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Updated: June 4, 2025
Indeed so unsuccessful are their attempts throughout that whenever, as at Batalha, a better result is seen, it may be put down to foreign influence.
All the shafts are round, with round moulded bases and round Manoelino caps. The central shaft has a ring moulding half-way up, and all, including the flat arches and the vesicae, are either covered with leaves, or are twisted into ropes, but without any of that wonderful delicacy which is so striking at Batalha.
We halted one night near the Convent of Batalha, one of the finest buildings in Portugal.
Now with the exception of the anomalous and much later Claustro Real at Batalha, all cloisters in Portugal, before the renaissance, follow two types: one, which is clearly only a modification of the continuous romanesque arcades resting on coupled shafts, has usually a wooden roof, and consists of a row of coupled shafts bearing pointed arches, and sometimes interrupted at intervals by square piers; this form of cloister is found at Santo Thyrso near Guimarães, at São Domingos in Guimarães itself, and in the Cemetery cloister built by Prince Henry the Navigator at Thomar in the fifteenth century.
There are at the angles deep square buttresses which end in groups of square spire-capped pinnacles all elaborately crocketed, and not at all unlike those at Batalha.
Leaving the Claustro dos Filippes for the present, we must return to Batalha for a little, and then mention some buildings in which the early renaissance details recall some of the work at Thomar. The younger Fernandes had died in 1528, leaving the Capellas Imperfeitas very much in the state in which they still remain.
Here the ends of the side aisles are, now at any rate, quite plain, but in the centre there is a very elaborate doorway with a large rose-window above. It is easy to see that this doorway has not been uninfluenced by Batalha. From well-moulded jambs, each of which has four shafts, there springs a large pointed arch, richly fringed with cusping on its inner side.
At length a ship came in sight across the bar of the river; then, baring their heads, the crowd parted, and the bones of the Constant Prince were borne to Batalha.
They are round-headed of two lights, with simple tracery, and deep splays both inside and out. The large transept windows with half octagonal heads under a large trefoil were inserted about the beginning of the sixteenth century. Inside the resemblance to Batalha is less noticeable.
The fantastic architecture of this little palace is also historically significant, for it was adapted from that of the Cathedral of Jeronymos, the Convents of Thomar and Batalha, and the Tower of Belem, built in celebration of Portugal's golden age of discovery. The style is known as the Manuelino. Antonio do Couto of Lisbon was the architect, assisted by the sculptor, Mota Sobrinho.
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