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No two rooms were alike; each possessed some marked characteristic of its own one bedroom, for example, was distinguished by its fourpost bed with its paintings on the canopy and head another, by its little two-light high window with Adam and Eve in stained glass; another with a little square-window containing a crucifix, which was generally concealed by a sliding panel; another by two secret cupboards over the fire-place, and its recess fitted as an oratory; another by a magnificent piece of tapestry representing Saint Clara and Saint Thomas of Aquin, each holding a monstrance, with a third great monstrance in the centre, supported by angels.
Between the buttresses of the chapels are four two-light windows, The outer arch of each of these windows is a beautiful example of late thirteenth-century moulded detail. The main line of the arch curve is excellent, and the whole opening between the head, jambs, and sill is beautifully proportioned.
The apse is divided by pilaster strips into three portions externally, and in the central one is a two-light round-headed window with central colonnette.
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.
The northern chapel is lighted by a three-light window with three foliated circles in the head, which is rather sharp pointed, and the southern one by a two-light window with one foliated arch. These are beautiful examples of plate tracery. Above these chapels is a small chamber lighted by a window of similar character.
Below, at the sides, a perfectly plain window lights the aisles, some feet above it runs a string course, on which stands a small two-light window for the gallery, flanked by larger blind arches, and then many feet of blank walling ending in battlements. Between these two aisle ends there projects about ten feet a large doorway or porch.
Originally these four arches were open and led into a large vaulted hall; now they are all built up perhaps by Dona Maria I. after the great earthquake three having small two-light windows, and one a large door, the chief entrance to the palace.
The thin columns are also round, but the bases are eight-sided; so are the capitals, but with a round abacus of boughs and twisted ribbons. The great hall above is also Dom Manoel's work, though the ceiling may probably have been retouched since. His also are the two-light windows, with slender shafts and heads more or less trefoil in shape, but with many small convex curves in the middle.
There are four equal two-light openings below; on the two in the centre rests a large plain circle, and the space between it and the enclosing arch is very clumsily filled by a rib which, springing from the apex of either light, runs concentrically with the enclosing arch till it meets the larger circle.
The height of the crown of the inner arch above the capitals from which it springs is somewhat less than half the width at the bottom, and the radius of the curvature of the arches is greater than the width. Over the arch is a square-headed two-light window, lighting the room over the entrance.
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