But that which gives to the whole design its chief beauty is the deep shadow cast by the large arch thrown across from one main b.u.t.tress to the other just under the parapet. This arch, moulded and enriched with four-leaved flowers, is fringed with elaborate cusps, irregular in size, which with rounded mouldings are given a trefoil shape by small beautifully carved crockets. (Fig. 55.)

Except the two round b.u.t.tresses at the west end and one on the north side which has Manoelino pinnacles, all are the same, breaking into a cl.u.s.ter of Gothic pinnacles rather more than half-way up and ending in one large square crocketed pinnacle very like those at Batalha. The roof being flat and paved there is no gable at the west end; there is a band of carving for cornice, then a moulding, and above it a parapet of flattened quatrefoils, in each of which is an armillary sphere, and at the top a cresting, alternately of cusped openings and crosses of the Order of Christ, most of which, however, have been broken away. Of the windows all are wide and pointed, without tracery and deeply splayed.

The one in the central bay next the porch has niches and canopies at the side for statues and jambs not unlike those designed some years after at Belem. There is also a certain resemblance between the door here and the great south entrance to Belem, though this one is of far greater beauty, being more free from over-elaboration and greatly helped by the shadow of the high arch.

So far the design has shown nothing very abnormal; but for one or two renaissance details it is all of good late Gothic, with scarcely any Manoelino features. It is also more pleasing than any other contemporary building in Portugal, and the detail, though very rich, is more restrained. This may be due to the nationality of Joo de Castilho, for some of the work is almost Spanish, for example the b.u.t.tresses, the pinnacles, and the door with its trefoiled drip-mould.

If, however, the two eastern bays are good late Gothic, what can be said of the western? Here the fancy of the designer seems to have run quite wild, and here it is that what have been considered to be Indian features are found.

It is hard to believe that Joo de Castilho, who nowhere, except perhaps in the sacristy door at Alcobaca, shows any love of what is abnormal and outlandish, should have designed these extraordinary details, and so perhaps the local tradition may be so far true, according to which the architect was not Joo but one Ayres do Quintal. Nothing else seems to be known of Ayres--though a head carved under the west window of the chapter-house is said to be his--but in a country so long illiterate as Portugal, where unwritten stories have been handed down from quite distant times, it is possible that oral tradition may be as true as written records.

Now it is known that Joo de Castilho was working at Alcobaca in 1519.

In 1522 he was busy at Belem, where he may have been since 1517, when for the first time some progress seems to have been made with the building there. What really happened, therefore, may be that when he left Thomar, the Coro was indeed built, and the eastern b.u.t.tresses finished, but that the carving of the western part was still uncut and so may have been the work of Ayres after Joo was himself gone.[116]

This is, of course, only a conjecture, for Ayres seems to be mentioned in no doc.u.ment, but whoever it was who carved these b.u.t.tresses and windows was a man of extraordinary originality, and almost mad fancy.

To turn now from the question of the builder to the building itself. The large round b.u.t.tresses at the west end are fluted at the bottom; at about half their height comes a band of carving about six feet deep seeming to represent a ma.s.s of large ropes ending in ta.s.selled fringes or possibly of roots. On one b.u.t.tress a large chain binds these together, on the others a strap and buckle--probably the Order of the Garter given to Dom Manoel by Henry VII. Above this five large knotty tree-trunks or branches of coral grow up the b.u.t.tresses uniting in rough trefoiled heads at the top, and having statues between them--Dom Affonso Henriques,

[Ill.u.s.tration: FIG. 55.

THOMAR. CONVENT OF CHRIST. S. DOOR.]

[Ill.u.s.tration: FIG. 56.

THOMAR. OUTSIDE OF W. WINDOW OF CHAPTER HOUSE UNDER HIGH CHOIR IN NAVE.]

Dom Gualdim Paes, Dom Diniz and Dom Manoel--two on each b.u.t.tress. Then the b.u.t.tress becomes eight-sided and smaller, and, surrounded by five thick growths, of which not a square inch is unworked and whose pinnacles are covered with carving, rises with many a strange moulding to a high round pinnacle bearing the cross of the order--a sign, if one may take the coral and the trees to be symbolical of the distant seas crossed and of the new lands visited, of the supreme control exercised by the order over all missions.

