Reviews 125 films untouched? Certainly. But this is not necessarily a fault at all. It is always gratuitously facile to devise a number of unanswered questions and imagine an ideal book instead of the actual one. Important in itself, this volume can be seen as standing at the threshold into a new critical and scholarly engagement with ‘Lusophone’ cinemas and will be required reading for anyone wanting to engage with the cinemas of the Portuguese-speaking countries. Susana Varela Flor and Pedro Flor, Pintores de Lisboa: Séculos XVII–XVIII — A Irmandade de S. Lucas (Lisbon: Scribe, 2015). 208 pages. Print. Reviewed by Jeremy Roe (Centro de História d’Aquém e d’Além-Mar, Universidade Nova de Lisboa) Archival study of painters’ guilds and confraternities is a keystone of art history and a resource for cultural studies on themes such as patronage, festivals and urban history. Lisbon’s Irmandade de S. Lucas has not been subject to the same scrutiny as similar entities elsewhere, and the authors explain that this has been partly due to restricted access to the brotherhood’s archive, conserved in the Academia Nacional de Belas Artes. The genesis of this book, then, was due to the authors’ gaining access to the archive for a separate project. Their findings prompted the present study, a key motive for which was to update the sparse historiography on this religious-corporate entity, and in particular Garcez Teixeira’s landmark 1931 study, A Irmandade de S. Lucas.... The result is a book of two distinct parts, firstly a succinct history of the brotherhood, then five appendices of documentary material, which together provide a resource for research and teaching on Lisbon’s art and cultural history. The first part consists of twelve concise chapters covering 48 pages, which open by addressing the historiography on the brotherhood. Attention is then turned to the foundation of the Dominican convent of the Annunciation after 1515 and the chapel of the painters’ brotherhood from 1602. The community of nuns included prominent noblewomen, and the authors discuss how their renown,inconjunctionwithpainters’tiestothesamenoblefamilies,contributed to the brotherhood’s choice of location. This book does not undertake a strict chronological survey, in part due to a dearth of documentation for much of the seventeenth century, but instead surveys key episodes and themes: a sermon given on the brotherhood’s feast day in 1644, offering insights into the values it espoused; the patronage of the 3rd Count of Ericeira; the links to Lisbon’s two literary academies, os singulares and os generosos; and Félix da Costa Meesen, a prominent brotherhood member, and his Tratado da Antiguidade da Arte da Pintura. A final chapter offers a brief history of the brotherhood from 1712 until the Napoleonic invasions. The 1755 earthquake marked the start of the brotherhood’s gradual demise, and, although the altarpiece and archive were saved, disagreements between the painters on the role of the Irmandade would lead to its eventual dissolution. Reviews 126 The final four chapters of this section are devoted to the brotherhood’s organization, its finances and how it provided a space for professional collaboration and knowledge exchange. A key issue addressed is how during the seventeenth century the brotherhood fostered painters’ professional identity, founded on the notion of painting as a liberal art. Over the course of the eighteenth century in Europe painting academies had fostered both a distinctive cultural identity for painters and models for professional practice. However, efforts to emulate such precedents in Lisbon failed, as Cyrillo Volkmar Machado, one of the brotherhood’s last members, recorded, and his reflections on the reasons for this conclude this account of the fraternity’s activity. The appendices form the majority of this book, and they provide a valuable research resource. They record the names and roles of all the painters listed in the various archival sources during the brotherhood’s existence. Short biographies are also provided for prominent individuals, further enhancing this documentation. In addition to this the texts of the 1681 and 1706–07 regimentos are provided along with information on the funding of the brotherhood. Given the wealth of material discussed in this second section it would seem that...