Portuguese legislation on museums during the Estado Novo

Portuguese legislation on museums during the Estado Novo:

from the First Republic inheritance to the changes of the sixties.

Sérgio Lira

The Portuguese political process after the republican revolution (1910, October the 5^th) changed almost all aspects of Portuguese life, even those related with educational and cultural matters. Political struggles, inherited from the last decades of the monarchy, overwhelmed all aspects of national day-to-day life. In 1926 (May the 28^th) a military revolution took place. One of the military's first intentions was to put an end to the permanent political confrontation that was responsible for the lack of a government's stable policy. This intention, in spite of all the contra revolution attempts, led in a short period of time to a major political change: the republican parliamentary regime came to an end and from then on a military dictatorship guaranteed a governmental stability that brought financial and economic balance in a few years. The military dictatorship ended in 1933 when a new Constitution was approved by general referendum. This new Constitution marks the formal beginning of the Estado Novo (Rosas, 1986; Rosas, 1990; Rosas, 1994).

Many of the political options of the Estado Novo had already been defended by the military dictatorship policy and part of their legislation had been prepared during the late twenties. Thus the ideological basis of the Estado Novo was grounded well before the referendum that gave legal status to the new regime (Nogueira, 1977/81; Ferro, 1933). Nevertheless it was the approval of the Constitution of 1933 that marked the commencement of a regime that would last until 1974. The political discourse of this new regime was based on some essential principals that are worth mentioning: the corporative State; the Nation, united around the common purpose of redeeming national dignity; the importance of moral, political and patriotic values; the affirmation of Portugal (tiny country of Western Europe) into the European diplomacy and political struggle. (On this matter it is of interest to read Salazar's own words. Salazar, 1946: 76, 128 and 130 to135).

Behind all those purposes, and as important as the financial and economic needs, the Estado Novo wanted to reaffirm the Portuguese identity. It is my intention to analyse the use of museums and temporary exhibitions for that purpose, which was in fact only one among several other decisions leading to that objective (that are not the aim of my present research). The Estado Novo understood at a very early stage, that, if correctly used, patrimony was a major ideological and political weapon.

During the late nineteen twenties, and the early nineteen thirties, Portuguese governments had important legislative concerns towards cultural patrimony. The military dictatorship, and after that the Estado Novo, inherited from the First Republic a very well organised corpus of laws concerning art, historical and archaeological patrimony as well as national monuments. This was one of the first fields of the legislative intervention of the Estado Novo. Some of the republican laws were maintained, as they were considered efficient and well designed, while others, less effective, were abolished. The Estado Novo, after the military dictatorship aiming at the same objectives, prepared a legislative corpus concerning art, cultural patrimony, monuments and museums that lasted until the sixties. During the fifties some signals of change can be found, but only in 1965 was a deep conceptual change operated through a law (decree number 46758) which is commonly known as the 'General Regulation for Art, History and Archaeology Museums' (On what concerns Portugal see Santos, 1970 and Moreira, 1989. For a broader perspective see Kavanagh, 1990).

In this paper I will present the most important laws concerning museums produced during both the military dictatorship and the Estado Novo. I will also try to determine the fundamental values beneath those laws, especially regarding those concerning the organisation of museums and their objectives. Finally I will try to explain what the conception of 'museum object', under the optic of the legislation of the Estado Novo was as well as its political and ideological use.

1 - Laws in chronological order.

First of all, and before going into a detailed analysis, I must present the laws that are the documentary sources of this paper.

Obviously, it would be impossible (or at least fastidious) to analyse all the legislative pieces concerning museums that were produced during the period under study. Thus, I decided to choose the decrees that had nation-wide importance and were really decisive for the existence of museums. A complete list of laws and decrees quoted in this paper can be found at the end, organised in chronological order.

After the revolution the military dictatorship did not intend to begin everything from scratch: legislation on patrimony and museums is one of the examples of some continuity. It will therefore be necessary to begin with two diplomas produced before the revolution of 1926: the law number 1700 (1924, December the 18^th) organised the 'Superior Council of Fine Arts' and the 'Art and Archaeology Councils' was also dedicated to national monuments and to the preservation and inventorying of national patrimony and had museums among its concerns. In 1926 (February the 13^th) the decree number 11445 was published to complete the aspects of that law, considered insufficiently developed. Then, in 1932, this legislation was partially changed and partially repealed during the military dictatorship.

