The place where Vasco da Gama spent the night before starting on his voyage of discovery, and where he was received by Emmanuel I., on his triumphant return in 1499, was called Bairro de Restello, and here stood a small Ermida, or hermitage, which had been founded for the use of navigators by the great pioneer of maritime discovery, Prince Henry the Navigator.

Osorio, Bishop of Sylves, thus describes the embarcation of the successful expedition which Belem specially commemorates: There was a chapel by the seaside, about four miles from Lisbon, built by Emmanuel in honour of the Virgin Mary; thither Gama resorted the day before he went aboard, and spent the whole night in offering up prayers, and performing other religious duties. Next day he was followed by vast crowds of people to take leave of him and the rest who embarked in the expedition. Not only those in holy orders, but all present, with one voice put up their petitions to the Almighty that he would grant them a prosperous voyage and a safe return. Many of those who came to see them aboard were deeply concerned, and expressed their sorrow as if they had come to the funeral of their friends. “Behold,” said they, “the cursed effects of avarice and ambition! What greater punishment could be devised for these men, if guilty of the blackest crimes? To be thrown upon the merciless ocean, to encounter all the dangers of such a voyage, and venture their lives in a thousand shapes. Would it not be more eligible to suffer death at home than be buried in the deep at such a distance from their native country? These, and many other things did their fears suggest. But Gama, though he shed some tears at departure from his friends, was full of hope, and went aboard with great alacrity. He sailed on the 9th of July, 1497. Those who stood on the shore followed the ships with their eyes; nor did they move from thence till the fleet was under full sail, and quite out of sight.” A few weeks after the return of Vasco da Gama, the foundation-stone of the edifice was laid by the thankful monarch. Boutaca, who was responsible for some of the work at Setubal, supplied the general design, and its details were worked out by the famous Joao de Castilho, who assumed the superintendence of the work in 1517. John III. discontinued the work in 1551, and it is still incomplete. The first stone was laid in 1500 by the Fortunate King with great ceremony, and the construction progressed very rapidly. The limestone of which the buildings were constructed was procured from the Alcantara valley in the vicinity, and lends itself readily to exquisite carving. Originally white when it came from the quarry, it has now mellowed into tints of rich brown, and it is very durable.

The architectural style of the building is what is called the Arte Manoelina, called after the king, Emmanuel I., the Fortunate, (1495–1521) under whose reign it flourished. It is a transitional style, or rather a luxuriant medley of Gothic, Renaissance and Mauresque. Its wealth of detail often borders on the extravagant and fantastic, but its interest cannot be denied. Belem has been said to be the last struggle between Christian and Pagan art in Portugal, and it shows the scars of both in its excessive ornamentation. Its barbaric splendour of enriched stonework cannot fail to fascinate the art-lover, though it is inferior even in these characteristics to the beautiful Capella Imperfeita at Batalha.

There is a strange story told of the building of the church of Belem. The architect had made some miscalculation, so that when the scaffolding of the nave was removed, the vaulted roof fell, killing a number of the workmen. When the damage was repaired, the architect was so nervous that he fled to France. The king consequently gave orders for the removal of the scaffolding by criminals under sentence of death, with a promise of pardon in case they escaped death. It is related that the walls and roof stood the strain this time, and the criminals received the timbers of the scaffolding as perquisites, used them in building houses for themselves, and later became pillars of society. When the architect heard that his plans were justified, he returned and was rewarded for his work with a pension. He also was honoured by having his bust carved on one of the pillars.

The entire building is erected on a foundation of pine piles, and suffered scarcely any damage in the great earthquake of 1755.

