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PREFACE. 
 
 The Royal Monadery of Batalha, the (ubjedt of the following Work, is a druc- 
 ture very little known, though the excellence of its architefture juftly entitles it 
 to rank with the moll celebrated Gothic edifices of Europe. My firft knowledge of 
 this venerable pile, was derived from feeing fome (ketches of it in the pofleffion of 
 the Right Honourable William Conyngham, taken by himfelf, and two other gen¬ 
 tlemen * who travelled with him through Portugal in the year 1783. Thefe 
 Iketches, which are very correft reprefentations of the original, gave me fo high 
 an idea of that building, as to excite in me an earned defire to vifit it; and the 
 above Gentleman having generoufly offered me his patronage and fupport, I fet out 
 from Dublin, in a trading veflel, and arrived at Oporto in the month of January 
 1789. Whence I departed after a fhort day, and in feven days reached Batalha, 
 where I was kindly received by the Prior and all the Convent. 
 
 This Monadery is fituated in a fmall village of the fame name, in the province 
 of Edremadura in Portugal, about fixty miles N. of Lifbon ; it is environed by 
 mountains, fome of which produce pine and olive trees. The country around 
 it is pretty well cultivated, particularly the plains, which are naturally fertile, and 
 well watered, yielding great quantities of excellent grapes and olives. The village 
 is inhabited chiefly by indigent but indudrious people, many of whom derive a 
 comfortable fubfidence from their employments in the fervice of the Convent. 
 
 The building, confidering its age, is in good prefervation, and has differed very 
 little from the ufual injuries of the elements; owing to the durability of the ma¬ 
 terials, and the ferenity of the climate. Some parts, however, have been damaged 
 by the fatal earthquake of 1745, and the fpire that crowned the Maufoleum 
 of the founder (King John I.) was entirely dedroyed by that difader, but 
 fortunately, in its fall, did not hurt any part of the infide. This fpire has not 
 been rebuilt; the other parts of the Maufoleum which received mod injury, 
 have been decently repaired in their former dyle, through the munificence of His 
 Mod Faithful Majedy the late King, Jofeph I. Some of the pinnacles, and parts 
 of the railing of the Church, were alfo thrown down, or deranged, at the fame 
 time; and had not been replaced when thefe obfervations were made, in 1789. 
 This however we mud attribute, not to any negleft on the part of the Fathers, but 
 to the poor revenue of the Convent; for, to do them judice, they hold this 
 edifice in great veneration, and, as far as circumdances will allow, are careful in 
 repairing and cleaning it. They cannot, indeed, completely repair pad damages, 
 but they ufe every precaution in their power againd future ones. 
 
 * Colonel Tarant, and Captain Broughton. 
 
PREFACE. 
 
 In the Church belonging to this Monaftery, we obferve none of thofe trifling and 
 luperfluous fculptures, which but too often are fccn to crowd other Gothic edifices. 
 Whatever ornaments are employed in it, are Iparingly, but judicioufly dilpofed; 
 particularly in the infide, which is remarkable for a chafte and noble plainnefs; 
 and the general effedt, which is grand and fublime, is derived, not from any mere¬ 
 tricious embellifliments, but from the intrinfic merit of the defign. The forms of 
 its mouldings and ornaments, are alfo different from thofe of any other Gothic 
 building that I have feen. This difference chiefly confifts in their being turned 
 very quick, and cut fliarp and deep; with fome other peculiarities, which the 
 plates of this work will fufficiently explain. Throughout the whole are feen a 
 corredlnefs and regularity, which evidently appear to be the refult of a well con¬ 
 ceived original defign; it is equally evident that this defign has been immutably 
 adhered to, and executed in regular progreflion, without thofe alterations and 
 interruptions to which fuch large buildings are commonly fiibjeft. 
 
 Thefe and other confiderations equally interefting, induced me to meafure and 
 delineate the whole, with as much accuracy as poffible; which I completed in 
 thirteen weeks ; during which time I lodged and boarded in the Convent. I am 
 happy in this opportunity of returning my molt fincere thanks to the Prior, the 
 Hofpedeiro Mor, and the reft of the Fathers of Batalha, for the politenefs and atten¬ 
 tion they conftantly fhewed me. The piety, hofpitality, and fimplicity of thefe 
 reverend Fathers, can fcarcely be imagined in thefe degenerate times; they call to 
 our recolleftion the defcription hiftorians give us, of the Chriftians of the Apoftolic 
 ages ; their fanctity of manners increales the dignity of the venerable maniion 
 they inhabit. 
 
 I cannot conclude without acknowledging my obligations to the Right Ho¬ 
 nourable William Conyngham, by whole munificence I have been enabled to carry 
 on this work. The Portuguefe have too much gratitude, not to add their acknow¬ 
 ledgments to him alfo, for having made known the merits of this inimitable 
 ftructurc. Till now, no part of it, fo far as I could learn, has ever been publilhed. 
 The honour of prefenting it to the world, was referved for a private Gentleman, a 
 native of Ireland, who, induced by no other motive than a love of the fine Arts, 
 and a wilh for the advancement of Science, has expended upwards of One Thou- 
 fand Pounds, in refcuing this noble edifice from the obfcurity in which it has lain 
 concealed for ages.—I have taken the liberty to dedicate this Work to him, in 
 confideration of his exemplary liberality, and as an humble teftimony of my 
 everlafting gratitude and relpedi. 
 
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INTR ODUCTION ’ PLATE II . 
 
 FRAGMENTS OF GOTHIC ARCHITECTURE. 
 

INTRODUCTION PLATE III. 
 
 € O R N I C E S . 
 
 B ELT S ax d C O V IN G S . 
 
 BASES and PLINTHS or the COLUMNS. 
 
 it— 
 
 */. Afutjtj/ty <#€'/. 
 
 FRAGMENTS OF GOTHIC ARCHITECTURE..iux.hu. 
 
INTRODUCTION PLATE, 4. 
 
 'la gasTgqrc 
 
 RELIGIOUS CUSTOMS OF THE 13. CENTUM: 
 
 i/. k-f 7*i /r'~. djtri/, ‘?-it • 
 
INTRODUCTION. 
 
 WHILST the remains of the edifices of ancient Greece and Rome, have been 
 meafured and delineated with the greateft accuracy, by many perfons well qualified 
 for the talk, very few have direfted their enquiry towards the principles of that 
 ftyle of architefture called Gothic. This negleft may, in a great meafure, be 
 attributed to a prejudice arifing from a miftaken notion of its having originated 
 with a tribe of barbarians, from whom nothing excellent could be expefted; but 
 there is no reafon to fuppofe, that they have any claim to the invention of that 
 elegant fpecies of it which is exhibited in the following work. This fpecies is allowed 
 by the mod competent judges, to have originated with the Normans, towards the 
 conclufion of the twelfth century, and is generally known by the name of the 
 Modern Norman Gothic. 
 
 Many ingenious men, who have carefully examined the belt churches executed in 
 this ftyle, allow they are highly deferving of attention, whether we confider them 
 as veftiges of art, or as monuments of the induftry and manners of former ages. 
 An eminent Artift of the prefent time, who is very competent to judge of their 
 merit, remarks that, “ to thole ulually called Gothic Architects, we are indebted 
 for the firft confiderable improvements in con ft ruction , there is a lightnefs in their 
 works, an art and boldnefs of execution, to which the ancients never arrived, and 
 which the moderns comprehend and imitate with difficulty.” * 
 
 Thefe circumftances might be confidered as fufficient inducement to inveftigate 
 the principles on which thofe edifices are built, but they have other claims to our 
 notice. No other mode of building is fo well calculated to excite fublime and awful 
 fenfations; and if we admire the heathen temples of ancient Greece and Rome, 
 becaufe they awaken thefe emotions in us, we muft furely efteem thefe Chriftian 
 temples, as they certainly produce that effedt in a fuperior degree, though, 
 in the conftruftion of moft of them, nothing is ufed but the mere produce of 
 the quarry. Of this we have a ftriking inftance in the church of Batalha, which is 
 formed out of as fimple materials as the great pyramid of Egypt ; yet the 
 fimplicity of its matter, but augments the gracefulnefs of its appearance. 
 
 * Sir William Chambers on Civil Archite&ure, page 24, third edition. 
 
INTRODUCTION. 
 
 When we confider the difficulty the Architefts of thefe edifices had to contend 
 wil from the ignorance of the times, and the debafed ftate of every Art and 
 Science we muft confefs they had more merit than is generally allowed them ; or 
 nolwithftanding thefe powerful barriers, their works difcover figns of mathematical 
 knowledge, of philosophical penetration, and of religious fentiments, which future 
 generations may perhaps feek for in vain, in the produftions of the Architefts of this 
 
 enlightened age. 
 
 The earlieft fpecimens of this manner of building m England weie, I belieie 
 finiffied about the beginning of the thirteenth century ; and though P^Aaps uot 
 conftrufted in imitation of any ancient models, were carried to a greater pitch ex¬ 
 cellence in lefs time, than hiftory records of any other fpecies of Architefture ; an 
 may be mentioned as remarkable inftances of the vigorous exertions of the human 
 mind, in the early ftages of an art. It muft however be expefted, that feme 
 defeds are to be found in thefe edifices, as perfeaion, m any art is a plant of flow 
 growth. But if this mode of building had ftill continued to be cultivated, with that 
 ardour which marked its progrefs in this country, a little before the period of its final 
 diffolution , improved by the affemblage of various fcattered perfeftions, and graced 
 by emanations from the kindred arts, what excellence might we not reafonably 
 expeft to have feen it brought to, when the excrefcences,, and inelegancies, of ruder 
 times, would have been lopped off by the hand of tafte. 
 
 The following work exhibits one of the beft fpecimens exifting of the Gothic ftyle, 
 in which I have attempted to follow the manner praaifed by former artifts with fo 
 much fuccefs, in defcribing and delineating the ancient edifices of Rome; and though 
 it cannot be expeaed that this Angle fpecimen, however excellent will be fufficient 
 to afcertain completely the principles on which Gothic Edifices are built, yet, I tru 
 that it will help to develop thofe intricacies of conftruaion, which no one has hitherto 
 attempted to explain, and that with the affiftance of other attempts of the fame na¬ 
 ture, we may be led to comprehend the myfterious rules of the Reverend Fathers 
 who are fuppofed to have been their Architects.* 
 
 The writers who have hitherto treated on this fubjea, have principally direaed 
 their attention to the Pointed Arch, which theyfeem to confider as the leading 
 
 * Bentham’s Ely, p. 27. - Monfieur Felibicn, fpeaking of the Architecture 
 
 of the Sixth Century, fays,«In conft rutting the different edifices I have mentioned, 
 they employed no workmen fcarcely but mafons, who had no further knowledge of 
 the feience than the.praaice of preparing the mortar well, and of choofing good ma¬ 
 terials; in which, indeed, they took fuch precaution, that nothing can be more folid 
 than their works. I do not, however, rank fuch perfons among the number of 
 Architetts. I believe that there were very few lay-men deferving this title under 
 our firft kings, as mod of them were at that time occupied in what related to the 
 profeflion of war, leaving to the churchmen the care of cultivating the Sciences, 
 and the fine Arts. What ftrengthens this opinion refpetting Architecture, is, 
 
 that in France the firft monks worked themfclves in building their monafteries, 
 employing the mod intelligent of their community to condutt thefe works, with¬ 
 out the affiftance of the laity; nay, even the fuperiors were often at the head of 
 their monks, to give the defigns, and to trace the form in which the ftones were 
 to be cut. This employment was fo for from degrading the ecclefiaftic dig¬ 
 nity, that many of the bilhops thought it an honour to be reputed the archi- 
 tetts, and overfeers of the churches which they built, imitating in that refpea, the 
 High-priefts of the Jewilh law, who, it is faid, employed themfelves in building 
 and repairing the Temple of Jerufalem.” 
 
 Entreticns fur la vie dcs Architcttes, tom. v. p. 167. 
 
INTRODUCTION. 
 
 3 
 
 charafteriftic of this fpecies of Architecture. Many difquifitions have been written 
 concerning its origin, but it ftill remains unexplained. I have bellowed much thought 
 on this part, and flatter myfelf, that though the conjedtures I am now about to offer 
 relpedting its origin are entirely new, they will upon mature conflderation, be al¬ 
 lowed to approach as near to certainty as the nature of the fubjeft will admit. 
 
 If the Pointed Arch be conlidered detached from tire building, its origin may 
 long be fought for in vain, and indeed I imagine that this is the reafon it has eluded 
 the refearches of fo many ingenious men; but, on the contrary, if we examine it 
 in a relative view, as a part in the compolition of the whole, it will become more 
 eafy to account for its form, or for that of any other component part. If we 
 take a comprehenfive view of any of thefe ftrudlures externally, we fliall per¬ 
 ceive that not only the arch, but every vertical part of the whole fupeilhuc- 
 ture terminates in a point. And the general form, if viewed from any of 
 the principal entrances, (the llation from whence the charafter of an edifice 
 fliould be taken) will be found to have a pyramidal tendency. The Porticos of 
 the firft ftory, whether they be three, or five in number, are reduced to one 
 at the top, and this is fometimes crowned with a lofty pediment, which might 
 more properly be called a pyramid, as we fee in the tranfept front of Weftminfter 
 Abbey, and York Minfter. If we look further on, in a direft line with its 
 apex, we frequently fee a lofty fpire, or pyramid, rifing over the mterfedlion 
 of the nave and tranfept. Each of the buttrefles and turrets is crowned with a 
 final! pyramid. If niches are introduced they are crowned with a fort of pyra¬ 
 midal canopy. The arches of the doors and windows terminate in a point; and 
 every little acceflory ornament, which enriches the whole, has a pointed or angular 
 tendency. Spires, pinnacles, and pointed arches;* are always found to accompany 
 each other, and very clearly imply a fyftem founded on the principles of the Pyramid. 
 
 It appears evident, from thefe inftances, that the pyramidal form actually exilts 
 throughout the feveral component parts, and the general difpofition of the edifice, 
 approaches as near to it, at leaft, as the ordonnance of an hiftorical painting which is 
 faid to be pyramidally grouped. Hence we may comprehend the reafon why 
 the arch was made pointed, as no other form could have been introduced with 
 equal propriety, in a pyramidal figure, to anfwer the different purpofes of unifor¬ 
 mity; fitnefs; and ftrength. It is in vain, therefore, that we feek its origin 
 in the branches of trees; or in the interfeftion of Saxon or Grecian circles-, or 
 in the perfpective of arches ; or in any other accidental concurrence of fortuitous 
 
 * « As for fpires and pinnacles with which our oldeft churches are fometimes, and 
 more modern ones are frequendy decorated, I think they are not very ancient. 
 The towers and turrets of churches, built by the Normans in the firft century after 
 their coming, were covered as platforms, with batdements or plain parapet walls., 
 Some of them indeed, built within that period, we now feefinifhed with pinnacles 
 
 or fpires, which were additions fince the modern ftyle of pointed arches.prevailed, 
 for before we meet with none. One of the earlieft fpires we have any account 
 of, is that of old St. Paul’s, finilhed in the year 1222, it was, I think, of timber 
 covered with lead ; but not long after they began to build them of ftone, and to 
 finifh all their buttrefles in the fame manner.”-Bentham’s Ely, p. 40. 
 
4 
 
 
 INTRODUCTION. 
 
 circumftances. The idea of the pointed arch feems clearly to have been fuggefted 
 by the Pyramid, and it's origin, mull: confequently be attributed, not to accident, but 
 to ordination. 
 
 But granting for a moment that any of the above mentioned conjectures were 
 true, we fhould be as far as ever from afcertaining the principles of thefe edifices. 
 There never was a fpecies of Architecture the properties of which could be deter¬ 
 mined from the arch alone. Even in the Gothic, where it forms fo conlpicuous a 
 part, it does not govern in the compofition, but follows the general order of things, 
 as it is not a caufe, but a concomitant part, and its pointed termination is a confe- 
 quence arifing from a general actuating principle. 
 
 Whether the Gothic Architects were the inventors of this Arch, or borrowed the 
 idea of it from others, is not eafy to determine ; but it is very reafonable to fuppofe 
 that it originated with themfelves, as they were the only fcientific builders known to 
 have ufed the pyramidal figure in the compofition of their edifices, except the 
 Egyptians; * and it is generally fuppofed that the latter were ignorant of the art of 
 conftrudting arches, though, in other refpects, an ingenious people. But the Gothic 
 Architects, in ufing this Arch, did no more, in my opinion, than the Greeks or 
 Romans would have done in fimilar circumftances. For, if we fuppofe for a moment, 
 that an Athenian Artift of the age of Pericles, or a Roman Architect of the Auguftan 
 age, had been called in to finilh a Gothic ftructure that had neither doors nor win¬ 
 dows, he could not, I think, have introduced any other but a Pointed Arch, in an 
 edifice where every part grew up to a point, without being guilty of a direct violation 
 of the laws of art, and of the precepts fo ftrongly inculcated in the Architecture 
 of his own country. 
 
