 1468). 
4 A scriptorium (pl.: scriptoria) was a room in Medieval European monasteries, devoted to the production of
(illuminated) manuscripts.
5 Master Honoré: a Parisian manuscript illuminator who lived and worked for the court of Philipp the Fair from 1288 
to 1318.
6 Jean Pucelle (c. 1300 – 1355): another Parisian secular artist whose most famous illuminated manuscript is The 
Hours of Jeanne d’Évreux.
7 The Limbourg brothers (Herman, Paul and Johan; fl. 1385 – 1416) were Dutch miniature painters, famous for the 
Très Riches Heures du Duc de Berry. 
9
Finally, modern offset printing inaugurated an era of utmost dissemination of the
printed book, accompanied by its late adaptation to digital multimedia in the 1990’s. This
new age for the book industry has indeed a major benefit in terms of accessibility and
practicability when compared to this industry’s past. However, at the same time, books
have been progressively — if not completely — losing their status of “work of art” or
“object of design”, by leaving behind old handcrafted procedures, by slowly abandoning
figurative elements — nowadays mainly centered on juvenile literature — and ultimately,
by discarding physicality itself. 
Going on a reverse direction, this project intends to recover the “artistic” quality of
the book from the past, by largely employing manual procedures when elaborating its
design and illustrated material, as well as appealing to visual codes that were representative
of manuscripts of that time — such as decorated margins, initials8, drolleries9 or gilding10.
Still, this search for the book’s lost uniqueness does not imply a necessary denial of today’s
many technical advancements, which were indeed incorporated to the process of execution
8 Larger letters at the beginning of a chapter that used to be adorned in medieval manuscripts.  
9 Also called a grotesque, drolleries were small decorative images located in the margins of illuminated manuscripts. 
As their name suggest, their purpose was to cause amusement to the reader of the book. 
10 Decorative technique in which a golden leaf is applied to a surface.
10
Table 1:Master Honoré, The
Breviary of Philipp the Fair, folio
7v (1296).(Wikipedia Commons,
2016).
Table 2: Jean Pucelle, The Hours of
Jeanne d’Évreux, folio 154v (1324 –
1328).(Metropolitan Museum of Art,
2018).
Table 3: The Limbourg brothers,
The Très Riches Heures du Duc de
Berry, folio 6v (1412 - 1416).
(Wikipedia Commons, 2017).
of this project. Furthermore, since the book in question consists of a Fantasy Novel that
revolves around the existence of a magical world, it is clear that the use of the latest
technologies could help bring this magical element to life (specially in a further adaptation
of this work to digital platform).  
Indeed, a fictional narrative was developed exclusively for this project in order to
constitute the book and later be illustrated. It addresses key elements taken from existent
fantasy novels — the enchantments and general structure from Harry Potter, as well as
creatures from Fantastic Beasts and Where to Find Them11 and Lord of the Rings12 —
though it relocates these elements in order to fit a specific period in Portuguese history and
retell the life events of António Augusto Carvalho Monteiro — owner of the villa known as
Quinta da Regaleira13 — from a total imagined perspective. 
For those who might not be entirely familiar with the Harry Potter books, it is worth
including in this introduction a brief explanation, since this work of fiction lies at the base
of this project’s execution, also being a major source of inspiration both in visual and
literary aspects.  
11 Screenplay written by J. K. Rowling (same author of the Harry Potter sequence) in 2001 and adapted to Cinema by
director David Yates in 2016.
12 Epic fantasy novel written by English author J. R. R. Tolkien between 1937 and 1949 and later adapted to Cinema by
director Peter Jackson, between 2001 and 2003.
13 The historical events and symbology concerning this villa will be discussed in the following chapters. For now it
suffices to retain that it is a vast property that encloses a palace and an enigmatic garden, and it is located in the
municipality of Sintra, in the region of Lisbon, Portugal. 
11
Table 6: J. K. Rowling, Harry
Potter and the Prisoner of
Azkaban (illustrated edition by
Jim Kay). (Amazon, n. d.)
Table 5: J. K. Rowling, Harry
Potter and the Chamber of
Secrets (illustrated edition by Jim
Kay). (Amazon, n. d.)
Table 4: J. K. Rowling, Harry
Potter and the Philosopher's Stone
(illustrated edition by Jim Kay).
(HarryPotter Shop, n. d.)
Harry Potter consists of a series of seven fantasy novels written by British author J.
K. Rowling (full name Joanne Rowling) that became specially popular among the young
public after the release of the first novel Harry Potter and the Philosopher’s Stone in 1997.
This sequence was posteriorly adapted to eight films distributed by Warner Bros. and
released between 2001 and 2011. 
The plot narrates the main events of the life of an orphan boy named Harry Potter,
who discovers he is actually a wizard and is invited to study sorcery at Hogwarts School of
Magic. During his years of study at the school, he faces many dangers, notably architected
by the darkest wizard of his time and also murderer of his parents, Lord Voldemort. Harry
is then somehow “chosen” to defeat Voldemort and free the world of this evil, although he
can always count with the help of his friends Ronald Weasley and Hermione Granger to do
so.
1.2. Objectives 
In short, Harry Potter may well be understood as a simple tale of fantasy for children
and young adults to be entertained with. However, if one is capable of seeing beyond its
extravagances and complicated names, one might realize it is nothing but a mirror to
reality. Like all the greatest works of fiction — be it fantasy or science fiction — the
purpose in Harry Potter is to convey a message and portray real problems in a way that is
easier to digest than it would be in a documentary, for example. The social critique is there
disguised in every word, be it in a spell, a creature or a wizarding war. In a literary work of
fiction, the fiction itself is barely a symbol for something that has become so ordinary, so
conventional, that only by adding rays of light igniting from magical wands can we give it
the attention necessary to start questioning it. It is a dubious engagement, for sure; after all,
the same tool chosen to deconstruct reality might create the opposite effect, reinforcing the
cement that keeps reality intact. The fiction that is supposed to examine might become the
same fiction that alienates, if consumed as pure entertainment. However, if nowadays the
entertainment industry (largely supported by broadcast and digital media) reaches so
effectively developing individuals and creates such a powerful impact on them, isn’t it
worth the risk to use it in favor of criticism?
12
Indeed, the project that lies dissected in the following pages can be justified from two
concomitant approaches: one which relates to the issue discussed in the previous paragraph
— that of a work of literary fiction being used as a symbol that conveys a message; in this
case, a work of fiction predominantly based on Harry Potter, transmitting the message
manifested in Quinta da Regaleira. And the second approach that addresses this project
from a more technical point of view and recognizes it as a challenge; one that attempts to
recover a more ancient and traditional aesthetics for the illustrated book while
incorporating modern methods. 
1.3. Structure of the Document
For that, this document is organized in two parts: the first, which is focused on that
first approach and is devoted to understanding the symbology behind Quinta da Regaleira
and how it can be related to Harry Potter. Constituting this first part, there are three
different chapters: one that attempts to uncover the history and the philosophy that
surround Quinta da Regaleira; another that examines the personality of António Augusto
Carvalho Monteiro, proprietor of this villa and key piece for comprehending the building
with no misconceptions; and a final chapter that briefly relates Quinta da Regaleira to
Harry Potter, justifying this parallel. 
Finally, there is a second part to this document that aims attention to the technical
challenge that was conceiving an illustrated book. It is also divided into chapters: firstly,
one with some general considerations about the project; secondly, a chapter that describes
the methodological approach; thirdly, a chapter that is centered on the intended audience
that this book, if indeed materialized, could bring some impact; and there’s a fourth
chapter, one that exposes in detail the elements that compose this project and were
necessary for its elaboration: the narrative, the illustrations and the book itself.
For now, however, let us begin exploring the history of the building known as Quinta
da Regaleira; the legacy of António Augusto Carvalho Monteiro and the starting point for
this project.           
  
13
14
PART ONE — Theoretical Research
1. Chapter One — Quinta da Regaleira: A Moving Opera
1.1. A Brief Chronology from the 17th Century until Present Time
However recurrent it is to instantly correlate the name “Quinta da Regaleira” to its
most remarkable proprietor — Brazilian-Portuguese bourgeois António Augusto Carvalho
Monteiro — the history of this property located in the Sintra mountain range (part of the
homonym municipality, in Lisbon Region) can be traced centuries before its acquisition by
“Monteiro dos Milhões”14. 
The earliest recordings we possess today attest that part of the grounds that would
constitute Quinta da Regaleira belonged to José Leite by the year 1697. In 1715, Francisco
Alberto Guimarães de Castro is responsible for the plumbing of water from the sierra to a
fountain of the gardens of his property, then called “Quinta da Torre do Castro” — which
corresponds to the Regaleira. Documentation still certifies the existence of a via sacra
passing throughout the Regaleira’s area, at least since the year 1717.
Between 1787 and 1817, the Quinta da Torre is gradually
expanded due to the acquisition of new portions of land by João
António Fernandes and his successor Manuel Bernardes Lopes
Fernandes. In 1840, the property is purchased by D. Ermelinda
Allen Monteiro de Almeida, 1st Baroness of Regaleira.
Following the baroness death in 1858 (Denise Pereira, Paulo
Pereira & José Anes, 1998), the villa therefore known as
“Quinta da Regaleira” would be passed on amongst the Allens,
until ultimately being sold during a public auction in 1893 by
Paulo Carlos Allen de Morais Palmeiro, 3rd Baron of Regaleira. 
It is during this auction that António Augusto Carvalho Monteiro acquires Quinta da
Regaleira. Only two years afterwards, in 1895, Carvalho Monteiro orders the first
architectural project for his newly bought property to the French architect Henri Lusseau.
However, Lusseau’s proposition would never come to past. Instead, Carvalho
Monteiro decides to entrust this project to the Italian architect and scenographer Luigi
14 “Monteiro dos Milhões” was the informal title by which António Augusto Carvalho Monteiro was known by his
contemporaries. This title can be translated as “Millionaire Monteiro”, evidently referring to Carvalho Monteiro’s
immense fortune.
15
Table 7: Baroness of 
Regaleira. (Flickr, 
2010)
Manini (Crema, 1848 – Brescia, 1936), who had been living in Lisbon since 1879, working
for São Carlos Theater. The new project is elaborated in 1898 and the construction works
start around the year 1900. By that time, Carvalho Monteiro and his family already made
use of Quinta da Regaleira for accommodation (Manuel Gandra, 2014).
Finally, in 1910, the works are concluded, though a few final ornamental
arrangements are still being carried on. In 1920, with the death of António Augusto
Carvalho Monteiro on the 24th October, Quinta da Regaleira is inherited by his son, Pedro
Augusto Carvalho Monteiro. He would later sell the property to Waldemar José Jara
D’Orey, in the year 1949. After belonging to the D’Orey family for two generations,
Quinta da Regaleira is purchased by Shumdo Sanko Co., in 1988.
In 1993, the architectural complex is classified as “property of interest”15 by Sintra’s
city council, which would four years later (1997) acquire the villa. During the following
year (1998), Regaleira’s management is confided to Cultursintra Foundation and the
property is at last opened to the public. That same year, Portugal’s Ministry of Culture
classifies Quinta da Regaleira as “property of public interest”16. 
Nowadays, we can say that for its history, architectural significance and touristic
value (Cultursintra Foundation registered more than 600.000 visitors only in 2016, with
15 “Imóvel de interesse concelhio”.
16 “Imóvel de interesse público”.
16
Table 8: Henri Lusseau, First Project for Quinta da
Regaleira, 1895.Sintra, Câmara Municipal, Arquivo
Histórico. (Iván Moure Pazos, 2016)
Table 9: Luigi Manini, Second Project for
Quinta da Regaleira: plan, 1904. (Iván Moure
Pazos, 2016)
higher numbers in the subsequent year17), Quinta da Regaleira has undoubtedly left a
permanent imprint on Portuguese culture. Yet, however popular the stonework and gardens
may be, the story behind how this building came to be or what message it inspires remains
a mystery to many. 
With that in mind, let us explore Carvalho Monteiro’s philosophical mansion, so that
his intentions may crystalize before us to the point when we will be able to take this
picturesque visit to the realms of intellect.
1.2. A quest of the soul as sang by Camões and Dante
«[…] Either way, Homer certainly was based on the real world. Ulysses does not want an imaginary
homeland. He wishes, on the contrary, to overcome this world ruled by monsters and hostile deities
in order to reach the poor and rocky land of his ancestors.18 […]»
 The Odyssey of Homer — an epic poem which can be directly associated with
Portuguese History through the legendary foundation of the city of Lisbon19 — narrates in
twenty-four books the journey of the Greek hero Odysseus — or Ulysses, in Latin — from
the defeated city of Troy back to his homeland, Ithaca. An edition of this poem published
in 1999 by Gallimard displays a preface written by the Helléniste20 Philippe Brunet. During
this preface, Brunet starts questioning the geographical correspondents of the many
mythical places visited by Odysseus. After a few lines of hypothetical considerations,
Brunet ultimately arrives to the conclusion that, regardless of attributing precise locations
to the hero’s itinerary, we can affirm with the upmost certainty that the whole adventure
sang by Homer is, indeed, anchored in reality (Brunet, 1999, p.20).
17 Diário de Notícias. (2017) Quinta da Regaleira, em Sinta, aumentou 42,71% as visitas no primeiro semestre.
Retrieved from: https://www.dn.pt/lusa/interior/quinta-da-regaleira-em-sintra-aumentou-4271-as-visitas-no-primeiro-
semestre-8698107.html 
18 Text as consulted: «[…] Quoi qu’il en soit, c’est bien du monde réel qu’est parti Homère. Ulysse ne désire pas une
patrie imaginaire. Il souhaite au contraire s’affranchir de ce monde traversé de monstres et de divinités hostiles pour
retrouver le sol pauvre et rocailleux de ses ancêtres.[…]»
19 According to the myth, during his travels, the Greek hero Odysseus debarked on the shores of Ofiusa, or “Land of
Serpents” (Lisbon), which had for sovereign a serpent queen — half woman, half serpent. The queen falls in love
with Odysseus, wishing for him to stay permanently in her kingdom. The hero, however, intending to return to his
homeland, tricks the serpent queen and escapes. She runs after him to the coast, but it is too late and the hero is
already back in his ship, far in the ocean. Still, the legend says that, in the effort to stop the hero, the snake-like arms
of the queen, stretched out to grasp her beloved, left their imprint in the city’s landscape, forming the seven hills of
Lisbon. (Alexandre de Carvalho Costa, 1955).
