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Updated: June 4, 2025
As the glorious pile of Batalha commemorates the victory of Aljubarrota, so the splendid church and monastery of Belem mark the spot where Vasco da Gama spent the night before he sailed on his epoch-making voyage. But it was not gold that raised the noblest memorial to Portugal's greatness: it was the genius of Luis de Camoens.
Though some of the capitals at the east end look almost romanesque, the really late date is shown by the cusped fringing of the chancel arch, a feature very common at Batalha, which was begun at the end of the fourteenth century, and by the window tracery, where in the two-light windows the head is filled by a flat pierced slab.
Of the later additions which give character to the cloister and to the Capellas Imperfeitas nothing can be said till the time of Dom Manoel is reached. Besides building Batalha, King João dedicated the spoils he had taken at Aljubarrota to the church of Nossa Senhora da Oliviera at Guimarães, which he rebuilt from the designs of Juan Garcia of Toledo.
These tombs, beautiful as they are, do not seem to have any very direct influence on the work of the next century: it is true that a distinct advance was made in modelling the effigies of those who lay below, but apart from that the decoration of these high tombs is in no case even remotely related to that of the later monuments at Batalha; nor, except that the national method of church planning was more firmly established than ever, and that some occasional features such as the cuspings on the arch-mould of the door of São Francisco Santarem, which are copied on an archaistic door at Batalha, are found in later work, is there much to point to the great advance that was soon to be made alike in detail and in construction.
Such are the church and monastery of Batalha as planned by Dom João and added to by his son and grandson, and though it is not possible to say whence Huguet drew his inspiration, it remains, with all the peculiarities of tracery and detail which make it seem strange and ungrammatical if one may so speak to eyes accustomed to northern Gothic, one of the most remarkable examples of original planning and daring construction to be found anywhere.
Though of but moderate dimensions, it is one of the largest of Portuguese cathedrals, being 175 feet long by 70 feet wide and 110 feet across the transepts. It is also unique among the aisled and vaulted churches in copying Batalha by having a well-developed clerestory and flying buttresses.
Since the material a kind of marble is much less fine than the stone used at Batalha or in Coimbra or Thomar, the carving is naturally less minute and ivory-like than it is there, and this is especially the case with the foliage, which is rather coarse. The statues too except perhaps Prince Henry's are a little short and sturdy.
In the spandrels formed by the interlacing of the semicircles are three green leaves growing out from a brown flower; in short the design is exactly like a Gothic corbel table such as was used on Dom João's church at Batalha turned upside down, and so probably dates from his time.
In plan the church was almost exactly like that of Batalha, though with a shorter nave of only five bays. To the east of the transept are still five apses the best preserved part of the whole building having windows and buttresses like those at Batalha.
The plan of Braga, Pombeiro, Evora or Coimbra is reproduced with but little change at Guarda, and if the western towers be omitted, at Batalha, some two hundred years later, and the flat paved roofs of Evora occur again at Batalha and at Guarda.
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