 The rule obferved by the Gothic Architects, of adapting the form of the arch to 
 the general figure of the edifice, is I believe, confonant with the cuftom of the an¬ 
 cients, though I cannot find that any writer, ancient or modern, has taken notice of 
 this circumftance. The Grecian temples, which were chiefly of an oblong form, 
 have their doors and windows terminated horizontally, in all the defigns that 
 
 have feen of the ruins of that country ; fome exceptions may perhaps be found, 
 but 1 believe they never occur, except where propriety was made fubfervient to 
 
 
 ■ - —e--mui uic an or lorn 
 
 " “ ” wm 1 “ ,C “• “> *• internal and mrternal 
 
 ttar Pym«,d, .fa, rrfemUed, a. „„ „ poSblo, , pobteJ Arf 
 
 In the gallery o, narrow patTagas in the great Pyramid of Giza, and in the 
 
 rooms of that which is opened at Sacara, the vault over head is formed by the 
 gentle projedlion of the ftones, one above another, till they approach to near a 
 
 point at the centre.”-Remarks on Prints by Richard Dalton, Efq. p. 54- 
 
 See the view of the entrance into the great Pyramid, in Sandy’s Travels, p. 130. 
 
INTRODUCTION. 
 
 5 
 
 The Romans, who indulged in a greater variety of forms, furnifli us with many 
 examples wherein this principle of uniformity is obferved ; the doors and windows 
 of their quadrangular edifices being, generally fpeaking, clofed horizontally in the 
 manner of the Grecians, and the apertures of their rotund edifices terminated 
 with femi-circular arches, as we fee in the Amphitheatre at Verona, and in the 
 Colifeum, the Theatre of Marcellus, the Temple ofBacchusand Faunus at Rome,&c * 
 1 o which uniformity thefe buildings are indebted for a great part of their beauty. Of 
 this the author of the ingenious Inquiry into the Origin of our Ideas of the Sublime 
 and Beautiful,t appears to have been perfectly fenfible. “ It is in a kind of 
 artificial infinity(he fays) “ I believe we ought to look for the caufe why a rotund 
 has fuch a noble eftect. For in a rotund, whether it be a building or a plantation, 
 you can no where fix a boundary ; turn which way you will, the fame object ftill 
 feems to continue, and the imagination has no reft. But the parts mull be uniform, 
 as well as circularly difpofed, to give this figure its full force ; becaufe any difference, 
 whether it be in the difpofition, or in the figure, or even in the colour of the parts] 
 is highly prejudicial to the idea of infinity, which every change mull check and 
 interrupt, at every alteration commencing a new feries.” 
 
 Indeed, there is no fpecies of Architecture that has the lealt claim to excellence, 
 wherein this uniform confent of parts, has not been confidered as indifpenfably 
 neceffary to the general effect and harmony of the compofition. We even find it 
 obferved in thofe fimple ftructures of the Egyptians, that referable a fruftum of a 
 pyramid ;t which ftructures probably firft fuggefted the idea of doors with oblique 
 fides, narrower at the top than at the bottom, as defcribed in the lixth chapter of the 
 fourth book of Vitruvius. Doors of this fort, having fitnefs to recommend them, in 
 a building of that kind, as well as convenience, on account of their lhutting them- 
 felves, a property they derive from the nature of their figure, were wifely adapted 
 in thofe artlefs times, and would be equally proper now, if fimilar reafons Ihould 
 juftify their reftoration.5 
 
 Upon the whole, if the form of the arches, employed in clofing the apertures of a 
 regulai edifice, contributes in any degree to the effect and harmony of the com¬ 
 pofition; it is probable, that the order here afligned to each, appears the moll natural, 
 and the moll conliftent with the rules of fitnefs and uniformity ; that is to fay, 
 
 A pointed arch, in a pyramidal ftructure.il 
 
 An horizontal arch, (if the term be allowed) in a fquare or oblong building 
 And a femi-circular arch in a rotund.** 
 
 * See Delgodetz, p. 28,32, no, 124, 127, and 139. 
 
 The Pantheon, one of the nobleft monuments of antiquity, cannot be brought 
 as a fair exception to this rule, on account of the various alterations it has under¬ 
 gone, by rebuilding and repairs, after the greateft part of its original members 
 were deftroyed by fire. Vide l’Architettura di Sebaftiano Serlio, lib. 3. cap. 4. 
 t Page 133. 
 
 t See Fig. 26. plate 1. Introduction. See alfo Norden’s travels, plate 101. vol. 2. 
 § The late Mr. Stuart has, not injudicioully, introduced one of thefe doors at 
 the entrance of the new Chapel of the Royal Hofpital at Greenwich, with an ob¬ 
 liquity lefs than taught by Vitruvius. 
 
 || Like fig. 1,8, 9,12,13, in plate 1. Introduction. 
 
 II Fig. 15 and 16. ** Fig. 24. 
 
6 
 
 INTRODUCTION. 
 
 round- but where the afpect of the edifice was horizontal, the apertares alfo 
 
 were clofed horizontally. 
 
 The Refectory at Batalha* * * § which is not an inelegant fpecimen of Gothic Ait, 
 furniflies us with aftriking example of this nature, that enables us to reafion on facts. 
 The general Figure of the plan, and of the elevation, of this Refectory, is nearly like 
 that of a low Grecian Pavilion, and all its apertures, without exception, are clofed in 
 the Grecian manner ; t but if each of its buttrefTes, inftead of terminating under the 
 comice, had been carried above the railing and crowned with a pinnacle, and the ends, 
 if fmiflied, with fharp pointed gables, its apertures, in that cafe, I conceive, would not 
 have been clofed horizontally, but with a pointed arch, fomewhat fimilar to thofe of 
 King’s College Chapel, at Cambridge. Hence it appears, that it was propriety, 
 and not caprice, that influenced the Gothic Architects in clofing the apertures of 
 their edifices ; and that a building may be in the true ityle of the modern Norman 
 Gothic, without poffeffing a Angle pointed arch.t 
 
 Some examples, I am aware, may be pointed out among the Greeks and Romans, 
 of a practice contrary to what is here laid down; but thefe exceptions are merely ac¬ 
 cidental, or introduced through neceffity, which often excludes all other confiderations. 
 
 Among fuch a number of Architects,? as flourfihed during the continuation of 
 the Greek and Roman empires, there muft, no doubt, have been many, who were 
 ignorant of the true principles of this complicated art ;f and, from the defigns 
 of fuch perfons, we cannot with propriety draw affirmative conclufions, nor confi- 
 der their works in any other view, than as monuments of errors; and no errors, 
 however ancient, or however countenanced by long pradtice, are fit objedls of imi- 
 
 * See the plate of the Weft Elevation of this Refectory, 
 
 f See fig. 23, plate 1. Introduction. 
 
 J Buildings of certain kinds may be in the true M. N. Gothic Style, without 
 pointed Arches, but churches cannot, for reafons which will be fhewn hereafter. 
 
 § Vegetius fays, that in his time 700 Architects were computed at Rome. 
 
 Vitruvius, in Proem to B. iii. and B. vi. mentions, that there were many in 
 his time profefling themfelves Architedls, who were ignorant, not only of the 
 found principles of Architedfure, but of every thing relating to building. 
 
INTRODUCTION. 
 
 7 
 
 tation. If rules were laid down for determining, with precifion, what ancient mo¬ 
 numents are of the true ftandard principle of correftnefs, they would greatly con¬ 
 tribute to accelerate the progrefs of Architecture. But, to afcertain fuch rules, 
 would require the qualifications of the Philofopher, united with thofe of the Ar- 
 tift. He, whofe mind is enlightened by thefe reafoning powers, knows how to 
 ftamp a juft value upon works of real merit, and to rejeft any exciefcence that 
 “ Old Time,” as Milton fays, “ with his huge drag-net, has conveyed down to us 
 along the ftream of ages.” 
 
 EXPLANATION OF THE SEVERAL ARCHES 
 
 IN PLATE I.—INTRODUCTION. 
 
 Fig. i. XHE common pointed arch* 
 
 Fig. 2. An arch of the third point. This arch is ufed in many parts of the church 
 of Batalha. In the fide elevations of churches it has an agreeable appearance, 
 as being an equation between the high pointed and low arch. 
 
 Fig. 3. A fection of the common pointed arch. Fig. 1. 
 
 Fig. 4. Fig. 5. and Fig. 6. Pointed fcheme arches. 
 
 The points from whence the upper parts of Fig. 6. are formed, are found 
 thus: Divide the circumference of one of the circles into fix equal parts ; 
 from 1 to 4 of thefe divifions, draw the indefinite right line 1 4 b, and where 
 it interfects the line c b, as at b, drawn perpendicular to the bafe line c 6, 
 will be the point required for defcribing the portion of the arch from 1 to «; 
 the reft is plain by infpection. 
 
 Fig. 7. and Fig. 8. Pointed arches, of contrary flexion. 
 
 Fig. 9. Segments of an Ellipfis. 
 
 Fig. 10. Segments of the Parabola. 
 
 Fig. 11. Segments of the Hyperbola. 
 
 Fig. 12. Is the Quadratrix of Dinoftratus. 
 
 Fig. 13. Segments of the Cycloid. 
 
 Fig. 14. Segments of the Catenarian Curve. 
 
 pjg_ j ^ an ft Fig. 16. Horizontal arches. The former is taken from the Convent 
 of the Church of the blefled Conception at Beja, where D. Duarte, the fon 
 of John the Firft, the founder of Batalha, is interred. The latter is copied 
 from a Gothic ruin at Evora, both in the Province of Alem-tejo, in Portugal. 
 
 • The manner of forming tin,, and the f«hfc,eent pointed arch.,, i. ttewn by the line, and indent, of the refpeai.e hgere,. 
 
INTRODUCTION. 
 
 Fig. 17. This arch, with its lateral and upper refilling arches, may be feen in Wed- 
 minfter Abbey, at the interfection of the nave and tranfept; a fpecimen of 
 Gothic ingenuity, perhaps, not unworthy of notice* 
 
 All the above arches properly belong to that fpecies of Architecture called 
 modern Norman Gothic; but there are fix of them, viz. Figures 9, 10, 11, 12, 13, 
 and 14, the exiftence of which I have not been able to afcertain by antecedent 
 examples. However, I am averfe from fuppofing, that the Gothic Architects were 
 Arrangers to Figures 9, 1 o, and 11. The arches that fupport the fpire of the 
 Church of St. Nicholas, at Newcafile, as well as thofe introduced by Sir ChriAopher 
 Wren, in the fpire of St. Dunfian in the EaA, are, I think, either of the parabolic, 
 or of the hyperbolic fpecies. Thefe arches, whether recommended by ancient prac¬ 
 tice or not, poflefs many valuable attributes, which, together with their aptitude and 
 fitnefs for Gothic Architecture, invited me to introduce them here. 
 
 The Crefcent, or Moorifque arch. 
 
 A Moorifque pointed arch. 
 
 A Moorifque pointed arch of contrary flexion. Thefe three arches 
 may be feen at the Puerta de Ios liete fuelos, and at the Torre de las dos 
 Hermanas.—Alhambraf 
 
 A window in the Arabian Ayle of Architecture, fketched from the Royal 
 Palace at Cintra, near Lilbon. 
 
 Saxon arches. 
 
 The manner in which the Egyptians and Grecians clofed the apertures of 
 their quadrangular edifices. 
 
 The Semi-circular arch often ufed by the Romans, particularly in their 
 rotund buildings. 
 
 The Dos d’Ane arch, ufed by the Egyptians, in the vaulting of the galleries, 
 and fepulchral chambers of their pyramids. See Norden’s Travels, plate 
 49 and 50. 
 
 A fragment of an Egyptian building at Camac; fee Norden’s Travels, 
 Vol. I. where many remains of Egyptian edifices are Ihewn, with the fides 
 me ining inwards, like the fide of a bafiion. Doors narrower at the top than 
 at the bottom as reprefented in this figure, probably originated with thefe, 
 or fimilar firu&ures. 
 
 This is a non-defeript. I flail call it the Ulnar Arch. It is generated 
 by the arms of a man extended at full length, with his breaA placed againfi 
 
 revTut o "" rh * ^ “ pleC£ ° f cMk held in ^h hand, the 
 
 revolution of the arms, moving inflexibly upwards, till the hands meet in 
 
 the pillars, ' aSTiSTSfe II » ‘ * Th ' A " h "' a *?*“. “ h ™ b '“ ty H» 
 
 nsArength, bemgto-the Arcngthof a ferni-circular Arch of equal f Dan a , Tn v ".I" hehaS S uarded a g a inft the incumbent weight. 
 
 ‘ I + Vide Amrguedades Arabes de Grenada y Cordoba. 
 
 Fig. 18. 
 Fig. 19, 
 Fig. 20. 
 
 Fig. 21. 
 
 Fig. 22 
 Fig. 23. 
 
 Fig. 24. 
 
 Kg- 25. 
 
 Fig. 2 6 . 
 
 Fig. 30. 
 
INTRODUCTION. 
 
 9 
 
 a point vertical with the crown of the head. In the chancel of Elkftone church, 
 in the county of Gloucefter, there is an arch of Saxon workmanfhip, apparently 
 generated after this manner; but fuch arches Ihould not be employed, I imagine, 
 except in vaults where a number of ribs, fpringing from the fides, converge to one 
 centre. The inverted angles at the top Ihould then be concealed by a pendent orb 
 richly ornamented. 
 
 How to find the Joints of any Arch formed of Segments of the Ellipfis, Parabola, or 
 
 Hyperbola. 
 
 PROBLEM I. Of the Ellipfis. (Fig. 27. Plate I.) 
 
 From the focus point F, of the Ellipfis, draw as many right lines Fe, as there 
 are joints required in the arch, and from G, the other focus point, draw the lines 
 Ga, Ga, &c. which fliall cut the former lines at the points c.c. Bifeft the feveral 
 angles ace, and you have cb, the joints required. 
 
 PROBLEM II. Of the Parabola. (Fig. 28.) 
 
 From the point F, the focus of the Parabola, draw lines Fa, Fa, through as 
 many points (c.c) in the arch as there are joints required, and from the points c.c, 
 where thefe lines interfeSf the arch, draw ce, ce, See. parallel to the axis of the 
 feftion GD. The lines be, be, which bifeH the feveral angles eca, will then be 
 the true joints of the parabolic arch. 
 
 PROBLEM III. Of the Hyperbola. (Fig. 29.) 
 
 Let F and G, be the focus points of two oppofite Hyperbolas given in pofition, 
 from the focus G, draw lines through the feveral joints (c.c) of the arch, and through 
 each of the points where they interfeft the arch, as at c.c. See. draw Fa, Fa, pro¬ 
 ceed, as in the two former problems, to biiecf the angles a c G, and you will deter¬ 
 mine the joints required. 
 
 OF DOMES. 
 
 The above problems, elpecially the two latter, will be found of great ufe, 
 wherever arches of the parabolic or hyperbolic kind are required; their properties 
 are well known to every mathematician, and their utility in conftrudtion univerfally 
 admitted, particularly in magnificent domes, and in fituations where great weight 
 is to be fuftained without much lateral refiftance: they have alfo the advantage 
 
of requiring no centring, or at leaft not fo much as the arches in common ufe*. 
 The claim of Sir Chriftopher Wren to the firft rank in his profeffion, depends more, 
 perhaps, upon his knowledge of the properties of thefe curves, than upon all his 
 other attainments in architecture. Hence he was enabled to delign and execute 
 the fuperb cupola of St. Paul’s, one of the nobleft fpecimens of conftruiftion ex- 
 ifting, and the chef-d'oeuvre of this Artift. This edifice, if deprived of that noble 
 feature, would have very little remaining, befides the weftern portico, that any in¬ 
 genious Architect of this age would be ambitious to own; and the church of 
 St. Dunftan in the Eaft would have few admirers, were it not for the geometrical 
 ingenuity of its fpire. 
 
 In that branch of architecture which relates to conftruCtion, Sir Chriftopher 
 Wren may be conftdered as equal, if not fuperior, to any Artift that has appeared 
 in Europe thefe two hundred years; and what contributed not a little to give him 
 this ftiperiority, was his living in an age enlightened by the genius of a Newton, 
 a Leibnitz, a Huyghens, &c. His mind was enlarged by the fublime difcoveries 
 of thofe great philofophers; he was one of the firft geometricians of the age 
 and if to his knowledge in mathematical fcience, he had united, in an equal degree, 
 the true principles of the art of defign, the world, for the firft time, would have feen 
 a complete Architect. 
 
 Since the death of that great man, the art of conftruiftion has been much 
 negleCted in England; and perhaps there are but very few recent fpecimens of it in 
 Europe, of bold execution, befides the cupola of St. Genevieve at Paris. Yet, it is 
 remarkable, that four of the greateft Architects that have appeared fince the reftora- 
 tion of the arts, are chiefly indebted, for their fame in this art, to their knowledge of 
 conftruCtion. Thefe were Filippo BrunellefchiJ, Michael Angelo, Jacques Germain 
 Soufflot §, and Sir Chriftopher Wren. To the firft we owe that ftupendous machine, 
 the cupola of the church of S. Maria del Fiore, one of the moft aftonifhing and 
 difficult performances in Europe, being in magnitude not inferior to any thing of 
 the kind, perhaps, the ancient world ever faw. The knowledge of conftruCtion 
 gradually declined in Italy, by the death of the old Gothic Architects, and finally 
 expired with Arnolfo Lappi, who began this church according to the Gothic rules; 
 this prevented the completion of its cupola for upwards of a century, during which 
 time, there was not to be found in Florence, nor throughout all Italy, any Archi- 
 ted who would undertake to finifh it. This arduous talk was referved for the 
 genius of Bruneflefchi, who has rendered his name memorable in the hiftory of 
 
 * “ The concave" of St. Paul’s “ was turned upon a centre, which was 
 “ judged neceffary to keep the work even and true, though a cupola might be 
 “ bullt wlthout 3 centre: but this is obfervable, that the centre was laid without 
 “ any ftandards from below to fupport it, and as it was both centring and 
 “fcaffoldwg, it remained for the ufe of the painters.”-Parentalia, p. 291. 
 