20 Ancient-Greece specialist.
17
What the scholar calls “the geo-mythology of Homer”21 can be only described as a
creative artifice as old as humankind’s imagination. Uncountable are the legends
transmitted through generations which maintain an intimate connection with their
birthplace. Mount Kailash, in Tibet, is considered to be the place of residence of the god
Shiva in Hinduism. Hesiod’s Theogony informs us that the Greek god of wine Dionysus
was brought up by the Nymphs of Nysa, a mountainous district supposably located in
Ethiopia or Libya. Apparently, the lake Titicaca in Peru conceals in its depths a great Incan
treasure. Some theologians identify the four rivers of Paradise as the Tigris, Euphrates,
Ganges and Nile. In short, it is safe to declare that myth and reality possess undeniable
parallels. After all, our imaginative capabilities are simultaneously driven and restricted by
our material experience (Etienne Pelaprat & Michael Cole, 2011). What is left for us to
question is — has the location inspired the myth? — or, in cases such as those of Lisbon or
Rome22  — has the myth brought the place into being?  
Certainly the foundation of any early urban settlement was due to the development of
a certain civilization, somewhere in the past. That is the reason why we usually find
alternative explanations for such events — strictly based on historical facts — running
alongside their mythological counterparts. However, just as Roman augurs would interpret
the omens from their gods in order to inaugurate 23 a temple (Pauline Ronet, 2014), other
individuals might have chosen to establish themselves on a specific area motivated by their
mythological beliefs. 
As it happens, Odysseus was not the only one to detect the messianic potential of the
coast of Ofiusa24. Multiple ancient sources25 have attested the sacredness of this
mountainous Lusitanian land and, more precisely, of Sintra mountains26. According to
Professor Manuel Gandra, the Sintra mountain range can be called ‘sacred’ in the sense it
embodies the supramundane, mundane and chthonic world which, together, form a
21 «La géo-mythologie d’Homère […]» (Philippe Brunet, 1999, p.20).
22 In the works of Livy, Plutarch, Virgil and Ovid, it is possible to find references regarding the mythological founding
of Rome, involving of course the fratricide of Remus by Romulus, as well as the exploits of the Trojan prince Aeneas
(to whom the twins were allegedly related).
23 The verb itself ‘To inaugurate’ stems from the Latin augur, which refers to the augury rituals. 
24 Lisbon.
25 Avienus (4th century AD), Ptolemy (1st – 2nd century AD).
26 Etymologically, the name ‘Sintra’ evolved from its medieval correspondent ‘Suntria’, derived from the Indo-
European radical ‘Sun’ (sun), as a reference to heliacal cults which the region might have sheltered (Gandra, 2014).
Another hypothesis relates the name to Artemis’ epithet Cynthia, Greek goddess and personification of the moon.
Although this possibility seems interesting as it evokes Avienus’ reference to Sintra as Mountains of the Moon (‘Mons
Lunae’), there are not enough evidences to prove this theory.
18
tripartite cosmos (Gandra, 2014). This triad, so transparently celebrated by Dante 27, can, of
course, be understood in its literal connotation, if one decides to embrace the Christian
conception of the universe. Nevertheless, there can still be, beyond the apparently
categorical verses of the Bible — and so many other traditions which have also divided the
world into similar components — a far more subtle appreciation of this subject, ignored by
many, and yet recognized by some enlightened individuals. 
«Quod est inferius est sicut quod est superius, et quod est superius est sicut quod est
inferius [...]».28 That is the premise which is supposably displayed among the text of the
Emerald Tablet29. It reveals a truth already acknowledged by Plato — whose works are (not
coincidentally) at the fundaments of metaphysics: the microcosmos mirrors the
macrocosmos (the microcosmos being the material world; the macrocosmos being the
world of intellect). Thus, if we admit this said ternary organization of the cosmos, we’ll
find ourselves confronting a simple consequence: so is human existence based upon a
trichotomous progression.
27 Dante Alighieri (c. 1265 – 1321). 
28 That which is below is like that which is above and that which is above is like that which is below […] (I. Newton, 
Trans.)
29 A cryptic piece at the basis of Hermeticism. Though its author is identified in the text as Hermes Trismegistus, its
origins remain uncertain.
19
Table 11: Peter Paul Rubens, The Four
R i v e r s o f P a r a d i s e , c . 1 6 1 5 .
Kunsthistorisches Museum(khm, n.d.)
Table 10: William Bouguereau, Youth of Bacchus, 1884.
(Wikimedia Commons, 2018)
What does this mean? What does it implicate? Those are very legitimate questions,
to which countless bright men and women have attempted to provide an answer.
Philosophers, scientists, theologians, kabbalists, freemasons… Unmistakably, the entire set
of spiritual traditions — occidental or oriental — revolve around this single paramount
principle. Be the exploits of Shiva30, or Heracles’31, Odysseus’, Dante’s, Vasco da
30 One of the main deities from Hinduism.
31 Hercules.
20
Table 12: The Tripartite Cosmos, Quinta da
Regaleira, chapel, c. 1907.
According do M. Gandra, the castle represents the
realm of the intellect; the clouds are the manifestation of
our mundane, obscured sight; and finally, at the bottom we
can see the leviathanic mouth that represents the gates of
Hell. 
Table 13: Lintel of tympanum from the Abbey Church of Saint Foy, in Conques, France. 11th century,
western portal. (Tourisme-conques, n. d.)
Again we find in this depiction of the Final Judgement the open-mouthed Leviathan symbolizing the gates of
Hell, opposed to the fortified colonnade of Paradise.
Gama’s32, Christ’s... They all share the same ascending journey. And though, through the
years, many have written about it, others seem to have preferred to convey this message by
carving it into stone.  
As a matter of fact, Portuguese architectural complex known as Quinta da Regaleira —
not by accident situated in the previously mentioned mountains of Sintra — was built
around its proprietor’s knowledge of men’s true nature. Not unlike Gothic cathedrals —
those infernos and purgatories written in stone33 — António Augusto Carvalho Monteiro’s
legacy to the world estates that the path to “salvation” — which is a different word to self-
knowledge — consists of three-leveled ladder. “Considerate la vostra semenza; fatti non
foste a viver come bruti; ma per seguir virtute e canoscenza ”34, wrote Dante. He (as all of
us) was put through serious endeavors in order to achieve the Empyrean35 or (rephrasing it
in order to avoid confusion) in order to return to his place of birth. 
However, was not that the exact same purpose of Odysseus, after all? Or still, of
Portugal’s epic hero, Vasco da Gama? To find their way back to their homeland, after
years of drifting at sea? The sea, this hostile and infertile place that contradicts men’s
ambition to return home36?
It is not surprising to learn that António Augusto Carvalho Monteiro, the owner of
Quinta da Regaleira, was deeply affectionate of Camões’ work, philosophy and, naturally,
of his greatest contribution to the world: Os Lusíadas. In reality, if one is acquainted with
this poem’s content, one could walk through the gardens of Quinta da Regaleira with a far
more consistent sense of judgment. 
Call it the vast sea or Dante’s selva oscura37, what is the so-called ‘initiatory well’ if
not the vessel that will take us to the deepest, darkest corners of our minds, where the true
initiation will begin? Let us leave aside the childish tales of secretive cults and cabalistic
32 Hero from Luís de Camões’ Os Lusíadas. 
33 “[…] Comme, pour son bonsoir, d’une plus riche teinte,/ Le jour qui fuit revêt la cathédrale sainte,/ Ébauchée à
grands traits à l’horizon de feu;/ Et les jumelles tours, ces cantiques de pierre,/ Semblent les deux grands bras que la
ville en prière,/ Avant de s’endormir, élève vers son Dieu./ […] Légendes d’autrefois, merveilleuses histoires/ Écrites
dans la pierre, enfers et purgatoires,/ Dévotement taillés par des naïfs ciseaux;/ Piédestaux du portail, qui pleurent
leurs statues,/ Par les hommes et non par le temps abattues,/ Licornes, loup-garous, chimériques oiseaux,[...]”
(Théophile Gautier, 1838, v. 25-30; 49-54). 
34 “Consider your origin; you were not born to live like brutes, but to follow virtue and knowledge” (Dante, c. 1308-
1321, Inferno, Canto XXVI, lines 118-120).
35 In Dante’s Paraiso (canto XXX), he ascends to a region beyond physical existence called Empyrean, where he has a 
vision of an enormous rose symbolizing divine love.
36 “[…] La mer est le lieu hostile et infécond qui contredit l’aspiration des hommes à rentrer chez eux [...]” (Brunet, 
1999, p. 12).
37 Inferno, Canto I, line 2.
21
sects which have for so long fed the imaginary of people who visit Regaleira.  What are
these assumptions, compared to the study of evidence?
Carvalho Monteiro has delivered us enough material to allow us to understand the
personality and mind behind Quinta da Regaleira. His personal library was notorious in
regard to its Camonian38 subject matter (Gandra, 2014). Equally important are the titles
which discuss the messianic role of legendary king Sebastian I of Avis39 as leader of
Portuguese Fifth Empire40 — a theory which Camões himself confirms at the end of his
epic41. This fact clearly attests Carvalho Monteiro’s inclination towards such ideas.
Nonetheless, it does not suffice to remain at the surface of these texts; if one is competent
enough to go to the root of the matter which has inspired these legends and myths — and
Carvalho Monteiro was, indeed, competent — one could interpret and transform, recreate
their own version of the monomyth42. 
38 Relative to Camões.
39 King Sebastian I of Avis reigned Portugal from 1557 until his sudden disappearance during the battle of Alcácer-
Quibir in 1578. Not long afterwards, Portugal was placed under the sovereignty of the Philippine dynasty of Spain.
The fact that many considered king Philip I as a foreign usurper, allied to the inconclusive demise of Sebastian, led to
the proliferation of a series of legends orbiting around the upcoming return of the last. 
40 The Fifth Empire is a concept of a global Portuguese empire with spiritual and temporal power, based on the
interpretation of Daniel’s Book of Revelation by Portuguese jesuit António Vieira (1608-1687).  
41 At the epilogue of Os Lusíadas, Camões dedicates his masterpiece to king Sebastian I.
42 The monomyth, or hero’s journey, is the common template of a broad category of tales that involve a hero who goes
on an adventure and in a decisive crisis wins a victory, finally returning home, transformed. It got popularized in the
20th century by American mythologist Joseph Campbell. 
22
Table 14: Sandro Botticelli, The Map of Hell, c. 1485.
(Wikimedia Commons, 2018)
Table 15: Gustave Doré, Dante and
Beatrice in Paradise/ The Celestial Rose,
1868. (Wikimedia Commons, 2014)
Quinta da Regaleira is that version. It was not by accident that the architect to whom
Carvalho Monteiro assigned this project was also a scenographer. Only Luigi Manini
would have managed to create a residence which is also the stage of a moving opera,
where the protagonist — the hero — is the one who goes through (and embraces)
Regaleira’s meditative itinerary.
Now, could anyone effectively experience a permanent inner-transformation simply
by following the steps that take to enter the well, passing through the underground tunnels,
until arriving at the gods’ alleyway? It would be perhaps too naive to think so. After all, it
took Vasco da Gama two years to conclude his expedition 43. ‘It was because of impatience
that they (men) were expelled from Paradise; it is because of indolence that they do not
return’ (Kafka, 1918). 
Still, a reminder such as Quinta da Regaleira is only functional if the message behind
the symbol is grasped. To a man like Carvalho Monteiro, the purpose was, of course,
fulfilled. That is for the fact that he was a highly educated man, whose knowledge bordered
Universalism44. A man that incarnated the humanist, the prince, the courtier of Italian
Renaissance, transported to 19th century in Portugal. A revivalist, a patriot, an alchemist, a
guardian of the Truth (and notice it is not by accident that “truth” is written with a capital
letter and preceded by a define article). But beyond all those things, he is still to this day
the key to the accurate understanding of the house he wished to build.
43 Vasco da Gama sailed to India on June 1497, only returning to Portugal in 1499.
44 In this context, “Universalism” can be understood in one of the two ways: either as a reference to theological-
philosophical Universalism, which admits that some ideas (many of which transmitted by different religious
traditions) possess universal applicability. In this sense, it is believed that, regardless of a person’s particular religious
affiliation, there are concepts which lay at the core of human existence and, however different are the words used to
convey them, they remain common to every doctrine. A second interpretation of the word “Universalism” may refer
to the idea of the Italian humanist of the Renaissance as a Universal man (“Uomo Universale”); a man that seeks to
develop his skills in multiple areas of knowledge. António Augusto Carvalho Monteiro was an example of both.
23
24
Table 17: Quinta da Regaleira, Palace.
Table 16: Quinta da Regaleira, ‘Initiatory well’. (Flickr, 2008)
2. Chapter Two: António Augusto Carvalho Monteiro
2.1. Collector
António Augusto Carvalho Monteiro was born in Rio de Janeiro, on the 27 th
November 1848. He was the heir of a huge fortune that his Portuguese parents 45 built once
they migrated to Brazil, trading coffee and precious stones. Soon in his life (1858),
Carvalho Monteiro left Brazil to Portugal accompanied by his two brothers 46, in order to
study Law at the University of Coimbra. Nevertheless, Carvalho Monteiro’s interests went
far beyond his juridical formation, since he was also known as an entomologist, a botanist,
a bibliophile, as well as the owner of the greatest Camonian collection in Portugal.
Not unlike so many Italian Princes from the Renaissance — who themselves
incarnated the ideal of the cortegiano47 — Carvalho Monteiro proved to be a man dedicated
to living his life with virtue and knowledge48; a man committed to the moral enhancement
of society by working on the improvement and enlightenment of himself (Gandra, 2014).
Already the arrangement of Regaleira’s garden — revealing the idea of initiation,
voyage and rebirth (as discussed in the previous chapter) — is able to transmit
symbolically a wish for discovery, if not transformation. However, plenty are the evidences
of such desire scattered inside Carvalho Monteiro’s property and made transparent
throughout his personal life. 
First of all, why not allow ourselves a closer look into this man’s privacy?
Researches who have been captivated by the unusual personality of Carvalho Monteiro
have long come to the conclusion that he was much more than a wealthy heir with a Law
degree. In fact, his studies and interests comprehended realms of knowledge beyond his
jurisdiction; amongst these we can count Taxidermy, Botanics, Entomology 49,
Malacology50, Ornithology51, Horology52, Literature, Philosophy, etc. So again, in a way,
45 Francisco Augusto Mendes Monteiro and Ana Thereza Carolina de Carvalho.
46 Francisco Augusto and José Augusto Carvalho Monteiro.
47 The Italian term “cortegiano” — which can be translated as “courtier” — was celebrated and defined by Baldassare
Castiglione (Casatico, 1478 – Toledo, 1529) in his masterpiece “ Il Libro del Cortegiano”, published in 1528. The
book addressed the constitution of a perfect courtier (or, in other words, a man of the Court), during the times of
Italian Renaissance. According to its author, a courtier should bear himself with elegance and grace (“ sprezzatura”)
while keeping a warrior spirit and knowledge of the humanities, classical antiquity and fine arts; a harmonious
alliance between the medieval knight and the Renaissance humanist.  
