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Updated: May 20, 2025
In the aisle arches the hollows of the diagonal sides are carried round without capitals, with which the round shafts alone are provided; while the shaft in front runs up to a round Manoelino capital with octagonal abacus from which springs the vaulting at a level higher than the sills of the clerestory windows.
Originally the three windows of the upper floor belonged to a large hall whose ceiling was like that of the Sala dos Cysnes. Unfortunately the ceiling was destroyed, and the hall cut up into small rooms some time ago. Inside are several Manoelino doorways. One at the end of a passage has a half-octagonal head, with curved sides.
Santa Cruz at Coimbra is entirely Manoelino, but is too large and too full of the work of the foreigners who brought in the most beautiful features of the French renaissance to be spoken of now. Another is the church at Gollegã, not far from the Tagus and about half-way between Santarem and Thomar. It is a small church, with nave and aisles of five bays and a square chancel.
Here, as in the royal tombs at Coimbra, Manoelino and renaissance forms have been used together, but here the renaissance largely predominates, for even the cusping is not Gothic, although, as is but natural, the general design still is after the older style. Though very elaborate, these tombs cannot be called quite satisfactory.
The most interesting features of the tower are the balconies. That on the south side, borne on huge corbels, has in front an arcade of seven round arches, resting on round shafts with typical Manoelino caps. A continuous sloping stone roof covers the whole, enriched at the bottom by a rope moulding, and marked with curious nicks at the top. The parapet is Gothic and very thin.
Though this upper cloister adds much to the picturesqueness of the whole it is not very pleasing in itself, as the three-centred arches are often too wide and flat, and yet it is of great interest as showing how João de Castilho was in 1518 beginning to accept renaissance forms though still making them assume a Manoelino dress. But in the door of the little parish church of Sta.
Elsewhere this Gothic was affected partly by Spanish and partly by Moorish influence, and gradually grew into that most curious and characteristic of styles, commonly called Manoelino, from Dom Manoel under whom Portugal reached the summit of its prosperity. In other places, again, Gothic forms and renaissance details came gradually to be used together, as at Belem.
Nearly all these churches and palaces were built or added to in that peculiar style now called Manoelino. Some have seen in Manoelino only a development of the latest phase of Spanish Gothic, but that is not likely, for in Spain that latest phase lasted for but a short time, and the two were really almost contemporaneous. Manoelino does not always show the same characteristics.
Founded by Justa Rodrigues, Dom Manoel's nurse, in 1487 or 1488 and designed by one Boutaca or Boitaca, it was probably finished sooner than the church at Caldas, and is the best example in the country of a late Gothic church modified by the addition of certain Manoelino details. Unfortunately it was a good deal injured by the great earthquake in 1755, when it lost all pinnacles and parapets.
The shafts are round, very like those at Batalha, and, like every inch of the arch and tracery mouldings, are covered with ornament; some are twisted, some diapered, some covered with renaissance detail. Broad bands too of carving run round the inside and the outside of the main arches, the inner being almost renaissance and the outer purely Manoelino.
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