 + In the Philofophical Tranfaftions, No. 48, there is a folid figure, whofe 
 generation is given by Sir Chriftopher Wren. Two oppofite hyperbolx are 
 
 jomed by the tranfverfe axis, and through the centre there is aright line 
 
 drawn at right angles to that axis; then the hyperbolx are fuppofed to revolve; 
 by which revolution a body will be generated, which he calls an Hyperbolic 
 CyUndroid, whofe bafcs, and all feSions parallel to them,, will be circles. 
 And, in No. 53 of the Philofophical Trunnions, he applies it to the grinding 
 of hyperbolical glafles ; and he fays, they muft be either formed this way, or 
 not at all. There are many more of his ingenious mathematical produ£kions 
 noted in Parentalia. 
 
 t See Vafari, delle Vite di Arch. 
 
 6 See D’ Arrrpn villa Uip. J.. A ..L 
 
INTRODUCTION. 
 
 11 
 
 the arts, by the execution of that cupola; which Lappi, who began the work, would 
 have confidered as a fimple operation, and would, as M. Felibien * juftly obferves, 
 have fin idled it, had he lived, with more eale than Brunellefchi, though he had 
 been pofTeffed of all the rules of the ancient Greek and Roman Architects. 
 
 But Filippo Brunellefchi, however great his merit may have been, has no title to 
 the invention of the modem manner of building cupolas ; for this we are indebted 
 to Anthemius and Ifidorus, the two celebrated Architects who, by order of the 
 Emperor Jultiruan, built the prefent Santa Sophiaf, at Conftantinople; and to pre¬ 
 vent its deftruftion by fire, as had already happened four feveral times, they em¬ 
 ployed no combuftible materials in its fabrication. From this epoch we may date 
 the origin of cupolas refting upon the four pillars of a fquare, which fquare is gra¬ 
 dually formed into a circle by pendentives J; an idea fuggefted by the figure of 
 the crofs reprefented in the plans of all Chriftian churches. The veneration in which 
 this church has long been held, and the advantages which appeared to refult 
 from its new mode of conftruftion, are fo great, that it has fince been imitated 
 by all the nations of Europe §. The Venetians were the firft who fet the example 
 to the Italians, by erefting the church of Saint Mark, at Venice, upon a fimilar plan, 
 about the year 973 ||. Saint Mark’s, together with the cathedral of Pifa, built after 
 the fame model at the commencement of the eleventh century, probably fupplied 
 Brunellefchi with much information in the conftrudtion of the cupola of Santa 
 Maria del Fiore, which laft Michael Angelo appears to have copied, in the dome 
 of that immenfe fabric St. Peter’s at Rome. 
 
 Hence we are enabled to trace through Gothic vejliges, the origin of thofe ftately 
 Domes which crown the principal facred edifices of Europe; a mode of conftrac- 
 tion, of which there is not a Angle inftance to be found among the remains of the 
 buildings of ancient Rome, or of Greece; nor in thofe of the Egyptians; nor in the 
 writings of Vitruvius. 
 
 The Abbe Winckelmann does not appear to have inveftigated this fubjeft with 
 his ufual care, or he would not have attributed the above invention to the ancient 
 Greeks, without being able to refer to a pofitive inftance to eftablilh the faft ; his 
 conclufion to this effeft, refts upon the authority of a piece of fculpture which is 
 upon an antique farcophagus found in the Villa Moirani 1 .. But granting that this 
 farcophagus bears the model of a temple, crowned with a fort of cupola, the original 
 
 * Vie des Arch, par M. Felibien. 
 
 t Sophie,Sophia.— Sainte Sophie & fes trois filles lesSaintes Foi, Efperance, 
 
 & Charitc, furent couronnees du martyre du temps d’Eumene, Eveque d’Alex- 
 andrie, qui tint le fiege fous les Empereurs Adrien & Antonin. L’Eglife de Sainte 
 Sophie etoit la grande Bafillque, ou l’Eglife Patriarchale de Conftantinople, batie 
 par le grand Conftantin & ainfi appellee, parce qu’elle etoit dediee, non pas it 
 Sainte Sophie, mais a la Sagefle Etcrnelle. Sainte Sophie eft aujourd’hui la 
 principale mofquee des Mahometans a Conftantinople.—Vide Die. de Trevoux. 
 
 $ Pendentives are thofe parts in the angles, between the arches of the nave, 
 which fpring from a point, and gradually advance in a concave direction to 
 
 receive the circular entablature of the cupola.— Or, if you fuppofe a circle 
 inferibed within a fquare, the curvilinear triangles cut off, will be the plans of 
 
 the pendentives.-From the French Pendent/. See Explication des Termes 
 
 d’Architeflure, par le Sieur Daviller. 
 
 § The cupola of Santa Sophia, which the Turks have ftill preferved, is near 
 one hundred and thirteen French feet in diameter, according to the account 
 of M. Grelot. 
 
 || Hiftoire de la Difpofition que les Chretiens ont donnee a leur Temples, 
 par M. Le Roy. 
 
 II Rcmarques fur l’Architefture des Anciens. 
 

 INTRODUCTION. 
 
 »ay notwitkftaijding, have relied upon a circular bafe; for how is it poffible to de- 
 St2S2r. by any external reputation in painting or fculpture ? 
 
 We may conceive feme idea of the difficulty the moderns find in executing any 
 bold delign of this nature, by what we colled from the Life of M. Soufflot. 1 his 
 Artift, though one of the beft that ever appeared m France, experienced more 
 difficulty' in conftruding the cupola of the church of St. Genevieve, than m all 
 the edifices that ever rofe beneath his diredion. Notwithftanding its weight, 
 impulfe, and refiftanee were afcertained, and the whole demonftrated to be perfectly 
 fecure by two able mathematicians, (M. Ganthey and the Abbe Boffin) yet this 
 was not Efficient to fcreen him from the malign criticifin of cotemporary Artifts, 
 who maintained that the piers, upon which the cupola relied, were inadequate to 
 fuftain the incumbent weight. Time and experience, however, proved the reverie, 
 and when he was on the point of completing his projed, the detradion ot 
 his enemies affeded him fo fenfibly, that it is generally fuppofed he died of a 
 broken heart. 
 
 M- Soufflot appears to have been very intelligent in the Gothic, as well as in the 
 Grecian Hyle of Architedure: to obtain a knowledge of the former, he vifited many 
 pf the bell Gothic buildings in France, of which he made drawings, lludied their 
 cpnfinidion, general proportions, vaults, &cc. Hence he acquired much ufeful 
 information, that materially affifted him in the defign and execution of the church 
 of St. Genevieve. Sir William Chambers informs me, that when he was laft in 
 France, M. Soufflot {hewed him a large colledion of drawings he had made from 
 fhofe edifices; at the fame time he expreffed his admiration at the excellence of 
 the general proportions he difcovered in them, and the fuperior intelligence their 
 Architeds poflelTed in the laws of conftrudion. 
 
 In fine, the nobleft monuments of Florence, Rome, Paris, and London, bear 
 ample teftimony of the great abilities of the above Artifts, and in no part of thefe 
 monuments are their talents more confpicuous than in the conftrudion of the Domes. 
 It is much to be regretted then, that this fuperior branch of our art fflould be¬ 
 come negleded or unknown, and that more attention is not bellowed on the 
 found rules, and demonftrative principles, upon which the art of conftrudion is 
 founded j\ The lludy of our Gothic edifices will be found, perhaps, to contri¬ 
 bute very much to its reftoration; but nothing can compenfate for the want of a 
 thorough knowledge of llatics, and of conic fedions. 
 
 * The fad appears to be, that we are not warranted to conclude, from any 
 exifting model, that the ancients ufed any fuch termination to their edifices 
 as a cupola rclling on a fquare bafement: their round temples, it is true, 
 were often covered with a femicircular vault, to which they gave the name of 
 Tholus, fuch as that we now fee in the Pantheon at Rome; but this form is 
 very different from that which we have adopted from Santa Sophia, as may be 
 feen by comparing the vault of the Pantheon at Rome with the dome of the 
 Auguflins’ church in the fame city. 
 
 f “ It feems very unaccountable, that the generality of our late Architeds 
 “ dwell fo much on the ornamental, and fo (lightly pafs over the geometrical, 
 “ which is the molt eflential part of Architedure. For inftance, can an arch 
 “ ftand without hutment fufficient ? If the hutment be more than enough, ’tis 
 “ an idle expence of materials; if too little, it will fall; and fo for any vault- 
 I “ ing: and yet, no author hath given a true and univerfal rule for this; nor 
 “ hath confidered all the various forms of arches.”-Parentalia, 356. 
 
INTRODUCTION. 
 
 *3 
 
 OF SPIRES. 
 
 Haying taken a fhort review of the origin and progrefs of Domes, we fliall 
 next proceed to give a brief account of the origin of Spires; a fubjeft of all others 
 relating to architefture the leaft underftood. The obfervations I am about to 
 offer on this fubjeft, are different from any yet prefented to the Public; yet I truft 
 to make it appear, that the real intention of Spires, which has never been fatif- 
 faftorily explained, is fuch as I am about to fubmit. 
 
 The Spire of Old Saint Paul’s, fays Mr. Bentham, is one of the earlieft we 
 have any account of; it was finifhed in the year of our Lord 1222, and was in 
 height 520 feet, according to Stowe’s account*. The Spire of Salifbury Church 
 is 400 feet high -j-; and that of Strafburgh, built by the famous Irwin de Stein- 
 bach, is 450 feet f. No fettled proportion feems to have been obferved in the di- 
 menfions of Spires in general; fometimes the height did not exceed four times 
 the diameter of the bafe, whilft, at other times, the ratio of the height, to 
 the breadth taken at the bafe, was as eight to one. We have an example of the 
 laft-mentioned proportion, in the Spires built by Hugh Lebergin upon the towers 
 of St. Nicafe, the two large!! of which were 50 feet high, upon a bafe of fix feet. 
 
 Notwithftanding the amazing height to which many Spires were carried, they 
 were conftrufted fo exceedingly flight, that we fliould be apt to conclude, on 
 reafoning from theory, that they would be inadequate to fuftain their own weight. 
 The Spire of Salilbury, for inftance, is but feven inches thick; and that of Batalha 
 is about the fame thicknefs, independent of the emboffed work, though almofi: 
 a fourth part of its fuperficies is perforated. Great care muft confequently have 
 been taken, in felefting the materials employed in conllrufting fuch light Spires, 
 efpecially as they are, I believe, in general connefted without the aid of iron 
 cramps; for this metal, when expofed to air or moifture, is fubjeft to contraft 
 raft, which in time will fhiver in pieces as much of the block as it comes in con- 
 taft with. I am informed, that the ftones of the Spire of Batalha are keyed 
 together, by means of dove-tail wedges of pine-wood § : however that may be, it 
 is pretty certain, that the ancients, upon fimilar occafions, have adopted this ex¬ 
 pedient. Alberti mentions his having found wedges or cramps of wood in the 
 ancient Roman buildings; and M. le Roy has obferved them in the ruins of an 
 ancient temple in the diftrift of Athens. In the ancient Temple of Girgenti in 
 
 § This circumftance I was informed of after leaving Batalha, by an in¬ 
 genious gentleman in the Portuguefe fervice (Col. Audinot), who, from his 
 fituation, had frequent opportunities of vifiting that building. 
 
 * Wren’s Parentalia, p. 274. 
 t Ibid. p. 305. 
 
 % Argenville, Vies des Arch. Difc. p. 33, tom. I. 
 
14 
 
 
 INTRODUCTION. 
 
 14 
 
 Sicily, there were found wedges of wood, in good prefervation, after a fpace of 
 more than two thoufand years * * * § . Cramps of copper were alfo ufed by the an¬ 
 cients in their buildings, which, according to the account of Father Montfaucon, 
 were tempered to an extraordinary hardnefs f- 
 
 With refpeft to the origin of Spires, it appears very unaccountable, that neither 
 hiftory nor tradition have preferred the lead remembrance of it. There mud, 
 neverthelefs, have been feme fpecious motive for building them; for we can hardly 
 conceive, that appendages fo expenfive, and difficult of execution, were merely the 
 refult of caprice. If we examine the ufes to which the facred edifices wherein 
 they are employed were appropriated in the 12 th century, we fhall difcover a 
 rational caufe for crowning them with Spires: namely, the cuftom of burying in 
 churches, which about this time appears to have become general all over Europe]:. 
 Now, in confequence of this cuftom, there were united, in the fame fabnck, a 
 cemetery and a church § ; it was highly proper, therefore, to build every ftrudture 
 intended for this double purpofe, in a ftyle of architecture characteriftic of its two¬ 
 fold deftination. ImprefTed with thefe fentiments, the Architects of thofe times 
 would naturally look back for precedents of a fimilar nature among the nations 
 of antiquity; the hiflorians of thefe nations, as well as the remains of their edifices, 
 would have {hewn them, that it was invariably the praCtice of all civilized people, 
 who believed in the immortality of the foul, and did not hold a republican form 
 of government |[, to raife lofty pyramids over their cemeteries or places of fepul- 
 ture. The Gothic Architects, in like manner, have adopted that figure to cha- 
 raCterife their cemeteries, and, at the fame time, preferred the figure of the crofs 
 in their ground plan, the better to denote a Chriftian temple. 
 
 Hence the origin of Spires, and the confequent introduction of pinnacles, 
 pyramidal or pointed arches, angular ornaments, &c.; in fhort, every vertical part of 
 the whole fuperftruCture was henceforth terminated in a point. Indeed it could 
 not be otherwife, confiftent with the true principles of defign, which invariably 
 
 * Rcmarques fur 1’Architecture de l’ancien Temple de Girgenti en Sicile, 
 par M. Winckelmann. 
 
 f Italian Diary, p. 54. 
 
 } “ After the crufado, King Henry built his church, but not by a model 
 “ well digefted at firft ; for, I think the chapels without the aides were an 
 “ after-thought, the buttreffes between the chapels remaining being ufelefs, 
 “ if they had been raifed together with them ; and the King having opened 
 “ the Eaft-end for St. Mary’s Chapel, he thought to make more chapels for 
 “ fepulture ; which was very acceptable to the Monks, after licence obtained 
 “ from Rome to bury in churches, a cuftom not ufed before.” 
 
 Wren’s Parentalia, p. 297. 
 
 § Chriftians, at all times, have had a great defire to be buried near the 
 Martyrs, and this introduced fo many burying-places in the churches 5 though 
 the cuftom of burying no where but without the towns was long obferved. 
 The veneration for relics, and a diftinCt belief of the refurreCtion, had totally 
 taken from the Chriftians the horror which the ancients, even the Ifraelites 
 themfelves, had for dead bodies and burying-places. 
 
 Les Mceurs des Chretiens, par l’Abbe Fleury. 
 
 He that looks for urns and old fepulchral relics, mult not feek them in the 
 ruins of temples, where no religion anciently placed them. Thefe were 
 found in a field, according to ancient cuftom, in noble or private burial; the 
 old practice of the Canaanites, the family of Abraham, and the burying-place 
 of Jolhua, in the borders of his poffeflions; and alfo agreeable unto Roman 
 practice, to bury by highways, whereby their monuments were under-eye- 
 memorials of themfelves, and mementos of mortality unto living paffengers ; 
 whom the epitaphs of great ones were fain to beg to ftay, and look upon 
 them. A language though fometimes ufed, not fo proper in church-infcrip- 
 tions. The fenfible rhetoric of the dead, to exemplarity of good life, firft 
 admitted the bones of pious men and martyrs within church-walls; which 
 in fucceeding ages crept into promifcuous praflice. While Conftantine 
 was peculiarly favoured to be admitted into the church-porch ; and the firft 
 thus buried in England was in the days of Cuthred. 
 
 Browne’s Hydriotaphia, p. 27. 
 
 || The laws of a republic, which admit but of little inequality in the con¬ 
 ditions of men, would not permit too great a difference in the honours paid 
 to the dead. 
 
INTRODUCTION. 
 
 >5 
 
 prefcribe an harmony between the feveral parts; and alfo between thefe parts and 
 the general configuration; from the whole of which refiilts an unity of appear¬ 
 ance, the moll certain criterion of its excellence *. 
 
 1 he reafon affigned for the origin of Spires will alfo apply to the pyramids, or 
 round towers, to be found at this day near many of the old churches in Ireland; 
 for it is obfervable, that, at the time thefe towers were built, the Architedls of that 
 country were unacquainted with the art of raifing a Spire over the pillars, at the 
 intellect ion of the nave and tranfept. They had recourfe, therefore, to an eafier 
 but lefs fcientific expedient, by conftru&ing, upon folid bafes, thofe round pyra¬ 
 mids which always terminated like the Egyptian obelilks. And notwithftanding all 
 the learned conjectures that have been made refpccting the ufe of thefe pyra¬ 
 mids, we may reafonably conclude, that they were intended to denote cemeteries. 
 
 We may conceive how far the Chriltians of the 13th century were imprefled 
 with the propriety of building pyramids over their cemeteries, from the immenfe 
 elevation they gave to fome of them. That of Old St. Paul’s, for inftance, was 
 loftier than any of the pyramids of Egypt f. And it is worthy of remark, that 
 they were introduced about the time Science began to revive, and recover its 
 fong-loft energy ; hence they may not be improperly confidered, as fo many 
 aulpicious monuments of the riling greatnefs, and returning wifdom of Europe. 
 