Coral-like mouldings too run round the western windows on both north and south sides, and at the bottom these are bound together with basket work.

Strange as are the details of these b.u.t.tresses, still more strange are the windows of the chapter-house. Since about 1560 the upper cloister of the Filippes has covered the south side of the church so that the south chapter-house window, which now serves as a door, is hidden away in the dark. Still there is light enough to see that in naturalism and in originality it far surpa.s.ses anything elsewhere, except the west window of the same chapter-house. Up the jambs grow branches bound round by a broad ribbon. From the s.p.a.ces between the ribbons there sprout out on either side thick shoots ending in large thistle heads. The top of the opening is low, of complicated curves and fine mouldings, on the outermost of which are cut small curly leaves, but higher up the branches of the jambs with their thistle heads and ribbons with knotted ropes and leaves form a ma.s.s of inextricable intricacy, of which little can be seen in the dark except the royal arms.

Inside the vault is Gothic and segmental, but the west window is even more strange than the southern; its inner arch is segmental and there are window seats in the thickness of the wall. The jambs have large round complicated bases of many mouldings, some enriched with leaves, some with thistle heads, some with ribbons, and one with curious projections like small elephants' trunks--in short very much what a Western mind might imagine some Hindu capital, reversed, to be like. On the jamb itself and round the head are three upright mouldings held together by carved basket work of cords, and bearing at intervals thistle heads in threes; beyond is another band of leaf-covered carving, and beyond it an upright strip of wavy lines.[117] The opening has a head like that of the other window and is filled with a bronze grille.

Still more elaborate and extraordinary is the outside of this window, nor would it be possible to find words to describe it.

The jambs are of coral branches, with large round shafts beyond, entirely leaf-covered and budding into thistle heads. Ropes bind them round at the bottom and half-way up great branches are fastened on by chains. At the top are long finials with more chains holding corals on which rest armillary spheres. The head of the window is formed of twisted ma.s.ses, from which project downwards three large thistle heads.

Above this is a great wreath of leaves, hung with two large loops of rope, and twisting up as a sort of cusped ogee trefoil to the royal arms and a large cross of the Order of Christ. A square frame with flamelike border rises to the top of the side finials to enclose a field cut into squares by narrow grooves. Below the window more branches, coral, and ropes knot each other round the head of Ayres just below the rope moulding which runs across from b.u.t.tress to b.u.t.tress. Above the top of the opening and about half-way up the whole composition there is an offset, and on it rests a series of disks, set diagonally and strung on another rope. (Fig. 56.)

Although, were the royal arms and the cross removed, the window might not look out of place in some wild Indian temple, yet it is much more likely not to be Indian, but that the shafts at the sides are but the shafts seen in many Manoelino doors, that the window head is an elaboration of other heads,[118] that the coral jambs are another form of common naturalism, and that the great wreath is only the hood-mould rendered more extravagant. In no other work in Portugal or anywhere in the West are these features carved and treated with such wild elaboration, nor anywhere else is there seen a base like that of the jambs inside, but surely there is nothing which a man of imagination could not have evolved from details already existing in the country.

Above the window the details are less strange. A little higher than the cross a string course traverses the front from north to south, crested with pointed cusps. Higher up still, a round window, set far back in a deep splay, lights the church above. Outside the sharp projecting outer moulding of this window are rich curling leaves, inside a rope, while other ropes run spirally across the splay, which seems to swell like a sail, and was perhaps meant to remind all who saw it that it was the sea that had brought the order and its master such riches and power. At the top are the royal arms crowned, and above the spheres of the parapet and the crosses of the cresting another larger cross dominates the whole front.

Such is Dom Manoel's addition to the Templars' church, and outlandish and strange as some of it is, the beautiful rich yellow of the stone under the blue sky and the dark shadows thrown by the brilliant sun make the whole a building of real beauty. Even the wild west window is helped by the compactness of its outline and by the plainness of the wall in which it is set, and only the great coral branches of the round b.u.t.tresses are actually unpleasing. The size too of the windows and the great thickness of the wall give the Coro a strength and a solidity which agree well with the old church, despite the richness of the one and the severe plainness of the other. There is perhaps no building in Portugal which so well tells of the great increase of wealth which began under Dom Manoel, or which so well recalls the deeds of his heroic captains--their long and terrible voyages, and their successful conquests and discoveries. Well may the emblem of Hope,[119] the armillary sphere, whereby they found their way across the ocean, be carved all round the parapet, over the door, and beside the west window with its wealth of knots and wreaths.