After the revolution of 1926, and even before the new Constitution of 1933, a large number of laws concerning this subject were produced. The decree number 15216 (1928, March the 14^th) reorganised all artistic and archaeological services; in 1929 (April the 30^th) the decree number 16791 created a new department in government, the 'General Department of National Buildings and Monuments'; then the end of free access to museums was prepared by the decree number 19414 (1931, March the 5^th); the decree number 20586 (1931, December the 4^th) was intended to protect all patrimony that had not been referred in previous legislation; in 1932 (March the 7^th) the decree number 20985 changed and annulled important parts of previous legislation, in particular the above mentioned law number 1700; a regulation for the courses for museum curators and tyrocinium appears in 1933, January the 12^th, under the decree number 22110.

I will also analyse the decree number 39116 (1953, February the 27^th) which changed what had been determined by the decree number 22110, and the already mentioned decree number 46758 commonly known as the 'General Regulation for Art, History and Archaeology Museums', this changed almost everything as far as objectives, organisation and administrative structure of museums are concerned.

2 - Before the Estado Novo.

The first document I will consider is the law number 1700 which is divided into seven chapters (some of which with internal sub-divisions) and had an important role in matters related to fine arts (chapter I), art and archaeology (chapter II), museums (chapter IV), protection of art and archaeology patrimony (chapter V), and finally, monuments and national palaces (chapter VI). Despite the fact that this law was conceived and published as a whole, I will pay special attention to the chapter concerning museums.

The main concerns that can be noticed when reading this chapter are the inspection and supervision of museums. The first item of this chapter is, in fact, about inspection: the Art and Archaeology Councils' Chairmen should verify the normal work of museums under Government subvention. This inspection would be specifically concerned with organisation and administration, good care of art objects and respect of security rules. Government should be immediately informed of any action disregarding what was established or that could jeopardise the terms of cultural patrimony protection against illegal trade and exportation.

Acquisitions were another responsibility of the Art and Archaeology Councils: Museums should always ask for and respect their opinion on this matter. Sometimes it was the Council itself that should take the initiative for an acquisition, the museum being expected to accept the decision with almost no possibility of interference. Government was responsible for choosing most of the museum staff; Directors and curators depended on governmental decisions for nearly everything. Internal organisation of museums and fundamental rules for functioning are absent from this law.

Still on issues related with museums, other parts of this law are of interest. The Superior Council of Fine Arts had the final word on what concerns foundation of new museums, acquisition, building and adaptation of already built museums. The Art and Archaeology Councils were responsible for the study, conservation and enrichment of museum collections, should organise temporary exhibitions and determine what objects should be in permanent exhibition as well as the ones that should be kept in reserves. They were also responsible for conservation and restoration decisions. Finally the Councils had financial power over the budget of museums, expenses and acquisitions. This scenario appears to be a very difficult one, but it must be kept in mind that museum directors were necessarily permanent members of the art and archaeology Councils.

Finally, another very important aspect of this law is the rules and limitations on patrimony trade and exportation. A national list of objects with historical, archaeological or artistic value was determined and all the objects belonging to that list could neither be exported nor transacted without prior notice to official entities[1]. The Portuguese State would always be given preference in the acquisition and, if the decision was not to buy, the buyer had to be informed that the item to be transacted was in the list mentioned above and, therefore, subject to the inherent trade limitations. This law determined that all transactions disregarding these terms should be considered of no legal value.

The decree number 11445 was published to improve some details of the law number 1700. Specifically about museums, changes were minor: museum directors should inform the ministry about their needs on what concerns catalogues and inventories of national and regional museums and the Superior Council of Fine Arts was committed with the task of preparing a general regulation for museums. Nevertheless, in terms of cultural patrimony, this decree adds to the previous law some important definitions, clearly stating what should be considered artistic and archaeological patrimony, under national protection against, illegal trade or exportation. The article number 47 of this decree states:

For general purposes of the law are considered works of art and archaeological objects any sculptures, paintings, sketches, draws, pieces of furniture, china, glazed and painted pottery, goldsmithery, glasses, enamel ware, carpets and tapestries, laces, jewellery, embroideries, tissues and textiles, cloths, armoury, objects of forged iron, bronzes, fans, medals and coins, inscriptions, musical instruments, manuscripts with illuminations, and, in general, all objects that can constitute model of art or represent valuable teaching for artists, or, by their merit, are worth being in public art museums and yet, all of those that can be classified as historical objects.