 When we confider the ftupendous monuments of Egyptian power which ftill 
 exift, we cannot avoid reflecting on the vanity of their founders, and pitying the 
 miftaken fyftem of theology that gave rife to them. Yet if we examine our own 
 country, we lhall find more pyramids, even in one province, than exift at this day 
 in all Memphis and Sacara. From this circumftance, one might be induced to 
 fuppofe, that the origin of Spires amongft us, proceeded in fome degree from 
 Egyptian ideas grafted upon Chriftian principles. 
 
 Amongft the Egyptians, the pyramid was held to be facred J; by it they ex- 
 prefled the origin of all things. They placed it over their cemeteries, as the 
 Chriftians do §, to teftify the lively and exalted fentiments they entertained of the 
 immortality of the foul. Its form, which is like that of a flame of fire |j, (whence 
 it is liippofed to derive its origin) is typical of the divine jpirit of the deceafed, 
 afeending, after its feparation from the body, to the divine manlions of repofe. 
 
 Such, we are given to underftand, were partly the motives that induced the 
 Egyptians to adopt the pyramid in their fepultures; that figure, however, poflefles 
 
 * Omnis porro pulchritudinis forma unitas eft.-St. Auguftin. 
 
 f The perpendicular height of the great pyramid is 481 feet, which is 39 
 feet lefs than the altitude of the Spire of Old St. Paul’s, according to Camden’s 
 
 account.-Vide Greaves’s Pyramidographia, p. 69, & feq. 
 
 t The Egyptians called their fepultures eternal manlions; whereas they gave 
 their palaces and houfes the title of caravanfaries, on account of the Ihort time we 
 fojourn in this life, in comparifon to the time our remains repofe in the grave. 
 
 9 ueu ou lont les pyramides, dit le r. vanueD, qui nt le voyage d 
 “ Egypte en 1672, eft un cimetiere, & fans doute un cimetiere de Memphis; 
 “ car tous les hiftoriens Arabes nous apprennent que cette ville etoit batie 
 “ dans l’endroit ou font les pyramides, & vis-a-vis le vieux Caire.” 
 
 Encyclopedic. 
 
 || Sandys’s Travels, p. 127. Greaves’s Pyramidographia, p. 69. 
 
INTRODUCTION. 
 
 16 
 
 i • i in^LriPTirl^nt of thefe motives, might have 
 kl P Zr notice W Experience has evinced, that in point of durability 
 he pyramid is fuperior to all other figures; it is alfo a form the nroft confonant 
 2 e principles of opticks; as, on account of fane natural rmperfeftrons m 
 h vifual organ, it is continually obtruding itfelf on our fenfes. For_ mftance, 
 a long range ofbuildings, viewed from either extremrty, will appear to incline to 
 a point. A long avenue, a road, or a canal running between two parallel banks, 
 have the fame effeft. To which we may add, that the pyramid has the property 
 of conveying an idea of elevation beyond the adual limits of the objeft. Whether 
 thefe properties were taken into confideration by the Egyptian and Gothic Archi- 
 tefts or not, it muff be confeffed, they have chofen a form that plays very ftrongly 
 upon the fenfes, and from it their works derive no inconfiderable part of that 
 effedl which fills the mind with ideas of grandeur. 
 
 The moderns, as we have already obferved, ftill continue to ufe pyramids in 
 their churches and fepultures; although no other reafon is afligned for this prac¬ 
 tice, but that it was the cuftom of our forefathers. We fliould recolleft, 
 however, that Spires were graceful, and well adapted to the general forma¬ 
 tion of their edifices; whereas in ours they are quite the reverfe. By attempt¬ 
 ing to imitate the antique ftyle of architecture in our churches, we have fallen into 
 a compound one, which is neither Grecian nor Gothic, but rather a piece of patch- 
 work, made up of the remnants of three different nations. Italy has fumillied 
 the ground plan *, Greece the portico, and France the Spire f. The coalition of 
 thefe heterogeneous parts, cannot with propriety be called Grecian architecture; 
 yet that is the appellation generally given to it. We mull allow, however, that 
 there are fome churches amongft us, executed in this nrixt ftyle, that are not 
 undeferving of praife. 
 
 * The Latin crofs is the form ufually given to the plans of our churches, 
 f The Gothic architecture, with fpires and pointed arches, is generally 
 fuppofed to have originated with the Normans, who, during the eleventh and 
 twelfth centuries, appear to have been great church builders. “ The Nor- 
 “ mans,” fays the learned Abbe Fleury, “ had ruined a great number of 
 “ churches, and others were fullered to decay, by the falfe opinions of the 
 
 “ end of the world, which was expected exaftly in the year of our Lord, One 
 “ Thoufand. When people faw the world (till continue after this fatal year, 
 “ new churches every where began to be built, in the molt magnificent ftyle 
 “ the times would allow; and not dnly fuperior to the houfes of private perfons, 
 “ but even to thofe of the greateft lords.”- Maun des Chretiens. 
 
INTRODUCTION. 
 
 ■7 
 
 OF THE GENERAL PROPORTIONS OF 
 
 GOTHIC CHURCHES. 
 
 From the obiervations which at various times I have made on thefe churches, 
 I am led to fuppofe that the general configuration, internally, was ufually defigned 
 agreeable to fome definite rules, or proportions; notwithftanding the component 
 quantities were not invariably diftributed, in every edifice, in the fame comparative 
 degree of relation, but were modified according to local circumftances, or the 
 Architeft’s conception of optical effefts. To convey fome idea of the nature 
 of thefe proportions, I fhall here fubmit the refult of my inquiry, concerning the 
 general interior diftribution of the Church of Batalha. 
 
 The module, or datum, taken in this inftance, is the breadth of the church inter¬ 
 nally, which we flrall fuppofe equal to AB. (fee Fig. I. Tranfverfe feftion of 
 the Church of Batalha.) Form a fquare AEFB, whofe fide is equal to AB, and 
 within this fquare infcribe a circle; now CD, which is equal to the fide of a hep¬ 
 tagon infcribed within the given circle, determines the latitudinal diftance between 
 the axis of the pillars, and confequently afcertains the breadth of the nave and 
 ailes. 2dly. From the points C and D, draw CM and DM, parallel to the fides of 
 the fquare, and draw the diagonals AF and BE. The magnitude of the pillar being 
 predetermined, according to the laws of ftaticks, c mull be its extremity; let o 
 be the axis; form the pillars cdef, and you will afcertain the diftance (0,0) between 
 the axis of the feveral pillars placed along the nave. 
 
 In proportioning the elevated parts, the fame datum is taken as before. 
 The height of the duller columns C D, (fee the Tranfverfe fedion of the 
 Church) is equal to the breadth of the church. The height of the columns of 
 the arcade FE, is two thirds of CD. The radius with which each fide of the 
 arch over the nave is defcribed, is two thirds of the fubtenfe of its bafe ; the 
 feveral dotted lines fufliciently explain the reft. 
 
 In order to ftiew that the above proportions coincide with thofe of the human 
 body, we have given in the feet ion the reprefentation of a human figure, whofe 
 height is fuppofed to be equal to the fuperior part of the duller columns CD. 
 According to the fize of this figure, the hands, if extended, would touch the 
 two fide walls of the church. The vertex of the arch will be found as far above 
 the head, as the hand can reach when elevated; that is, a cubit, or one fourth of 
 the whole height. 
 
 
 WMmjm 
 
introduction. 
 
 The procedure of the Ancients, in proportioning their edifices, was not diffimilar 
 to the above, if we are to credit what has been affected by various writers, who 
 have treated on the fymmetry of buildings. The Iomans, as Vitruvius informs us, 
 modelled the columns of the Temple of Apollo Pan.omos after the fame archetype. 
 From the Ulnar Arch (reprefented in Fig. 30, Plate I.) it may be inferred, that the 
 Saxons alfo have had recourfe, in feme degree, to the like expedient. I pretend not 
 to decide on the propriety or impropriety of fuch analogy: however that may be, 
 it is very remarkable, that Architefts fo locally remote, and in fuch diftant ages, as 
 thofe of the Iomans, Saxons , and Normans, fliould have proceeded fo nearly alike, in 
 attempting to affimilate the proportions of their buildings to thofe of the human 
 frame. 
 
 Among the various ftructurcs of the Ancients, which have been tranfinitted to 
 us, there is none that approaches nearer to the form of a Gothic Church, than the 
 Egyptian Hall, defcribed by Vitruvius (B.vi. c.vi.); a fedion of which we have given; 
 at Fig. 2, under the Tranfverfe fedion of the Church of Batalha. The fimilitude of 
 which we fpeak is obvious at the firft view; but, were the Hall executed entirely in 
 (lone, the refemblance would be ftill more apparent. The arches over the ailes 
 would require lateral refiftance proportionate to their impulfe; buttreffes would 
 neceffarily follow, as at HK; the vault of the nave would alfo require an adequate 
 refiftance; the nature of the defign would immediately fuggeft the idea of reclined 
 fulcra, extending from the walls of the ailes to thofe of the nave, as at L M. 
 Now, fince materials of this fort could not be eafily obtained to form each fulcrum 
 of one entire piece, the conjunction of different ftones, in the form of an arch, is the 
 only fupport that could with propriety be applied; we fliould call it a flying buttrefs. 
 It is true, that a folid wall of a triangular form would anfwer that end, as is feen 
 in the Temple of Peace at Rome; but the fuperiority of the Gothic manner 
 is evidently preferable in every refpeft. In fine, were an Egyptian Hall entirely 
 conftruded of the fimple produce of the quarry, the arches and buttreffes 
 confequently introduced, together with the pillars, windows, ailes, and the 
 uncovered paffages over the ailes, would bear a ftriking refemblance to the body 
 of a Gothic Church. 
 
 OF DOORS. 
 
 -The principal entrances of Gothic Churches are generally ornamented in a very 
 magnificent manner; the Door is ufiially placed within a large porch, which porch 
 diminiflies, as it recedes, in a reCtilinear direction; the fides of it are often adorned 
 with an affemblage of llender columns, and mouldings of various forts. Here are 
 
INTRODUCTION. 
 
 *9 
 
 alfo feen ftatues of Kings, Popes, Saints, and Martyrs, with their relpeftive emblems, 
 canopies, pedeftals, &c. Frequently we find as many entrances in the weft front, 
 as there are porticos in the Church; but the centre Door, which is generally the 
 largeft, is feldom opened but on days of proceffion, or for the reception of 
 fome Dignitary of the Church. 
 
 How different the practice of the Gothic Architects, in this rcfpect, from 
 that of the Ancients! The latter made the entrances of their Temples large, 
 and approached them by a flight of elevated fteps. The former, on the contrary, 
 made the Doors of their Churches comparatively finall, and on a level with the 
 furrounding plain. Sometimes, indeed, we even find fteps for defending into 
 thefe Churches, which fome imagine to have been appended in confequence 
 of an accumulation of the adjacent earth; but it is evident that in general 
 thefe fteps made a part of the original defign. Some inftances indeed of 
 elevated entrances to Gothic Churches are to be met with ; but they are fuch, 
 I imagine, as necelfarily arife from the obliquity of their fituation. 
 
 OF WINDOWS. 
 
 THERE is no part of Gothic Archite&ure which admits of more variety, or 
 is fufceptible of a greater difplay of tafte and beauty, than the Windows; the 
 manner in which they are ufually formed is as follows *. The breadth of 
 the aperture is divided into three, five, or feven equal parts, with a mullion 
 between each. When the Window is of any confiderable height, a tranfom or crofs 
 mullion is placed in the middle of it, for the fecurity of the work. The fpace 
 between the fpring of the arch and the fummit of the aperture is filled with tracery 
 work, compofed chiefly of tre-foils and quatre-foils, and thefe are fometimes fub- 
 divided into other different figures. In all manner of tracery work, whether Ample 
 or complicated, we find that the interfticial vacuities tend to the figure of a plain 
 or curvilinear triangle, and that their circumfcribing lines are generated by 
 geometrical rules. The moft beautiful fort of tracery, in my opinion, is that 
 in which the feveral perforations approach to an equal magnitude. 
 
 * “ The Windows of our Gothic buildings in the reign of Henry the Second 
 were long, narrow, (harp-pointed, and ufually decorated on the infide and outfide 
 with fmall marble fhafts: the order and difpofition of the windows varied in 
 fome meafure according to the (lories of which the building confided; in one of 
 three dories, the uppermod had commonly three windows within the compafs 
 of every arch, the centre one being higher than thofe on each fide; the middle 
 tire or dory had two within the fame fpace; and the lowed only one window, 
 ufually divided by a pillar or mullion, and often ornamented on the top with a 
 trefoil, fingle rofe, or fome fuch Gmple decoration, which probably gave the 
 
 hint for branching out the whole head into a variety of tracery and foliage, 
 when the windows came afterwards to be enlarged. The ufe of painting and 
 dained glafs, in our churches, is thought to have begun about this time. This 
 kind of ornament, as it diminilhed the light, induced the necedity of making 
 an alteration in the windows, cither by increafing the number, or enlarging 
 their proportions; though a gloominefs, rather than over-much light, feems 
 more proper for fuch facred edifices, and “ better calculated for recoUefling the 
 “ thoughts, and fixing pious affedlions.” 
 
 Bentham’s Ely, p. 39. 
 
20 
 
 introduction. 
 
 The fplay of every Window is in proportion to the thicknefi of the wall: a large 
 fplay appears to have been much efteemed; and when the wall is not of dimenfions 
 fufficient to admit of it, then a few mouldings are appended to the tides of 
 the archivolt, retting upon a tiring or belt, or elfe upon a fort of corbel, formed 
 into a grotefque head. The apron, or fill, has nearly the fame degree of 
 obliquity as the fides of the window; at the bottom it projefts a few inches, where 
 there is a little channel to prevent the rain from recoiling on the wall. 
 
 The piers between the Windows in Churches, are very narrow, in confequence 
 of the breadth of the apertures*; and the great fplay of their architraves, 
 together with the half pillars of the ailes, occupy nearly the whole of the wall; fo 
 that no plain fpace remains for the reception of pictures. The Ancients, on the 
 contrary, made the piers of their edifices large, and the apertures comparatively 
 fmall, which is ftill confidered as th ft grand Jlyle in Grecian Architcdhirc,- as the 
 magnitude of the piers gave them an opportunity of embellilhing the infide with 
 pidtures and ftatues. The Gothic Architefts, however, have amply compenfated for 
 this deficiency, by making the Windows, inftead of the walls, the depofitory of their 
 pidtures; and thus, by commuting the canvafs for the glafs, they obtained one 
 important advantage, that is, a natural back light, a light which has the 
 peculiar property of giving every produdtion of the pencil the greateft poffible 
 degree of force and brilliancy. The various colours of thefe Windows form a 
 happy contrail with the Ample white or gray call of the ftrudture; and, as 
 they obfcure the Church in fome degree, they diffufe an appearance of folemnity, 
 well adapted to the majefty of the place. 
 
 At Batalha, about five o’clock in the evening, when the fun is oppofite the great 
 Weftern Window, the effedt of its painted glafs is mod enchanting. At this hour 
 the Fathers ufually aflemble in the choir to chant the Evening Service, whilft the 
 myriads of variegated rays, which emanate from this beautiful Window, refemble 
 fo many beams of glory playing around them. 
 
 It is in vain that we attempt to reftore Gothic Architedture, without the 
 admiffion of ftained glafs ; efpecially in Churches, where a degree of obfcurity is 
 perfedtly confonant with the tombs, infcriptions, and other relicks of mortality we 
 behold on every fide. If to thefe we add the folemnity of the Divine Service, the 
 awful filence, and penfive deportment of the congregation, we mull admit the 
 propriety of accompanying fcenes of this nature with a folemn Ihade, fince it is 
 allowed by all to be more produdtive of fublime ideas than light. “ Our great poet 
 (to fpeak in the words of a competent judge of thefe matters) was convinced of this; 
 and indeed fo full was he of this idea, fo entirely polTefled with the power of a well- 
 
 * In the reign of Edward the Firft, the Windows were greatly enlarged, and 
 divided into feveral lights by Hone mullions, running into various ramifications 
 above, and dividing the head into numerous compartments of different forms, 
 as leaves, open flowers, and other fanciful fliapes, and more particularly the 
 great Eaftem and Weflem Windows (which became fafliionable about this 
 
 time,) took up nearly the whole breadth of the nave, and were carried up 
 almoft as high as the vaulting; and, being fet off with painted and ftained 
 glafs of moft lively colours, with portraits of kings, faints, martyrs, and con- 
 feflors, and other hiftorical reprefentations, made a moft fplendid and glorious 
 appearance. Bentham’s Ely, p. 40. 
 
INTRODUCTION. 
 
 21 
 
 managed darknefs, that in defcribing the appearance of the Deity, amidft that 
 profulion of magnificent images, which the grandeur of his fubjeft provokes him 
 to pour out upon every fide, he is far from forgetting the obfcurity which furrounds 
 the moft incomprehenfible of all beings, but*” 
 
 “ -with the majelly of darknefs round 
 
 “ Circles his throne.” 
 
 OF NICHES. 
 
 Ni CHES were ufed but fparingly by the Gothic Architefts. In fome of 
 the earlieft ftrudures we trace but few inftances of them, and thefe few are 
 chiefly confined to the exterior of the edifice. In the Church of Alcobaca, 
 one of the molt ancient in the Gothic ftyle, I do not recollect to have feen a 
 Niche, or a Statue, that was coeval with the original fabrication; and I may 
 add the fame of the interior of the Church of Batalha: a ftrong evidence that 
 ftatues in thofe days conflituted but a finall part of the ornaments of Churches. 
 The plan of thefe Niches is generally a femi-hexagon ; the head terminating 
 with a projefting canopy. 
 