Whether or not Ayres or Joo de Castilho meant the branches of coral to tell of the distant oceans, the trees of the forests of Brazil, and the ropes of the small ships which underwent such dangers, is of little consequence. To the present generation which knows that all these discoveries were only possible because Prince Henry and his Order of Christ had devoted their time and their wealth to the one object of finding the way to the East, Thomar will always be a fitting memorial of these great deeds, and of the great men, Bartholomeu Diaz, Vasco da Gama, Affonso de Albuquerque, Pedro Cabral, and Tristo da Cunha, by whom Prince Henry's great schemes were brought to a successful issue.

CHAPTER XII

THE ADDITIONS TO BATALHA

Little had been done to the monastery of Batalha since the death of Dom Duarte left his great tomb-chapel unfinished. Dom Affonso v., bent on wasting the lives of the bravest of his people and his country's wealth in the vain pursuit of conquests in Morocco, could spare no money to carry out what his father had begun, and so make it possible to move his parents' bodies from their temporary resting-place before the high altar to the chapel intended to receive them. Affonso V. himself dying was laid in a temporary tomb of wood in the chapter-house, as were his wife and his grandson, the only child of Dom Joo II.; while a coffin of wood in one of the side chapels held Dom Joo himself.

When Joo died, his widow Dona Leonor is said to have urged her brother, the new king, to finish the work begun by their ancestor and so form a fitting burial-place for her son as well as for himself and his descendants. Dom Manoel therefore determined to finish the Capellas Imperfeitas, and the work was given to the elder Matheus Fernandes, who had till 1480, when he was followed by Joo Rodrigues, been master of the royal works at Santarem. The first doc.u.ment which speaks of him at Batalha is dated 1503, and mentions him as Matheus Fernandes, va.s.sal of the king, judge in ordinary of the town of Santa Maria da Victoria, and master of the works of the same monastery, named by the king. He died in 1515, and was buried near the west door.[120] He was followed by another Matheus Fernandes, probably his son, who died in 1528, to be succeeded by Joo de Castilho. But by then Dom Manoel was already dead. He had been buried not here, but in his new foundation of Belem, and his son Joo III. and Joo de Castilho himself were too much occupied in finishing Belem and in making great additions to Thomar to be able to do much to the Capellas Imperfeitas. So after building two beautiful but incongruous arches, Joo de Castilho went back to his work elsewhere, and the chapels remain Imperfeitas to this day.

It will be remembered that the tomb-house begun by Dom Duarte took the form of a vast octagon some seventy-two feet in diameter surrounded by seven apsidal chapels--one on each side except that towards the church--and by eight smaller chapels between the apses. When Matheus Fernandes began his work most of the seven surrounding chapels were finished except for their vaulting, but not all, as in two or three the outer moulding of the entrance arch is enriched by small crosses of the Order of Christ, and by armillary spheres carved in the hollow; while the whole building stood isolated and unconnected with the church.

The first thing, therefore, done by Matheus was to build an entrance hall or pateo uniting the octagon with the church. Unless the walls of the Pateo be older than Dom Manoel's time it is impossible now to tell how Huguet, Dom Duarte's architect, meant to connect the two, perhaps by a low pa.s.sage running eastwards from the central apse, perhaps not at all.

The plan carried out by Matheus took the form of a rectangular hall enclosing the central apse and the two smaller apses to the north and south, but leaving--now at any rate--a s.p.a.ce between it and the side apses. Possibly the original intention may have been to pull down the two side apses, and so to form a square ambulatory behind the high altar leading to the great octagon beyond; but if that were the intention it was never carried out, and now the only entrance is through an insignificant pointed door on the north side.

