BOITAC, Diogo - b. ~1460 , d. ~1528 Batalha - WGA

BOITAC, Diogo

(b. ~1460 , d. ~1528 Batalha)

Portuguese architect. In fact the nationality of Diogo Boitac (Boytac or Boitaca) is unknown. He was an influential architect and engineer of some of the most important Portuguese buildings, working in Portugal in the first half of the 16th century.

His family name occurs for the first time in 1498 in a document of king Manuel I, who granted him an annual allowance for his work at the Monastery of Jesus of Setúbal. His signature occurs on a document of 1514. His name is mentioned in 12 documents, kept in the Monastery of Batalha and written between 1515 and 1521. While working at the Monastery of Batalha, he married in 1512 Isabel Henriques, daughter of Mateus Fernandes, architect at the same monastery. He settled in Batalha in 1516, where he died in 1528, He was buried in the Monastery of Batalha, close to the tomb of Mateus Fernandes.

In 1490 King John II commissioned Diogo Boitac to build the church of the Monastery of Jesus in Setúbal. This church is the first construction associated with the Manueline style. His next assignment was at the planning of the Hieronymites Monastery in Belém, near Lisbon. This would become his best known work, one of the most important buildings in Portugal and certainly the most successful achievement of the Manueline style. He worked on this project between 1502 and 1516, with the columns and the outlying walls finished when he was called on other projects. He was succeeded by his collaborator João de Castilho, who gradually moved from the Manueline style to the Plataresque style.

While working on the Hieronymites Monastery, Diogo Boitac, as the royal architect, was simultaneously put at work on several other projects. However, it is difficult to determine his specific role in all these projects. He worked in Coimbra (from 1507), in Sintra (1507), in Batalha (from 1509), and in Morocco (1514).

Interior view
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Interior view

The monastery of Jesus was founded around 1490, outside the city walls of Set�bal, by Justa Rodrigues Pereira, a noblewoman of the Portuguese royal court. After 1491, King John II started sponsoring the building of the monastery, which he commissioned to Diogo Boitac, an architect of unknown origin, possibly French. After the death of John II in 1495, King Manuel I continued supporting the construction works.

Most of the church was built between 1490 and 1495, and in 1496 the nuns of Order of Poor Clares were already living in the monastery. After 1495, under Manuel I, the nave of the church was covered with stone vaulting, replacing the wooden ceiling originally planned. The church is the earliest known Portuguese building with Manueline style decoration. This specific architectural style brings the Late Gothic style to Portugal and mixes it with Early Renaissance principles, adding twisted columns and navigation symbols.

The south fa�ade of the church, facing Jesus’ Square, is the main fa�ade of the building. Viewed from the square, the church combines two distinct volumes: a rectangular nave and a polygonal apse, higher than the nave, located at the east end of the building. A bell tower is located on western side of the fa�ade.

The walls and vaulting of the church ceiling are supported by a series of stepped buttresses along the outer walls of nave and apse. Each buttress is decorated with gargoyles and a twisted pinnacle, while the upper walls of the church have decorative crenellations. The main portal is located in the middle of the south fa�ade and was the last feature of the fa�ade to be built. The south side of the apse is decorated with a large mullioned window with late Gothic tracery.

The photo shows the south side of the church viewed from the square.

Interior view
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Interior view

The church is rather narrow and consists of a nave and two side aisles of the same height, unifying inner space as in a hall church, a characteristic that would be found in later Manueline spaces like the nave of the Jer�nimos Monastery of Lisbon. Each pillar of the nave, supporting a pointed arch, is composed of three intertwined subcolumns in rough granite. The side aisles are supported by semi-barrel vaults.

The choir of the church has a square shape. It is covered by an exuberant late Gothic star-ribbed vaulting with decorative bosses. Some of the ribs of the vault have the shape of a twisted rope, again anticipating a common theme in Manueline vaultings throughout the country. The inner walls of the apse are decorated with 17th-century blue-and-white tiles (azulejos) with geometric patterns.

The photo shows the nave and choir of the church.

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Interior view

The photo shows the intrincate Manueline ribbed vaulting of the choir.

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