 PILLARS. 
 
 The grand effects fo univerfally admired in Gothic Cathedrals, are, I believe, 
 to be attributed to the artful diftribution of the Pillars, with their concomitant 
 feenery. Their magnitude, and relative fituations, are proportionate to the 
 dimenfions of the edifice, and can only be afeertained with precifion by the 
 laws of ftaticks and opticks. The clufter of little {hafts, and the intervening 
 mouldings, on the fuperfice of each Pillar, give them an appearance of mftability, 
 and feem fuperfluous at firft fight; but, on tracing their continuity upwards, we 
 find them branching out in various direftions, in the ribs of the nave and aile 
 vaults, and converted into archivolts in the fides of the nave. The manner in 
 which thefe Pillars are placed is rather lingular, but well calculated for effeft and 
 refinance: the fide of each forms an angle of 45 degrees with the collateral wall, 
 by which their repulfion is greater than if placed parallel, in the fame ratio the 
 diagonal of a fquare bears to its fide. 
 
 * Burke on the Sublime and Beautiful. 
 
INTRODUCTION. 
 
 22 
 
 If the Architects of thefe Cathedrals were fo illiterate as they are reprefented, it 
 is aftonifMng how they could have afcertained fo accurately the maximum of their 
 pillars, arches, buttreffes, &c. whilft the Moderns, with all their fuppofed improve¬ 
 ments in this art, and the affiftance they evidently derive from algebra, have not 
 yet produced any examples in conftruction equal to what the former have left us. 
 
 It is not to be fuppofed, indeed, that all the Architefts of thofe times were 
 competent to fuch an arduous talk; therefore the illiterate ones, whofe talents were 
 limited to the practice of their art, availed themfelves of the excellencies of 
 fome approved model, and thus obviated all- calculation relpefting the ratio of 
 force and refiftance. This in fome meafure accounts for the fimilarity we find in 
 the breadth of many of thefe edifices, both in this country, and on the continent. 
 We could adduce many inftances in telfimony of this fact, if we admit the 
 relation of their Hiftorians ; but, for brevity’s fake, I lhall only quote the druftures 
 meafured by myfelf, which differ but very little in breadth, as appears by the 
 following comparative eftimate: 
 
 Feet Inch. 
 Batalha 72 4 
 
 Alcobaca 72 o 
 
 Feet Inch, 
 
 Ely Cathedral 72 9 
 
 Weftminfter Abbey 72 8 
 
 In the conftruction of many of our bell Gothic edifices, we find but few 
 large Hones, whence fome writers have imagined that their Architefts were 
 unacquainted with mechanifm, but I believe it proceeds partly from the nature 
 of the quarry, and partly from their mode of building. The fplendor of their 
 works confided in arches; in the fabrication of which, materials of a moderate 
 lize are to be preferred, becaufe large dones prefs too heavy on the centres, 
 and require much time and labour in forming their intrados to the curvature 
 of the vault. Where thefe objections did not apply, they often ufed blocks 
 which no human force could raife, independent of mechanical aid. Indeed I 
 may venture to alfert, that there is not in Europe, a Gothic Church, or Cathe¬ 
 dral of note, wherein three or four of the mechanical powers have not been 
 ufed. It is obvious that their arches, particularly thofe of the naves and ailes, are 
 fupported on the principles of the Statidical Balance; each done of which they 
 are compofed is a frudum of a Wedge. Pullies were tiled in railing their cornices, 
 pinnacles, &c. and the Lever was neceffarily employed in moving and fixing them. 
 Here we find the application of the Balance, the Wedge, the Pulley, and the 
 Lever, which four powers would have been lufficient to raife either of the feven 
 celebrated druftures of antiquity. 
 
 How far they were converfant with the theory of thefe powers, is a point 
 not eafy to decide. The experience of pad ages has evinced what great things 
 might be elfefted in mechanicks, independent of fcientific calculations. The 
 obelilks, columns, and enormous granite blocks of the Egyptians, were tranlported, 
 
INTRODUCTION. 
 
 2 3 
 
 as we are allured, without any precognition of the complicated movements of Wheels 
 and Pullies. Joze Zabaglio , of Rome, never received any inflrudions, he could 
 not even write or read, yet, by the force of his genius alone, he invented machines 
 which, though fimple in appearance, produced moll furprifing effedls. 
 
 In our own days, we have many llriking inftances of fimilar inventive faculties in 
 men unaflifted by erudition. An obfcure workman, of the name of Cajbman , defigned 
 and executed for the Dublin Society (about eight years ago) a flight of winding 
 Hairs, afcending in the midft of a quadrangular hall, without any apparent fupport 
 whatever, contrary to all preceding examples. 
 
 The Equeftrian Statue of Jofeph I. King of Portugal, one of the moll magni¬ 
 ficent works of the kind in Europe, was entirely call by a perfon of the name of 
 Bartholemeu da Cojia, who, as I am credibly informed, is not in the leall indebted 
 to the theory of any art or fcience. This ingenious man, after calling the above 
 Statue, tranfported it from the foundery to the great fquare of Lifbon, by machines 
 of his own contrivance, and afterwards raifed it on its lofty pedellal, to the admiration 
 of all the Mathematicians of that country. 
 
 FRAGMENTS OF GOTHIC ARCHITECTURE. 
 
 PLATE II. 
 
 Fig. 
 
 1. A Wall of irregular ftones. 
 
 2. A Wall of afhlar work. 
 
 3. Manner of ornamenting the fuperfice of a wall, as 
 
 feen in the interior of Weftminfter Abbey. 
 
 4. Ornaments fometimes ufed in tombs, and on the 
 
 fuperfice of walls. 
 
 5. Ornaments copied from an ancient gothic wall at 
 
 Evora. 
 
 6. Manner of decorating a gothic Sacrarium, from the 
 
 original at Beja. 
 
 7. A plain embattled top. 
 
 8. An embattled top with mouldings. 
 
 9. 10. 11. and 12. Various forts of embattled tops. 
 
 13. A Buttrefs. 
 
 14. An arched buttrefs. 
 
 15. A Niche. 
 
 16. Various forts of gothic ornaments. 
 
 17. A Teffellated pavement. 
 
 Fig. 
 
 18. An impoft corbel. 
 
 19. A Window cilL 
 
 20. A Fountain, from the original in the royal cloyfler 
 
 of Batalha. (fee the letter A in the general plan.) 
 
 21. A Patera. 
 
 22. A Pinnacle. 
 
 23. A Water-fpout. 
 
 24. A Pillafter. 
 
 25. A Reading-delk, ufed in choirs. 
 
 26. Top of a water pipe. 
 
 27. A Trefoil. 
 
 28. A Quatrefoil. 
 
 29. A Capital. 
 
 30. A Pulpit, from the original in the tranfept of 
 
 Batalha. 
 
 31. A Mural Pedeftal. 
 
 32. Machicolations. 
 
 33. A Loop-hole. 
 
24 
 
 H 
 
 INTRO 
 
 do.ctios. 
 
 Jf lg. 
 
 34. An Emblem often feen about high altars. 
 
 35. An Infulated pedeftal. 
 
 36. An Aflemblage of mafons tools of the 13th cen¬ 
 
 tury, taken from ancient fculptures, and 
 records. 
 
 fig- 
 
 37. Characters which I found engraved on different parts 
 of the Church of Batalha. I believe thefe cha¬ 
 racters have been afligned by the Wardens of the 
 fabrick to the workmen, in order to diftinguifh 
 their refpeCtive performances. 
 
 FRAGMENTS OF GOTHIC ARCHITECTURE FROM VARIOUS 
 PARTS OF BATALHA. 
 
 PLATE III. 
 
 1. Cornice’ll the maufoleum of the founder—Upper 
 
 part. 
 
 2. -- in the north front of church. 
 
 3 . -in the weft front of church— Upper part. 
 
 4. -in royal cloyfter. 
 
 _to the buttrefles of royal cloyfter. 
 
 6. --in the maufoleum of King Emanuel—Ex¬ 
 
 ternally. 
 
 7 . _of the buttrefles of centre chapel, (fee the 
 
 letter G in the general plan.) 
 
 8. A Cornice with arched modillions—South front of 
 
 Church. 
 
 9 and 10. Cornices of the buttrefles of chapter-houfe. 
 11. A Cornice in the maufoleum of King Emanuel. 
 
 12 and 13. Facias of the circular towers in the maufo¬ 
 leum of King Emanuel. 
 
 14 and 15. Single Belts ; to the buttrefles of weft front 
 of chiurch. 
 
 16 and 17.-in fouth front of church— 
 
 Lower part. 
 
 18 and 19. - to the buttrefles of the chapels. 
 
 20. -— in north front of church— 
 
 Upper part. 
 
 21 and 22. Double Belts in the fouth front. 
 
 23. 24. and 25. Belts to the rere of the chapels. 
 
 26. Copings to the buttrefles of royal cloyfter. 
 
 27. Vertex Rib of the vaults—In collateral chapels. 
 
 28. A Diagonal Rib of the above chapel. 
 
 29 and 30. Ribs of the vaults in the maufoleum of the 
 founder. 
 
 Fig. 
 
 31. One of the principal Ribs in the vault of chapter- 
 
 houfe. 
 
 32. Panels of the buttrefles of weft front. 
 
 33. Plan of the Mullions of the large windows over 
 
 chapels (fee the elevation of the chancel of 
 Batalha). N. B. The tranfoms of the windows 
 are moulded in the fame manner as the mul¬ 
 lions. 
 
 34. One of the Mullions of large window—Weft 
 
 front of the Church. 
 
 35. The principal Mullion of the above window. 
 
 36. Mullion of the upper windows—North front— 
 
 Upper part. 
 
 37. -in the lower windows of north front. 
 
 38. Arcbivolt of the circular windows of chapter-houfe. 
 
 I 39. Section of a water channel in the roof of the mau¬ 
 foleum of the founder. 
 
 j 40. Baje and Plinth of the columns at the entrance of 
 chapter-houfe. 
 
 41. Bafe of the windows of chapter-houfe— near the 
 
 entrance. 
 
 42. Bafe to the external pillars of the maufoleum of 
 
 I King Emanuel. 
 
 I 43. Bafe and Plinth to the internal columns of the 
 above maufoleum. 
 
 44 - ---■- to the pillars of the maufoleum 
 
 of King John I. 
 
 45. Bafe to the column of the tranfept chapels. 
 
 4*5 - to the columns of the windows'—North 
 
 front. 
 
INTRODUCTION. 
 
 25 
 
 RELIGIQUS CUSTOMS OF THE XIII' h CENTURY. 
 
 PLATE IV. 
 
 Fig. 
 
 1. A Crucifix. 
 
 2. Emblem of Religion. 
 
 3. Chalice and Patine. 
 
 4. A Pax. 
 
 5. A Mural Crown. 
 
 6. A Crown of Thoms. 
 
 7. A Chaplet of Rofes. 
 
 8. A Celeftial Crown. 
 
 9. Emblem of the Holy Ghoft. 
 
 10. Palm and Olive Branch. 
 
 11. A Cherub. 
 
 12. A Star. 
 
 13. A Star of another form. 
 
 14. A Boate. 
 
 15. An Ewer. 
 
 16. A Dominican Friar. 
 
 17. A Nun. 
 
 18. ACenfer. 
 
 19. A Phial. 
 
 20. A Madona. 
 
 21. A Labarum. 
 
 22. Symbol of Chriftianity. 
 
 23. Symbol of the Trinity. 
 
 24. A Latin Crofs. 
 
 25. A Crofs of the Order of Chrift. 
 
 26. A Wavy Crofs. 
 
 27. A Greek Crofs. 
 
 28. A Raguled Crofs. 
 
 29. A Strepitum—Ufed in waking the Friars-. 
 
 30. An Hour Glafs. 
 
 31. A Memento Mori. 
 
 32. A Difcipline. 
 
 33. A Lamp. 
 
 34. A Bell. 
 
 35. A Mifial, Rofary, and Cufhion. 
 
 36. A Pfalter. 
 
 37. Emblem of Saint Peter- 
 
 38. The Baptift’s Reed. 
 
 39. A Candelabrum. 
 
 40. A Wax Taper. 
 
 41. A Candleffick. 
 
 42. A Seat. 
 
 43. A Breviary. 
 
 Fig. 
 
 44.. A Chair. 
 
 45. An Horizontal Sun-dial. 
 
 46. A Lantern. 
 
 47. APix. 
 
 48. A Flagon. 
 
 49. A Folding Chair. 
 
 50. A Vertical Sun-dial. 
 
 51. A Shield. 
 
 52. An Altar and Baldachin. 
 
 53. A Mitre. 
 
 54. A Tiara. 
 
 55. A Cardinal’s Hat. 
 
 56. A Crazier. 
 
 57. A Paftoral Staff. 
 
 58. A Water-pot. 
 
 5(5. A Tomb with a Figure of a Warrior. 
 
 60. A Tumulus. 
 
 61.. ACryptical Tomb Stone. 
 
 62. A Coffin. 
 
 63. A Font and Sprinkler. 
 
 64. A Confeffional. 
 
 65. Holy Lamb. 
 
 66. A Coin. 
 
 67. Symbol of the four Evangelifts. 
 
 68. An Oratory. 
 
 69. A Mural Tomb. 
 
 70. A Canopy. 
 
 71. A Flagration. 
 
 72. A Sacrarium. 
 
 73. A Seal. 
 
 74. A Harp. 
 
 75. A Shrine. 
 
 76. An Organ. 
 
 77. A Proceffion. 
 
 78. The five Colours principally made ufe of in the 
 
 Church Veftments, viz. white, red, violet, green, 
 and black. 
 
 79. An Ancient Gothic Infcription found at Beja *. 
 
 80. A Rota or Wheel, ufed in the Portals of Nunneries. 
 
 81. A Friar’s Cell. 
 
 82. The word Mifial illuminated. 
 
 83. The Modern Norman Gothic Alphabet,. 
 
 * This Infcription is read thus : Miserere mei Deus, secundum magnam misericordiam t 
 
2 6 
 
 INTRODUCTION. 
 
 DESCRIPTION OF THE CHURCHES OF THE PRIMITIVE CHRISTIANS*. 
 
 tarium , or Diacontc. 
 often chambers or 
 Chapels.” 
 
 “The Bafilick was divided into three parts, proportionable to its breadth, by two files of pillars, which fupported 
 galleries on each fide: in the middle was the nave, as we ftill fee in all the old Churches. At the eaftern end was 
 the altar, behind which was the Prefbytery or Sanctuary, afterwards called the Tranfept of the Church. Its plan 
 was femicircular, and finilhed at top like a niche; therefore called in Latin Concha , that is, a fhell; the recefs was 
 called in Greek, the Abfis. The Chriftians, perhaps, at firft wanted to imitate the fitting of the Sanhedrim of the 
 Jews, where the Judges were feated in a femicircle, and the Prefident in the middle. The Bifhop held the fame 
 place in the Prefbytery, having the Priefts on each fide of him. His feat was called Thronos in Greek, and was more 
 elevated than the others. All the feats together were called in Greek Synthronos, in Latin ConfeJJus. Sometimes this 
 place was called Tribunal, in Greek Bema, becaufe it refembled the tribunals of the Secular Judges in the Bafilicks, the 
 Bifhop being as it were the magiftrate, and the Priefts his counfellors. This tribunal was raifed, and the Bifhop 
 came down from it to approach the altar. The front of the altar was enclofed by an open baluftrade, beyond 
 which was another feparate place in the nave for the Chanters or Singers, which on this account was called the 
 Choir, in Greek Chores, or Chancel, from the Latin word Cancelli. The Chanters were only limple Clerics ap¬ 
 pointed to that fundtion. At the entrance of the Choir was the Ambo, that is, a raifed tribune, with fteps up to it 
 on both fides, ferving to read the public leffons: fince it is called the pulpit, defk, or lobby. If there were but one 
 Ambo, it was in the middle; but fometimes there were two, that the altar might not be hid. On the right-hand 
 of the Bifhop, and confequently on the left-hand of the people, was the pulpit for the Gofpel; and on the oppo- 
 fite fide that for the Epiftle; fometimes there was a third for the Prophecies.” 
 
 “ The altar was a table of marble or porphyry: fometimes it was of maffy filver, or even of gold, enriched with 
 precious ftones, for nothing was thought too coftly to bear the Holy of Holies. The ceremonies ftill ufed in the 
 confecration of altars fufficiently exprefs this refpetft. It was fometimes, however, only of wood, fupported 
 on four feet or columns, rich in proportion, and placed over the tomb of fome Martyr; for it was cuftomary to 
 aflemble, or build Churches by their tombs; or, at leaft, their bodies were tranflated to the places where the 
 Churches were eredted. Hence, at length it became a rule to confecrate no altar without placing fome relics under 
 it. Thefe fepulchres of the Martyrs, were called their Memories or ConfeJJions: they were under ground, and 
 the way down to them was before the altar. This remained uncovered, except during the time of the facrifice, 
 only covered with a carpet, and nothing was placed immediately on it. Afterwards it was furrounded with 
 four pillars, fupporting a kind of tabernacle which covered the whole altar, and was called Ciborium , on account of 
 its Ihape, which was that of a cup reverfed.” 
 
 * Vide Les Mceurs des Chretiens, par M. L’Abbe Fleury, $ xxxr. 
 