Furthermore, the decree considers patrimony every and any object for sale in public auction, if before the final decision of the buyer a legal representative of the Government declares the State's intention of buying it (this legal representative could be any of the national museum directors, or their deputies). Finally, and for purpose of exportation, this decree establishes a taxation on artistic and archaeological objects in possession of non official institutions; this taxation was of 50% ad valorem and in some circumstances this value could be exchanged by objects offered to national museums.

When the military revolution of the 28^th May 1926 arose this was the fundamental legislation on museums and patrimony. Two aspects are of relevance: the Republic treated the cultural patrimony as a national concern, this principle being applied even when objects were of private possession; both national and regional museums were considered of major importance, as keepers of historic, cultural and artistic values. Nevertheless, economic difficulties unabled republican governments to implement an actual operative policy as far as museums and patrimony are concerned: some of the legislative assertions never became effective and sometimes (as we can observe through documentation of museums) museum directors complained against the disrespect of law principles[2].

3 - Beginning a plan.

The late twenties, still under the military dictatorship and after a period of some revolutionary agitation, were used by governments (especially after Salazar's entry into politics) to prepare the Estado Novo. Legislation was one of the major concerns of these governments protected by militaries. Law and Order was one of the slogans, associated with Progress and Work. Museums and cultural patrimony had the attention of these governments: in 1928 they published the decree number 15216 that was intended to reorganise artistic and archaeological national services. However, the introductory text of this decree emphasises that the previous legislation (after 1911) had proved its value. Bearing this in mind, the government only intended to change minor aspects, in order to improve the work and accomplishments that had resulted from previous laws, rather than changing everything and carrying the responsibility of inventing an entirely new organisation.

There was only one main change with this decree: until then free entrance in every national and regional museum was a national policy. From then on, access to museums was to be charged, in some days of the week; but two days per week, at least, were to be free. This principle became effective only in 1931 by the decree number 19414. The charge to access any national or regional museum amounted to 2$50 on paying days[3]; Sundays and Thursdays were free admission days. All art teachers and students had free access and anyone who wanted to study a particular piece of art could get permission to free entry from the museum director; teachers and students, of any public or private school, could also ask for free entrance and obtain it.

During 1931 another decree, number 20586, demonstrates the great concern dedicated to the safeguard of cultural patrimony by the military dictatorship governments. Following the previous legislation on this matter this decree reinforced State rights over private objects considered of public interest; the list of objects that should be in the national inventory received new elements and any object corresponding to the criteria of the inventory was now under protection of the law even if its existence was not declared to authorities. See article number 2 of this decree:

The Portuguese incunabula, xilographyc and paleotipic specimens, cartularies and other old manuscripts membranaceous or chartaceous, parchments and sundry papers of diplomatic or paleographic interest; books and booklets considered rare or precious; bibliographic nucleous recommended for the value of their cimelia or because of their collection value.

In 1932 one important decree on museum matters was published even before the approval of the 1933 Constitution that gave rise to the Estado Novo in its formal status. This decree introduced important changes in national policy concerning museums, patrimony and monuments. One of the first ideas about the previous organisation expressed in the introductory text of this decree is that it was 'complex'; despite the good results achieved during the previous two decades, the legislator considers that the good will, dedication and hard work of museum staff were more relevant to achieve such results than the quality of existing legislation.

In order to simplify the administrative scheme, the Art and Archaeology Councils were extinguished and some of their functions concentrated on the Superior Council of Fine Arts. Museum directors became more important in this Cuncil and a new section, entirely dedicated to museums, was created. Acquisitions, transference of objects, internal organisation of museums, conservation and restoration of museum objects became responsibilities of this Superior Council. Depending on this Council's decision was also the foundation of new museums, the acquisition, building or adaptation of buildings and monuments to be used as museums and the authorisation for temporary exportation of museum objects (to be used in international temporary exhibitions).