The walls of the Pateo with their b.u.t.tresses, string courses and parapet are so exactly like the older work as to suggest that they may really date from the time of Dom Duarte, and that all that Matheus Fernandes did was to build the vault, insert the windows, and form the splendid entrance to the octagon; but in any case the building was well advanced if not finished in 1509, when over the small entrance door was written, 'Perfectum fuit anno Domini 1509.'

Two windows light the Pateo, one looking north and one south. They are both alike, and both are thoroughly Manoelino in style. They are of two lights, with well-moulded jambs, and half-octagonal heads. The drip-mould, instead or merely surrounding the half octagon, is so broken and bent as to project across it at four points, being indeed shaped like half a square with a semicircle on the one complete side, and two quarter circles on the half sides, all enriched by many a small cusp and leaf. The mullion is made of two branches twisting upwards, and the whole window head is filled with curving boughs and leaves forming a most curious piece of naturalistic tracery, to be compared with the tracery of some of the openings in the Claustro Real. (Fig. 58.)

No doubt, while the Pateo was being built, the great entrance to the Imperfect chapels, one of the richest as well as one of the largest doorways in the world, was begun, and it must have taken a long time to build and to carve, for the lower part, on the chapel side especially, seems to be rather earlier in style than the upper. The actual opening to the springing of the arch measures some 17 feet wide by 28 feet high, while including the jambs the whole is about 24 feet wide on the chapel, and considerably more on the Pateo side,--since there the splay is much deeper--by 40 feet high. To take the chapel side first:--Above a complicated base there is up the middle of each jamb a large hollow, in which are two niches one above the other, with canopies and bases of the richest late Gothic; on either side of this hollow are tall thin shafts entirely carved with minute diaper, two on the inner and one on the outer side. Next towards the chapel is another slender shaft, bearing two small statues one above the other, and outside it slender Gothic pinnacles and tabernacle work rise up to the capital. Up the outer side of the jambs are carved sharp pointed leaves, like great acanthus whose stalk bears many large exquisitely carved crockets. On the other side of the central hollow the diapered shaft is separated from the tiers of tiny pinnacles which form the inner angle of the jamb by a broad band of carving, which for beauty of design and for delicacy of carving can scarcely be anywhere surpa.s.sed. On the Pateo side the carving is even more wonderful.[121] There are seven shafts in all on each side, some diapered, some covered with spirals of leaves, one with panelling and one with exquisite foliage carved as minutely as on a piece of ivory.

Between each shaft are narrow mouldings, and between the outer five four bands of ivy, not as rich or as elaborately undercut as on the chapel side, but still beautiful, and interesting as the ivy forms many double circles, two hundred and four in all, in each of which are written the words 'Tyas Erey' or 'Tya Serey,' Dom Manoel's motto. For years this was a great puzzle. In the seventeenth century the writer of the history of the Dominican Order in Portugal, Frei Luis de Souza, boldly said they were Greek, and in this opinion he was supported by 'persons of great judgment, for "Tanyas" is the accusative of a Greek word "Tanya," which is the same as region, and "erey" is the imperative of the verb "ereo", which signifies to seek, inquire, investigate, so that the meaning is, addressed to Dom Manoel, seek for new regions, new climes.' Of course whatever the meaning may be it is not Greek, indeed at that time in Portugal there was hardly any one who could speak Greek, and Senhora de Vasconcellos--than whom no one has done more for the collecting of inscriptions in Portugal--has come to the very probable conclusion that the words are Portuguese. She holds that 'Tyas erey' or 'Tya serey'

should be read 'Tanaz serey,' 'I shall be tenacious'--for Tanaz is old Portuguese for Tenaz--and that the Y is nothing but a rebus or picture of a tenaz or pair of pincers, and indeed the Y's are very like pincers.

In this opinion she is upheld by the carving of the tenacious ivy round each word, and the fact that Dom Manoel was not really tenacious at all, but rather changeable, makes it all the more likely that he would adopt such a motto.

The carvers were doubtless quite illiterate and may well have thought that the pincers in the drawing from which they were working were a letter and may therefore have mixed them up to the puzzling of future generations.[122] Or since nowhere is 'Tayaz serey' written with the 'z'

may not the first 'y' be the final 'z' of Tanaz misplaced?

The arched head of the opening is treated differently on the two sides.