 END OF THE INTRODUCTION. 
 
THE 
 
 HISTORY AND DESCRIPTION 
 
 OF THE 
 
 ROYAL MONASTERY OF BATALHA, 
 
 WRITTEN ORIGINALLY IN THE PORTUGUESE LANGUAGE 
 
 B Y 
 
 FATHER LUIS DE SOUSA: 
 
 AND 
 
 TRANSLATED INTO ENGLISH, WITH NOTES, 
 
 B Y 
 
 JAMES MURPHY, 
 
 Architect. 
 
ORIGIN OF THE FOUNDATION 
 
 OF THE 
 
 ROYAL MONASTERY OF BATALHA. 
 
 OoN JOHN, the firft of this name, and the tenth King of Portugal, finding 
 his kingdom invaded, encamped in the plains of Aljubarrota, in the diftrift of 
 Leiria, accompanied by a few, but faithful and refolute fubjecfts. His adverfary, 
 another King named John, and alfo the firft of that name in the regal line of 
 Caftile, was drawn up in his front, with all the forces of his kingdom, 
 among whom were a great number of Portuguefe, who followed him either 
 through motives of intereft, or from a miftaken idea of the juftice of his caufe: 
 Matters having arrived to this crifis, a battle became inevitable. 
 
 Notwithstanding the uncertainty of fuccefs in war, even when both fides are equal, 
 and the great danger which threatened the Portuguefe, on account of the inferiority 
 of their number compared to that of the enemy, whofe multitudes covered moun¬ 
 tains and valleys; yet our King, finding that he was purfued within his own domi¬ 
 nions, could not avoid meeting his antagonift, without great difcredit, if not total lofs 
 of reputation. At the time he refolved to give battle, he implored the viftory of 
 Him , who alone has the difpofal of it, whence he is called the Lord of Hojts. He 
 alfo invoked the mediation of the Virgin Mary, becaufe the battle was on the eve 
 of her glorious aflumption; and made a vow, if he came off viftorious, to build a 
 magnificent Monaftery in honour of her. The Lord was pleafed to crown his 
 
 A 
 
2 g THE HISTORY AND DESCRIPTION 
 
 arms with fuccefs, notwithstanding the confidence the enemy placed in the Superi¬ 
 ority of their numbers *. 
 
 In confequence of his vitftory, the whole kingdom was fhortly reduced to 
 obedience; but the time which was occupied in different arrangements did not 
 prevent the King from difcharging the obligations of his vow. Though employed 
 in arms, he examined defigns, confulted architedts, and fought for artificers. On the 
 one hand, he reduced fome places that held out againft him; on the other, he 
 proceeded to raife this facred Edifice ; and thus the work of the Monaftery went 
 on for the fpace of three years. When engaged in the fiege of the Cajlle of 
 Melga^o, he promifed to give the Monaftery to the order of S. Dominick, as exprefled 
 in his will, made many years after in the following words. 
 
 “Whereas we promifed on the day we had the battle with the King of 
 Caftile, if the Lord would render our arms vidlorious, that we fhould order a 
 Monaftery to be built in honour of our blefled lady S. Mary, on the eve of 
 whofe aflumption the battle was fought. After the commencement of the 
 faid Monaftery, DoSior John das Regas, of our council, and F. Lauren^o 
 Lamprea, our confeflor, being with us at the fiege of Melga^o, requefted, that 
 we fhould command it to be of the order of S. Dominick: but having fome 
 doubts on that head, becaufe our promife was to build it in honour of our lady, 
 the blefled Virgin Mary; they anfwered, that the faid lady was much attached to this 
 order, and declared to us for what reafon. Having duly confidered the fame, 
 we confented, and caufed to be ordained, that the faid Monaftery be of the 
 Dominican order.” 
 
 As foon as the King made himfelf mafter of Melga^o, and was returning home, 
 he flopped at the city of Oporto, and thence iflued his letter of donation to this 
 order, in the beginning of the year 1388. 
 
 Father Raymunda de Capua, confeflor to Santa Caterina de Sena, was at this 
 time mafter general of the order: In the fchifm which happened in the church, 
 on the death of Pope Gregory XI, he took part with the true fucceflor of Saint 
 Peter, and vicar of Chrift, Urban VI. This General, finding the province had 
 accepted the convent, confirmed the fame, and the order took pofleffion of it im- 
 
 * The following account is given of this battle, by Emanuel de Faria, in his 
 Hiftory of Portugal: 
 
 “ The king of Portugal, undemanding the approach of die Caftilians, drew 
 together his forces from Coimbra, Oporto, and other places, and marched out of 
 Guimaraen: to give them battle. On the morning of the 14th of Auguft, 
 1385, he entered the plains of Aljubarrota, where he knighted feveral gen¬ 
 tlemen. The Caftilians at firft intended to march diredlly to Lilbon, yet, 
 after fome confultation, they refolved to engage. The forces on both Tides 
 were very unequal: the Caftilians are reported to have been 33,000 ftrong, 
 and the Portuguefe but 6,500, befides having fome local difadvantages. The 
 fun was fetting when thefe two unequal armies engaged. The Caftilians, at 
 the firft charge* broke the Portuguefe vanguard; but the king coming up, 
 
 his voice and example fo animated his men, that in lefs than an hour the mul¬ 
 titudinous enemy were put to the rout. The king of Caftile, who headed his 
 troops, being troubled with an ague, was forced to take horfe to fave himfelf i 
 moft of the Portuguefe, who Tided with Caftile, and were in the front of die 
 army, were put to the fword, for no quarter was given diem. The Royal 
 Standard of Caftile was taken; but, many pretending to the honour, it could 
 not be decided by whom. The number of the flain is not exa£Uy known, 
 though very great on the part of the Caftilians: of their cavalry 3000 are fup- 
 pofed to have periflied, and many perfons of diftinftion. This is the famous 
 battle of Aljubarrota, fo called, becaufe it was fought near a village of that 
 
OF THE ROYAL MONASTERY OF BATALHA. 29 
 
 mediately. Father John Martins, profeflor of theology, and a perfon of great 
 repute throughout the whole kingdom for virtue and learning, was ordered to prelide 
 over it. The work being conducted under royal agents, he, with his companions, did 
 nothing more than fay mafs, preach on feftival days, and relide as in their own 
 houfe. But they had neither the direfting, nor planning of any part, becaufe the 
 whole ftrufture was on the King’s account, and carried on by thofe, who in his 
 name prefided there. 
 
 Of the Jituation the King chofe for the Monaftery , and the reafons which induced him 
 
 to luild it there. 
 
 THE King, defirous of building a Temple and Monaftery, which fliould furpafs 
 the moft ftupendous, not only in Spain, but throughout all Chriftendom, fucceeded 
 in realizing what he conceived in imagination; for neither his age, nor many fuc- 
 ceeding years, witnefled fo grand and magnificent, fo perfeft afid elegant an edifice. 
 He invited from diftant countries, the moft celebrated architects that could be found, 
 and collected from all parts, the moft dexterous and fkilful ftone-cutters: to fome he 
 held out honours, to fome great wages, and to others both. The fame of the great- 
 nefs of the ftruCture, drew from all parts of the kingdom multitudes of workmen, for 
 works of the kind are attended with this good, they maintain numbers of poor 
 people. The King being polTefled of enormous wealth and having faithful over- 
 feers, the work feemed to afcend like an exhalation. 
 
 But before we enter upon the particulars of the fabrick, it may not be amifs to fay 
 a few words, concerning the motives which induced this prudent King, to conceive 
 in his exalted mind, the idea of railing a pile, the admiration of the world, in a depopu¬ 
 lated defert; deftitute of ftiady woods and cooling fprings, and in a low, humid fituation. 
 In great cities and towns, or near them, are to be found many perfons of difcern- 
 ment, to praife and eftimate every tiling that is meritorious. Wood and water are 
 ufeful and ornamental accompaniments to a great convent: an elevated fituation 
 adds to its dignity, extends its profpeCt, and contributes to the health of its inha¬ 
 bitants. On the contrary, a low fituation conceals its grandeur, diminifties its appear¬ 
 ance, and, in confequence of its generating infirmities, renders it a living fepulture. 
 
 Notwithftanding thefe weighty objections, the King, agreeably to his previous 
 refolution, would not change the fituation in which he received the Divine favour, 
 as declared in the words of his teftament. Now, fince it was to be built where 
 the battle commenced (in which fituation he immediately commanded an oratory 
 to be ereCted to St. George ), or in its neighbourhood, there was no place in the 
 diftriCt better adapted for the purpofe than that which is called Canoeira ; the foil 
 about it being dry, and a fine river flowing throughout the year, very ferviceable to 
 the Monaftery. And a little lower down, the eye is ftruck with extenfive and fertile 
 
3<J the history and description 
 
 plains, watered by its courfe, and by that of another great river. Thefe cir- 
 cumftances are of great confideration; for where there is water and ingenious 
 people, there can be no want of refrigerating fcenes. With refpeft to the 
 lownefs of the fituation, it is compenfated by the loftinefs and magnitude of the 
 work, which, the King imagined, would draw thither fufficient inhabitants to form 
 a refpeftable neighbourhood. As to the humidity of the fite, the Architects 
 allured him, it would dry with the edifice, or at leaft filch parts of it, as were 
 injurious to health; and they were not miftaken in this icfpcct, for, although 
 the Monaftery experiences moifture at times, it is not unhealthy. Moreover, the 
 fituation is not more than half a league from St. George, where the engage¬ 
 ment began. All thefe confiderations outweighed the other objections. 
 
 To convey an appropriate idea of this ftnifture, is, more properly, the work of 
 the pencil, than the pen ; better adapted for the canvafs, than the defcriptive 
 page; becaufe all defcription mull fall fliort of its excellence : it being impolfible 
 to particularize in writing every minutiae, which is very ealy in the language of light 
 and fhade. The hiftorian can give but a general idea of things, whereas the 
 painter, by the magick of his art, reprefents every part however fmall. 
 
 As a proof of this, it happened that fome ftrangers of good tafte, who had 
 intimation of this ftrudfure in their own country, from the copious narrations of 
 our fathers, were greatly furprifed upon feeing it, to find how far it exceeded what 
 fame reported; yet, thefe were men who had feen and compared the firft edifices in 
 Europe. With this apology, we fliall proceed to give as clear and accurate a 
 defcription of it as we are able. 
 
 Defcription of the Church internally , — Dimerfions and Properties of the Edifice. 
 
 THE firft appellation the King gave the Convent, was Canoeira , on account of its 
 being within half a league of a fmall village of that name. The title by which it is 
 known at prefent, derived from the caufe of its eftablilhment, is Batalha. Our 
 ancient fathers, more religious than claffical, call it improperly DeBello: a name which 
 would be proper and applicable, were we to take its fignification from the Latin ad- 
 jedtive helium fine, or beautiful, inftead of the fubftantive helium , which imports war. 
 
 The Church commenced with amazing grandeur: the workmen, conceiving an 
 idea of its elevation, from the vaft extent of the foundation, thought it impof- 
 fible to find men and treafure fufficient to complete it. The body of the Church 
 alone, from the principal entrance (which is at the Weft, and runs towards the Eaft, 
 agreeably to the manner of the Ancient Churches), is 300 palms * long, to the firft 
 
 • A Palmo Cravciro of Portugal is 8 inches Engliflr meafurc. Or, 
 
 143 is to 60, fo is a Portuguefe palm to an Englifh foot nearly- 
 
OF THE ROYAL MONASTERY OF BATALHA. 3 , 
 
 ftep of the great chapel; and thence to the wall at the back of this chapel 
 60 palms, making the whole 360. The breadth is 100 palms, equal to one 
 third of the length taken to the firft ftep of the great chapel. 
 
 Ihe above dimenfions, correlpond with the elevation, agreeably to the juft 
 proportions of Architecture. The height is fuch, that an athletick flinger can 
 fcarce caft a ftone to the vault of the nave; for it is 146 palms from the 
 pavement of the Church*. Of the two ailes and the nave, the latter is 33 
 palms wide, and the former 21) each. Thefe, added together, fall Ihort of 
 too palms, the breadth of the Church, as already mentioned; but the deficiency 
 is made up by the addition of the pillars, of which there are eight at each 
 fide, of twelve palms diameter at the bafe. 
 
 The nave and ailes are covered with vaults, which, together with the pillars 
 and walls, are all of hewn ftone, united with fuch accuracy, that the joints are 
 fcarce perceptible. The thicknefs of the walls is equal "to that of the bafe 
 of the pillars, that is, 12 palms. The workmanfhip wants only to be polifhed 
 to exhibit all the elegance that art could devife. The quality of the ftone 
 is the fame throughout the building, nor could all Spain produce better for 
 fimilar purpofes : for, notwithftanding the colour is very white, yet it is folid 
 and durable, and at the fame time yielding to the chiflel. This is fufficiently 
 evident from its having already flood 200 years, f without any traces of decay, 
 with the exception of the lofs of its original whitenefs: it is not fo tarniftied, how¬ 
 ever, as to lofe every trace of its primitive gracefulnefs. In this refpeCt, it 
 may be compared to a beautiful face, expofed to the influence of the fun and 
 air, yet is fcarce ever fo injured as to lofe every trace of its former charms. Thus 
 it is with this ftone, which derives from antiquity a tint, neither brown, black, 
 nor difagreeable j. 
 
 The "lranfept is 30 palms wide, juft the fifth part of its length, (that is, 130 
 palms). The walls of the body of the Church are all plain, not interrupted, 
 nor excavated (as is often feen in others) by a number of chapels, except, 
 that at the right hand of the principal entrance there is a large arch, leading 
 to a beautiful fquare room, of which we fhall fjoeak hereafter. 
 
 The front of the Tranfept, at each fide of the high altar, is fubdivided into 
 four chapels, that is, two at each fide §. The firft, next the Sacrifty, is dedi¬ 
 cated to S. Barbara; this chapel contains a low Sepulture of a Cardinal, whofe 
 name and family are no longer known ; it is pretty certain, however, that he 
 was of the blood royal. The fecond is dedicated to our Lady of the Rofary; 
 
 * See the Tranfverfe Section of the Church. n j; Internally it retains its natural colour, but the outfide of the Edifice has 
 
 contracted a yellow lamina, which gives it a very picturefque appearance. 
 
 t The Hiftorian appears to have written his account of this ftruCture near § See the letters H. I. J. 1C. in the General Plan. See alfo the Elevation of 
 
 200 years ago, for the building is now about 400 years old. the Chancel.- 
 
 B 
 
32 
 
 THE HISTORY AND DESCRIPTION 
 
 here we fee a high monument of good workmanihip, to which King Afonfo V. 
 ordered his Queen Dona Ifabel to be tranflated, who died at Evora, m the 
 year 1455 The third, which is at the right hand of the high altar, is called 
 the chapel of our Lady da Piedada i. e. of Mercy; here the remains of King 
 John the Second are depofited * The fourth chapel, the founder of this 
 ftruflure, appointed for the remains of the Grand Mailer of the Order of Chrift, 
 Don Lofo Diaz de Soufa ; a fituation his valour and great fervices well merited. 
 Count de Miranda Anrique de Soufa, now the luccelfor and heir of this Mailer, 
 depofited here, in our days, the remains of his confort Dona Mecia. 
 
 In the middle of the great chapel, below the Heps of the altar, King 
 Don Duarte and his Queen Dona Lianor are inhumed, in a large tomb of the 
 fame kind of marble as that of the edifice. This tomb is without any infcrip- 
 tion, and diftinguilhed only by the cumbent effigies of both, with their right 
 hands joined: his left refts upon an efcutcheon of arms, that of the Queen 
 holds a book. The effigies are of excellent workmanihip, and faid to be 
 executed after nature. Oppofite the Tranfept entrance, at the end of the 
 crofs, is the chapel of our Saviour, with a large and beautiful Hone altar-piece 
 of modem workmanihip j\ The other five chapels, that is to fay, the great 
 and the four collateral ones, may be faid to have no altar-pieces: for, allowing that 
 the great chapel and that of the Rofary have altar-pieces, they are too fmall, 
 and of very indifferent workmanihip; which clearly evince, that they are not of a 
 piece with the reft of the fabrick, nor correfpondent to the intention of the founder. 
 As to the other three, they are entirely dellitute of altar-pieces J. There 
 are windows in each chapel, in the fituation wherein the altar-pieces ffiould 
 properly have been placed; whence we may infer, that, were it the intention 
 of the founder to make altar-pieces of wood, or of Hone, he would have 
 made them at the beginning, or have left a vacancy for inferring them after¬ 
 wards. In my opinion, he intended, according to his wonted magnificence, 
 to make them of filver, formed like the effigies of Saints, not fixed, but move- 
 able, fo that upon fellival days, they might be brought to cover the altars ; and, 
 I am the more convinced of this, by his having bellowed to the treafury fifteen 
 bulls, as we lhall fee hereafter. 
 
 In each of the five chapels, the windows are richly illuminated with emble¬ 
 matic paintings on various devout fubjedls. And though the fituation is 
 bleak in confequence of the great height of the walls, yet, the greater part 
 of the glafs is dill entire, and the original cafements are not injured in the 
 lead. ft here are perlons refiding in the houle, who have fixed falaries for 
 keeping them in repair. 
 
 * The body of this King, who is faid to have died in confequence of poi- 
 fon, was conduced from the Cathedral of Silvas, to this Monaftery, where it 
 remains to this day incorrupted. 
 
 t See the letter F in the General Plan.—The architeaure of this altar 
 
 is in the flyle of Boromini, a flyle well known for its want of taftc: 
 this, together with its being a modern appendage, induced me to think it 
 not worth reprefenting in the Longitudinal Seaion of the Church, 
 t Thefe chapels are at prefent fupplied with decent altar-pieces. 
 