On the other hand, this decree opens the possibility of the existence of county councils of art and archaeology, depending on local will and capacity of organisation. This was the 'way out' to the government's need to reduce public expenses: financial responsibilities were transferred to these county councils, that were supposed to depend on private donations to accomplish their tasks.

For the first time in the legislation of this period museums were divided in three different groups: 'national museums', 'regional museums' and 'other museums' (which included county museums, treasures of religious art, other collections with artistic, historical or archaeological value). Directors were always chosen by the government and were responsible for the valuables kept in the museum; the regional museums directors should perform a three year tyrocinium in the National Museum of Ancient Art.

Related to this last issue, and to set the rules of this tyrocinium, in 1933, a decree (number 22110) established that the National Museum of Ancient Art was the national 'school museum' and that the future directors and curators must spend three years working there, under direct supervision of the museum director. The certificate obtained was a necessary requisite to apply for staff positions in national and regional museums.

As a conclusion, even before 1933, the official starting point of the Estado Novo, important changes had taken place in legislation concerning museums and patrimony. Keeping some of the previous organisation at first, changing a lot of it in the early thirties, military dictatorship governments, specially after Salazar's entry to government, led to solutions that announced the Estado Novo. In 1933 almost all the legislation on museums had already been set up and was working. It is obvious that patrimony in general, and monuments and museums in particular, were one of the first concerns (together with financial and economic problems) of these governments of the late twenties (Salazar, 1946: 73, 146-148; in two public speeches (1935 and 1936) he reaffirms the importance of monuments and museums). Propaganda was certainly an important question to the building of a new ideology, and, as far as it can be observed, cultural patrimony and museums, had an unquestionable part in that process. After 1933, and until the fifties, almost nothing changed in the legislation concerning museums. The fifties, and specially the sixties, were times of major changes.

4 - Some legislative novelties.

The first important change in this legislative scheme occurred twenty years later: in 1953, the decree number 39116 modified almost everything that concerned the tyrocinium to become curator in a national or regional museum, including rules of access, curricula and assessment. The aims of these changes included the intention of up grading the level of the course as well as of improving its internal organisation. Students should have a degree (preferably from a Fine Arts High School), had to pass an exigent access examination and had to take some subjects of the Faculty of Arts (General History of Civilisation, Epigraphy, Numismatics, Paleography and Diplomatic, History of Art and Archaeology) during the tyrocinium. This decree presented a more intense schedule of work for students in the National Museum of Ancient Art, reducing the course to two years. To pass from the first to the second year students had to face difficult exams, practical as well as theoretical. At the end of the second year the final exams consisted of three different tasks: a three-hour-written exam about museology; a four-day-practical exam that consisted of setting an exhibition using the reserves of the museum and preparing the catalogue and a one-hour-oral exam about the theoretical themes studied during the course. One last rule that must be mentioned is that during these two years, students could not miss more than a fifth of the total working days.

This decree aimed at preparing 'real' professionals; far from the amateurish personnel who developed regional museums in the beginning of the century, government wanted to follow the international trend and transform museum curatorship into a 'real' profession (Alonso Fernández, 1994: 9; Kavanagh, 1991: 47; Moreira, 1989: 78-84).

In 1965 a very important law was published: commonly referred to as the 'General Regulation for Art, History and Archaeology Museums', this law introduced radical changes in the way museums were conceived, both theoretically and in practical terms. Almost everything was changed; objectives, constitution, functions and how to perform them, institutional relations with other organisations, social importance and educational role, all was new, as far as Portuguese legislation was concerned.

As the introductory text to this law affirms, museums, and specially art and archaeology museums, ought to perform two fundamental purposes: preserve objects and exhibit them, making possible aesthetic pleasure as well as educational intentions (even though this was not a very clarified purpose). A double mission was assigned to museums: a scientific and artistic one, and a social and educational one. A museum ought to be a cultural organisation serving the community; if a museum only preserved, it could be classified as a necropolis. In conclusion, museums were to be open to the public, they had to contribute to general education; museums could no more receive visitors passively: on the contrary, museums had to be prepared to invite the public in, they ought to be interesting and interested.

In order to achieve all these purposes one of the measures taken was the introduction of some important changes in the course for museum curators. Following the trend of the decree number 39116, senior staff in national or regional museums had to take the course before definitive assignment to the job; museology, as an academic subject, became one of the most important subjects on the course. The obvious intention of this law was to have a staff of professionals, rather then amateurs.