48 Dante, c. 1308-1321, Inferno, Canto XXVI, line 120.
49  Study of insects.
50 Study of mollusks.
51 Study of birds.
52 Study of the measurement of Time.
25
Carvalho Monteiro shows a remarkable resemblance to men of the courts of Italy
Principalities and other major European centers of Art and Culture, who lived during the
15th, 16th and 17th centuries. For these men (and women) also demonstrated a taste for
collecting objects of Art and Natural Science. 
In fact, it is during their time when proliferated a marvelous architectural component
called “Cabinet of Curiosities”. As the name suggests, these cabinets — or studioli (plural
of studiolo), in Italian — consisted of a small room — usually secretive and private — in
which its owner would gather objects of different kind, ranging from natural history,
geology, ethnography and archaeology to religious relics, works of art and antiquities.
These collections used to be regarded as a microcosmos, a theater53 of the world. They
would later develop into what we know today as museums. 
 
53 Let us not forget that the architect selected by Carvalho Monteiro to construct his philosophical mansion was, in the
first place, a scenographer. 
26
Table 21: Eduard Ender, Rudolph II
and Tycho Brahe in Prague, 1855, Oil on
Canvas, 610 x 740 mm. Museum of the
History of Science, Oxford. (Artuk, n. d.)
Table 20: Studiolo of Federico III da
Montefeltro, c. 1476, Ducal Palace,
Urbino. (Pinterest, n. d.)
Table 18: Reconstitution of the studiolo of Isabella d’Este, c. 1490, Ducal Palace, Mantua. (Cineca, 2017)
Table 19: Studiolo of
Francesco I de’ Medici,
c. 1570 – 1572, Palazzo
Ve c c h i o , F l o r e n c e .
(Wikimedia Commons,
2017)
The studioli of Isabella d’Este, Francesco I de’Medici, Federico III da Montefeltro
and Rudolph II of Habsbourg54 are a few iconic examples of such collections. 
The collection of António Augusto Carvalho Monteiro, on the other hand, has been
mainly sold by his descendants, following his death in 1920. Some items remain to this day
in Portugal, being preserved either by the museological institutions of Sintra and Lisbon, or
by private collectors or remaining members of Carvalho Monteiro’s family. However, most
of his possessions have been acquired by museums and collectors in France or, in the case
of a large share of Carvalho Monteiro’s personal library, it now integrates the archive of
the Library of Congress, in Washington DC.
Amongst these various and curious objects, there are few that have particularly fed
our imaginary, allowing us to bring together, piece by piece, the portrait of the man who
once held them. 
2.2. Entomologist
It was previously mentioned in this chapter that Carvalho Monteiro nurtured a keen
interest for the branch of Zoology which studies insects, also known as Entomology. As a
matter of fact, he seemed to have been specifically drawn to the study and observation of
54 Particularly, the cabinet (or Wunderkammer, in German) of the Emperor Rudolph II of Habsbourg was one of the
greatest and most diverse of its times. Unfortunately, due to the plunder of the city of Prague (Bohemian seat of the
Empire) by Swedish forces in 1648, nowadays only fragments of the collection remain in the museums of Vienna. 
27
Table 22: Andrea Mantegna, Camera degli Sposi, Ducal
Palace, Mantua.  (Flickr, 2014)
The cupids are depicted with butterfly wings, instead of their
conventional bird wings. 
Table 23: François Gérard, Psyche and
Amor (Overview and detail). Paris, Musée du
Louvre. (Louvre, n. d.)
We see, flying above Psyche’s head, a
symbolic butterfly, whose presence here
confirms the parallel established between the
animal and the myth.  
lepidopterans (butterflies and moths), for he managed to (personally) collect roughly tens
of thousands of specimens.
Well, it may be that, in present times, we take the role of these tiny creatures lightly,
but Carvalho Monteiro certainly saw more in them than beauty voided of significance.
Actually, already in Ancient Greece butterflies were associated to the myth of Psyche 55, the
beautiful princess who undergoes a series of tests and probations so she could finally
reunite with her lover through redemption and divine elevation. This progression of stages
— from a tortuous path of pain and suffering to the sweet taste of godly nectar and
immortal love — is not to be dissociated from the very succession of phases which
constitute the life of a butterfly; from egg to caterpillar, which will eventually pupate in a
chrysalis, lastly breaking out to become a fully grown, winged insect. 
We can still go further in our analysis if we take into consideration the etymological
definition of the name “Psyche” itself. As fairly known, the name derives from the Greek
“psychein”, “to breathe”; being directly correlated to one’s soul — their “breath of life” —
and furthermore employed as a common noun in the English language to designate “the
mind, or the deepest thoughts, feelings, or beliefs of a person or group.”56    
55 The tale of Cupid and Psyche was originally depicted in the Metamorphoses of Apuleius (c.124 – 170 AD).
56 P s y c h e . ( 2 0 1 8 ) . I n d i c t i o n a r y . c a m b r i d g e . o r g . R e t r i e v e d f r o m
https://dictionary.cambridge.org/fr/dictionnaire/anglais/psyche.  
28
Table 24: Thereus ortalus, specimen
collected by Carvalho Monteiro in
Petrópolis, Rio de Janeiro, on the 10th
February 1876. Musée Nationale
d’Histoire Naturelle de Paris. (Gandra,
2014, p.51).
Table 25: Detail of ornament in the
shape of a butterfly, from doorknob
of Carvalho Monteiro’s grave at
Cemitério dos Prazeres, Lisbon.
(Tumblr, n. d.)
Table 26: G r a v e o f
A n t ó n i o A u g u s t o
Carvalho Monteiro and his
family. Cemitério dos
P r a z e r e s , L i s b o n .
(Wikimedia Commons,
2017)
In simpler words, the myth of Psyche, just as the development of a lepidopteran, can
be interpreted as an allegory for the gradual maturation of the human soul. It is, above all
else, a symbol of transformation, metamorphosis and rebirth. 
  
2.3. Lover
Still, the theme of the metamorphosis (again transmitted throughout the myths of
Ancient Greece) remains present in Quinta da Regaleira, disguised in many alternative
forms. One of these can be observed in the bed which António Augusto Carvalho Monteiro
had acquired from the Museu das Janelas Verdes (presently: Museu Nacional de Arte
Antiga), in the year 1885, and that would be part of the palace’s furniture. 
The bed, that was originally intended to be offered to the Counts of Sabugal57, dates
back to the 17th century (Gandra, 2014) and it is made of wood from Chestnut and Ebony.
Its headboard is adorned with twelve oil paintings representing myths taken from the
Metamorphoses of Ovid58. It is not in the interest of this project to present a long, detailed
description of each one of the twelve panels and their myths59. Nonetheless, to know that
Carvalho Monteiro chose to purchase this item and display it in his villa in Sintra can lead
us to the conclusion that, not only was he a connoisseur of Greek-Roman Antiquity and its
myths, but he also seemed to have been deeply attracted to this topic of transformation,
and, more precisely, transformation ignited by love. Let us not
forget the nature of the object in question: a marital bed. Without
a doubt, the choice of this iconography was not left to chance.
And after all, the tale of Psyche, the loves of Jupiter and the quest
of Eneias60 (these last two being depicted in the bed’s headboard),
are all of them, in a general perspective, stories about characters
who undergo deep, meaningful transformations after enduring
many demanding tasks, ultimately guided by love.  And is that
any different from the plots of the Odyssey, the Divine Comedy,
or still, Os Lusíadas? 
57 A title first created in 1582 by D. Filipe I of Portugal to honor D. Duarte Castelo-Branco.
58 Roman poet (43 BC – c. 18 AD).
59 Its complete iconographic description can be found in GANDRA, M. (2014), A. A. Carvalho Monteiro: Imaginário e
Legado, Mafra, Instituto Mukharajj Edições, p. 141-159.
60 Hero from Virgil’s Aeneid — epic poem that ties the origins of Rome to the events that followed the fall of Troy. 
29
Table 27: A. A. Carvalho
Monte i ro ’s bed (as
displayed in the Museu
Nacional de Arte Antiga)
(Gandra, 2014, p. 144)
Now, love here can hold many connotations. We can speak of love in the sense of
passion, erotic love, which can of course be acceptable in this context, considering the
object bed. Also, the theme reappears in Camões’ Os Lusíadas, chant IX, when Vasco da
Gama and his crew arrive at the Isle of Love to enjoy the company of Tethys and the
Nereids. Apart from it, we have the lovers’ higher form of affection ( philia) — one so
perfectly incarnated in Plato’s Phaedrus or the Symposium61. That is the (eternal) love of
Cupid and Psyche or Dante and Beatrice. And naturally, we have the love for the country,
which remains the main engine behind any epic poem. Again, Os Lusíadas is a great
example — alongside the Iliad, Odyssey and Aeneid.
2.4. Patriot
Camões’ work glorifies the Portuguese nation in many ways: the hero; the journey;
the reward. However, Camões also dedicates his poem to king Sebastian I of Avis, the
messianic leader of Portugal; the one who is promised to rule again over the Empire,
reinstating its former power and glory. As it happens, Carvalho Monteiro once more proves
his alignment with the author, and that is visible in the pictorial decoration of one of the
palace’s rooms, known as Room of Kings62. 
This room displays a sequence of portraits executed by the painter Baeta Dias during
the first decades of the 20th century. However, what incites most the imagination when
entering this room is not the paintings exactly; it’s the choice of iconography made by
61 Both texts were written by Plato around 370 BC, which thematics revolves around the topic of love. 
62 The Room of Kings, or Billiard Room, is a room located north of the Regaleira palace, on the Noble Floor (ground
floor). Its north and south walls are decorated with portraits of Portugal’s kings and queens. Each wall contains
twelve paintings: sixteen monarchs; four queens; four kings bearing no crown. Amongst the monarchs, one can
identify the young king Sebastian, bearing the crown of the Emperor.  
30
Table 28: Room of Kings (South Wall), Palace of Quinta da Regaleira. Five portraits (out of twelve) from
left to right: Bearing the Emperor’s crown, King Sebastian I of Avis; D. João IV of Bragança; D. Afonso VI
of Bragança; D. Pedro II of Bragança; D. João V of Bragança (all four depicted without crowns).(Gandra,
2014, p. 211).
Carvalho Monteiro in accord with Luigi Manini — which consequently tells us a bit more
about their personal beliefs. 
Effectively, there are a few curiosities about this iconographic program: first, it is
easy to notice that this room’s decoration shows a progression of royal portraits that follows
the succession of Portuguese monarchs as history informs us — that is, until we arrive at
the portrait of king Sebastian. Historically speaking, after Sebastian’s presumed death in
1578, Portugal falls under the rule of the Habsbourg of Spain. From 1581 until 1640, the
country is governed by foreign leaders: D. Philip I, Philip II and Philip III. Yet, these kings
are not included in the program designed by Carvalho Monteiro, what clearly states his
denial to recognize the authority of these kings. 
Secondly, since we do not find the Philippine dynasty in this room, Sebastian is
followed by the House of Bragança: from João IV to João V. What strikes as a surprise is to
see that these monarchs do not bear crowns. Well, the crown is after all the most iconic
attribute of a king; so why would these kings not possess one? That can be explained by an
anecdote in which D. João IV, founder of the dynasty, “abdicates” the throne of Portugal in
favor of the Immaculate Conception, on the 6 th December 1644 (Gandra, 2008). Moreover,
he places himself in the role of a regent, as well as the rest of his dynasty, in the hopes of
Sebastian’s return, the truthful king and emperor. 
That is the story behind the uncrowned heads of these monarchs. For Carvalho
Monteiro himself agreed that the heirs of the house of Bragança were merely regents
keeping the throne of Portugal protected for the return of Sebastian, who, crowned with the
Imperial crown, would lead the nation into a new prosperous age, thus materializing the
(already mentioned) prophecy of the Fifth Empire. 
And in order to conclude the analysis of this iconography, there’s one last element
that deserves our attention, which is, remarkably, not the portrait of a king, but one of a
queen. 
This queen — who, as a matter of fact, was not crowned queen until after her death
— is Inês de Castro, the Juliet of Portugal63. She was a noble woman and maid to the lawful
wife of Pedro I of Portugal, D. Constança Manuel. Regardless of his recent marriage, Pedro
fell in love with Inês, giving start to a relationship crisis between the heir and his father, the
63 Invented term to establish an analogy between the story of Inês de Castro and that of Shakespeare’s most famous 
tragedy, Romeo and Juliet. 
31
king Afonso IV, who disapproved the romance. After Constança’s death in 1345, the union
of Pedro and Inês seemed like an inevitability. Ultimately, the king ordered the execution of
Inês in 1355, in order to prevent the marriage. She was only recognized as a legitimate
queen when D. Pedro himself became king, following his father’s death. 
Still, what conclusions can we extract from her presence in this room? The answer we
find once again in Os Lusíadas, given that throughout the Canto III, stanzas 118 until 135,
Camões narrates the tragic story of Inês and Pedro, giving emphasis to the topics of love,
virtue and destiny which are present in this tale. “Tu só, tu, puro Amor, com força crua,/
Que os corações humanos tanto obriga,/ Deste causa à molesta morte sua,/ Como se fora
pérfida inimiga.”64 (Camões, 2000, p.120). Once more, the topic of Love — indeed written
in capital letter by Camões — appears as the driving force behind a character’s sacrifice or
suffering (could it be again the suffering that anticipates the apotheosis? Is it acceptable to
compare Inês’ bodily death to Psyche’s?65). 
Later on, Inês is shown as a woman of virtue, who
fears abandoning her children and lover more than she
fears death itself. “Ela, com tristes e piadosas vozes,/
Saídas só da mágoa e saudade/ Do seu Príncipe e filhos,
que deixava,/ Que mais que a própria morte a magoava”66
(Camões, 2000, p.122). This theme — Virtue — is equally
important, for it is what separates us from beasts; what
elevates us. It would be redundant to expose once again
the importance given to it in Os Lusíadas, t h e Divine
Comedy, or in Homer’s epic poems (since these texts have
been discussed previously in this document). On the other
hand, we can speak of its significance for Plato 67, as well
as in Christian theology — be it in the form of the cardinal
64 Proposed translation: Only you, you, pure Love, with raw strength,/ That the human hearts compels as much,/ 
Causes your (Inês)  disturbing death,/ As if you were a treacherous enemy.
65 Let us remember that Psyche descends to the Hades (katabases) during her final trial. The Hades being the
equivalent of the Greek underworld, or Hell, we can admit that, be it bodily or metaphorically, the princess does
experience death itself.   
66 Proposed translation: She, with sad and pious voice,/ Spoken only out of sorrow and lost/ of her Prince and children,
who she was leaving,/ More than death itself harmed her.  