OF THE ROYAL MONASTERY OF EATALHA. 
 
 33 
 
 The great chapel is illumined with fourteen windows, of which ten are 
 adjoining the altar-piece, that is, five below, and five above. The height of 
 each is 42 palms, by 3! in breadth. Confequently the aperture of every window 
 is 147 fquare palms, which aperture is filled with ftained glafs, without either 
 tranfom or mullion. 
 
 The other four are placed tw'o on each fide, and fo high, that they receive 
 their light over the collateral chapels; thefe are 20 palms high, and 12 broad. 
 To fecure the glafs, each has two mullions of one palm in thicknefs, fo that 
 we may compute each of thefe windows at 200 palms of glafs. 
 
 The four collateral chapels have each three windows, which differ but very 
 little in fize; upon an average, we may compute the height of each at 40 
 palms, by 3 in breadth, with the fame quantity of glafs. 
 
 Defcription of the Maufoleum of the Founder. 
 
 WE mentioned before, that on entering at the principal door of the Church, 
 there is an arch at the right-hand, infide of which is feen a quadrangular room, that 
 meafures 90 palms on every fide. The ftones of which it is compofed, are 
 of the fame quality with thofe of the Church; it is vaulted, and the centre 
 crowned with an oftangular lanthorn, fupported by eight pillars ; a contrivance 
 which gives light to the infide, and lupport to the arches of the ailes, whilft it adds 
 to the magnificence of the chapel. The diftance from one column to the other, 
 meafured on the diameter of the oftagon, is 38 palms. The whole is decorated 
 with beautiful windows, which, like thofe of the Church, are ornamented with 
 ftained glafs, bearing the arms of the kingdom, and the emblems of the King 
 as he commanded them to be made. As the lanthorn rifes confiderably above 
 the firft tier of windows, there is a fafcia of ftone at a certain height to bind 
 the work, and upon this fafcia are placed other windows, directly in a line with 
 thofe below and fimilar in workmanlhip. The whole height, from the key- 
 ftone of the vault which covers the lanthorn, to the pavement of the chapel, 
 is 92 palms. 
 
 The above lanthorn, forms a kind of pavilion to a fepulture and an altar, 
 which are placed between the pillars; the fepulture the King had made for 
 himfelf, and for Queen Philippa * his confort ; though the Church was built 
 
 * Queen Philippa,was daughter to the Duke of Lancafler, who, at the inftiga- 
 tion of King John the Firft of Portugal, aliened his right to the Crown of 
 Caftile, to which he appeared to have had a legal title by his wife Ccnjlance. 
 Upon this prefumption the Duke fet fail from Plymouth, and arrived at Coruna 
 in Gallieia the 25th July 1386, and landed with 2,000 horfe, and 3,000 archers, 
 befides other forces ; feveral perfons of diftinflion accompanying him. 
 
 The Duke, at this time, was fixty years of age, without any grey hairs; his 
 
 perfon was tall and well fliaped, he was affable and model! in converfation, and 
 in all refpe£ls anfwered his royal defeent. With him came his wife Conftance, 
 and his two daughters, Philippa by his firft wife, and Catherine by the fecond. 
 Scarce was he landed at Coruna, when that place acknowledged him as lawful 
 Sovereign, as did alfo the city of Santiago, and the greateft part of the kingdom 
 of Gallieia. 
 
 When the Duke landed in Spain, King John was at Lamego ; and having 
 
34 THE HISTORY AND DESCRIPTION 
 
 at his foie expence, yet, he refufed with his ufual greatnefs of mind, to occupy 
 the beft place in it. The monument is of very white marble, and orna¬ 
 mented, on every fide, with foliage of briars in demi-relief, bearing thorns 
 and berries: at intervals are thefe French words, II me plait pour hen*-. 
 
 The meaning of this emblem is fo exalted, that we mull allow this Prince 
 to have great undemanding; becaufe, if we take the true fignification of the 
 Latin name of a briar, which is Rubus, it means a bulb, or bramble. This is 
 an allufion to Mofes, who was called by the Lord, amidft his people 
 to lead them forth from bondage. The King being called in like manner, 
 to a iimilar enterprife, which, like Mofes, he obeyed without hefitation, with 
 the words, II me plait ; as much as to lay, that in compliance with the divine 
 call, he would molt cheerfully undergo every difficulty and labour for the 
 prefervation of his people. 
 
 If we confider it an allufion to the myfterious branch of the facred texfj", 
 which is likewife a kind of buffi, or bramble, the device will be very applicable; 
 for, our Prince was confeffedly another Abimelech, as to what regards his birth 
 and beginning, but by means of works of valour and virtue, contrary to him, 
 he finiffied his days full of prolperity. Abimelech, in order to reign alone, 
 treacheroufly put to death feventy brothers, lawful children of his father, being 
 himfelf illegitimate. Our Prince, on the contrary, was fo void of ambition, that he 
 acknowledged his two brothers who abfented themfelves, to be nearer and more 
 worthy heirs to the crown than himfelf ; therefore, he intended nothing more, 
 than to preferve it for them under the title of Defender. That of King he 
 did not afliime, till the united voice of the people, and the abfence of his 
 brothers compelled him to it. If then Abimelech was a fire that came out 
 of the branch, which burnt his city, his people, and himfelf ; our King was 
 a fire, or luminary of honours, a viftorious hero, and an ornament to the illuftrious 
 throne of Portugal. After reigning many years, full of profperity, rich and 
 contented, he departed in peace, furrounded by children and grand children, 
 and was beloved by his people, as much as Abimelech was detefted. So that 
 the device, taken altogether, is fententious, and highly applicable to the Royal 
 founder. 
 
 Upon this tomb are two cumbent figures of marble, one of the King in 
 
 agreed to meet the Duke at Ponte-Mauro, fet out with a numerous retinue. 
 They met, upon the id of November, in a plain near Mtlga^o : here it was 
 agreed, that, if the Duke fucceeded in his enterprife, he fiiould give twelve 
 towns with their territories to the King of Portugal, as a dowery with his 
 daughter Philippa. The Princefs, accordingly, was conduced to him, and 
 they were folemnly married upon Candlemas-day, in the year 1387. Imme¬ 
 diately the Queen’s houfehold was eftabliffied, and a fplendid revenue 
 afligned her. 
 
 The King having fpent two months with his Queen at Oporto, marched at 
 the head of 3,oooSpcarmen, 2,000 Crofs-bow men, and 5,000 Infantry, to meet 
 his father in law at Braganpa. They entered the dominions of Callile, and 
 
 took Cajlro, Calvo, Mantilla, Rafales, Valtleras, and Villalobos. Though Gallicia 
 had received the Duke as lawful King, yet, no place in Callile admitted him 
 but by conllraint. Hereupon the King told him, that, to make an abfolute 
 conqueft, he had better return to England for more forces. The Duke ap¬ 
 proved his advice, and they returned to Portugal, where Ambaffadors came 
 from the King of Callile, offering, that Prince Henry, heir to the crown, lhould 
 marry Catherine the Duke’s daughter. The Duke affented, and the war be¬ 
 twixt him and Callile ended. Soon after he returned to England. 
 
 De Faria's Hiftorj of Portugal. 
 * See No. 28 in the Plate of Ornaments, Mottos, bfc. 
 t Judges, c. ix. 
 
OF THE ROYAL MONASTERY OF EATALHA. 35 
 
 complete armour, the other of the Queen on his right, with their right 
 hands locked in each other * ; their heads are turned towards the weft, and 
 each has a particular infcription carved on the fide of the tomb, which, 
 being large, lhall have, a feparate chapter. The altar above mentioned is at 
 the foot of the fepulchre, adjoining the pillars which fupport the lanthorn, 
 in firch a manner that the altar and fepulchre together make but one chapel. 
 
 In the wall oppolite to the entrance, at the King’s right-hand, are four mural 
 fepulchres under as many arches of exquifite workmanftup; upon the tablet 
 of which fepulchres are reprefented efcutcheons of arms, mottos and devices 
 in mezzo relievo, relating to the King’s four fons who are interred therein j". 
 
 Don Pedro. 
 
 IN the firft fepulchre is interred the Infante Don Pedro, the eldeft of the 
 four; he was Duke of Coimbra and Monte mor, and governor of the kingdom 
 for eleven years during the minority of King Afonfo V. his nephew and fon 
 in law. We might truly affirm that he was the moft perfeft and juft governor 
 the country experienced for many years. It is related that this Infante vifited 
 feven parts of the world J: however that was, there is no doubt but he travelled 
 a great deal; in Germany he was prefent with the Emperor Sigifmund upon 
 fome memorable occurrences. His death was unworthy of the great virtues with 
 which he was endued: he was unfortunately killed in a battle, called in ancient 
 records Alferroubeira, in which he was the foie objeft of the enemy’s purfuit, 
 and almoft the only one that fell a vidtim to his rage, though of all others the 
 moft deferring of life. 
 
 His fepulchre exhibits the device of the Order of the Garter, with its motto, 
 of which he was a Knight. This order belongs to the Kings of England, and 
 they confer it as the higheft mark of diftindtion on their principal friends, and 
 other meritorious perlbns. In another part of his fepulchre are to be feen 
 balances, mixed with branches, from which acorns are fufpended like thofe 
 of the ilex, with this motto, Dejir §. It is faid that the balances are a parti¬ 
 cular device the Infante had of the great Archangel S. Michael, in a cer¬ 
 tain miracle attributed to his birth; a device, which coincides with the aftions 
 of one who held the adminiftration of the republic, and with the folemn 
 
 * See the Plate of the Effigies of King John and Queen Philippa, 
 f Thefe are the King's four fons after the Hereditary Prince Don Duarte, 
 who fucceeded him to die throne, and for whom he left the great chapel. We 
 do not Teckon the Infante Don Afonfo, the firft child, who died in his infancy, 
 and is interred in the Cathedral of Braga. 
 
 J Don Pedro fet out from Portugal in 1424 with a train fuitable to his 
 
 quality, and travelled over a great part of Europe, Afia, and Africa, in which 
 employment he fpent four years. As travels at that time were very rare, efpe- 
 cially among perfons of his rank, his gave rife to many fabulous reports, 
 which have fince rendered the truth itfelf fufpedled. 
 
 § No. 29 in Plate of Ornaments, Mottos, & c. 
 
 C 
 
THE HISTORY AND DESCRIPTION 
 
 promife he made to preferve juftice; but as ferious perfons feldom make 
 great promifes, he aflures us of his good intentions only, by the woid Dejir, 
 which means, I wijb. 
 
 As concifenefs is commendable in all mottos, his mull be admired; for, though 
 it confilts but of two fyllables, it fufficiently fatisfies us with the whole of the device, 
 which is fuch as might be expe&ed from an excellent governor. His conduit 
 in this refpeil appears to be a true imitation of the great Sages of Greece, 
 Who exchanged the arrogant name of Wife-men, (for in reality none but God 
 is wife), for that of Philofophers, or Lovers of Wifdom. The Infante in like 
 manner modeftly promifed, not adlions, but fmcere intentions, in the public 
 government; and conformably to this promife he performed excellent things indeed; 
 like another Solomon, whofe ardent love of knowledge obtained of Heaven 
 the greateft earthly wifdom *. 
 
 As it is natural for people to wifli for the ancient times and golden ages, 
 when they had abundance of every kind of fruit, and lived in perpetual peace 
 without oppreffion; it appears, the branch with the acorns indicates, that 
 he would endeavour to introduce by his good government a fimilar age: 
 becaufe, this fruit is fuch, that, without any care, or labour, the earth 
 produces it, and people had only to gather it, and thus they maintained 
 themfelves in thefe primitive ages, as Hiftorians inform us. 
 
 We may alfo add, that it was a cuftom among the ancient Romans, to 
 honour, with a crown of oak, the citizen who faved the life of another in 
 battle j\ This they called the Corona Civica; which was fo much elleemed, 
 that, after the commencement of the Emperors, they accepted it as the infignia 
 of clemency, in preference to a crown of gold or of any other kind J. It is 
 faid, Auguftus conferred fuch with his own hands, and permitted himfelf to 
 be crowned with one, confidering it a gift conferred upon him by the human 
 race, for the general peace he gave to all the world. Now as the Infante was 
 in the kingdom fuch a great perfonage, he always wilhed to make it appear 
 that he governed with juftice and equity between citizen and citizen, by which 
 means, he promoted the good of all: hence we may conclude, confidering 
 every thing, that the device was judicioully adopted. 
 
 Don Ant ique. 
 
 THE 
 Anrique , 
 
 fecond fepulchre is occupied by the next in age, the Infante Don 
 Duke of Vizeu, Lord of Covi/ham, and Mafter of the Order of 
 
 _ 
 
 * i Kings 
 
 t Pliny, lib. xvi. 
 
 t Ibid. lib. xvi. c. 
 
OF THE ROYAL MONASTERY OF BATALHA. 
 
 37 
 
 Chrift. It is faid, that he was ele&ed King of Cyprus; indeed it appears by 
 the effigy over his fepulchre, that he was dignified with a royal crown. How¬ 
 ever that was, we know for certain, that his foul was crowned with many 
 and exalted virtues. He led in perpetual continence, a retired and phi- 
 lofophical life, cultivating all the ufeful fciences, and, in particular, thofe 
 of Cofmography and Geography, by which he opened the way, to the firft 
 difcoveries, of the feas and unknown lands of the coaft of Africa. For this 
 purpofe he lived at Sagres, in the kingdom of Algarve, in a finall village, which, 
 at prefent, is called after him Villa da Infante. In thefe fublime purfiiits, 
 he was blefied with a long and tranquil life, and a peaceful death. 
 
 His efcutcheon bears the device of the Garter, with which he was invefted 
 in his early days, becaufe he was related to the King of England; and another 
 efcutcheon bears the Crofs of the Order of Chrift. Among the fculptures 
 are to be feen little ftalks, with tender branches fhooting out of them; the 
 form and fruit of which refemble the evergreen oak, with its acorns; the 
 branches are fhort and twifted, and the leaves fet with fharp points. He, 
 who purpofed to cultivate the barren deferts of Lybia, with infinite danger 
 by fea and land, which at firft was the objedt of his difcoveries, and the 
 beginning towards humanizing that barbarous country, and giving it the know¬ 
 ledge of the true God, might well exprefs his good intention, and the difficulty 
 attending the enterprize, in the hardinefs of an oak, and by the dry fruit 
 which it yields. His motto is alfo expreffive of this undertaking, 'Talant de 
 bien faire *, that is to fay, A difpojition to do good. 
 
 Though this expedition put him to great expence and trouble, he never 
 entertained a thought, that it would be attended with more advantage, than 
 the oak and its fruit are to the mountains; as may be inferred from a book 
 which he caufed to be written on the progrefs of thefe difcoveries, wherein he 
 conveys the fame thought under other emblems, very ancient and pointed in 
 their fignification; namely, the Pyramids, the works of the ancient Kings of 
 Egypt, which, though raifed with immenfe expence and labour, and reckoned 
 among the wonders of antiquity, yet ferve for no human purpofe. How¬ 
 ever, they clearly exprefs the meaning of the Infante in his writings. The 
 book we allude to was fent by the Infante to one of the Kings of Naples, 
 and it was feen in the city of Valencia, in Arragon, in the Cabinet of the 
 Duke de Calabria , (the laft defcendent in the male line of that King), who 
 went to Naples, and ended his days with the title and command of Viceroy. 
 
 * See No. 30.—Plate of Ornaments, Mottos, &c. 
 
3 « 
 
 THE HISTORY AND DESCRIPTION 
 
 Don John. 
 
 NEXT follows the Infante Don John, Mailer of the Order of Santiago, 
 and Lord High Conftable of Portugal. This Prince married the daughter 
 of the Duke de Bragan^a, grand-daughter of the Lord High Conftable Don 
 Nuno Alvres Pereira. Don Afonfo, the brother of the latter, had two daugh¬ 
 ters, from whom molt of the Kings and Princes of Europe participate of 
 the blood of this illuftrious family. 
 
 His device confifts of extended branches, with wild ftrawberries, amongft 
 which are fufpended fquare pouches, like thofe formerly ufed, with three 
 Ihells over each. The motto is in French, like thofe of his father and 
 brothers, becaufe, in his time, the French language was much efteemed and 
 current among Princes for its courtefy and politenefs : it is this, Je ai Hen 
 refon *, I have good reafon. 
 
 As we are unacquainted with any particular aftions of this Prince, we 
 are at a lofs to know, what his motive is grounded on, for adopting the emblem 
 of the wild ftrawberries, which no doubt was very proper. The only reafon 
 we can affign for it, is his devotion to the Glorious Baptift, as may be col¬ 
 lected from his altar, which, together with his name being John, induced 
 him, in all probability, to adopt the emblem of a tree bearing wild fruit. We 
 know the great Saint never looked for any better food; and it is not in- 
 confiftent to affimilate two Saints, the one by devotion, the other by obliga¬ 
 tion. Now, if the fruit of the foreft denotes the Baptift, the pouches and 
 Ihells are devices of St. James, of whofe Order the Infante was Mailer. 
 
 Don Fernando. 
 
