The Jewish objects at the National Museum of Archaeology in Belém are best understood as a dispersed archaeological and documentary constellation. They do not form a single Jewish gallery. Even so, they preserve some of the most relevant material traces for studying Jewish presence, memory, and transmission in Portugal.

The museum, founded in 1893 by José Leite de Vasconcelos, became Portugal’s central institution for archaeological collections. Within that wider national archive, the Jewish-related material occupies a particular place. It connects Roman Lusitania, medieval and early modern Hebrew memory, manuscript culture, and modern collecting practices.

Jewish objects at the National Museum of Archaeology

A preliminary list published by the MNA in 2017 identified several cultural objects with possible or direct relevance to the history of Jews in Portugal. These include Hebrew manuscripts, a Book of Esther scroll, a leather sheet written in Hebrew, and a manuscript concerning the expulsion and general pardon of the Jews. This group shows that Jewish memory in the museum is not only archaeological. It is also textual, legal, liturgical, and archival.

The presence of these documents matters because Jewish history in Portugal was often preserved through fragments. Some fragments are inscriptions. Others are manuscripts, copies, references, or objects displaced from their original contexts. In this sense, the MNA collection helps show how Jewish heritage can survive outside synagogues, cemeteries, and community buildings.

The menorah intaglio from Ammaia

The most important object in this context is the ring stone with a menorah from Roman Ammaia, catalogued as MNA Au 1193. It is a small nicolo intaglio, dated broadly to the Roman period, usually between the 2nd and 3rd centuries CE. Its imagery includes a seven-branched menorah, together with other Jewish ritual symbols associated with Jewish visual culture in Late Antiquity.

This object is exceptional because it belongs to the earliest archaeological evidence for Jewish presence in the territory of present-day Portugal. It does not, by itself, prove a fully organized community in Ammaia. However, it strongly supports the presence of at least one Jewish individual, and it strengthens the broader argument for Jewish life in Roman Lusitania.

The ring stone also changes the scale of interpretation. Jewish history in Portugal is often approached through medieval quarters, expulsions, New Christians, and Inquisition records. The Ammaia intaglio pushes the discussion further back. It places Jewish presence within the Roman landscape of Lusitania, before the better-documented medieval period.

Hebrew memory, replicas, and collecting

Other objects in the MNA list require a more cautious reading. The museum records a pendant amulet in the form of a hexalpha with the Hebrew inscription “Zion,” acquired by José Leite de Vasconcelos in Karlsbad in 1921. This is a Jewish object in the collection, but it is not evidence of ancient or medieval Jewish life in Portugal.

The same caution applies to the replica of a Hebrew inscription from the Jewish cemetery of Espaldão, in Faro. The original was recorded in 1903 on the cemetery wall, and two copies were made. One remained connected to Faro, while the MNA preserved another. Here, the value lies not in original archaeological context, but in preservation, documentation, and the circulation of Jewish epigraphic memory.

Together, these objects make the Jewish objects at the National Museum of Archaeology historically significant. Their importance is not only aesthetic. It lies in the way they connect material culture, Hebrew writing, Roman mobility, collecting history, and the fragile survival of Jewish traces in Portugal.

The Judiaria de Torres Vedras occupied a central street of the medieval town, close to the Paço do Concelho, in the area of today’s Rua dos Celeiros de Santa Maria. It was not a peripheral enclave, but part of the urban and commercial center of Torres Vedras.

The Jewish presence in Torres Vedras goes back at least to the reign of D. Afonso III. The existence of a chaplain of the Jews already points to a community large enough to require its own religious structure. By 1299, members of the Guedelha family are documented in the town, including Isaac Guedelha and D. Judas Guedelha, identified as rabi-mor of D. Dinis. In 1318, Salomão Guedelha appears as rabbi of the Jews of Torres Vedras. By 1322, documentation already refers explicitly to the Judiaria.

The quarter seems to have begun as a single street. At first, Christians and Jews still lived side by side, which shows that the Judiaria did not begin as a completely exclusive space. Its formal constitution is associated with the reign of D. Afonso IV, in the wider context of royal policies that required Jewish communities to live in their own defined urban areas.

By 1381, Torres Vedras had twenty-five Jewish families, estimated at about ten percent of the town’s population. This is a substantial figure and shows that the comuna was not marginal. Its growth continued through the fifteenth century, and the Judiaria had to be enlarged in 1469.

The surviving names also show a community with recognized figures and internal hierarchy. The Guedelha family appears early and prominently in the record. The references to a rabbi of the Jews of Torres Vedras and to a rabi-mor tied to the royal court indicate a community with status, religious leadership, and connections beyond the town itself.