67 Since the four cardinal virtues — Prudence, Courage, Temperance and Justice — are discussed in Plato’s Republic.
32
Table 29: Inês de Castro, Room
of Kings (North Wall), Palace of
Regaleira. (Wikimedia Commons,
2018).
virtues, or the theological68. Well, from the Christian perspective, Love is not only a virtue,
but the greatest of all. Knowing this — and accepting that only the virtuous path leads to
enlightenment, the “Love” topic appears quite often as a catalyst for self-development.  
2.5. Time-Changing Man
Lastly, Camões seems to approach the tragedy of Inês de Castro through a Stoic69
point of view: Estavas, linda Inês, posta em sossego,/ De teus anos colhendo doce fruito,/
Naquele engano da alma, ledo e cego,/ Que a fortuna não deixa durar muito;”70(Camões,
2000, p.121). And what is the genre tragedy if not a drama accomplished by the forces of
destiny (fortuna) over human existence? Just as Sophocles’ Oedipus Rex71 teaches us,
everything is subject to the laws of Fate (which does not exclude, however, men’s free will,
as Oxford’s scholar E. R. Dodds elucidates72). 
Not surprisingly, A. A. Carvalho Monteiro demonstrates through his legacy that he, as
well, was a partisan of this philosophy. This we can observe specially through an
iconographic examination of one of the most exquisite and peculiar objects he left to us: the
LeRoy 01.  
This unique pocket watch was ordered by A. A. Carvalho Monteiro to the
watchmaker Charles Piquet, from the Maison Leroy of Besançon (France). The project took
place from the 1st November 1897 until the 15th November 1904 (“La Leroy 01”, 2008).
However, it was only in 1909 that the watch finally arrived at the hands of its buyer,
brought to him from France by the Portuguese king D. Manuel II (Gandra, 2014).   
68 The cardinal virtues in Christianity are the same as in Ancient Greece and they were first mentioned in a Christian
context by the bishop Ambrose, during the 4 th century. The theological virtues, however, are Faith, Hope and Charity
(Love). These can be found in the bible:  “And now these three remain: faith, hope and love. But the greatest of these
is love.” (1 Cor. 13:13 New International Version).
69 Stoicism is a school of Hellenistic philosophy founded by Zeno of Citium, in Athens, in the early 3 rd century BC. For
Stoics such as Seneca and Epictetus, men should pursue liberation from destructive emotions and live according to
reason and (above all) virtue. Consequently, one should be able to live harmoniously with the divine order of the
universe (providence or fortune), by understanding that ‘There are things which are within our power, and there are
things which are beyond our power.’ (Epictetus, trans. 2014).
70 Proposed translation: There you were, fair Inês, resting quietly,/ From you years reaping the sweet fruits,/ In that
mistake of the soul, naive and blind,/ That fate does not allow to last long. 
71 Oedipus Rex is an Athenian tragedy written by Sophocles and first performed around 429 BC. (Bernard M. W. Knox,
1956). It narrates the tragic tale of Oedipus, king of Thebes, who receives a prophecy by the Oracle of Delphi that he
would kill his father and marry his mother, as indeed he does.
72 Under Dodds (1966), the author defends the possible mutuality between fate and free will and compares the tragedy
of Oedipus to Jesus’ prophecy on saint Peter’s denial: ‘Before the cock crow, thou shalt deny me thrice.’ If the
prophecy was fulfilled, it was not for lack of choice, but due to an act of free will. Thereby, Peter (as Oedipus)
cannot be considered as a mere puppet in the hands of destiny, since his actions were not forced upon him, but rather
deliberately executed. 
33
34
Table 31: The Leroy 01 — Front (Watchonista, 2015)Table 30: The Leroy 01 — Verso with opened lid
(Johanna Meyer, 2013)
Table 32: Leroy 01 – Verso with closed lid. Design by Luigi Manini. (Gandra, 2014, p.130).
Leaving aside its precise functionalities (for previous authors were already quite
accomplished in that matter), there are a few iconographic elements present in this object
that may offer a considerable contribution to this investigation. Why? For the obvious fact
that it helps unveil another fraction of the intricate personality of a man whose
understanding of the world is basically manifested in Quinta da Regaleira, in a smaller
scale.  It is equally important to mention that the Leroy is a product of the cooperation
between the expertise of the watchmaker and the ingenuity of Carvalho Monteiro himself,
for when he ordered the watch, he did so giving meticulous instructions.
The golden lid that encloses the verso of the
watch was finely chiselled by V. Burdin and measures
71 mm in diameter (Gandra, 2014). Marking the four
cardinal points we find four figures. On the bottom
(south), there’s Kronos — or Saturn for the Romans
— the titan who, according to Hesiod, castrated his
father, Uranus, with a sickle. He is logically
represented carrying this farming tool: a reference to
the castration episode described in the Theogony73, or
still to the commonly overlooked attribution to
Kronos as god of Agriculture74. 
Still, in this precise context, it is plausible to
admit an interpretation of Kronos as embodiment of
Time (Khronos), for these two are so easily
interchangeable. In this case, the sickle is understood
as a symbol for time in the sense Time reaps all
(Macrobius, I, 8). Next to it we find the hourglass to
confirm our hypothesis. 
Accompanying Time we have three women known as the Moirai — or Parcae, in
their Roman equivalent. These are the Fates, daughters of the Night (Nyx) and sisters of
73 Verses 206 to 210; trans. A. Athanassakis, Johns Hopkins University Press, Baltimore, 1983.
74 Under Guy de Tervarent (1997), the author explains that the Kronos from the Greek theogony was often confused 
with Saturn, the Roman god of agriculture (see Roman representation of Saturn in figure 24).  
35
Table 33: Saturn (fresco from
Pompeii). 1st century AD. Naples,
Museo Archeologico Nazionale(Aqua-
permanens, 2011)
Death (Moros)75, but also daughters of Zeus and the goddess of Justice, Themis (Hesiod 936
– 941, trans. 1983)76. 
Adorning the Leroy 01, we have Clotho (west) spinning the thread of life, while her
sister, Lachesis (east), measures the spun thread, giving men their share of good and evil.
Lastly, we have the eldest of the three sisters: Atropos, also known as the inflexible (or
inevitable), holding a pair of scissors that she uses to cut the thread, ending then a mortal’s
life.
Nevertheless, let us abandon for a moment the long, detailed mythology which
surrounds these obscure figures in order to focus again on how this iconographic program
reveals us more of the character of its architect. Does the presence of the Moirai on such a
personal possession as a pocket watch signifies that Carvalho Monteiro was a fatalist? Or
are they there sculpted for the simple reason that they have been repeatedly associated in
the past with the subject time, in the quality of allegories? Both assumptions may be
possible. However, proving one or the other is for us of little interest, nor is it attainable.
Indeed, if we look at the Moirai literally as evil decrepit goddesses, whose main purpose is
to cause men’s suffering and ultimate death, we might find ourselves immersed in
discussing futilities. After all, if we do pay attention to the Leroy 01, this imagery will be
quickly discarded, for we can clearly see they are not portrayed in that manner. And so,
what conclusions can we take from this?
Again the answer lies with Carvalho Monteiro himself. He was the collector of
lepidopterans; the connoisseur of epic poems; the scholar educated in mythology,
philosophy and theology; the proprietor of Quinta da Regaleira. All these have one
underlying principle in common: the question of purpose in human existence. As we have
seen, isn’t the butterfly a symbol for human development? Aren’t the famous epics about
the journey of men from misery to salvation? Is Quinta da Regaleira not a meditative
itinerary, not to say initiatory? Then, how do the Fates relate to this topic? Well, apart from
being involved in a mortal’s birth and death, as well as in what happens in between (“and
they give mortals their share of good and evil”77), the role of these figures can also be
75  Hesiod 250 – 258, trans. 1983.
76 The Fates are presented twice in the Theogony: first as daughters of the Night and secondly as daughters of Zeus.
77 Hesiod 941, trans. 1983.
36
interpreted as the ones who regulate the successive vicissitudes of men’s lives and
punctuate its most essential stages (Vinciane Pirenne-Delforge and Gabriella Pironti, 2011).
So, in brief, we can conclude that Carvalho Monteiro seemed to have purposely
surrounded himself with many icons which were intended to convey the same message.
Again, the question of memory is very important, for knowledge — although possessed —
may fall into oblivion. And, in that case, what would be the use of it? No; the human mind
can be flawed, but it also can be helped. That is the angle adopted here: all the visual
material analyzed throughout these chapters — may they be architectural, sculptural,
pictorial — were symbols in the service of memory. Memory of a higher truth. 
3. Chapter Three — Intersections between the Trivial and the Absurd
By examining the argument of the visual working as a symbol, a reminder, we may
start approaching the practical aspect of this investigation. That is due to the fact that the
visual elements composing this project are a collection of (equally visual) references taken
from Quinta da Regaleira’s and Portuguese history. 
And yet, this project innovates in the sense it transposes these visual elements to a
different (and more contemporary) context: fiction. Based on various literary works of
fiction/ fantasy that are relatively recent, it was possible to merge two distinct imageries
into a third one (which corresponds to the project itself). In order to do so, the Harry
Potter sequence was specially important, being the main fictional reference upon which the
project was built. 
37
Ta b l e 3 5 : F l o u r i s h & B l o t t s
(HarryPotterWiki, 2017)
Table 34: Lello Bookstore, Porto. (Don George, 2016) 
Still, one might inquire why were the Harry Potter books and films particularly
chosen for inspiration, from all the equally great works of fiction that exist? The answer
lies in the early years of J. K. Rowling’s career as a writer; before the first Harry Potter
was ever published. For many might forget or simply ignore that J. K. Rowling once lived
in the city of Porto, between 1991 and 1993. On her website, she mentions writing the first
few chapters of Harry Potter and the Philosopher’s Stone while still living in Portugal78.
Moreover, if we look closely into the illustrated editions of the books or even the films, we
can propose some sensible comparisons between features from the stories and few
elements from Portuguese culture — Hogwarts' uniforms and Coimbra’s; the library
Flourish & Blotts and Lello, etc. 
In short, we can say that there is an unquestionable bond between Harry Potter and
Portugal, and this project aims to explore this bond. 
Now remains the question of how? 
78 Jkrowling, 2016.
38
T a b l e 3 6:  S t u d e n t f r o m
C o i m b r a P o r t u g u e s e p o s t c a r d ,
1937(Museo Internacional del Estudiante)
Table 37: Jim Kay, Draco Malfoy, 2015 (BBC, 2015)
Well, theoretically and visually speaking, there are surprisingly many common points
between the story of Harry Potter and the already discussed themes that permeate the
legacy and life of António Augusto Carvalho Monteiro. 
Evidently, we find that in both cases there is an important presence of references to
worldwide mythology. Mythological beings such as centaurs and mermaids, nymphs or
veelas79, elves, giants, monstrous creatures and overall fantastic beings are part of J. K.
Rowling’s magical universe for obvious reasons: they bring the element of the absurd to
the plot. As for Quinta da Regaleira, we can also find multiple references to ancient myths:
the alleyway of the gods, bordering the northeast area of the property’s gardens, displays a
sequence of sculptures of gods and goddesses from the Greek-Roman pantheon. Amongst
these gods, we can recognize: Hermes/ Mercury; Hephaestus/ Vulcan; Dionysus/ Bacchus;
Pan/ Faunus; Chloris/ Flora; Demeter/ Ceres; Aphrodite/ Venus; Tyche/ Fortuna; Orpheus80
Another mythological figure borrowed from pagan tradition conceals herself among
the darkest corners of Regaleira’s gardens: it’s Leda, the Spartan queen and one of Zeus’
love affairs81.
79 Veelas are woodland nymphs from Slavic folklore and they first appear in Harry Potter and the Goblet of Fire,
where they are portrayed as a race of semi-human, beautiful women, descendants of the original veelas from Slavic
mythology.
80 For details concerning the iconography and iconology behind these sculptures from the alleyway of the gods, see
Gandra (2014), p. 179; or José Manuel Anes (2015), p.35 to 48.
81 Ovid, trans. 1850, book VI.
39
Table 38: Quinta da Regaleira, Alleyway of the Gods, Sintra. In order from left to right: Hermes; Dionysus;
Demeter and Orpheus.
This statue of Leda remains sheltered inside an artificial grotto located beneath the
“Tower of Regaleira” — a construction not far southwest to the Greenhouse and the
Chapel82. Well, the arrangement of a grotto in this garden reveals already an old tradition
which we can traced back to the Renaissance — the Boboli gardens in Florence, the
Palazzo del Te in Mantua, the Orcus mouth from Bomarzo, etc — but it goes back even
further, to emperor Tiberius’ villa of Sperlonga83. Furthermore, we must consider the
importance of this speleological element in Classical culture; for instance, the oracle of
Delphi, according to one of Pausanias’ descriptions, belonged originally to Earth itself
(Gaia), being guarded by her child, the serpent (or dragon) Python, before it was slayed by
Apollo (Pausanias 10:5, trans. 1918). 
The oracle of Delphi delivered by Earth, the primordial and Mother goddess, was
also supposably located at the navel of the world , marked itself by the sacred stone
omphalos. If we consider the symbolical aspect behind this myth, we may associate the
element navel with the bridge that connects the divine and the mundane, just as the
umbilical cord connects the mother to the child. In this case, the mother being incorporated
as the goddess Earth connects with her children my means of the oracle, the speech of the
gods. Moreover, the omphalos marking the specific center of this connection is usually
described as an object in the shape of an egg. And, effectively, the egg is a known symbol
for creation and fertility.
Well, here in the grotto of Leda, we find all these symbols combined and more. The
navel piercing the earth and connecting us to the divine can be interpreted as the grotto
piercing the base of the tower that erects itself in the direction of the skies. Leda, as the
mother impregnated by Zeus in the form of a swan, laid two eggs — what can be
correlated to the element of fertility omphalos. And here, indeed, we find the conventional
iconography of Leda’s myth: the beautiful woman being pecked by a swan. 
Still, Leda’s depiction from Regaleira contains a peculiarity: for here we find the
Spartan queen holding a dove. This second bird’s presence presents an iconographical
abnormality. Therefore, we are left with the question: why is it there?
82 For geographical situation, please consult the map of Quinta da Regaleira present in the annex.
83 Tiberius ordered the construction of a villa at Sperlonga in 4 AD, situated roughly halfway between Naples and
Rome. The villa possessed an artificial grotto filled with a statuary program inspired by the Odyssey and Iliad. 
40
The answer — already given by Professor
M. Gandra84 — gets clearer when we recall what
other building we pass on our way to the grotto:
it’s the chapel of the Holly Trinity, which porch
is decorated with the scene of the Annunciation.
In fact, we can establish by this a desire to unite
christian and pagan; for Leda, who holds the
symbol of the Holly Spirit, undergoes a
conception equally mysterious, when compared
to the Immaculata85.               
