The "Valentine scarf" or also called "scarf requests" represents a fundamental component of art and Portuguese popular culture. This artistic and poetic form was used by the girls of Minho, of marriageable age. Consisting of a square of linen or cotton, the young embroider your taste, this scarf was part of traditional dress feminine and had a primarily decorative function. In addition to these functions, were also to conquer the “supposed boyfriend”. The girl was near when the marriageable age, she embroidered her handkerchief from a fine linen cloth that perhaps possessed or a cotton handkerchief that acquired the fair-called "troop scarves." To do this work the girl used the knowledge he knew about the cross stitch, acquired in childhood, when writing his marker or map. After embroidered handkerchief would be at the hands of "boyfriend" and were in accordance with the attitude of this to use publicly or not, it was decided the beginning of a love affair. The scarves can carry, so loving feelings for a girl of marriageable age, revealed by various symbols as loving loyalty, dedication, friendship, etc. Spelling mistakes that are often found in the texts of old scarves can be explained by the characteristics of Minho transcribed phonetically pronounced by those who had an imperfect command of written English. Regards handkerchiefs embroidered cross stitch, the girls manor, errors are less obvious and frequent.


Portugal, secular Country traditions in the art of jewellery, has a large jewelry heritage of timeless beauty. The maritime discoveries were instrumental in the evolution of the jeweler sector in this country. Gems from the East already in the 15th century; and later, in the 18th century, the large influx of gold, diamonds, precious and semi-precious stones from Brazil, enriched the metropolis (Lisbon) taking the nobility and other social classes which were thriving, the growing demand for jewelry. This abundance of precious stones and metals and the great value of the same, led to the emergence of great masters of jewellery that have revolutionized the concept and techniques of jewelry manufactured between the late 18th century and 19TH century, putting Portugal in jewellery production in Europe. The “Filigrana” (Filigree) is a goldsmith technique that results in the combination of delicate and thin wires and small balls of metal, welded in order to compose a design.The privileged material is gold, but silver, brass and other materials are also used. The “Filigrana” (Filigree) was used in jewellery since antiquity, being Greco-Roman still employed in ornamental objects. Currently, the “Filigrana” parts can be found with great visibility in the northern region of Portugal in the municipality of Gondomar - and in Braga, in the municipality of Póvoa de Lanhoso particularly in the "Golden village" de Travassos counting this population, at present, with about twenty small workshops. Typologically, the jewellery manufactured in greater number, by producers in the Northwest of Portugal are the personal effects-especially for the rings of Viana, the Queen's earrings, “fligranados hearts”, lockets, crosses and the minhotan necklaces. Being as ornament and symbol of social distinction, the gold “Filigrana” (Filigree) is still an investment and an asset of the household. Portuguese “Filigrana” (Filigree) objects are used either as precious ornaments for special festive occasions, either by material resources, integrating and enriching the traditional clothes of the Portuguese Minho and Douro.


The “Rabelo boat” is a Portuguese vessel, typical of the Douro River that traditionally carried the barrels of Port Alto Douro. The vineyards are located up to Vila Nova de Gaia - Porto, where the wine was stored and then sold and shipped to other countries. With a square sail, the Rabelo was usually handled by six or seven men. Referring now a little history of this boat and point out that these boats are replaced identity and definite, from 1792, when the Company General for Agriculture of the Alto Douro Wine, published more permits and documents that related with the notable Pombal institution. In this publication, commonly known as the "laws of the company," are precious information about both the boat and its crew, but also the traffic that was intended. In the past, large barrels coming from Puerto traveled revealed by the River Douro. Was the margin of this river that the Port has grown. At the end of the middle Ages it was already an important trading post, which traded fish, salt and wine. Currently, the city and the second largest city in Portugal and composes with Vila Nova de Gaia, an important commercial and industrial center. Upon completion in 1887, the railway line of the Douro and the development of road communications during the twentieth century, the river traffic provided by Rabelo boats declined. In 1961, at the beginning of the program hydroelectric Nacional Douro, only six ships remained in continuous activity. Currently, with a different activity, the Rabelos are used in the famous regatta during the “São João festivals the city of Porto”, the Douro River tours and other initiatives to remind its glory days. The “Rabelo boats” can still be found in Porto. However they are, unlike other times, used to transport tourists or to cross the river from Porto until Vila Nova de Gaia, where tourists can visit some port wine cellars.


Fado is today a globally recognized symbol of Portugal for many years represented abroad by Amália Rodrigues, and more recently by Dulce Pontes, among others. Throughout the world, the name of our country are associated with two things immediately: the toiradas and Fado. Acquiring various forms depending on whether sung in Porto, Coimbra or Lisbon, Fado is, in its own right, the expression of the Portuguese soul. Our country is, from his birth, in a crossroad of cultures. First they were the peoples who inhabited the area that later became in Portugal and would leave its traces, were the ones who invaded the country now after his birth, and are still today, many people who live here and contribute to a common culture. It is in this sense that it is complicated to point with certainty the origin of Fado, but all scholars ensure that this goes back many centuries ago. The most accepted explanation, at least in relation to the Lisbon fado, is that this would have been born from the songs of the Moors, who remained outside the city even after the Christian reconquest. The sadness and melancholy of those songs that is so common in Fado, would be the basis of this explanation. Today, however some say that in reality fado in Portugal joined once again by the port of Lisbon, in the form of "Lundum", a song from Brazilian slaves, would come up to us from the sailors from their long travel, about 1822. Only after some time is that the "Lundum" started modifying, until it became the Fado. Supporting this belief is the fact that the first songs of the kind were not only related to the sea and the land beyond them, where the slaves lived. Take the example of one of Amália's song called “O Barco Negro” ("The Black Boat)," which speaks precisely of a native village. Another hypothesis considered the birth dates of fado in the middle Ages at the time of the troubadours and minstrels. Even then if you find the characteristics that still retains the fado. For example, the songs of friend who were love songs by a woman, have great similarities with various themes of fado in Lisbon. The love songs, which were sung by man to a woman, seem to find kinship in Coimbra Fado, where students sing their songs under the window of the beloved. We have also the same era, satire songs, or scorn and I’ll say, they are still frequent themes for Fado in social and political critics. Anyway, fate seems to have first appeared in Lisbon and Porto, Coimbra and is then transported through the University students (as Coimbra was for many years the University City. par excellence), and having there acquired quite different characteristics.