No specifically Jewish building survives in Torres Vedras today. The former Judiaria is known through medieval documentation and through the identification of its location in the urban fabric, in the area of today’s Rua dos Celeiros de Santa Maria.

The Jewish community of Alenquer appears in medieval fiscal records as an organized and taxable comuna. Academic work on royal taxation notes that, in the fifteenth century, Alenquer is listed among the Jewish communities that contributed, together with places such as Leiria, Abrantes, Santarém, and Torres Novas, to royal fiscal obligations connected to Ceuta. This is the clearest documentary proof available in open sources for the existence of a recognized Jewish community in the town.

Documentary Evidence

The clearest local proof is the memory of the Adro dos Judeus, identified in Alenquer municipal planning documentation as the former Jewish cemetery. The same source states that this area was later occupied by the Real Fábrica, built in the early nineteenth century. The cemetery itself no longer survives as a visible Jewish site, but its location remained recorded in the town’s historical topography.

What Survives

The most direct surviving reference is the Adro dos Judeus, the former Jewish cemetery later occupied by the Real Fábrica. In Alenquer, the Jewish past survives mainly through documents and place-memory, not through preserved Jewish buildings.

Jewish Cultural Center Rua da Judiaria & JCC Lisbon was founded in 2019 by Luciano Waldman in Lisbon’s old Judiaria of Alfama. It was created to restore visibility to Rua da Judiaria and to establish an active institution dedicated to Jewish heritage, research, education, and public culture.

Rua da Judiaria was central to the project from the start. The street preserves, in its own name, a direct urban trace of medieval Jewish Lisbon. The center was therefore established in a place where Jewish memory had survived in the toponymy and the urban fabric, but where there was still no living Jewish institution focused on interpretation, education, and continuity.

First Phase of the Center

In its first years, the center focused on the preservation and promotion of Jewish-Portuguese heritage. Its work included historical interpretation, guided visits, cultural programming, exhibitions, lectures, and activities related to Sephardic history and memory. Over time, it became a meeting point for visitors, researchers, artists, diplomats, schools, local residents, and Jewish communities.

This phase defined the institution’s identity. Rather than treating Jewish history as a decorative layer of the city, the center used Rua da Judiaria as a starting point for a broader reading of Jewish Lisbon, from the medieval quarters to forced conversion, the Inquisition, and the modern return of Jewish communal life.

Expansion of the Project

As the project developed, its scope expanded beyond Alfama. Rua da Judiaria became the base for a wider institutional vision linking heritage preservation, Jewish education, contemporary culture, environmental awareness, and civic memory. Within that framework, the center developed initiatives such as intercultural dialogue meetings, exhibitions, Tu BiShvat activities, Reverse Tashlich, and the Daffodil Project.

The creation of JCC Lisbon added a contemporary communal dimension to this work. It reinforced the idea that Jewish heritage in Portugal should not be reduced to ruins or absence. Jewish life is also educational, ethical, communal, and present.

Stolpersteine Portugal

A major step in the institution’s development was the creation and coordination of Stolpersteine Portugal. Through the work of Luciano Waldman and the Centro Cultural Rua da Judiaria, Portugal joined one of Europe’s most important decentralized Holocaust remembrance projects. This required historical research, biographical reconstruction, municipal coordination, and public commemoration, expanding the institution’s mission from local heritage to national memory.

In 2026, that work gained new visibility with the installation of Portugal’s first Stolperschwelle in Lisbon, dedicated to refugees who passed through the city while fleeing Nazism. This confirmed the institution’s ability to connect historical research with public memory in concrete form.

Jew Where

Today, Jewish Cultural Center Rua da Judiaria & JCC Lisbon is entering a new phase through Jew Where, a digital platform dedicated to mapping and interpreting Jewish heritage in Lisbon, Portugal, and beyond. What began in 2019 in one historic street has expanded into a broader project of heritage interpretation, remembrance, cultural programming, community-building, and digital mapping.

Shaar Hashamaim, “Portico of Heaven,” was founded in 1813 in what was then Beco da Linheira, today Travessa do Ferragial, under the leadership of Rabbi Abraham Dabella. It is generally identified as the first public synagogue of modern Lisbon, at a moment when the Jewish presence in the city was beginning to take shape again, although still without full legal recognition. Early twentieth-century reference sources emphasize precisely this ambiguous situation: Jews were tolerated, but did not yet have a fully stabilized status, which makes this foundation a particularly important milestone in the return of organized Jewish life to the Portuguese capital.

