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Altogether it is not at all easy to say whence those peculiarities of tracery and detail which make Batalha so strange and unusual a building were derived, except that there had been in Portugal nothing to lead up to such tracery or to such elaboration of detail, or to the constructive skill needed to build the high groined vaults of the nave or the enormous span required to cover the chapter-house.
Moving forward through Batalha, and regaining the coast road at Alcobaca, the British forces arrived at Caldas on the 15th; and on the same day Junot quitted Lisbon with a force of 2,000 infantry, 2,000 cavalry, and ten pieces of artillery, leaving 7,000 to garrison the forts and keep down the population of the city.
We have seen that windows with good Gothic tracery are almost unknown in Portugal, for even in the church here at Batalha the larger windows nearly all show a want of knowledge, and a wish to shut out the sun as much as possible, and besides there is really no resemblance between the tracery in the church and that in the cloister.
Cruz at Batalha, also built by João de Castilho, Manoelino and renaissance details are used side by side with the happiest result. On each jamb are three round shafts and two bands of renaissance carving; of these the inner band is carried round the broken and curved head of the opening, while the outer runs high up to form a square framing.
Here the tracery is very much less elaborate than in the Claustro Real at Batalha, but as scarcely a square inch of the whole cloister is left uncarved the effect is much more disturbed and so less pleasing.
The monument was built by his widow, Dona Isabel de Castro, but so terribly had Dom Duarte been cut to pieces by the Moors, that only one finger could be found to be buried there. Though much more elaborate, the tomb is not altogether unlike those of the royal princes at Batalha.
As for the Grand Master of Avis, who became King of Portugal, he founded the church and convent of Batalha, which we had come to see, in memory of his victory. I know not how to describe ancient buildings.
The whole is a very curious piece of work, the capitals and bases being, with the exception of some details at Thomar and at Batalha, the most strange of the details of that period, though, were the small corbels left out, they would differ but little from other Manoelino capitals, while the bases may be only an attempt of a Moorish workman to copy the interpenetration of late Gothic.
Here then there has been a considerable advance from the imperfect vaulting of the central aisle at Batalha, where the diagonal ribs had to be squeezed in wherever they could go, although there are at Villar no side aisles so that the construction of supporting buttresses was of course easier than at Batalha: and it is well worth noticing how from so imperfect a beginning as the nave at Batalha the Portuguese masters soon learned to build elaborate and even wide vaults, without, as a rule, covering them with innumerable and meaningless twisting ribs as was usually done in Spain.
After the suppression of the monastic orders in 1834, Batalha, which had already suffered terribly from the French invasion for in 1810 during the retreat under Massena two cloisters were burned and much furniture destroyed was for a time left to decay.
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