West wing, adjacent to the Ambassador’s Room, added to the initial plan of the Palace by Jean-Baptiste Robillion, who replaces Mateus Vicente de Oliveira after he was requested by the Marquis of Pombal for the reconstruction of Lisbon after the 1755 earthquake. The Pavilion, currently known by the name of the architect responsible for its construction, was erected after the marriage of D. Pedro with D. Maria. Here were the private quarters of many monarchs who inhabited the Palace (D. Pedro III, D. João VI, D. Carlota Joaquina, D. Miguel, D. Pedro IV). It is the only area covered with parquet floors of exotic Brazilian wood, with a predominance of holywood and satinwood, and with decorations in gilded and polychrome paper

The Robillion Pavilion includes the Dispatch Room, the Açafatas Room, the Snack Room, the D. Quixote Room, the Oratory, the Queen’s Room and the Queen’s Dressing Room.

Dispatch Room
The walls are lined with oil-on-canvas panels depicting Italian ruins of Classical Antiquity, by Italian scenographer Giovanni Berardi.
With a neoclassical décor, it features oil-paneled walls on canvas depicting ancient Italian ruins by Italian scenographer Giovanni Berardi, probably inspired by paintings by Giovanni Paolo Pannini (1691-1765). On the ceiling, a large panel represents an allegory of the “Running of Time”, executed in 1940 by the painter Fernando Mardel, which replaces the original of the same theme, missing in the fire of 1934.

In the time of D. Pedro III, this dependence served as a waiting room for the monarch’s chamberlains, also setting up for banquets and suppers during the summer festivities of St. John and St. Peter. Prince Regent D. João used it for ministerial meetings, hearings and dispatch, for which he had a canopy set up there. Later, respectively in 1830 and 1874, it was bedroom of the kings D. Miguel and D. Luís.

Saffron Room
This room served as an antechamber where the ladies and saffron awaiting orders from the queen awaited orders. It has walls lined with canvas, with Pillement-style tempera paint.

Snack Room
The rococo decoration in gold pulp frames four large canvases – integrated in the walls – that represent hunting lunches.

The room was of a square size and small in size. It was to be completed in 1767, believing in a document referring to the payment “to the carpenter who laid the ceiling roses”, whose decorative composition suggests honeycombs.

With an ornamentation of rococo-style gold pulp, framing a set of four large figurative canvases and six still-life gates, everything in this room evokes its function as the royal dining room.

The four large enveloping screens, of great iconographic richness, represent hunting lunches, in which ladies and knights, sitting informally on the floor and surrounded by their weapons and dogs, indulge in a hunting pause the pleasures of conversation and gastronomy. A probable allegory to the seasons of the year, noticeable by the characters’ attitude and the type of surrounding vegetation, allows us to identify the representation of the wall on the side of the Hall of Açafatas with summer and the wall that faces the garden with winter.

Don Quixote Room
Built in the third quarter of the 18th century, according to the project of architect Jean-Baptiste Robillion, it creates the illusion of a circular space, given by the arrangement of the eight columns that cut the corners and support the ceiling dome, emphasized by the radiant decoration of the parquet .

Its decoration is based on a set of mirrors and ornaments of gilt carving and rococo paper paste, which frame the eight paintings of the molding and the nine gates, containing episodes of the work of Cervantes El Ingenioso Hidalgo Don Quixote de la Mancha . The ceiling, whose decoration is already affiliated in the neoclassical spirit, is topped by a central screen, having as its theme an “Allegory to Music”. The whole pictorial program of the room, carried out in 1940 by the painter Fernando Mardel, takes up the themes of the original canvases lost in the fire.

This is the best known room in the Palace, where most of the children of D. João VI and D. Carlota Joaquina were born, among them the infant D. Pedro – Emperor of Brazil and King of Portugal – who here He also died in 1834, a victim of tuberculosis, only thirty-six years old.

Oratory
In this oratory, common to the Fourth D. Quixote and the Fourth Queen, a delicate and rich work of golden carving is attributed to the sculptor-carver António Ângelo. Decorated with the themes of the Passion of Christ, it presents inside a Christ on the Cross accompanied by the Holy Women.

Queen’s Room
Only room in the Palace with silver paper ornaments. This division, currently reduced from its original space, would have served as a bedroom at different times for D. Pedro III, Prince Regent D. João and Queen D. Carlota Joaquina. The original decoration of mirror paintings was lost representing “angels and boys sleeping, stretching and playing”.

Queen’s Dressing Room
Rich iconographic route on 18th-century men’s and women’s toiletries , illustrated through eleven canvas panels painted with children’s scenes.

This boudoir or vanity space retains its rococo decoration in gold and polychrome paper paste ( papier maché ), framing eleven panels of paintings painted on mirrors with children’s scenes, providing an interesting iconographic route on the various phases of the masculine and feminine toilette . XVIII century.

The ceiling, with a floral decoration suggesting an open basket, parallels the design of the wooden floor. The same floral theme is also taken up in the stonework of the exterior facades, where the balustrade of the central window is topped by a basket of flowers and fruits.

National Palace of Queluz
Located between Lisbon and Sintra, the National Palace of Queluz is one of the leading examples of the rococo and neoclassical architectural styles from the second half of the eighteenth century in Portugal.

Commissioned in 1747 by the future King Pedro III, married to Queen Maria I, the residence was initially designed as a summer house and thus a favoured place for the royal family’s leisure and entertainment but which became their permanent home from 1794 through to their departure for Brazil in 1807, following the country’s invasion by Napoleon’s armies.

Grandiose meeting rooms, places for worship and private rooms follow on from each other in an intimate interconnection with the gardens as a fundamental part of these pleasure-inducing surroundings. Along the spectacular Lions Staircase, by the french artist Jean-Baptiste Robillion, we arrive at the monumental Tiled Canal with its great panels depicting seaports and courtly scenes. The garden pathways are enlivened by the italian and british sculptures, in their main with mythological themes, and highlighting the set of lead sculptures by the London-based artist John Cheere alongside the numerous lakes and other water features.

The evolution of the Court taste throughout the 18th and 19th centuries, strongly influenced by French and Italian as well as English taste, is particularly presented in the Palace interiors, historical Gardens and collections.

The National Palace of Queluz is now managed by the public company Parques de Sintra-Monte da Lua (PSML), established in 2000 following the recognition by UNESCO, in 1995, of the Cultural Landscape of Sintra as a World Heritage Site.