The creation of the synagogue did not arise out of nowhere. From the end of the eighteenth century and the beginning of the nineteenth, small Jewish groups, connected above all to international trade, were settling again in Lisbon; in 1801 they had already obtained a burial space in the English cemetery of Estrela, and in the following decade there were private or rudimentary places of worship. Shaar Hashamaim thus marked the passage from a discreet and domestic religious practice to a more stable communal structure, although still conditioned by the legal limitations imposed on non-Catholic worship.

The importance of this synagogue is also measured by the continuity it generated. After the death of Abraham Dabella, in 1853, its administration passed to a committee composed of Leão Amzalak, Levy Bensabath, Abraham Cohen, Fortunato Naure, Mair, and Moisés Buzaglo. This shows that Shaar Hashamaim was not an isolated episode, but part of a broader process of institutional consolidation. A recent study points in the same direction by linking this nucleus to the genealogy of the future Jewish Community of Lisbon and indicating that the synagogue remained active in 1913.

The street itself also helps to read this history. The old Beco da Linheira officially came to be called Travessa do Ferragial by decree of 7 November 1874, preserving only indirectly the memory of the place where the synagogue functioned. Although the material history of the building still remains somewhat unclear today in the more accessible bibliography, Shaar Hashamaim retains an exceptional historical value: it was one of the first spaces in which the modern Jewish presence in Lisbon ceased to be merely tolerated in private and acquired a communal, urban, and lasting form.

The Ancient Jewish Cemetery of Estrela is the first Jewish burial ground of modern Lisbon, created at a time when Jewish presence as a public religious practice was still fragile and recent. In the early 19th century, small groups of Jews, mainly from Morocco and Gibraltar, began to resettle in Portugal, with communities forming in Lisbon, the Azores, and Faro. In Lisbon, many cautiously retained British citizenship, a factor that helps explain the cemetery’s connection to the grounds of the British Cemetery in Estrela.

In 1801, a small plot of land was obtained within the British Cemetery of Estrela to allow burials according to Jewish ritual. The earliest identified grave is that of José Amzalaga, who died on 26 February 1804, as recorded in the epitaph. For approximately six decades, this was the main burial place for the Jewish population of Lisbon, until 1865, when the space became saturated.

From a material perspective, the cemetery is small in scale, with around 150 graves, mostly marked by horizontal gravestones in the Sephardic tradition. Cleaning and stabilization actions were recorded, including the consolidation of walls, during interventions carried out in the 2010s.

Jewish funerary continuity in the city was reorganized from 1868 onward, when a royal decree authorized the creation of a new cemetery on Calçada das Lages, today Avenida Afonso III, which remains the active cemetery of the community. Later, in 1892, the statutes of the Guemilut Hassadim Association were ratified, assigning it the mission of providing religious and funerary support and of administering both cemeteries, the one at Rua Nova à Estrela and the one at Calçada das Lages, including death records.

Today, the former cemetery remains largely invisible and is, in practice, not open to visitors, even when visiting the British Cemetery itself, where the Jewish graves are explicitly described as inaccessible.

In recent years, the surrounding urban context has brought the site back into public debate. The transformation of the so-called English Quarter into a private residential complex includes reference to the former Jewish cemetery and a proposal to keep it covered by a landscaped pergola, specifically to reduce its visibility from the surrounding residences. Public discussion around the project highlighted a risk: rather than valuing and explaining this heritage, the architectural solution may end up making it even less visible.

As a closed and discreet site, this cemetery nevertheless retains exceptional historical value, not only as a physical trace of the Jewish return to Lisbon in the 19th century, but also as a material marker of a city in which the normalization of modern Jewish life had to be built step by step, even before the formal abolition of the Inquisition in 1821.

Rossio Square and the former Paço dos Estaus are linked to one of the decisive ruptures in Portuguese Jewish history. After King Manuel’s expulsion decree, Jews were led to believe that they would be allowed to leave the kingdom. Instead, the crown concentrated many of them in Lisbon, restricted departure, and turned the promised embarkation into compulsory conversion. The final phase of that process was centered at Rossio, where the Estaus stood on the square’s northern side.

On Easter Sunday, 26 March 1497, the mass baptism took place by the Estaus House. Jews gathered in Lisbon were taken to several churches across the city and forcibly baptized, without free consent. What had been presented as departure ended in forced incorporation into Christianity, and openly organized Jewish communal life in Portugal was brought to an end.

After 1497, there were no longer publicly recognized Jewish communities in the kingdom. In their place emerged the category of “New Christians”, while Jewish practice, identity, and memory persisted in concealed, fragmented, and often persecuted forms.