This sort of syncretism — which is yet
questioned by some authors86 — equally present
in Os Lusíadas or the Divine Comedy, might be
a sign of the relevance given to the message
rather than the vehicle. The result might look a
bit like an assemblage of references that point at
the same direction. For Quinta da Regaleira, it
creates the feeling of the enigmatic; for Harry
Potter, it embodies the surreal completely; as for
this project, it attempts to synthesize both.
84 See Gandra (2014) p. 172.
85 Reference to the Immaculate Conception of the Virgin Mary. 
86 Namely by J. Anes (2015) p. 88.
41
Table 39:  Quinta da Regaleira, Statue of 
Leda, Grotto (overview and detail of dove)
(WikimediaCommons, 2016)
42
PART TWO — The Project
1. Chapter One — General Considerations
The idea for creating an illustrated book which would consist of a story inspired by
renowned works of fiction and set in Portugal — and more specifically in Quinta da
Regaleira — resulted from the dialogue between student and advisor. Given that the initial
goal was to elaborate a Master project mainly settled in the Visual Culture field, the
combination between the location Quinta da Regaleira — a Portuguese architectural
symbol — and celebrated icons from worldwide literature was judged pertinent as an
ambitious challenging illustration project for the Master level. 
In truth, having a previous academic education in Art History was an important factor
when defining the theme of this project. That is due to the fact that, during the
undergraduate studies, there was a large number of worldwide masterpieces which were
studied — architectural icons specially — as well as the symbolical aspect of Art — not to
mention Erwin Panofsky’s iconological studies (PANOFSKY, 1955). Circumstantially,
Quinta da Regaleira is not only one of Portugal’s most remarkable monuments, but it was
also invested with numerous symbolisms which reflect the philosophy and ingenuity of its
proprietor, António Augusto Carvalho Monteiro. In fact, a plurality of theories have been
aroused over the years regarding the messages concealed in this villa, particularly within
its garden and, of course, its famous “initiatory well”. Still, to this day, this lithic legacy
left by Carvalho Monteiro remains surrounded by mystery to many. 
Furthermore, we can say that, where mystery is rooted, it doesn’t take long for myths
and legends to germinate. After all, amongst Portugal’s numerous enigmatic sites, it is
natural to consider Quinta da Regaleira as one of them. Perhaps the most prominent and
acknowledged of all. And to establish fantastic narratives involving surreal events and
magical explanations is merely human. It is what we, as a species, have been doing since
pre-historical times. 
And it is attested that even before we acquired the means and knowledge to write down
these many extraordinary tales, we’ve been illustrating them. From the carved metopes of
the Temple of Zeus at Olympia, depicting the labors of Heracles, to the fairy-tale-inspired
watercolors of Arthur Rackham, we can safely declare that it is a common  habit of western
culture — for the very least — to give line and color to the myths we have produced. This
43
alliance — text and image — appeals at once to our intellectual as well as visual needs. It
somehow helps the imagination by offering particular interpretations of a given subject. It
incites the curiosity of children; it enriches the people’s imaginary; it consolidates
iconographical conventions; it generates and disseminates cultural icons. It is part of our
History and it massively integrates our Visual Culture. That is one of the reasons why this
project was conceived in such support.   
The second reason for opting to develop a work of illustration is one that concern
personal inclinations, as it is a private ambition to pursue the carrier path of an illustrator,
focusing particularly in the printed media. Consequently, to face a work of investigation in
that field by producing an original series of drawings which will portray an equally original
story, seem to ideally fulfill the intent of a Master degree project. 
Therefore, the aim of this project is to provide, in the end, an illustrated fictional
narrative — gathered in the form of a book — which will borrow many of Quinta da
Regaleira’s allegorical components, transposing them into a well-established imaginary
universe. 
44
Table 40: The metopes of the Temple of Zeus at Olympia (The twelve labors of Heracles - reenactment). 
(Maquetland, 2018)
2. Chapter Two — Methodology
This project’s methodological approach can be divided into various stages. Soon
after defining the subject of this investigation, there was a couple of indispensable tasks
which were carried out simultaneously: one being the visitation of the site of Quinta da
Regaleira, along with the elaboration of a photographic dossier; the other being an
intensive bibliographical research concerning the History and Symbology surrounding this
property. Consequently, this primary stage awakened a subsequent need for examining
methodological studies that developed techniques for comprehending symbols — such as
Panofsky’s iconological analysis or other relevant contemplations on the subject from
authors such as René Guénon, René de Lubicz or Gilbert Durand. Also, in the interest of
elaborating the story, an extensive reading of said works of fiction was judged
indispensable, as well as of other titles which would help demystify the concept of
“fantasy” and “magic” in our society — namely encyclopedias of symbols such as J. C.
Cooper’s, or yet Émile-Jules G. de Givry’s Witchcraft, Magic and Alchemy.
Following the bibliographical research, a more practical stage of the project was
introduced. It consisted of writing the narrative which would afterwards serve as basis for
the elaboration of the illustrations. This process was combined with the creation of a
graphic journal, an object that would enclose a series of images that could eventually offer
another source of inspiration.
In the meantime, other important Portuguese historical sites that might be included as
different settings in the story were visited. It was also possible to establish contact (via
email) with the current illustrator of the Harry Potter books, Mr. Jim Kay, providing
further clarification on the subject of the procedures for book illustration. 
Following this first stage — mainly centered on the theoretical segment of this
project — the elaboration of the illustrated material began. However, it had to be preceded
by a visual research. That included bibliographical research for inspiration — notably in
books of artists — but also visitations to used bookstores (alfarrabistas) and museums,
such as the Ancient Art National Museum, the Gulbenkian Foundation, the National
Museum of Costume, the Carmo Archaeological Museum, the National Archaeological
Museum, the Orient Foundation, among other museological institutions located in Lisbon.
45
Apart from this intense research in order to create visually rich compositions, the
technique for hand-drawing — that affects directly the illustration process — was
improved as well with a few figure drawing exercises. 
In short, these many stages which, combined, would characterize this project’s
methodology as mainly qualitative, can be seen as a work of induction, since the point of
departure consists of a single specific subject — Quinta da Regaleira — that leads to a
wider, more general range of relevant thematics and questions. 
46
Table 41: Graphic Journal. Photograph, 2018.
T a b l e 4 2 :
Photograph of a page
of a book from a
used bookstore in
Lisbon.
Table 43: Photograph of books from used bookstore in
Lisbon.
Table 44: Photograph
of manuscript page
from the Ancient Art
National Museum in
Lisbon.
3. Chapter Three — Intended Audience
The intended audience of this project are those who accompanied the Harry Potter
saga when children/teenagers and are now young adults who follow the prequels or sequels
which are released every year — such as the book and play Harry Potter and the Cursed
Child, or still the editions and films based on the Fantastic Beasts universe. 
In fact, J. K. Rowling’s never-ending universe has given many fruits since the final
chapter of her original work (Harry Potter and the Deathly Hallows). The young, scarred
hero has reunited a crowd of fans from all over the world, and Portugal is not an exception.
Given that fact, the idea behind this project is to attract the larger number of Harry
Potter fans possible — reason why it was written in English, not Portuguese 87 — and place
them in a whole new setting, though not completely strange. The story maintains the basic
elements which lay at the foundation of the Harry Potter books: the limitations of the
magical world; the enchantments; the creatures; in short, the chief logic behind this
particular fictional universe. However, it also incorporates elements borrowed from
alternative works of fiction — which young adults are certainly familiar with, such as The
Lord of the Rings; The Wizard of Oz; A Song of Ice and Fire, not to mention works of
worldwide mythology and folklore. And, most of all, it combines all these great stories
with Portuguese culture, so that more people from different backgrounds would perhaps
nourish a higher interest for Portuguese history and heritage. 
87 Although a translation from English to Portuguese is envisaged for the future. 
47
Table 45: J. R. R. Tolkien,
The Fellowship of the
Ring, First Edition, 1954
(Tolkienbooks, n. d.)
Table 46: L. Frank Baum, The
Wonderful Wizard of Oz, First
E d i t i o n , 1 9 0 0 ( Wi k i m e d i a
Commons, 2012)
Table 47: George R. R.
Martin, A Game of Thrones,
F i r s t E d i t i o n , 1 9 9 6
(Wik imed ia Commons ,
2017)
48
4. Chapter Four — Realization of the Project
4.1. Narrative
4.1.1. Time Period and Locations
When defining the time period and settings for the story, there were a few basic
guidelines immediately imposed by the very subject of this investigation. First of all,
taking into account the main object of interest in this project — that being Quinta da
Regaleira — it was inevitable that the story would revolve around it, as well as most of the
historical figures implicated in its construction. That being mentioned, the choice made in
regard to time period and settings becomes quite clear: they should respect the history of
the building. As for the element time, it was imperative that the narrative’s timeline would
concur with Regaleira’s most well documented and prominent years, in other words: the
years ranging from the acquisition of the terrain by A. A. Carvalho Monteiro and his death.
Those years being respectively 1893 and 1920, the story would necessarily happen during
the second half of the 19th century, beginning of the 20th century. 
Now, in order to create a fictional universe anchored in History, freedom goes as far
as facts begin. There are, of course, many restrictions to consider, which cannot be ignored
in favor of imagination (or, at least, not for the most part). For sure in this project’s case,
there are a few minor historical events which might have been altered, however subtly. For
instance, the close friendship portrayed in the story between Carvalho Monteiro and king
Manuel II of Bragança and his family is a (convenient) invention. Although it is true that
the king brought Carvalho Monteiro’s pocket watch from France — the event that triggers
the development of this narrative — and it is also true that Carvalho Monteiro was a
fervent defender of the Monarchy, he did not approve the late years of Portuguese
sovereignty, which characterized a Constitutional Monarchy88. 
Nor has Perpetua Augusta Carvalho Monteiro died in 1909, as told in the story 89.
However, one should keep in mind that the narrative presented in this project corresponds
88 The absolute monarchy in Portugal made way in 1822 to a constitutional one. In this new scenery, power was no
longer centered in the figure of the king, but divided into legislature, executive and judiciary. The last absolutist king,
João VI of Bragança, was obliged to return to the continent after his get-away to Brazil in 1807 (due to the Napoleon
invasion). Upon his return, he was faced with the Liberal Revolution of Porto, which would make him swear loyalty
to the newly ratified constitution. For more information on this subject, see SERRÃO, Joaquim Veríssimo (1986).
História de Portugal: 1807 – 1832, A Instauração do Liberalismo, Lisboa, Edições Verbo. 
89 In fact, Carvalho Monteiro’s wife died on the 25 th December 1913.
49
to the first half of the plot imagined for this book; therefore, such historical contradictions
might still be clarified further in the story90. 
Leaving that aside, one might still inquire why — from the wide range of years
between 1893 and 1920 — does the narrative start precisely in the year 1909? Well, in
truth, that choice was made due to its many conveniences: the first of which is that 1909
was a year situated in the midst of a series of important political events, both for Portugal,
as well as in global terms. It was the time when the last Portuguese monarch held the
throne, following the regicide of 190891 and yet preceding the proclamation of the
Republic92. It was also a year on the edge of the breakthrough of World War I 93, marked by
the conflicts in the Balkans94 and posterior to the Berlin Conference95 and European arms
race. This succession of capital episodes in history were an undeniable inspiration for
creating an intriguing plot. 
As for the locations — which are mainly in Portugal — the constraints were, for the
most part, imposed by the lives of the historically-based characters; where they lived, the
places they visited. Of course, the starting point in terms of scenery is Quinta da Regaleira,
the suburban residence of A. A. Carvalho Monteiro. However, his residence located in the
center of Lisbon96 — Palácio Quintela — also plays a small part in the plot. The same
occurs to the educational institution Carvalho Monteiro used to attend: the University of
Coimbra. 
Another constraint when organizing the “itinerary” of this visual essay relates to a
similar artistic premise as one can observe in Harry Potter. For it is logical that, in the
purpose of creating a series of illustrations based on a fanciful tale, one must appeal to an
aesthetic composition that resembles the least possible to whatever we might consider
trivial. Therefore, it is not surprising that we see, both in the Harry Potter illustrated
90 As a matter of fact, for the second half of this book, Perpetua’s “resurrection” is expected, due to a trip back in time
by her husband. Overall, the date of her actual death in the book should coincide with the date history provides us. 
91 The Regicide of 1908 is a famous episode in Portuguese History in which the king at that time, Carlos I of Bragança
was assassinated along with his first-born, Luís Filipe of Bragança, at Terreiro do Paço, on the 1 st February 1908.  
92 The proclamation of the Republic in Portugal starts with a series of armed conflicts between the Monarchical and the
Republican forces, on the 2nd October 1910. The situation would result in the establishment of the Republic, on the 5 th
October 1910.
93 1914 – 1918.
94 Conflict that would oppose the Austrian-Hungarian Empire and the Kingdom of Serbia for lordship over the former
Ottoman territory of Bosnia Herzegovina (1908 – 1909).
95 The Berlin Conference (1884-1885) regulated the European colonization and trade in Africa.
96 Rua do Alecrim, 70 (nowadays known as Palácio do Chiado).
50
editions as in the films, sceneries which provide a
number of peculiarities that border — if not
surpass completely — the frontiers of reality.  
This factor explains the repetitive appearance
of certain architectural styles among the
illustrations of this project. After all, even Quinta
da Regaleira embodies (in architectural terms) the
wish for an eclectic fusion of oddities; we find the
sculpted twisted strands of rope from neo-
manueline97 as well as its conical pinnacles; we
find the ogee and flamboyant arches from neo-
gothic architecture; we find the decorative mosaic
from classical times; we find the characteristic
garden from Mannerism, the Portuguese azulejos,
the moorish merlons, amongst other decorative
styles. Mirroring that, most of the architectural
components brought to this project’s illustrations
are a product of imaginative features combined
with real, existing buildings that were visited and
judged to be in some way extraordinary. It is
important to remark also that a great share of this
assembled scenery borrows elements from
Portuguese structures — specially from Lisbon’s
urbanism. This way, in a visual perspective, the
work remains loyal to the narrative and to the
commitment of promoting Portuguese culture,
simultaneously evoking the sentiment of the
“familiar” in Portuguese readers and overall
habitants of the city of Lisbon.
97 Neo-manueline was a revival of the Manueline architectural style in Portugal, between the middle of the 19 th century 
and beginning of the 20th century. 
51
Table 48: Thais Costa, Santa Justa Lift,
Chinese Ink on Paper (Later treated on
AdobeIllustrator). 2018.
 52
Table 49: Arch of Rua Augusta, photography from
the beginning of 20th century.(Lisboa de
Antigamente, 2017)
Table 50: Thais Costa, illustration of Arch of Rua
Augusta. Chinese Ink on paper later treated
digitally.
Table 51: Cathedral of
Lisbon during restoration
work in the 20th century.
(Monumentos
desaparecidos, 2015)
Table 52: Roque Gameiro, Casa dos
Bicos, print n. 60.(Lisboa Velha, 1925)
Table 53: Thais Costa, Illustration of
Lisbon's Cathedral and the Ministry of
Magic (House of Spikes). Chinese Ink
on paper later treated digitally.