Towards the Pateo the two outer mouldings form a large half octagon set diagonally and with curved sides; the next two form a large trefoil. In the spandrels between these are larger wreaths enclosing 'Tanyas erey,'

which is also repeated all round these four mouldings.

The trefoils form large hanging cusps in front of the complicated inner arch. This too is more or less trefoil in shape,

[Ill.u.s.tration: Fig. 57.

BATALHA ENTRANCE TO CAPELLAS INPERFEITAS.

From a photograph by E. Biel & Co., Oporto]

but with smaller curves between the larger, and all elaborately fringed with cuspings and foliage.

Four mouldings altogether are of this shape, two on each side, and beyond them towards the chapel is that arch or moulding which gives to the whole its most distinctive character. The great trefoil, with large cusps, which forms the head is crossed by another moulding in such a way as to become a cinquefoil, while the second moulding, like the hood of the door at Santarem, forms three large reversed cusps, each ending in splendid acanthus leaves. Further, the whole of these mouldings are on the inner side carved with a delicate spiral of ribbon and small b.a.l.l.s, and on the outer with the same acanthus that runs up the jambs.

Now, on the chapel side especially, from the base to the springing there is little that might not be found in late French Gothic work, except perhaps that diapered shafts were not then used in France, and that the bands of carving are rather different in spirit from French work; but as for the head, no opening of that size was made in France of so complicated and, it must be added, so unconstructional a shape. It is the _chef-d'oeuvre_ of the Manoelino style, and although a foreigner may be inclined at first, from its very strangeness, to call it Eastern, it is really only a true development in the hands of a real artist of what Manoelino was; an expression of Portugal's riches and power, and of the gradual a.s.similation of such Moors as still remained on this side the Straits. Of course it is easy to say that it is extravagant, overloaded and debased; and so it may be. Yet no one who sees it can help falling a victim to its fascination, for perhaps its only real fault is that the great cusps and finials are on rather too large a scale for the rest. Not even the greatest purist could help admiring the exquisite fineness of the carving--a fineness made possible by the limestone, very soft when new, which gradually hardens and grows to a lovely yellow with exposure to the air. No records tell us so, but considering the difference in style between the upper and the lower part it may perhaps be conjectured that the elder Matheus designed the lower part, and the younger the upper, after his father's death in 1515.

In the great octagon itself the first thing to be done was to build huge piers, which partly encroach on the small sepulchral chapels between the larger apses. These piers now rise nearly to the level of the central aisle of the church where they are cut off unfinished; they must be about 80 or 90 feet in height. On the outer side they are covered with many circular shafts which are banded together by mouldings at nearly regular intervals. Haupt has pointed out that in general appearance they are not unlike the great minar called the Kutub at Old Delhi, and a lively imagination might see a resemblance to the vast piers, once the bases of minars, which flank the great entrance archways of some mosques at Ahmedabad, for example those in the Jumma Musjid. Yet there is no necessity to go so far afield. Manoelino architects had always been fond of bundles of round mouldings and so naturally used them here, nor indeed are the piers at all like either the Kutub or the minars at Ahmedabad. They have not the batter or the sharp angles of the one, nor the innumerable breaks and mouldings of the others.

Between each pier a large window was meant to open, of which unfortunately nothing has been built but part of the jambs.

Inside the vaulting of the apsidal chapels was first finished; all the vaults are elaborate, have well-moulded ribs, and bosses, some carved with crosses of the Order of Christ, some with armillary spheres, others with a cross and the words 'In hoc signo vinces,' or with a sphere and the words 'Espera in Domino.' Where Dom Joo II. was to be buried is a pelican vulning herself--for that was his device--and in that intended for his father Dom Affonso V. a 'rodisio' or mill-wheel. A little above the entrance arches to the chapels the octagon is surrounded by two carved string courses separated by a broad plain frieze.[123] On the lower string are the beautifully modelled necks and heads of dragons, springing from acanthus leaves and so set as to form a series of M's, and on the upper an exquisite pattern arranged in squares, while on it rests a most remarkable cresting. In this cresting, which is formed of a single bud set on branches between two coupled buds, the forms are most strange and at the same time beautiful.