In the early 20th century, the photographic studio known as Photographia Ingleza was operated in Lisbon by the brothers Josef (Joseph) Lazarus and Maurice Lazarus, two figures associated with the modern Jewish presence in the city. The studio was established on Rua Ivens, in the Chiado area, one of Lisbon’s most dynamic cultural and commercial districts at the time.

Before settling in Lisbon, the Lazarus brothers had worked extensively in Mozambique, where they became pioneers in the large-scale production of photographic postcards and albums depicting colonial life. This experience shaped their technical expertise and commercial approach to photography. On May 1, 1909, they officially opened Photographia Ingleza in Lisbon, positioning the studio as a provider of high-quality portraiture and photographic prints.

Only three days after its opening, the studio received formal appointment as photographer to the Portuguese Royal Household, a distinction that placed Photographia Ingleza among the most prestigious photographic establishments in the country. From their premises on Rua Ivens, the Lazarus brothers produced studio portraits, official photographs, and images that circulated widely in illustrated magazines and visual media of the period.

The address of the studio is documented as Rua Ivens 53, Lisbon, a detail preserved through photographic stamps and museum records. This location is particularly significant, as it situates the Lazarus brothers within a street already closely linked to the history of Portuguese photography. It is noteworthy, and somewhat ironic, that Photographia Ingleza operated on Rua Ivens, the same street where the renowned photographer Joshua Benoliel lived. This coincidence highlights Rua Ivens as a discreet but important axis of early 20th century photographic production in Lisbon, bringing together, within the same urban space, key figures of the city’s visual culture.

Within the context of Jew Where, Photographia Ingleza stands as a marker of Jewish professional life in modern Lisbon and of the contribution of Jewish photographers to the construction of the city’s visual memory during the period of Jewish reestablishment in Portugal.

The neoclassical statue of Pedro IV stands at the center of Rossio Square, one of the most symbolically charged spaces in Lisbon’s history. Erected in 1870, the monument honors the monarch who granted the Constitutional Charter of 1826 and embodied the liberal transformation of Portugal.

Pedro IV’s political legacy is directly connected to Jewish history in Portugal. The constitutional order he established consolidated the dismantling of the legal foundations of the Inquisition and brought an end to centuries of institutionalized religious discrimination. Although the Inquisition had been formally abolished in 1821, it was the liberal constitutional framework that ensured civil equality and religious freedom, creating the conditions for Jews to return openly to Portugal and to reconstitute communal life during the 19th century after more than three centuries of forced conversion, exile, and persecution.

Artistically, the monument follows a neoclassical language inspired by Roman triumphal columns. The statue rises on a tall Corinthian column, with Pedro IV holding the Constitutional Charter as a symbol of constitutional rule and civil liberties. At the base of the column stand four allegorical female figures representing Justice, Wisdom, Strength, and Moderation, virtues associated with enlightened and constitutional governance.

The placement of the monument is deeply symbolic. Rossio Square was the main stage of the Portuguese Inquisition’s autos-da-fé from the 16th to the 18th centuries, where thousands of New Christians, many of Jewish origin, were publicly judged, humiliated, and executed. The statue thus marks a clear rupture between a space once defined by religious terror and a new civic landscape grounded in legal equality and constitutional freedom.

Alain Oulman (1929–1990) was one of the most influential cultural figures of 20th-century Portugal. A composer, intellectual, and political dissident of Sephardic Jewish origin, Oulman played a decisive role in transforming Portuguese music, particularly fado, by introducing a new musical language grounded in literary depth, harmonic innovation, and poetic rigor. His work marked a clear break with traditional forms and helped redefine the genre in a modern context.

Oulman collaborated closely with leading Portuguese poets and writers and is especially remembered for his partnership with Amália Rodrigues, for whom he composed some of the most emblematic works of modern fado. Beyond music, he was deeply engaged in intellectual and political life, opposing the Estado Novo dictatorship. This commitment led to his arrest by the political police (PIDE) in 1966 and, shortly thereafter, to forced exile in Paris, where he continued his cultural activity until his death.

Alain Oulman was born in Paço de Arcos, in the house marked at this location. The residence is directly associated with his origins and early life and later became a meaningful space within his personal and cultural trajectory. During the mid-20th century, the house functioned as a private setting of artistic creation and intellectual exchange, hosting musicians, poets, and thinkers at a time when public cultural expression was constrained by censorship.

As a place of birth and as a lived space connected to his formative years, the house stands as a material anchor to Oulman’s biography. Within the context of Jewish history in Portugal, it represents a modern and secular expression of Jewish presence, rooted in cultural production, intellectual resistance, and civic engagement. As a point on the Jew Where map, the house marks not only a physical location, but also the beginning of a life that would leave a lasting imprint on Portuguese cultural history.