53
Table 56: Torre do Bugio, bird view, c. 1930.
(Paixão por Lisboa, 2016) 
Table 57: Thais Costa, Baalbur, Chinese Ink on Paper with
colors added later on  AdobePhotoshop, 2018.
Table 54: Henri Lusseau (arch.), Palacete
Conceição e Silva, 1891.(CMLisboa, 2018)
Table 55: Thais Costa, Illustration of "O Escriba"
headquarters. Chinese Ink on paper later treated
digitally.
   
54
Table 61: Thais Costa, Illustration 'Kvasir's' (Part of 'Alfama Wizarding Market'),
Chinese Ink on Paper with Colors later added on AdobePhotoshop, 2018.
Table 58: Roque Gameiro, Casa
Quinhentista da Rua dos Cegos,
print n. 44.(Lisboa Velha,1925)
Table 59: Old House from Rua
dos Cegos (Alfama), 2017.
Table 60: Phytolacca dioica
(Ombú), Alfama, Lisbon. (Bela
Sombra, 2017)
55
As the pictures on
this page exemplify, there
a r e a r c h i t e c t u r a l
components present in the
illustrations which were
not strictly taken from
Portuguese buildings, but
from other remarkable
ones that are part of the
student’s visual culture, for
at some point they were
visited by the latter. 
A m o n g s t t h e r e ,
there are the Mosque of
Cordoba (Arraiolo
Voador); the Palau de la
Musica Catalana (Circe’s
Island) and the Casa Batlló
(Condão & Co.) both in
Barcelona; the Hotel
T a s s e l i n B e l g i u m
(Morcegus), the bookstore
‘Tacussel’ in Marseille
(Camoneana), etc.  
Table 65: Antoni Gaudí
(arch.), Casa Battló,
1 9 0 4 - 1 9 0 6 .
(Wikimedia Commons,
2016)
Table 64: Thais Costa, Condão & Co. (Part of
'Alfama Wizarding Market' Illustration), Chinese
Ink on Paper with Colors added later on
AdobePhotoshop, 2018).
F o r t h e
C o n d ã o & C o .
I l lus t ra t ion , the
main structure and
decorative elements
o f the bu i ld ing
where inspired by
Gaudi’s Casa
Batlló, while the
entrance door was
borrowed from the
t e a r o o m o f t h e
Palacete Chafariz
del Rei, in Alfama,
Lisbon.
Table 62: Mosque of Cordoba
(Puertas de Al-Hakam II). (José
Luis Sarralde, 2015)  
Table 63: Thais Costa, Arraiolo Voador
(part of illustration ‘Alfama Wizarding
Market’), Chinese Ink on Paper with
Colors added later on AdobePhotoshop,
2017.
4.1.2. Main Characters
Regarding the characters that compose this fictional universe, we can divide them
into three categories: characters that are strictly based on historical figures and remain as
such (or are portrayed with as much verisimilitude as possible); characters which are
inspired by historical figures, but whose personality and life events have been almost
entirely reinvented for the sake of the plot; and at last, we can count among them
completely new characters, fruits of the imagination, whose personalities or appearances
are likely to have been borrowed from more personal surroundings. 
Amongst the first category — that is, of characters strictly based on historical figures
— we can count of course Monteiro (based on António Augusto Carvalho Monteiro);
Manini (based on Luigi Manini); Pessoa and his entourage (based on the life of the
celebrated Portuguese poet, Fernando Pessoa); Manuel (based on D. Manuel II of
Bragança); Perpetua (based on Perpetua Augusta Pereira de Melo); and Raoul (based on
the architect of the Santa Justa lift, Raoul Mesnier du Ponsard). Composing the list of
characters which are merely inspired by historical figures, we have The Crow (inspired by
the infamous occultist Aleister Crowley); Troutmouth (inspired by Crowley’s disciple
Victor Neuburg); Beatrice, the matron (inspired by Dante’s Beatrice, whose historicity
remains questionable); and the dwarf Galar (inspired by the homonym figure from Norse
Mythology). All remaining characters, including the Ambassadors, Isadora, the refugees,
Emmanuel Gaspar and other minor characters were invented from scratch. 
Overall, the body of characters in this story follows a similar principle to that of
Harry Potter’s: we have important characters of younger age who need guidance from
those who are more experienced and wise; the wise, on the other hand, are usually older
and demonstrate a wider comprehension of the problems they face — although they seem
to need the younger’s assistance in order to accomplish their plans; these obstacles they
need to overcome are of course imposed by one main antagonist aided by few blind
followers, who believe fiercely they are doing the right thing (from their own point of
view) and whose purpose resembles significantly to that of some historical fascist leaders.
Unlike Harry Potter, however, the plot is centered around an older figure: A. A.
Carvalho Monteiro, evidently. As one might compare his personality to Dumbledore’s —
56
and Dumbledore’s character was indeed a crucial reference 98 — one might also mistakenly
assume that he fills the role of the protagonist’s mentor, when, in reality, Carvalho
Monteiro is the protagonist in this tale (the same way he is the protagonist in the history of
Quinta da Regaleira).
• Fernando Pessoa
Still, there are important younger characters like Pessoa, who incorporate youth’s
raw powerful energy, as well as appeal to an age-like audience. One could say he is the
character who can better relate to Harry Potter himself, for, apart from the younger age,
Pessoa is described in the story as holder of a rare, powerful ability: he is a Kalliopákos —
a wizard capable of “enchanting” other beings through the magic of their words99. This is a
clear reference to the fact that Fernando Pessoa (1888 – 1935) is Portugal’s most celebrated
writer since Luís de Camões. Therefore, in a way, he is also “the chosen one”, just like J.
K. Rowling’s scarred protagonist. 
98 Along with those of Gandalf, from Lord of the Rings; Aslan, from C. S. Lewis’ Chronicles of Narnia; or Eddard
Stark from A Song of Ice and Fire. 
99 In the image of the mythological Orpheus, the musician, poet and son of the muse Calliope, who was able to charm
wild animals and even bring inanimate objects to life by playing his lyre. It is important to mention as well that the
legend of Orpheus and Eurydice (Virgil, trans. 1995) inspired Fernando Pessoa and other modernists during the
beginning of the 20th century in Portugal. They named their magazine ‘Orpheu’ — first issue 1915 — as a reference
to their desire to break with social conventions from the past without looking back (the same way Orpheus had to
leave the underworld without looking behind). 
57
Table 66: Thais Costa, Pessoa dictating to his typewriter, Chinese Ink on Paper, 2018.
Furthermore, when researching the bibliography around Quinta da Regaleira and its
symbolism, the poet’s name came to light — what might suggest a certain connection
between the first and the latter. In fact, in his book, José Anes affirms that Fernando Pessoa
was obsessed with the architecture of Quinta da Regaleira, and that this interest could be
seen described in his esoteric poems from 1930 until 1935 (Anes, 2015).
    This argument being factual or not, it is not among this project’s intentions to
determine. However, we have reason to believe that Fernando Pessoa was indeed
fascinated with obscure disciplines — such as Astrology — and the secret traditions of
Christianity100. As a matter of fact, in the third cycle of his late book Mensagem (1934) —
called O Encoberto101 — Fernando Pessoa writes about the theory of the Fifth Empire,
revealing himself as much of a Sebastianist102 as A. A. Carvalho Monteiro. Moreover, in
the second part of O Encoberto — called Os Avisos — Pessoa places himself as author of
the third103 (and final) warning of the upcoming golden age and return of the king. 
Still, diving deeper into his biography, we come across the fact that Fernando Pessoa
seemed to have been an enthusiast of Astrology, having studied the influence of the
position of the stars in human life and behavior. It was actually due to this particular
interest that the poet would launch mail correspondence with the infamous magician
Aleister Crowley, in 1929 (Marco Pasi and Patricio Ferrari, 2012). 
Some time after acquiring the first volume of Crowley’s Confessions (1929), Pessoa
writes to the London-based publishing house Mandrake Press (responsible for the release
of Crowley’s autobiography) in order to point out a mistake in Crowley’s horoscope. Soon
afterwards Pessoa surprisingly receives a letter from Crowley himself, thanking the poet
for his remark. Contact was established. 
In truth, we cannot address extensively the nature of the relationship between
Fernando Pessoa and Aleister Crowley — although all readings indicate it was merely a
product of Pessoa’s innocence and Crowley’s cunning eye for entrepreneurship 104.
100 In Arquivo Pessoa (n. d.), we can find extracts from Fernando Pessoa’s essays and reflexions on the subject of
occultism. His writings about the Templars as well as Rosicrucianism reveal the poet’s personal inclination towards
Christianity’s hermetic traditions.   
101 Expression by which the messianic king Sebastian I became known after his disappearance and the emergence of his
legend. 
102 Neologism for those who defend the Sebastianism. 
103 The previous two “warnings” being attributed to O Bandarra (Gonçalo Anes Bandarra, Trancoso 1500 – ibid. 1556)
and Father António Vieira (Lisbon 1608 – Bahia 1697).
104 According to Nuno Hipólito (2013), Crowley’s visit to Pessoa was above all motivated by commercial reasons, since
the occultist planned to open in Lisbon a branch of his publishing house and of his mystical order OTO (Ordo
58
However, we can summarize by saying that Fernando Pessoa’s personality was judged to
be in accord with the content of this project — not only referring to his most intimate
passions, but also in chronological and geographical terms105. Thereby, this fact allied to
the great importance of Fernando Pessoa for Portuguese literary (and visual 106) culture
gives us enough pretext for joining these historical figures together in a fictional narrative.
   
Templi Orientis). 
105 After all, by the time our story begins (1909), Fernando Pessoa was a young writer living in Lisbon. 
106 For we can repeatedly see Fernando Pessoa’s face around the streets of Lisbon or in works of art done by Portuguese
visual artists (refer to tables 55 and 56). 
59
Table 67: Portrait of Fernando
Pessoa, photography, 1914.(La
Vanguardia, 2017)
Ta b l e 6 8: Thais Costa,
Illustrated Cover for Chapter
“Pessoa”, Chinese ink on paper.
In order to reconstitute the
appearance of Fernando Pessoa in the
illustrations, this project made use of
the numerous visual depictions of the 
poet, from drawings, paintings and
tridimensional representations, to
photographies. Since the face of
Pessoa is so well impregnated in
Portuguese culture (not to say
worldwide), the presence of this
character might be the one that
captures the greater number of
individuals who possibly identify
with this created visual universe. 
Table 69:  José de Almada Negreiros,
Retrato de Fernando Pessoa, 1964, oil on
canvas. (Fundação Calouste Gulbenkian,
2018)
Table 70: Lagoa Henriques, Fernando Pessoa, bronze,
1980’s.(CMLisboa, 2018)
• Aleister Crowley
We know already that the enigmatic figure of Aleister Crowley (born Edward
Alexander Crowley; 1875 – 1947) left his imprint in Fernando Pessoa’s life, as well as in
Portugal — more specifically in the seaside cliffs of Boca do Inferno (Hell’s Mouth)107. He
was renowned for being an English occultist, magician, poet and alpinist. His interest in
alchemy lead to his initiation in the former occult society of The Golden Dawn108 in 1898.
At a certain point in his life (1904), Crowley claimed to have been contacted by a
disembodied voice of a messenger of Horus, called Aiwass. This entity supposably
transmitted to Crowley a set of commandments which he reunited in a book he called The
Book of the Law, which would become the basis for his religion, the Thelema (Tobias
Churton, 2011).   
The fame of Crowley as a black magician allied to his brief presence in Portugal —
but, most important, in the region of Sintra/ Cascais — and his remote connection to
Fernando Pessoa all served as pretext to creating an antagonist inspired by him. Also, since
this project is a conversation between the history of Portugal and the fantasy of Harry
Potter, Crowley’s character — the Crow — was of course thought in the image of
Rowling’s great dark wizard Lord Voldemort109; not only do they support similar
philosophies and purposes, they also share a common visual language: bald, thin pale men,
107 Between the 21st and the 23rd of September 1930, Crowley would forge his suicide (as a marketing strategy for
promoting his autobiography?), leaving a letter among the rocks of Boca do Inferno, in Cascais (O Caminheiro de
Sintra, 2010).
108 Hermetic Order of the Golden Dawn (1887 – 1903).
109 And also of Rowling’s second darkest wizard, Gellert Grindelwald, from Fantastic Beasts and Where to Find Them.
60
Table 71: Portrait of Aleister
Crowley, Photography, 1912
( Wi k i m e d i a C o m m o n s ,
2016).
Table 72: Lord Voldemort, frame (at 01:49:17) taken from Harry Potter and
the Deathly Hallows Part 2. 
with elegant long hands and expressive eyes, dressed in
black ropes. 
And again, like Voldemort, the Crow is able to speak
a language unknown to all other characters — with the
exception of his Ambassadors. This language — briefly
described in the first part of this story — is comparable to
Salazar Slytherin’s Parseltongue110, although it differs
from the last in a few fundamental aspects; first of all, it is
not a language of animal origin later interpreted by
humans. As a matter of fact, in this sense, this language
relates more closely to the Enochian script111, being
“delivered” to the Crow and his subjects by the entity they
refer in the story only as ‘the Lord’ (which is a clear reference to Aleister Crowley’s
presumed encounter with the incorporeal entity Aiwass). 
Secondly, unlike Parseltongue, the Crow’s mysterious new language does possess an
alphabet. In this aspect, we can establish some parallels between this particular code and
those created by J. R. R. Tolkien for The Lord of the Rings; or yet, those developed by
George R. R. Martin in collaboration with the linguist David J. Peterson for A Song of Ice
and Fire112.  
110 Parseltongue is a fictional language created by J. K. Rowling for her magical universe of Harry Potter. It is described
as ‘the language of serpents and those who can converse with them’ (HarryPotterWikia, n.d.). Salazar Slytherin was
one of the founders of Hogwarts School for Witchcraft and Wizardry, as well as founder of the Slytherin house, and
he was notably a parselmouth (those who speak parseltongue). 
111 The Enochian Script was an occult language recorded in the private journals of John Dee (1527 – c.1609) and
Edward Kelley (1555 – 1597) — occultists who claimed that this script was revealed to them by angels. This script
was invoked by Aleister Crowley on multiple instances, when performing magic rituals (“The Whole Enochian
Dictionary”, n.d.).
112 J. R. R. Tolkien, being a linguist himself, created many fictional languages for his series of books, among which we
have notably Quenya and Sindarin, both Elvish languages. On the other hand, with the success of George R. R.
Martin’s fantasy novels and its adaptation to television, David J. Peterson was asked to develop Martin’s fictional
languages — such as Dothraki and Valyrian — based on what the author had already written in the books.   
