The National Museum of the United States Navy is the flagship museum of the United States Navy located on the grounds of the Washington Navy Yard in Washington, D.C. The U.S. Navy Museum collects, preserves, displays, and interprets historic naval artifacts and artwork to inform, educate, and inspire naval personnel and the general public.
The U.S. Navy Museum was established in 1961 and opened to the public in 1963. Permanent and temporary exhibitions commemorate the Navy's wartime heroes and battles as well as its peacetime contributions in exploration, diplomacy, space flight, navigation and humanitarian service.
The tradition of collecting naval artifacts in the United States began in the early 19th century under the command of Thomas Tingey, the first commandant of the Washington Navy Yard. The first artifact collected was a French gun, cast in 1793 at Lyons, captured during the Quasi-War with France, 1798-1801. From this modest beginning, the collection grew as the U.S. Navy fought in more battles and explored the high seas during the early years of the American republic.
As the Navy's collection of artifacts grew, so did the need for a space in which to display them. In 1865, the former Paint Shop opened as the Museum of Naval Relics and Weapons where the Dispensary is today. This museum was amongst America's earliest federal museums. Listed as one of Washington's most popular tourist attractions in Morrison's Strangers Guide to Washington, the collection impressed visitors with such artifacts as a gun from Spanish conquistador Hernan Cortes's conquest of Mexico, and the sloop Kearsarge's original sternpost containing a shell she received during her fight with the Confederate raider Alabama off the French coast.
In 1913 the museum's artifacts were moved to Building 120, where the museum shared space with the Seaman Gunner's Quarters and the Recruiting Office. This site is now a parking lot west of the Washington Navy Yard. The building was demolished in 1927, which left the Navy's collection of artifacts in storage for eight years. In April 1935, the third museum opened in building 40, at the north end of the Breech Mechanism Shop constructed between 1887 and 1899. When World War II ended the yard officially changed its name to the Naval Gun Factory, so the museum became the Naval Gun Factory Museum. After gun production ceased, Admiral Burke obtained the entire building in 1961 to house a new, and more complete collection of artifacts.
Today The U.S. Navy Museum is the only naval museum to chronicle the history of the U.S. Navy from its creation to the present. Artifacts like USS Constitution's fighting top, the world's deepest diving submersible, Trieste, and the khaki uniform of former Fleet Admiral Chester W. Nimitz make The Navy Museum's collection second to none.
Close to 400,000 individuals visit The U.S. Navy Museum annually. Admission to the museum and its programs is free.References:
Monastery of São Vicente de Fora (Monastery of St. Vincent Outside the Walls) is a 17th-century church and monastery in the city of Lisbon. It is one of the most important monasteries and mannerist buildings in the country. The monastery also contains the royal pantheon of the Braganza monarchs of Portugal.
The original Monastery of São Vicente de Fora was founded around 1147 by the first Portuguese King, Afonso Henriques, for the Augustinian Order. The Monastery, built in Romanesque style outside the city walls, was one of the most important monastic foundations in mediaeval Portugal. It is dedicated to Saint Vincent of Saragossa, patron saint of Lisbon, whose relics were brought from the Algarve to Lisbon in the 12th century.
The present buildings are the result of a reconstruction ordered by King Philip II of Spain, who had become King of Portugal (as Philip I) after a succession crisis in 1580. The church of the monastery was built between 1582 and 1629, while other monastery buildings were finished only in the 18th century. The author of the design of the church is thought to be the Italian Jesuit Filippo Terzi and/or the Spaniard Juan de Herrera. The plans were followed and modified by Leonardo Turriano, Baltazar Álvares, Pedro Nunes Tinoco and João Nunes Tinoco.
The church of the Monastery has a majestic, austere façade that follows the later Renaissance style known as Mannerism. The façade, attributed to Baltazar Álvares, has several niches with statues of saints and is flanked by two towers (a model that would become widespread in Portugal). The lower part of the façade has three arches that lead to the galilee (entrance hall). The floorplan of the church reveals a Latin cross building with a one-aisled nave with lateral chapels. The church is covered by barrel vaulting and has a huge dome over the crossing. The general design of the church interior follows that of the prototypic church of Il Gesù, in Rome.
The beautiful main altarpiece is a Baroque work of the 18th century by one of the best Portuguese sculptors, Joaquim Machado de Castro. The altarpiece has the shape of a baldachin and is decorated with a large number of statues. The church also boasts several fine altarpieces in the lateral chapels.
The Monastery buildings are reached through a magnificent baroque portal, located beside the church façade. Inside, the entrance is decorated with blue-white 18th century tiles that tell the history of the Monastery, including scenes of the Siege of Lisbon in 1147. The ceiling of the room has an illusionistic painting executed in 1710 by the Italian Vincenzo Baccarelli. The sacristy of the Monastery is exuberantly decorated with polychromed marble and painting. The cloisters are also notable for the 18th century tiles that recount fables of La Fontaine, among other themes.
In 1834, after the religious orders were dissolved in Portugal, the monastery was transformed into a palace for the archbishops of Lisbon. Some decades later, King Ferdinand II transformed the monks' old refectory into a pantheon for the kings of the House of Braganza. Their tombs were transferred from the main chapel to this room.