Internal organisation, display techniques and exhibit criteria were other important matters in this law. The aim being the opening of museums to a wider public (and in particular to students as museums were from now on seen as educational extensions of schools) these internal changes were mentioned as some of the most significant questions.

From then on all Portuguese museums had similar obligations regarding inventory, publication of catalogues, internal organisation, opening hours and free days access. Acquisitions depended on general rules, and one of the Estado Novo corporative institutions, the National Board of Education (Junta Nacional de Educação) always had to be consulted on this subject.

5 - What were 'Museum Objects'? Legislation definition and political/ideological use.

The laws and decrees mentioned above refer to museum objects in general terms. The law number 1700 uses abundantly such terms as 'artistic', 'archaeological' and 'historical' as if the definition of these terms was clear and unquestionable. This procedure is commonly repeated in subsequent legislation.

Only twice, during the period under analysis, was a definition of museum object produced: the decree number 11445 specifies what can be considered, under the law, a work of art or archaeological object. A list of such specimens includes very specific designations, as well as very vague ones: in fact, everything that could be classified as 'historical' is protected by this decree. The decree number 20566, without contradicting this definition, adds other very specific objects that had been forgotten by the previous decree.

In 1932 the decree number 20985 established that all objects with recognised artistic, archaeological or historical value, or very important to the national artistic, archaeological or historical patrimony should not leave the country without proper authorisation. When referring to acquisitions by museums, once again, only fine art and archaeological objects deserve mention.

Most of the specific training of museum professionals was in the areas of art and history. In 1953 one of the exams established in order to achieve recognition as museum curator, for all of national and regional museums, was a practical one: preparing an exhibition using objects from the reserves of the National Museum of Ancient Art. Those exhibits were, obviously, about art or history of art.

In Portugal, during the fifties, the Cold War and the perspective of another European or world conflict led to the formation of a governmental committee that was in charge of preventing major damages in cultural patrimony in case of war. Correspondence exchanged between this committee and museum directors is very interesting and shows that the intention was to preserve objects of exceptional value and specimens of artistic and historical interest[4].

Even in 1965 with the 'General Regulation for Art, History and Archaeology Museums' the permanent and overwhelming importance of art, history and archaeology as fundamental sources of museum objects was not changed. One of the first objectives of museums, according to the decree, was to preserve and enlarge collections of objects with artistic, historical or archaeological value. During the Estado Novo, these were the museum objects by excellence. Obviously, there were other objects in museums as some had very different kinds of collections, but these were not worth legislation focus.

This distinction, and the remarkable importance given to artistic and historical objects, as real museums objects, must have an explanation. There must have been some reason for the Estado Novo to be so concerned with them. For some reason the Estado Novo, even before the approval of the 1933 Constitution, was so concerned with cultural patrimony and gave so much attention to legislation regarding these matters. Perhaps the point, the hidden reason, was common to both questions: propaganda (Paulo, 1994).

In 1933, through the decree number 23054, the Estado Novo created the 'National Board of Propaganda' (Secretariado Nacional de Propaganda). This act was justified by the extreme need felt by any modern State to defend and promote its national interests as we can read in the introductory text. According to the decree, Portugal was the only European State not having such an institution. The final argument was that the Portuguese people had the right to be informed...

If we observe the chronological succession of decrees and laws about patrimony and museums, and if we compare it with that of other legislative measures that were seen as fundamental to build the Estado Novo, it becomes quite clear that concerns with patrimony were precocious[5]. During the late twenties and the early thirties governments had solved this question and only thirty years later, and under external influences, the Estado Novo again focused legislative attention on patrimony and museums. During the late forties and the fifties the director of the National Museum of Ancient Art participated in several international conferences (including the first one of the ICOM in 1948) and produced formal reports; other member of museums staff went abroad specifically to observe what was being done in other countries on what concerns temporary exhibitions and display techniques. Archive of the National Museum of Ancient Art, mail sent by the Museum, 1948-1955.