61
Table 73: Thais Costa, The
Crow in Trance, Chinese Ink
on Paper and Colors added
later on AdobePhotoshop,
2018.
Table 74: Example of The Crow’s script. Translation: The king will soon fall (extract from the letter
transmitted to the Crow at the summit of the Tell Atlas mountain chain). Pronunciation: unn-beetee-adk-herai.
Grammatically and Phonetically, this language replicates (to a certain extent) the rules of Ancient Egyptian
Hieroglyphs — being read from right to left — while attempting to combine the visual aspect of both Hebrew
and Arabic. 
4.1.3          Other References
There are further references to Portuguese culture — perhaps more subtile —
disguised in the visual content of this project and that are worth mentioning. 
Firstly, let us pay attention to the illustration that depicts the coat of arms of the
Coimbra University for Wizards and Sorcerers. 
62
Table 75: Thais Costa, Coimbra University's Coat of Arms, Chinese Ink on Paper with
Colors added later on AdobePhotoshop, 2018.
The coat of arms displays the four
animals that represent Coimbra University for
Wizards and Sorcerers’ four houses — Fragua,
Kurma, Frogga and Gastropoda — gathered
inside the insignia from the (real)  University of
Coimbra, created by António Augusto
Gonçalves in 1897.
These four animals were selected directly
from Quinta da Regaleira’s symbolic imagery,
since we can find them sculpted in stone,
adorning the bases of light poles located at the
limits of the Alleyway of the Gods113.
According to M. Gandra, these animals — Salamander, Turtle, Frog and Snail — are
present in Quinta da Regaleira because they symbolize the four classical elements of
Nature — Fire, Earth, Water and Air, respectively114. For this project, on the other hand,
they become the emblematic animals of the University’s houses, just as Harry Potter’s
Hogwarts School of Witchcraft and Wizardry115 possesses four different houses to which its
students are assigned, that are also represented by four different animals.  
113 Not far away from these sculptures, we find the bronze of a lion (displaced), made by the French sculptor Pierre
Rouillard. The statue encloses an extensive Sebastic interpretation, to which one should refer to Gandra, 2014, p.
217. 
114 For a more complete clarification of these animals’ symbolism, see Jean Campbell Cooper (1978) An Illustrated
Encyclopedia of Traditional Symbols.
115 As well as other schools of magic from Harry Potter’s universe, such as the American Ilvermorny, to name one.
63
Table 77: António Augusto Gonçalves, Insignia of the University of
Coimbra, 1897 (Universidade de Coimbra, 2017.
The goddess of wisdom, Minerva, stands at the center of an aureola,
accompanied by her symbol, an Owl. 
Table 78: MinaLima,
H o g w a r t s ' C r e s t
(Pottermore, n. d.)
Table 76: Quinta da Regaleira, Alleyway of
the Gods. Sculptures of the Four Animals
symbolizing the Four Elements. 
Walking away from the Alleyway of the Gods in order to penetrate deeper into the
Regaleira’s garden, we come across another peculiar element that finds its correspondent in
this illustrated book: it’s a rock formation with an unusual appearance — almost human-
like — that provided visual inspiration for the Oraculum.
The Oraculum is a mystical
entity (as it is described in the
story) that possesses an ancient
magic capable of glimpsing into
the future. It is embodied by a rock
covered in moss, in a shape that
gives to it the resemblance of a
human face. It rests at the garden
of Coimbra University for Wizards
and Sorcerers, and it is consulted 
64
Table 79: Thais Costa, The Oraculum (Cover of Chapter 'He With Half the Blood'), Chinese Ink on Paper,
2017.
Table 80: Quinta da Regaleira, Garden, Peculiar-looking 
rock, 2017.
every year for assigning the new students to their destined houses.
   Evidently, the mythological existence of the oracle and its physical relation to the
lithic element were already discussed in this document, but once more we face the
necessity of keeping this subject in mind. After all, this myth holds an undeniable place
among the philosophical premises which are materialized by Quinta da Regaleira. As for
this project, is also holds a place among its visual components. 
Aside from these examples, there are numerous other allusions to the history of
Portugal that we can recognize when flipping through the pages of this book. One
illustration in particular reunites many of these references: The Alfama Wizarding Market.
The title given to this illustration already is per se a reference to Lisbon’s oldest and
most typical district. It is the neighborhood where few traditional street markets are held,
such as the famous Feira da Ladra116, for instance. Therefore, it is not surprising that this
was the setting chosen to shelter this story’s wizarding market. 
116 Literally translated as ‘Thief’s Market’, Feira da Ladra is the most notorious flea market of Lisbon.
65
Table 82: Thais Costa, Alfama Wizarding Market, Chinese Ink on Paper with colors added later on
AdobePhotoshop, 2018.
Table 81: Jim Kay, Diagon Alley (Harry Potter Wikia, n. d.)
The wizarding market (as the name suggests) is a market specifically set for the sale
and purchase of magical objects, in the image of Harry Potter’s Diagon Alley. It is one of
the few zones of Lisbon strictly reserved to magical beings and it is characterized by a
series of small businesses of the most extraordinary sorts, aligned along a main street
called ‘Rua das Três Marias Chorosas’117. 
Among the visual components of this illustration, we have, at first, a theater called
‘Circe’s Island’.
  
  
117 ‘Street of the Three Crying Marias’.
66
Table 83: Thais Costa, Circe's Island, Chinese Ink on Paper with colors added
later on AdobePhotoshop, 2018.
This building — whose architecture was mainly inspired from the Palau de la Musica
Catalana of Barcelona — evokes the myth of Circe as described by Homer in the Odyssey.
According to the poem, Circe was a sorceress who transformed men into animals — as she
did for most part of Odysseus’ crew. Still, Odysseus was able to resist her magic with the
aid of the gods Hermes and Athena and became Circe’s guest and lover. 
Again, if we revive the legendary foundation of Lisbon, we will conclude that the
entire tale of Odysseus is rooted deeply into Portuguese culture. That being said, it is
possible to establish an indirect connection between Circe and Portugal, as the illustration
suggests. 
And continuing on the subject of epic poems, we can observe in this illustration of
the wizarding market a symbol for Portugal’s glorious age of discoveries — which is of
course the motif behind Os Lusíadas. 
67
Table 84: Thais Costa, The Old Caravel. Chinese Ink on Paper
with colors added later on AdobePhotoshop, 2018.
This symbol cannot be any other than The Old Caravel, an old ship stranded on the
market’s street and that encloses a hotel for wizards.
Still in this market, we notice the presence of street vendors, among which, we find
the following image:
This illustration of a truck
vendor whose merchandises are
sweets such as ‘Beetroot tart
pastries’ o r ‘Chocolate sardine
sticks’  celebrates some specialities
from Portuguese cuisine, like the
iconic Pastel de Nata and Sardinhas
Assadas118. The same happens in
other illustrations, such as the
drollery of a wizard driving a sled
pulled by a shoal of sardines (Table
72).
So, as one can remark, there are plenty
of minor components in the illustrations of
this project that help create a rich imagery
around this narrative; one that is, after all,
centered in Portuguese culture and history.
These visual ‘ornaments’, as one could call,
aside from adding a bit of humor to the work,
can arouse a sentiment of intimacy between
those who live in this culture and the object
‘book’ itself; a warmth that moves this 
118 Custard Tarts and Grilled Sardines.
68
Table 85: Thais Costa, 'Tricks & Treats'. Chinese Ink
on Paper with colors added later on AdobePhotoshop,
2018.
Table 86: Thais Costa, Sardine Sled
Drollery. Chinese Ink on Paper with colors
added later on AdobePhotoshop, 2018.
project from the realm of the impersonal to that of the recognizable.
Furthermore, the presence of architectural elements taken from Portuguese urban
landscape — specially Lisbon — contribute to this purpose in a very effective way, since
these are the sceneries people living in Lisbon are walking by everyday. As the references
to Portuguese architecture were already discussed in a previous chapter, it remains for us to
focus on one small (and quite peculiar) feature.
Well, Portugal is known to be a predominately catholic country, with nearly 80% of
the Portuguese having declared their piousness to this religion (The World Factbook,
2018). Moreover, the people’s devotion to the Virgin (The Great Mother) has been
confirmed throughout Portuguese history119 until present days — and the popular
pilgrimage to Fátima120, along with the many accounts of Marian apparitions in Portuguese
territory, help sustain this theory. 
In fact, as we had started to address this subject121, the chapel of Quinta da Regaleira
celebrates this devotion in three instances: firstly, in its porch, with the theme of the
119 And the already mentioned anecdote of D. João IV abdicating his throne in favor of the Immaculate Conception
offers an irrefutable piece of evidence.
120 A civil parish in the Portuguese Santarém district. It is important to remark that the Lady of the Holy Rosary of
Fatima, after whom the city was named, is another title given to the Virgin Mary.
121 See Part One, Chapter Three of this document: ‘Intersections between the Trivial and the Absurd’.
69
Table 87: Doorknob from a
house in Mouraria (Lisbon) in
the shape of a hand of Fatima
(Khamsah), 2017.
Table 88: Doorknob from a
house in Paço do Lumiar
(Lisbon) in the shape of a
hand of Fatima (Khamsah),
2018.
This feature consists of a
decorative doorknob in the
shape of a hand of Fatima
(Khamsah, in Arabic). The
origin of this symbol is rooted
in Islamism, since the thumb is
related to Muhammad and the
four other fingers to his
companions (the index finger
being related to the prophet’s
daughter, Lady Fat ima) .
A l t o g e t h e r , t h e h a n d
symbolizes the five pillars of
religion (J. C. Cooper, 1978). It
is also interpreted as the ‘Hand
of Mary’, or ‘Hand of the
Great Mother’ — the one that
gives and protects (the
property, in this case).
Annunciation; secondly, in the altar, with a decoration invoking the Assumption of Mary122
and consequential coronation; and thirdly, in its Northeast window, with a glass panel
depicting the legend of D. Fuas Roupinho (Gandra, 2014), a noble Portuguese warrior from
the 12th century, companion of D. Afonso I and possibly a Templar knight, who was saved
from falling from a cliff in the coast of Nazaré123 during a hunt, thanks to a miraculous
apparition of the Virgin. 
    
Now the hand-shaped doorknob that we find repeatedly adorning older houses from
the most traditional neighborhoods of Lisbon can be better understood and integrated to
Portuguese culture, being itself a product of local faith and adoration. It is definitely a
symbol invested with apotropaic powers124, in the image of lambs’ blood put on the door
frames by the Israelites under the instruction of Moses (Exodus 12: 3-7 New International
Version). 
Therefore, this element, powerful however small, was incorporated to this project’s
illustrations, again with the hope of investing this work with a number of icons that can be
recognized and that are in some way part of this country’s imagery.
122 Also called Dormition, it refers to the end of the Virgin’s earthly life and ascent to Heaven; an event commemorated
on the 15th of August.
123 A municipality of the Leiria district, roughly 130 kilometers north of Lisbon.
124 The ability to turn away harm and evil influences.
70
Table 89: Quinta da Regaleira, Chapel,
Entrance Porch. The Annunciation. 2017.
Table 90: Quinta da
Regaleira, Chapel, Altar.
Assumpt ion o f Mary.
(Turomaquia, 2010)
Ta b l e 9 1: Quinta da
Regaleira, Chapel, Northeast
window. D. Fuas Roupinho.
(VPhotus, 2018)
71
Table 92: Thais Costa, Kvasir's magical
doorknob. Chinese Ink on Paper with colors
added later on AdobePhotoshop. 
Table 93: Thais Costa, Illustration of what can be seen from 
Kvasir's magical doorknob. Chinese Ink on paper later treated
digitally. 
Table 94: M. C. Escher, Hand with Reflecting
Sphere, Lithograph, 1935 (Wikimedia Commons,
2017)
Apart from Kvasir’s doorknob being
shaped like a Khamsah, the illustration that
pairs with it — the one showing what the
lens in the doorknob can capture — was
inspired from M. C. Escher’s famous
lithograph Hand with Reflecting Sphere,
from 1935. As a matter of fact, this work
was in exhibition in Lisbon from November 
2017 until September 2018, at the Museum
of Popular Art.
72
Table 96: Hieronymus Bosch, The Temptations of Saint Anthony, c. 1501-1516, oil on panel, Lisbon,
Ancient Art National Museum (Wikimedia Commons, 2017)
Table 95: Thais Costa, illustration of the painting
in the Old Convent. Chinese ink on paper. The
drawing was inspired from Bosch 's The
Temptations of Saint Anthony.
4.2.     Illustrations
4.2.1           Visual References
When conceiving the illustrations for this book, there was a multitude of influences
available, making it all the more necessary to narrow down this spectrum. This exercise
included a meticulous look at the work of celebrated illustration artists from the past. These
artists served as crucial references, inspirations, guidance, so that this project in particular
would offer a final object that would be aesthetically appealing as well as imbibed by a
sharp visual sensitivity.  
For that purpose, this practical step of the project began with a wide visual research,
later materialized into what some people call a “graphic journal”. This journal contained
printed pictures from the Harry Potter franchise — taken both from the films and
illustrated versions of the books; old photographs from the key characters that would
compose the plot of the story — A. A. Carvalho Monteiro, Luigi Manini, Aleister Crowley,
Fernando Pessoa, etc.; photographs taken of Quinta da Regaleira and other sites of interest
in Lisbon and other Portuguese cities; some sketches — done either in situ, by direct
observation, or in atelier; and finally, images taken from the internet of artists’ works,
specially of illustrators like Gustave Doré, John Tenniel, Edmond Dulac, Anne Anderson,
Edward Gorey and, of course, Arthur Rackham.
73
Table 97: Thais Costa, Drollery.
Chinese Ink on Paper with
c o l o r s a d d e d l a t e r o n
AdobePhotoshop, 2018.
Table 98: Arthur Rackham,
Fasolt suddenly seizes Freia and
drags her to one side with Fafner.
F r o m R i c a r d Wa g n e r ' s The
Rhinegold & the Valkyrie, 1910,
London. (Wikimedia Commons,
2018)
Rackham is, without a 
doubt, the most obvious and 
direct inspiration used for
conceiving this project’s
illustrations. One could say
this is due to the fact that
Rackham’s style possess an
aesthetic quality that offers
one of the best translations
of the surreal, the fantastic,
the universe of fairy tales
and magic. 
He used to sketch the
outlines of his illustrations
with a soft pencil, later
delineating the final drawing
with Chinese/ Indian Ink.
After that, he would add
very light tones of blues,
greens 
and reds in watercolor, if needed be. Moreover, it is known that “[…] he often included
realistic and sometimes recognizable settings in his works of fantasy.” (Clarke Historical
Library, n. d.)
His use of the pen carried a special attention to details, producing a richness that
alternates between curved and straight lines, interrupted and continuous, long and short,
fluid and crooked. That allied to his unsaturated palette is what creates this feeling of the
“phantasmagoric” when looking at one of his works.   