The great church contains many features of interest, several chapels, magnificent arches, pulpits and choir stalls, and numberless statues. Of the lifelike figure of St. Jerome, Philip II. said: “I am waiting for it to speak to me.” The stalls are delicately carved with intricate Arabesque tracery. There are two organs, one of which shows traces of former magnificence. The capella-mór (death chapel) of Renaissance decoration is entered through a magnificent arch flanked by two richly carved pulpits. On the North in recesses are the tombs of King Emmanuel and his Queen Maria, and on the South are similar ones of Joao III. and his Queen Catharina. These sarcophagi are borne by elephants. In the chapel beyond are tombs of other royal personages, including that of King Sebastian, who mysteriously disappeared at the battle of Al-Kasr al-Kebîr (1578); the eight children of Joao III., and a natural son of his, Don Duarte, Archbishop of Braga. Close by is the tomb of Catherine of Braganza, the neglected wife of the Merry Monarch, Charles II. of England; and others of the Cardinal King Henrique and other Infantes. Behind the high altar is a chapel containing the tombs of Alfonso VI., his brother Theodosio and a sister. The king is attired in the costume of the period in which he lived, and his body is said to be in perfect preservation.

The chief glory of the convent, however, is its superb cloisters, the masterpiece of Joao de Castilho. They are about 180 feet square, surrounded by a two-storied arcade. Other features are the Casa Pia, the Refectory, the Sacristy and the Capella dos Jeronymos. The Sala dos Reis contains (some imaginary) portraits of the kings of Portugal down to John VI. The Spanish usurpers are omitted.

At the Eastern extremity of the suburb of Belem, on the banks of the Tagus, are the constructions of the Belem tower, a massive building rather more than 100 feet square, flanked on the corners by Gothic turrets. It shelters a telegraph station and battery that defends the port.

This tower (Torre de Sao Vicente) is generally regarded as one of the most interesting structures in Lisbon. It stands really on a rocky islet in the Tagus, but the silting up of the channel between it and the shore renders its position less imposing than it used to be. Moreover its picturesque effect has been further marred by the erection of factories in the immediate vicinity.

In the castle of Belem is kept a registry-office for all vessels that enter or leave the Tagus; as well as an establishment of custom-house officers, health officers and naval police for the protection of property.

The Torre de Belem is of three stories, and its commanding situation affords a splendid view of the beautiful Tagus. Belem now forms a suburb of Lisbon, and the vineyards that formerly adorned the intervening banks of the river have been largely utilized for building purposes, but the tower still forms a striking object in the landscape and dominates the vicinity. The rhapsodies of travellers who visited Lisbon half a century ago are still justified. One of them writes: “From this point, the view up the river, to the East, is grand beyond all conception; and, to do the magnificent opening of the scenery justice, the most elaborate description would be perfectly inadequate. The breadth of the mighty river crowded with the vessels of every nation; men-of-war at anchor, and in various stages of equipment; the heights to the South crowned with batteries, villages and vineyards, descending down their sides to the very skirts of the water; the numerous fishing and pleasure-boats gliding swiftly across the river in various directions; the long uninterrupted line of palaces, convents and houses, running along the shore from Belem to Lisbon, under the elevated ridge upon which the splendid residence of the Portuguese sovereigns, the Ajuda, is erected, and then the beauteous city itself, with its domes and towers and gorgeous buildings, extended over its many hills; and, above all, the deep blue of the heaven’s dazzling canopy above,—form a combination of objects, the striking interest of which can scarcely be represented to a northern imagination.”

The tower is said to be modelled on an old design by Garcia da Resende. The lower part adjoins a sort of platform projecting over the river, and is enclosed by a parapet with battlements and the shields of the Knights of Christ. Six ornate turrets copied from Indian originals adorn the corners. The decoration of the square tower itself on the front facing the river consists of a balcony with traceried parapet and round-headed windows. The other sides have bow-windows. Higher up, the tower is girt with a passage for the use of its defenders. Four Indian turrets ornament the flat roof. The interior contains several square rooms which have suffered many restorations. One of them, the Sala Regia is celebrated for its peculiar acoustic properties. The basement is divided into dungeons that have seldom been vacant in the past. The prisoners immured there received light and air only through gratings in the floor of the casemates. They were constantly filled with political offenders under Miguel.