Extraordinary and stunning panoramic view of Macao, stretching from South to North over the emblematic Praia Grande Bay, the setting for Macao’s outer harbor, located at the entrance to the Pearl River Delta.1 Buildings of European in uence extend to the edge of the beach. In the foreground, on the left, stands the Fortress of Our Lady of Bom Parto (1), which was remodeled in 1755, presenting, since then, a wide bastion facing the sea, clearly visible here. e rocky nature of the terrain imposed an irregular layout, with parapets ­tted with brick gun emplacements, resting on solid granite foundations. From this fortress, a steeply inclined wall extended, ending at Penha Hill, where the Fort of Our Lady of Penha de França2 stands, the point where the artist would have been located. Following the view, one identifies the Church of Saint Lawrence (2), erected by the Jesuits in honour of their patron saint. Considered one of the oldest churches in Macao, it was initially built of wood, later rebuilt in rammed earth in 1618 and, later still, in stone, between 1801 and 1803, where one can observe the crowning of the towers with urn-shaped torches,3 destroyed in 1846. Following the view, we ­nd the Monastery and Church of Saint Augustine (3) (?), founded at the end of the 16th century. e complex was initially built by Spanish Augustinian friars, who abandoned it in 1589, heading for Manila, and it was occupied by friars of Portuguese origin. Two years later, the community moved to Saint Augustine Hill, where the church dedicated to Our Lady of Grace was built. e Count of La Pérouse4 mentions that an observatory intended for astronomical and nautical5 purposes was built in the Augustinian convent. He also refers to a walled tower on the right side of the church; this information is corroborated by contemporary graphic sources that allude to a ‘primitive tower’, similar in appearance to that of the Church of Mercy, which surrounded the Cathedral.6 Although there are doubts about its actual existence, it was not possible to ­nd any references to this structure in the consulted bibliography.7

In the same direction, where the gaze extends, we identify the Fortress of Our Lady of the Mount (4), also called the Fortress of Saint Paul—perhaps the most important bastion, situated ­fty-­ve meters above sea level, on a hill overlooking the city and in the center of the Macao peninsula, next to the Jesuits College. Beside it appears a facade, which we believe to be the Church of the Assumption of Our Lady (5) or of Saint Paul8—built between 1602 and 1640, of which only the facade dating from 1636 remains today—as well as the College of Saint Paul, located next to the church, both of which were destroyed by a ­re in 1835. Together, the old Church of Madre de Deus, the College of St. Paul, and the Mount Fortress were Jesuit constructions, forming a complex that can be identi­ed as the ‘acropolis’ of Macao. And further on, the Fortress of Our Lady of Guia (6)—which is located at the highest point in Macao, making it a privileged observation point. e Lighthouse, built in 1865, is not yet visible in this representation. Finally, we sighted the Monastery and Church of St. Francis (7)—the latter founded in 1579 on a rock. e Church was dedicated to Our Lady of the Angels and, by 1780, it was already in great ruin, both having been destroyed in 1861. And at its feet would stand the Saint Francis Fortress (8), which by 1748 was already partially destroyed, with a large section of the wall knocked down. Only later, around 1864, would it be rebuilt with thick masonry work. In the Bay, almost level and on watch over this outer harbor of Praia Grande, the Saint Peter’s Fort (9) occupies a central position. It was an important Portuguese forti­cation, built around 1622 and forming, with the São Francisco Fort (8) and the Bom Parto Fortress (1), the main defense system of the South Coast of Macao. e promenade along the beach is populated by commercial buildings and residences, with compact facades, following the traditional model of the Portuguese manor house, with few continuous balconies and porticoed galleries.9 On the beach, some passersby stroll, while five sampans navigate the river, near the breaking waves, with other small boats anchored in the background. Further from the bank, four junks navigate e composition functions as a true ‘picture postcard’, visually arming Macao’s role as a strategic entrepôt in the Canton Trade System. Embedded in the tradition of Macao’s Commercial Paintings, developed with particular intensity in the 18th and early 19th centuries,10 this work is an excellent example of the international circulation of these images, whether as merchandise, travel souvenirs, or prestige objects. ese representations constitute visual documents of great historical value, revealing the economic and social growth of Macao after the restrictions imposed on foreigners in Canton.11 An oil painting on canvas, dated around 1805 and belonging to the collection of Carl L. Crossman, is presented as identical to this one, reinforcing the diusion and standardization of this iconographic model.12• TP

1 The identification of some monuments benefited from constructive debate and the support of Dr. Alexandre Correia, from the Cultural Directorate–Documentation Center of the Museum of the Oriente Foundation, and Eng. José Afonso Lima, to whom we are grateful.

2 Dias, Pedro, Portuguese Art in the World–Far East, Lisbon, Público, 2009, pp. 114 and 115.

3 Idem, ibidem, p. 149; https://hpip.org/pt/heritage/details/490

4 Cf.: Jean François Galaup, Count of La Pérouse, (1741–c. 1788), French navigator, on his naval expedition, landed in Macau in 1786.

5 Dulken, H. W., The world’s Explorers or travels and adventures. London: Ward, Lock and Tyler, n.d. Apud.

6 Some authors place the old Cathedral, dedicated to the Nativity of Our Lady and integrated into the complex of the Santa Casa da Misericórdia (Holy House of Mercy), which also had a walled tower, in this same location. The Cathedral building, originally built of rammed earth around 1622 and improved in 1742, was then rebuilt in stone c. 1844, with the façade reoriented to the north, flanked by two bell towers and spires in the form of small temples.

7 Barreira, Hugo Daniel Silva, Op. Cit., p. 191.

8 Church of the Assumption of Our Lady, annexed and private to the Madre de Deus College and known as the Church of Saint Paul.

9 Fernandes, José Manuel, Macau between the 19th and 20th centuries, urbanism and infrastructure from 1820 to 1920. Cf.: https://www.icm.gov.mo/rc/viewer/30035/2016 10 Osswald, Cristina, ‘Globalizing Macau: On Macau’s Trade Paintings (18th–19th centuries)’ in Perspectiva Pictorum/Free Articles, v. 4, no. 1, Jan–Jun/2025, ISSN: 2965–1085. 11 The restrictions imposed by Emperor Qianlong (1711–1799) on foreign residence in Canton favored the economic and social growth of Macau, which became a place of residence, leisure and tourism for Western elites. 12 Crossman, Carl L, The Decorative Arts of The China Trade–Paintings, furnishings and exotic curiosities, UK, Antique Collectors’ Club, 1991, fig. 1, p. 410.