Regarding the search for inspirational artists, we can say it was intentionally focused
on personalities from the 19th – 20th centuries, since the story itself is set during that time,
and it seemed only reasonable that the drawings’ style would evoke that same period. That
did not eliminate, however, the part played by more recent artists, such as Jim Kay —
Harry Potter illustrator, who kindly offered advising during the process; Miraphora Mina
74
Table 100: Thais Costa, Kvasir's (detail).
Chinese Ink on Paper with colors added later
on AdobePhotoshop, 2017.
Table 99: Arthur Rackham, Frontispiece for Nathaniel
Hawthorne's A Wonder Book, 1922. (Flickr, 2016)
and Eduardo Lima125; Tomislav Tomic126; Olivia Lomenech Gill127; Victor Ambrus, Jaroslav
Bradac, John Davis, Ian Miller, Allan Curless and Lidia Postma 128; Shaun Tan; François
Schuiten and Benoît Peeters129; among others. 
The result of this synthesis, which is to be presented further in this document, was an
object that is simultaneously literary and visual: a book that reunites a number of
illustrations which are a product per se of our (Western – European) Visual Culture. 
4.2.2           Technique
Now, the main idea behind this project, as earlier clarified, was to conceive an object
that is less literary than it is visual. Still a book, yes; for one of the leading intentions here
present is to propose both theoretical and practical study in book illustration. However, it is
also (and primarily) an attempt to create a comprehensive artwork130 or, in other terms, an
object of Design, thought and forged as a whole; an object that successfully assembles text
and image, tradition and modernity, history and fiction, symbol and message. 
125Founders of MinaLima store, in London, and illustrators of J. K. Rowling’s Fantastic Beasts and where to find them:
the original screenplay, 2016 edition, by Little, Brown.
126Responsible for the interior illustrations of J. K. Rowling’s The Tales of Beedle, the Bard, 2017 edition, by
Bloomsbury Publishing, London.
127Illustrator of J. K. Rowling’s Newt Scamander: Monstros Fantásticos e Onde Encontrá-los, 2017 edition, Editorial
Presença.
128Illustrators of David Day’s A Tolkien Dictionary, 2014 edition, Bounty Books.
129Creators of the series of comic books Les Cités Obscures.
130 Comprehensive Artwork or Gesamtkunstwerk (from the original term in German) is a work of art that makes use of 
multiple art forms which are all conceived to harmoniously integrate a unity. 
75
Table 101: Jim Kay (Ill.), Harry Potter
and the Chamber of Secrets Deluxe Edition,
2016. (Bloomsbury, 2016)
Table 102: Thais Costa, Mockup of book cover and outside
envelope. Inspired from Jim Kay’s illustrated deluxe editions
of Harry Potter.
This motivation is in fact a major element into understanding the methods employed
when making the illustrations for this project. That is due to the fact that the drawings were
all made by hand with Chinese ink on paper131 while the coloring, arrangement and other
final touches were done in post-production with the aid of Adobe Photoshop, Illustrator
and InDesign. This association of techniques which are traditional on one hand and
contemporary on the other help create a marriage between old and new that somehow
characterizes the time in which we live in — a time marked both by progression (specially
in technological terms) and recycling of past culture132. 
That is without mentioning the result of this alliance, which can be perceived in the
final appearance of this illustration work. In truth, the use of Chinese ink for drawing was
premeditated for the reason that this technique’s fine black lines can evoke the aesthetics of
engravings. By applying the ink in a network of lines of different lengths — or even in dots
— that intertwine, one can arrive to a fairly realistic (not to say photographical) image,
marked by a contrast of zones of whites and shadows. And again, is that not the most
dominant aspect in engravings? This procedure that marked the early days of book
industry, illustration and even photography for its reproducibility and visual accuracy?
Therefore, to establish a visual remembrance with it can only be interpreted as an evident
link with history and tradition. Nevertheless, to remain attached exclusively to the elements
of the past is to ignore the potentialities of the present. After all, we do possess nowadays a
range of technological possibilities that make tasks from previous times quite less
complicated. So why turn our backs to them? On the contrary, following the logic that
rules this entire project, all of that which can be called “reinterpretation” has to align with
what is practical, tangible, in short: rather material than memorable. That is why the usage
of contemporary tools at the service of art is equally important: they help reduce the time
required for elaborating the illustrations; they provide an easier way of correcting mistakes;
they can bring uniformity, refinement, and are very beneficial when working with
transparencies; they allow us to add color separately, which can be very convenient since
131 Canson 200 g/m2, 120 lb, Bright white, A4 format (21cm x 29.7 cm).
132 Under George Stauth and Bryan S. Turner (1988), the postmodern era (our era) is characterized by a continuous
tension between mass cultural systems and a cultural elite. For the democratization of culture in western capitalist
societies (by means of technological progress) presupposes the rise of egalitarian principles, accompanied by social
and geographical mobility that contradicts the elite’s desire for a hierarchical authority. Therefore, this elite’s
rejection of objects of mass culture generates a nostalgic withdrawal from contemporary culture.   
76
colors are reasonably difficult to manipulate; they even offer the chance to modify and
distort the drawings after finished, among other advantages.
4.3.     Book
4.3.1.         Format
The dimensions chosen for this book appear as an inevitable result of the making-
process of the illustrations. That is because the drawings were executed by hand on Canson
A4 paper; for some cases in a portrait orientation, for others in a landscape orientation133.
That way, having illustrations which develop vertically while others develop
horizontally, it was required a book format that approaches a quadrangular shape so that all
images would harmonically fit into the same structure. 
Consequently, the format selected is one that resembles the traditional In Quarto
Carré leaf size — corresponding to a full blanksheet folded twice; producing pages that are
each a fourth of the original sheet. The dimensions of this  format vary according to the size
of the folded blanksheet, but they should maintain an average height and length of 28 per
22 centimeters, respectively (Émile Bosquet, 1903). Generally speaking, the In Quarto
book format was more common by the time when Incunabula134 were being printed in
Europe — from the 1450s until 1501 (Encyclopedia Britannica, 2018). Ergo, the choice for
133 Depending on the nature of the illustration, it would sometimes require one orientation or the other.
134 An Incunabulum (pl. Incunabula) was a book printed during the earlier years of typography; from the 1450s to the
end of the 15th century. (Encyclopedia Britannica, 2018).
77
Table 103. Thais Costa, details from two illustrations Kvasir’s and
Meeting Point. Chinese ink on paper.
Table 104. Albrecht Dürer, St.
Paul (detail), engraving.
(ArtinPrint, 2012).
this format reflects a wish to reconnect the product of this project — the illustrated book —
to the earlier years of the printing press, when the higher status given to books was
translated by their bigger dimensions and layouts which would alternate pages with text
and woodcut engravings.   
78
Table 106. Example of Incunabulum. Francesco
Colona (text), Illustrations de Le Songe de Poliphile,
Le Second Triomphe, Les éléphants et le cortège du
char de l’Amour. 1499. (BNF, 2007)
Table 105: Table of Formats (based on the papers used in the Library of France). On the third line from
the top down we can see the values for the "In-4º"; below the column "carré", we have the
measurements "28" for height and "22" for length. (E. Bosquet, 1903)  
Table 107: Book Cover. Format
27.4 cm height x 22.3 cm width.
4.3.2.         Layout
This project’s ambition is to incorporate a layout to the book that would mirror that of
the medieval manuscript on one side — with its initials, decorated margins and drolleries
— while still allowing more creative solutions in displaying the illustrations. Regarding
this purpose, many combinations between text and image were imagined and some
applied: firstly, it was judged convenient that some of the visual content would be
displayed on its own, so that it captures the reader’s attention completely; furthermore, not
only would they occupy a full page, but some of the images — notably the cover — would
be extended horizontally towards following pages that could be unfolded by the reader,
exceeding the length of the book when widely opened (see table 103). Secondly, it was
decided that every new chapter of this book would be introduced by a cover illustration
that depicts an important visual element present in that chapter; this cover illustration is to
be in black and white, composed by one drawing horizontally centered in the page, while
vertically dislocated towards the bottom, and surrounded by a decorative frame. It was also
envisaged that every first letter of the chapter is replaced by an illustrated initial (clearly
inspired by the medieval book-making). Still, some pages would present decorated margins
and drolleries, while others would contain illustrations larger than a drollery and absent of
background, for the last would be replaced by the text itself. Globally, the illustrations are
either in color or black and white; either restricted to a zone in the page or a full page, or
yet, developed across two or more pages. 
As for the text, it is justified in one unique column, with a paragraph on the left of
one centimeter. And while the images may not always require blank margins enveloping
them, the text is to placed on the page with a 3 centimeters margin in all directions (except
when decoration compels the text to rearrange, in which case the margins may vary). 
   
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Table 110: Example of (only text) page. Auto
leading of 14.4pt; Optical kerning; Paragraph of
1cm and margins of 3cm, with no hyphenation.
Table 108: Example of Chapter Cover (First
Chapter).
Table 109: Example of first page of a chapter
(Chapter One), with decorated Initial and
margins.
Table 111: Example of page (text and image).
4.3.3.         Lettering
Regarding the text that constitutes the story in the book — not including titles of
chapters and writings that are part of illustrations —  it was considered convenient to select
a serif typeface (since the alternation of its shapes helps prevent a tiresome reading).
Therefore, the font chosen was Garamond, size 12. The preference for the Garamond
typeface is due to numerous reasons: first of all, this typeface used to be widely popular all
over Europe from the dawn of its creation  — sometime during the 16 th century, by French
engraver Claude Garamont — all the way to its eclipse in the late 18 th century, being
replaced by Firmin Didot’s new achievement. Still, Garamond offers better readability for
large bodies of text when compared to Didot, for the latter’s increased stroke contrast may
produce a “dazzling” effect, making it rather difficult to read (a factor that also justifies the
preference for Garamond).
Secondly, Garamond’s old style embodies a certain aeration and finesse that were
judged to be in accord with the general visual aspect desired for this book. Also, the font
seem to recover on one hand characteristics from Roman capitals as well as the organic
features of handwriting, which aligns well with this project’s search for harmonizing rather
curvilinear shapes — derived from hand movements and patterns found in nature — with
uninterrupted straight lines  — derived from chiseling more solid materials, like stone or
metal, and that relate to results obtained from engraving or from machinery work. 
Thirdly, this typeface, being dominant in French printing until the changing tides of
the French Revolution, incorporates the spirit of the Monarchy and, more precisely, of the
Absolute Monarchy. Well, it is no secret that António Augusto Carvalho Monteiro was
himself a partisan of Absolutism; thereby, what better font could be used to translate his
particular political tendencies while transcribing a story based on his life?
Finally, it is also worth mentioning that Garamond found a period of revival during
the late 19th century and early 20th century — a period which, not by chance, corresponds to
the timeline of this story. This way, this font fits into the purposes of this project in many
different instances; and by acknowledging this consonance, it was decided that this
typeface would be the most suitable to figure in this book. 
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Table 112: Alphabet in Font Garamond.
Table 113: Example of page. Text in font Garamond
12pt.
4.4.     Examples of Pagination
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Table 114: Thais Costa. Cover of Chapter Two: The
Flying Crow. Chinese Ink on paper later treated
digitally.
Table 115: Thais Costa. Cover of Chapter Five:
Quinta da Regaleira. Chinese Ink on paper later
treated digitally.
Table 116: Thais Costa. Cover of Chapter Six: The
LeRoy 01. Chinese Ink on paper later treated
digitally.
Table 117: Thais Costa. Cover of Chapter Ten:
Mermaid’s Song. Chinese Ink on paper later
treated digitally.
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Table 118: Thais Costa. Illustration of Quinta da Regaleira's palace. Chinese Ink on paper with colors
added later on AdobePhotoshop.
Table 119: Thais Costa. Illustration of the Cork Cave. Chinese ink on paper with colors added later on 
AdobePhotoshop.
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Table 120: Thais Costa. Illustration of Regaleira's well. Chinese ink on paper with colors added later on
AdobePhotoshop.
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Table 121: Thais Costa. Page with initial and decorated
margins. Chinese ink on paper with colors added later
on AdobePhotoshop.
Table 122: Thais Costa. Page with initial and
decorated margins. Chinese ink on paper with colors
added later on AdobePhotoshop.
5. Conclusion
Overall, this project entitled “The Wonderful Wizard of Sintra” (an amusing reference
to the classic of literature “The Wonderful Wizard of Oz”135) was a product of creativity,
visual sensitivity and interest for the history of Portugal and for the enigmas that emerge
from a visit to Quinta da Regaleira, left by António Augusto Carvalho Monteiro and Luigi
Manini to be uncoded. The final object obtained from this long intellectual and technical
exercise (the illustrated book) combines thus a number of images and informations from an
already discussed Art History background; from personal surroundings and experiences;
from new data acquired throughout this research; and, naturally, from specific sources
selected to integrate the body of this project. 
Following this logic, we can say that the present work overlaps many fields of study.
It contemplates the Graphic Design branch of knowledge for it aims to ultimately create an
object that is, in the first place, a design piece — and, if we are to be more specific, we
should distinguish it as a work of illustration above all. It also consists of an investigation
process that predominantly relates to Art History and Visual Culture, considering that this
project attempts to identify, decode and retransform the symbolism present in Quinta da
Regaleira, translating it to a language that is more easily understood by today’s young
public: the language of fantasy fiction, evidently. After all, as Panofsky has exposed in his
Meaning in the Visual Arts (1955), a work of art is not but a symptom of something else
which expresses itself in a countless variety of other symptoms. Therefore, if we take his
words literally, we can admit Quinta da Regaleira as one of these symptoms — the work of
art that expresses the something. Not only does the villa enclose a well; it i s the well,
metaphorically speaking. In this sense, Quinta da Regaleira is the well, the vessel, the cup
(many can be the names to describe the same principle) that contains the (invisible)
substance of knowledge. Mirroring that, manifesting another one of these ‘symptoms’, lies
this book. 
Furthermore, let us register here the wish for this project to become so much more
than just a book. With the uncountable technical achievements we possess nowadays, why
not envisage a day when this project will not only be materialized in printed media, but
also in digital platform? We should take into account that, although the imagination does
135 The Wonderful Wizard of Oz is an American children’s novel written by L. Frank Baum, and originally published in
1900. 
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offer endless possibilities — and that is the reason why books are able to break the
physical boundaries of space and time — the sensory experience indeed causes a larger
impact in us, as human beings. How fulfilling it must have been to the readers of Harry
Potter to have seen portraits moving, brooms flying and ghosts walking through walls
when the first film was released? Undeniably, these technologies applied to Cinema and
electronic books, for instance, pose a great contribution to imagination. 
Still, to conclude this project after a long path of stumbles and accomplishments
brings already all satisfaction one’s imagination might desire. 
   
       
    
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