During the thirties cultural propaganda was concentrated on temporary exhibitions. The themes of these events were related to national questions, specially economy and politics. Economy was a favourite theme as Salazar was presented as the redeemer of the country. The great difficulties faced during the last years of the nineteenth century and the Republic were not forgotten, and the decisive role of Salazar in the recovery of finance and economy was always remembered by official propaganda. Another very important subject was the Colonial Empire. Being a nationalistic subject, and one of the most important pillars of the regime, the Colonial Empire was used in several different temporary exhibitions. The greatest was the one held in 1940, 'The Great Exhibition of the Portuguese World' (A Grande Exposição do Mundo Português) celebrating independence, that is, the formation of the kingdom in the twelfth century, and the 'Restoration' (Restauração) against the Spanish domination in 1640.

From a very early stage the Estado Novo wanted to present publicly some 'well-done work'. For that purpose all public institutions, and particularly museums, received letters annually asking what had been done during the year before that could be presented as important deeds of the Estado Novo. Answers should include photographs (if considered necessary) and figures about the initiatives undertaken during the year. In 1936, celebrating the 10^th anniversary of the Revolution, these demands increased and museums had to present something undertaken for the country's cultural benefit[6].

As we have seen, museum objects were protected by law, against illegal trade and exportation; but at the same time, they were used politically as objects of propaganda. Museums, seen as institutions where historical and artistic objects should be preserved and exhibited, functioned as scenarios of propaganda: the official nationalism needed historical material to support the myths of a past of greatness and glory. Some particular objects - like the sword of D. Afonso Henriques (the first king of Portugal) - were frequently requested from museums to be present in temporary exhibitions. In 1940 this sword was requested to be in Lisbon during the 'Great Exhibition of the Portuguese World'; a few years later the sword was again borrowed to be in the exhibition celebrating to the conquest of Lisbon. See archive of the National Museum of Soares dos Reis, copies of the mail sent by the Museum, letters dated 25/04/1940 and 13/05/1947. Against all precautions and conservation elementary rules, museum objects were used as propaganda material, frequently disregarding Directors' advice and disapproval. Political power overwhelmed, on different occasions, the best interest of museums conservation policy and it occurred that objects were returned to museums not in their best condition. For example in a letter from the director of the National Museum of Ancient Art to the responsible of the 'Great Exhibition of the Portuguese World, dated 20/04/1940: the director expressly disagrees with the request of one particular object (the chair of King Afonso the fifth); as the director explains, the conservation conditions of this chair are incompatible with its removal from the museum; consequently the director affirms that he can not assume any responsibility if someone decides to really take the chair out of the museum[7].

This was used by Directors to reinforce previous positions, emphasising the rightness of their opinions against the use of museum objects in public events. In a letter from the director of the National Museum of Ancient Art, dated 09/12/1948, to the governmental responsible, the director, once again, protests against the use of museum objects (in this case French silverware from the eighteenth century) in official ceremonies[8].

As the Estado Novo reinforced its political power these impositions on museums became stronger and more evident. In 1936, for an exhibition called 'Historical Exhibition of Occupation' (Exposição Histórica da Ocupação) the decree (number 27269) that gave powers to the organisation commission used 'soft' vocabulary, asking assistance from various institutions, including museums and public archives. In 1938, preparing the 'Great Exhibition of the Portuguese World' the decree number 29087 determined that all necessary assistance could be demanded by the commission. This included requisition of museum and archive material; Directors of museums or civil servants could not deny whatever was demanded. The explicit terms of this authority, expressed in this decree, are extraordinarily precise. On the other hand, concerns with security and proper conservation procedures are almost absent, the text stating in a vague form that objects should be held in an adequate manner.

Conclusion

Museums and cultural patrimony in general were themes of the new Portuguese legislation since the beginning of the century: republican governments tried to build a new legislative corpus using European examples. After the Revolution in 1926 the dictatorship then established kept most of the previous legislation on what concerns museums, introducing few adjustments. While preparing the Estado Novo, in the late twenties, again cultural patrimony and museums became an important subject to governments. The nationalistic ideology demanded historical material to found a 'reinvented national tradition' (Hobsbawm and Ranger, 1996). Museums, as main keepers of archaeological, historical and artistic objects received particular attention; the previous corpus was acceptable for the new political ideology but, as soon as financial and economic concerns permitted, government turned its care to the important field of propaganda. Even before the approval of the new constitution and the major changes in the organisation of the regime, new legislation on museums was produced. Monuments, museums and museum objects became important as useful propaganda material. Thus, during the late thirties and the beginning of the forties great temporary exhibitions were held to serve political purposes.

