Malhada do Judeu is a rural toponym in the parish of Santa Catarina da Fonte do Bispo, in the municipality of Tavira. Its importance lies not in the survival of a synagogue, cemetery, or other identifiable Jewish structure, but in the name itself. In this case, the historical value is toponymic: the landscape preserves a memory that outlasted the people, buildings, and social circumstances that first produced it.

Toponyms of this kind matter because they may reflect a deeper historical shift. In some medieval contexts, Jews faced limits on their relationship with land, rural property, and agricultural activity. Yet names such as Malhada do Judeu suggest that, over time, Jewish presence could also become associated with rural space, land use, or local ownership. The place-name does not prove the full history on its own, but it points to a social and territorial imprint that survived in the landscape long after its original context became obscure.

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 Jewish Museum of Belmonte is one of the clearest places in Portugal for understanding how Jewish life could survive rupture, silence, and forced concealment, and later return to public view. Opened in 2005 as the first museum in the country dedicated specifically to Jewish heritage, it was created not simply to display objects, but to tell the unusually long and layered story of Belmonte: medieval presence, forced conversion, crypto-Jewish endurance, and the gradual reemergence of communal Jewish life in the modern era.

What the museum offers, above all, is historical continuity. It does not present Judaism as an abstract religion detached from place, but as something lived locally across centuries, sometimes openly, sometimes in secrecy, always under changing conditions. In Belmonte, that means the museum helps translate family memory, ritual fragments, domestic practice, and historical rupture into a coherent public narrative. It gives institutional form to a history that for a long time survived without one.

Its collection reflects that purpose. The museum preserves more than one hundred objects, including religious pieces, domestic materials, and items linked to everyday and professional life, especially from Jewish families of Beira Interior and Trás-os-Montes. Rather than functioning as a generic display of ceremonial Judaica, the collection is tied to lived experience, to the material world through which Jewish identity was practiced, adapted, and remembered in Portugal.

Samuel Schwarz belongs naturally within this story. More than a scholar who wrote about Belmonte from the outside, he became one of the central figures in the modern recognition of the town’s Jewish past. His work helped bring broader attention to the survival of crypto-Jewish life in Portugal, and Belmonte became inseparable from that discovery. The museum itself has acknowledged this connection directly, including exhibitions in his honor and later efforts by the municipality to bring Schwarz-related material into the museum’s orbit.

In that sense, the museum does more than preserve objects. It gathers together memory, scholarship, and communal history in the very town where those strands meet most powerfully. Belmonte is not only one of the places Samuel Schwarz helped the world to see more clearly, it is also one of the places where that recovered history was eventually given a permanent institutional home.

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.

The Casa da Inquisição of Monsaraz is located at Travessa do Quebra-Costas 7, inside the walls of the medieval village. The building is known through local tradition as the “House of the Inquisition”. However, Monsaraz did not have its own permanent tribunal of the Holy Office. Inquisitorial cases connected to residents or natives of Monsaraz were mainly handled by the Tribunal of the Holy Office of Évora.

Casa da Inquisição and local tradition

The building has been described as a possible lodging place for a familiar of the Holy Office, or as a temporary place where accused persons may have stayed before being sent to trial in Évora. This interpretation is cautious. It separates the local name of the building from the existence of an actual inquisitorial court, which is not documented for Monsaraz.

The Casa da Inquisição was later requalified as the Centro Interativo da História Judaica and inaugurated on 16 July 2016. The centre presents the Jewish history of Monsaraz through documents, digital interpretation and thematic rooms.

Jewish history and exhibition

The exhibition includes areas dedicated to the history and heritage of Monsaraz, the so-called Religions of the Book, and Judaism in Monsaraz. The section on Judaism was developed from existing documents and artefacts connected to the Jewish presence in the village. The centre also includes a workspace for researchers and students.

Between 1553 and 1767, 86 inquisitorial proceedings were opened against residents or natives of Monsaraz. Of these, 77 were processed in Évora, 8 in Lisbon and 1 in Coimbra. The records show that 67 proceedings were related to accusations of Judaism, heresy and apostasy. The accused included 53 men and 33 women. Two men and one woman were sentenced to secular justice.

Inquisitorial records from Monsaraz

Some proceedings describe practices interpreted by the Inquisition as Jewish. These included sweeping the house from the street door inward, using a low table, avoiding pork, rabbit, hare and fish without scales, praying to Moses, and lighting a candle on Shabbat.

The Casa da Inquisição is therefore relevant not because it proves the existence of a tribunal in Monsaraz, but because it preserves the local memory of persecution and now functions as a documented interpretive centre for the Jewish history of Monsaraz.

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.