Only in the sixties did major legislative changes alter this status quo. New concepts of museums, contacts with European experiments in exhibition techniques and a new importance given to the public, made necessary new legislation. Nevertheless, museums were still seen as places of propaganda and only in the seventies, with the Revolution that put an end to the Estado Novo, did a very different scenario begin.

Biliography

Alonso Fernández, Luís. (1994). Museología, Introducción a la Teoría y Prática del Museo. London, Routledge.

Fahy, Anne (ed. by). (1995). Collections Management. London, Routledge.

Ferro, António. (1933). Salazar - O homem e a sua obra. Lisbon, Emprensa Nacional de Publicidade.

Hobsbawm, Eric and RANGER, Terence (eds). (1996). The Invention of Tradition. Cambridge, Cambridge University Press.

Kavanagh, Gaynor. (1990). History Curatorship. Leicester, Leicester University Press.

Kavanagh, Gaynor. (1990). The Museums Profession - Internal and External Relations. Leicester, Leicester University Press.

Maurice, C. and TURNOR, R. (1994). 'The Export Licensing Roules in the United Kingdom and the Waverlay Criteria' in International Journal of Cultural Propety , nº 2, vol. 3.

Moreira, Isabel M. Martins. (1989). Museus e Monumentos em Portugal. Lisbon, Universidade Aberta.

Nogueira, Franco. (1977/81). Salazar. Vol. 1, Porto, Livraria Civilização.

Paulo, Heloisa. (1994). Estado Novo e Propaganda em Portugal e no Brasil. O SPN/SNI e o DIP. Coimbra, Minerva.

Rosas, Fernando. (1986). O Estado Novo nos anos trinta: 1928-1938. Lisbon, Editorial Estampa.

Rosas, Fernando (ed.). (1990). Portugal e o Estado Novo (1930-1960), in Nova História de Portuga. Lisbon, Editorial Presença.

Rosas, Fernando et al.. (1994). História de Portugal, Vol. 7: O Estado Novo (1926-1974). Lisbon, Editorial Estampa.

Salazar, António de Oliveira. (1946). Discursos e notas Políticas. vol 2, Coimbra, Coimbra Editora.

Santos, Maria Alcina Ribeiro Correia Afonso dos. (1970). Aspectos da Museologia em Portugal no século XIX - Lisboa. Lisbon, Direcção Geral do Ensino Superior e das Belas‑Artes and Museu Nacional de Arte Antiga.

Sources:

Primary Sources[9]:

Archive of the National Museum of Ancient Art

Copies of the mail sent by the Museum (volumes of 1926-1955)

Mail received (volumes of 1936-1944)

Archive of the National Museum of Soares dos Reis

Copies of the mail sent by the Museum (volumes of 1932-1972)

Mail received (volumes of 1944-1954)

Archive of the Museum Abade de Baçal

Mail received (volumes of 1934-1939)

Archive of the Museum Alberto Sampaio

Copies of the mail sent by the Museum (volumes of 1932-1938)

Laws and decrees:

(Dates are the ones of publication in the Official Diary)

1924, December,18 - law number 1700

1926, February,13 - decree number 11445

1928, March, 22 - decree number 15216

1929, April, 30 - decree number 16791

1931, March, 5 - decree number 19414

1931, December, 4 - decree number 20586

1932, March, 7 - decree number 20985

1932, July, 26 - decree number 21514

1933, January, 12 - decree number 22110

1933, June, 24 - decree number 22728

1933, September, 25 - decree number 23054

1936, May, 19 - decree number 26611

1936, November, 24 - decree number 27269

1936, December, 4 - Statute of the 'Portuguese Youth'

1937, July, 21 - decree number 27868

1937, July, 21 - decree number 27882

1938, October, 28 - decree number 29087

1953, February, 27 - decree number 39116

1965, December, 18 - decree number 46758

Sérgio Lira

Rua D. Afonso Henriques, 3688, 4º Esq.

4445 Aguas Santas MAIA

Telef.: (02) 9736729 ou 0931 9477551

e.mail: slira@ufp.pt