 THE laft fepulchre j is the place of the laft and fourth brother, the Holy 
 Infante Don Fernando, Mailer of the Order of Avis, and the lixth Ion of King 
 John. His efcutcheon bears the Royal Cinques upon a Crofs, adorned 
 with the flowers of his Order. The emblems on its field, confift of branches 
 like thofe on the fepulchre of the Infante Don John, but with this differ¬ 
 ence, the latter are expanded, whereas the former are wreathed, and 
 beai a different fruit. Some have fuppofed thefe circular branches to be of 
 the thorn tiee, in confequence of the refemblance they bear to a crown; 
 
 • No. 31.—Plate of Ornaments, Mottos, &c. 
 
 + Sepulchre. So called by our Hiftorian, though I conceive it might 
 
 properly be named Cenotaph , as this Prince was taken prifoner by the Moors 
 in Africa, where he ended his days in flavery, and is interred. 
 
OF THE ROYAL MONASTERY OF BATALHA. 39 
 
 but as they have no thorns, we cannot readily admit the fuppolition. The 
 emblem, however, in this fenfe, would be excellent, and altogether prophetic of 
 the thorns and troubles which he afterwards experienced among the Moors. 
 
 As he was a Saint, and loved the thorny crown of Chrift, perhaps he was 
 too model!; to declare to the world what he forefaw, that it might not appear 
 he boafted of virtues before hand, which his aftions and patient liifferings 
 afterwards evinced he poflefled; the thorns therefore are wanting to complete 
 the emblem. Although we fee no infcription on his monument, yet its filence 
 proclaims more than all thofe of his brothers. 
 
 The fepulchre of the King and Queen has an altar near it, dedicated to 
 the Holy Crofs: thofe of the Infantes, in like manner, have, altars, which are 
 feparated from each other, by arches made in the recedes of the wall oppo- 
 lite the Kings feet. Thefe altars are confecrated to their relpeftive tutelar 
 Saints, and decorated with fmall altar-pieces, fuitable to the fituation, and with 
 ancient paintings in good prefervation. The firft, which is next to the fepul¬ 
 chre of the holy Infante, is dedicated to the adiimption of our blefled Lady. 
 Among the piftures is feen the portrait of this Prince, with his chains and 
 the incidents of his misfortunes. 
 
 The fecond is confecrated to John the Baptift, and is applicable to the 
 name and devotion of the Infante Don John. 
 
 In the third, the Infante Don Antique, ordered the Infante Don Ferdinand 
 to be painted; for he conlidered him a Martyr, and as fuch rendered him 
 devotion. 
 
 On the altar of the Infante Don Pedro, which is the fourth, is a painting of 
 the Angel Saint Michael, whole inlignia he adopted for a device, as we ob- 
 ferved before. 
 
 The wall oppolite to the King’s head is occupied by a large facrarium, in 
 which, are preferved the holy utenfils, ufed in the celebration of the mafles 
 daily offered up for thefe Princes, and diftinguifhed by their refpeftive devices 
 and mottos. 
 
 That we may not omit any thing concerning the holy Infante, we find 
 here among his wreaths, what was deficient in his fepulchre, namely, the motto 
 which like the reft is in French, Le bien me plait, that is to fay, I am pleafed 
 with the good. This he verified by his death and aftions. But confidering his 
 magnanimity, I can hardly believe that he ufed this motto, or permitted it to be 
 applied to him whilft living ; except that the branches in his emblem are of ivy, and 
 
 D 
 
40 THE HISTORY AND DESCRIPTI ON 
 
 not of briar as has been averted, which appears the more probable from their 
 having no thorns. Then, this motto is proper, becaufe there are two forts of 
 ivy ; one of which grows clinging round plants to the fummit, however lofty, 
 without injuring them, and draws its fuccour from that which it intwines. The 
 other is of a different quality, for it injures the trunk which it intwines. 
 It appears by the motto, that he is only pleafed with the good fort, which is 
 confident with a man, who from the cradle to the grave, was exemplary for his 
 fteady fandity of manners. It is alfo conformable to the purity of his foul, 
 confidering, a peculiarity which is attributed to this plant; namely, if wine and 
 water mixt, be thrown into any veftel made of its wood, the wine will difap- 
 pear and be loft, and clear water only remain*. 
 
 Dejcription of the Church and Monajtery externally. 
 
 THE Church has two entrances, viz. the principal and the tranfverfe. The 
 porch of the principal entrance alone would require a volume to particularize 
 the columns, figures, and variety of ornamental fculptures, with which it is 
 decorated. 
 
 In the centre of the weft front, juft above the porch, is a window of fuch 
 exquiftte workmanfhip, that it is fcarce poflible to execute the like, with 
 more accuracy, in wax or needle work, or in the overture of a guitar'}'. The 
 laft comparifon is very applicable to its circular form, and to the minutenefs 
 of its parts: the intervals correfpondent to thofe, which in the guitar emit the 
 interior found, are here filled with ftained glafs, reprefenting in various paint¬ 
 ings the arms and devices of the kingdom ; together with fymbols and emblems 
 relating to the King. As the perforations are numerous, becaufe of the mag¬ 
 nitude of the window, they admit a profufion of light, though fomewhat ob- 
 fcured by the colours; but this obfcurity is amply compenfated by the beauty 
 of the variegated rays. 
 
 It is furpriilng, how fuch delicate work has flood, fo many years, uninjured, 
 in that lofty fituation, I he durability and grandeur of the other windows of 
 the Church are no lefs furprifing. In the body of the Church alone are 30 
 windows, fo large, that in a clear night the Church is almoft as luminous as 
 an open fquare, notwithftanding the glafs is covered with colours. 
 
 It will not be amifs to defcribe the dimenllons of fome of thefe windows, 
 which, we had taken by an Archited, in confirmation of what we aflert. In the 
 upper part of the Nave, there are 16 windows, that is to fay, eight at each 
 fide, of 18 palms in height to the capitals of their columns, by 9 palms in breadth, 
 
 * Plin. b. 
 
 t See the Weft Elevation of the Church. 
 
OF THE ROYAL MONASTERY OF BATALHA. 
 
 4» 
 
 with two mullions, of one palm each, in thicknefs, to fecure the glafs; which 
 being dedudted out of the breadth, leave 7 palms of aperture; thefe, multiplied 
 by the height, make 126 fquare palms, the quantity of glafs in each window. 
 
 The two Ailes have 12 windows; that is to fay, four to the fouth, join¬ 
 ing King Johns chapel, and eight at the oppofite fide, each twenty-two 
 palms high by feven and a half broad. And, becaufe they are likewife divided 
 by two mullions of one palm thick, like thofe of the Nave, each window 
 confequently contains 121 fquare palms of clear aperture, and the fame quan¬ 
 tity of glafs. 
 
 Of the fame height and breadth with thefe, are two windows that accom¬ 
 pany the principal door, one at each fide, which added to the others make the 
 number we mentioned of 30. Such a quantity of glafs may be reckoned one 
 of the mod remarkable things in the edifice. 
 
 To the above number, are to be added two windows in the Tranfept ; 
 that over the tranfverfe entrance alone is 42 palms high, by 14 broad, finiflied in 
 a moft curious manner with reticulated ftone work, and the interftitial vacuities, 
 filled up with ftained glafs*. Thefe, together with the windows of the centre 
 and collateral chapels, added to the fine window over the principal entrance, 
 render the Church luminous, cheerful, and beautiful. 
 
 About the time the Church of Batalha commenced, was founded the 
 
 famous temple of the fee of Milan, called II Homo, during the pontificate of 
 
 Urban VI. The interior of this temple is altogether dull, and melancholy; 
 contrary to that of Batalha, which is light and cheerful. The Milanefe de¬ 
 fend their artifts, and attribute the eftedt to intention and found judgment; 
 alleging, that as a grave, folemn afpedl, renders a man more remedied, fo, in 
 like manner, a degree of gloominefs makes a Church more venerable. This 
 reafoning, however, does not convince me; for, allowing the argument to be 
 true with regard to men, it does not appear that temples, which are the 
 reprefentations of heaven, the feat of eternal light, Ihould have any refem- 
 blance to the abode of perpetual darknefs. To return to our hiftory: all 
 
 thefe windows are fo fecurely fixed, fo tranfparent and beautiful in colour, 
 
 that, notwithftanding they have already been expofed to the injuries of 200 
 years, they fcarce exhibit any traces of decay. 
 
 The ftone vaults of the Church are alfo covered with a roof of the 
 fame materials, compofed of large fquare flags, about the thicknefs of the 
 leaf of a ftrong table, and rebated at the edges J: thus, an everlafting 
 
 * See the Elevation of the Tranfept Entrance. 
 
 f In the ‘Iranfverfe Section of the Church, the covering of the roofhe alludes 
 
 eprefented. 
 
42 
 
 THE J-IISTORY AND DESCRIPTION 
 
 roof is formed, that will bear to be walked over, fwept, and cleanfed of every 
 dirt, contracted by the accumulation of years. 
 
 The top is enclofed on every fide with a railing of ftone work, over which 
 are placed fleurs de lis, that ferve as a diftina crowning. In order to fee 
 every part of this vaft machine, there are two circular ftair-cafes, formed like fcrews, 
 which lead to the roof of the building ; one is in the tranfept wall, at the 
 left-hand fide on entering at the fouth door; the other adjoining the chapel 
 of our Saviour; each confiding of 120 Heps*, lrom the church floor to the 
 fummit of the edifice. 
 
 There is alfo another ftair-cafe in the convent of very eafy afcent, from the 
 fummit of which, we have a remarkably delightful and extenfive profpea of a 
 mountain of ftone. Nor does it differ very much from other mountains, except, 
 that here, the rocks are worked and poliflied by dint of art; whereas the 
 others are lhapelefs, in a rude ftate of nature, with various inequalities, now 
 finking into deep valleys, then proudly afpiring to the clouds. In the fame 
 manner we fee fome inequalities in this ftrufture: in one part a mountain 
 appears, as in the body of the church, whilft other parts are in a valley, as 
 the refectory, chapter-houfe, and cellar; lofty pyramids are alfo found here, emu¬ 
 lating in height thofe of nature, but much fiiperior in beauty. 
 
 Thefe pyramids, which are three in number, are of very rare workmanlhip, and 
 conftrufted in fuch a manner as to admit of accefs to the fummit j% but not 
 without danger, becaufe of their great elevation: the one over the lanthorn of 
 the Founder’s Chapel is in the form of an octangular pyramid J, 50 palms in 
 height, with a fpace of 4 palms on each fide of the bafe, furrounded with a 
 parapet of net work, and crowned with fieurs de Us. Taken altogether, it 
 has a majeftic and beautiful appearance. Another takes its rife over the 
 Archives, between the cloyfter and the facrifty, and is in height 63 palms §. 
 The fpire over the tower ||, which contains the bells and clock, is not lefs de¬ 
 ferring of notice ; it is fimilar to thofe we have juft mentioned, and fuitable 
 to the reft of the fabrick. 
 
 * Each ftep is 9I inches high, the whole height is confequently 95 feet, 
 •j- There is no other accefs to its fummit than by means of the bunches 
 placed on the angles of the pyramid or fpire (figures 15 and 16 in the Plate of 
 Ornaments, Mottos, &c.), to which I fuppofe he alludes. Sir Chriftopher Wren 
 was of the fame opinion. “ The angles of pyramids in the Gothic architefture 
 “ were ufually enriched with the flower the Botanills call Ca/cro/itr, which is a 
 “ proper form to help workmen to afeend on die outfide to amend any defets, 
 “ without raifing large fcaflolds upon every flight occafion. I have done the 
 “ fame, being of fo great ufe, as well as agreeable ornament.” 
 
 Parentalia, p. 30a. 
 
 J The pyramid lie alludes to was deftroyed by the earthquake of 1745, as 
 obferved in the Preface. I have given a reprefentation of it in the South Ele¬ 
 vation of the Maufoleum of King John the FUJI, from an ancient painting on one 
 of the windows of die church. 
 
 § This fpire is 62 feet 2 inches high, as reprefented in the plate; which 
 height I afeertained two ways, firft, by a quadrant; fecondly, by taking the 
 diameter of the bafe of the pyramid, and the angle of inclination of one of 
 its lides. 
 
 || That fpire does not exift at prefent. 
 
OF THE ROYAL MONASTERY OF BATALHA. 
 
 43 
 
 Of the Sacrijly, with the treafure of relicks, gold, fiver, and vefments, which the 
 
 Founder bejiowed. 
 
 THE entrance into the facrifty is from S. Barbara’s chapel, at the end of 
 he crofs. It has nothing m its architedure remarkable for grandeur or com- 
 pofmon but is well worth feeing on account of the treafure of facred relicks 
 gold, fflyer, and veftments of brocade, tiffiie, and filk of every kind, that the 
 
 the" mdt n 3 - tlUe ^ conferred on it: we Audi commence with 
 
 the molt piecious, which are the relicks. 
 
 The Emperor of Conftantinople, Emanuel Paleologus, being in the city of 
 Pans in France, m the year of our Lord 1401, whither he came, for the pur- 
 fl.° bta ^a S die joint affiltance and protection of the Chriftian Princes of 
 the Weft, agamft the power of the Ottoman Empire, which was overrunning Afia 
 and threatening Conftantinople and Europe: the King fent an Ambaffador to 
 vifit him, which vifit the Emperor returned with a prefent of precious relicks 
 very eftimable for their quality, and for the certitude and credibility they de¬ 
 rived from the authority of fo great a Prince. Thefe relicks were accom¬ 
 panied by a Certificate figned with the Emperor’s own hand, and a feal of gold 
 pendent. We {hall here give a tranflation of this Certificate, as it well deferves 
 our notice. 
 
 “ Emanuel Paleologus, Faithful in Chrift, Emperor of the Romans, and ever 
 “ Auguft. Plealth to all to whom thefe imperial letters ftiall come, through him 
 “ who 15 the fixation of all. Our merciful Saviour and Redeemer Tefus 
 “ Chnft ’ who offered himfeIf t0 God the Father, as a facrifice without ftain 
 “ a * the altar of the hol y ctofs, left to all faithful Chriftians the marks of 
 “ his bufferings as a remembrance of his miracles.” 
 
 “ Whereas we had in our city of Conftantinople, feme holy relicks of 
 “ our Saviour, and of many Saints worthy of veneration, as handed down 
 “ t0 us from f he moft Serene Emperors our Fathers, in authentic hiftories 
 “ and faithful chronicles; the faid relicks being preferved by them, as they 
 “ are likewife by us, with all due care and veneration. And, whereas we 
 “ happened to fojoura to thefe Weftern parts, on account of the perfe- 
 “ cutions and oppreffions of the Turks, the cruel enemies of the moft facred 
 “ name of Jefus Chrift, which they, with their forces, endeavour to extermi- 
 “ nate from the face of the earth, efpecially in parts of Thrace: therefore, in 
 “ “'der to feek aid and protection for the Chriftians of the Eaftern pro- 
 “ vinces, who are opprefled by the faid infidels, we brought with us part 
 “ of the aforefaid relicks and flirines; and being perfuaded, that the moft 
 
 E 
 
4 THE HISTORY AND DESCRIPTION 
 
 :-it sx 7 rtr a* a 
 
 ‘ we th ° ug 1 pr0p£ • ® the f ame mo ft Serene Prince a fmall crofs of 
 
 ! goU^Lr which S 1 fome precious relicks of the Apoftles, St Peter, 
 
 , t Paul, St. George, and ». Bras. In the middle of the faid crofs, 
 
 , t \ pa tide of the fponge, with which the gall and vinegar were given 
 .. t0 our Saviour. In teftimony of the truth of what is herein delivered, 
 “ we have caufed this paper to be written to the faid moft Serene Prince, 
 
 - Led with our hand in Greek, and in red ink, according to the cuftom 
 .. 0 f our Empire, and authenticated by our feal pendent of gold bearing Greek 
 
 - letters. Dated in the City of Paris, the fifteenth day of June, .400 
 .. We alfo give to the above King, a finall remnant of the garment of our 
 “ Redeemer Tefus Chrift: it is of a colour refembhng the yew, of which tree it 
 .. is made. Any woman afflifted with the hemorrhage, is immediately cured 
 “ by touching its hem. This facred relick is inclofed m a fhrine of cryftal fet 
 
 ^ tc JOntenlnmi r ** 
 
 THESE holy relicks, accompanied with the certificate of the Emperor, 
 the King received, and commanded to be depofited in. the Convent and 
 Sacrifty.° The feal is round: on one fide, is a large Latin I, placed in the 
 centre, with a medal, bearing the portrait of the Emperor, and an infcription, 
 Emanuel, in Chrift, Emperor Paleologus. On the reverfe is an image of Chrift, 
 with another Latin I, and the words, Jefus Chrift. The Latin I, mews 
 the title, in winch, he efteemed himfelf the Emperor of the Romans. 
 
 Such are the Relicks; we fhall next point out the plate and other articles 
 prefented by the King, viz. Fifteen ftatues of call filver, very coftly and 
 beautiful, reprefenting the like number of Saints of his devotion. .Twenty- 
 eight chalices, moft of which are gilt. Fourteen pair of cruets. Five fonts 
 with their fprinklers. Eight cenfers and fix boats. Nine fmall crofles to ac¬ 
 company them. Nine portable crofles for the fervice of the altars. Four great 
 crofles, three of which are for proceffions, and one to ftand on the high 
 altar. Two lofty candlefticks gilt, and twelve inferior ones. Six torch Hands, 
 of which two are gilt : it is recorded thefe two weighed ninety-one marks. 
 Seven lamps of immenfe fize and weight. One lantern. Five pixes. Five paxes. 
 Two ewers, with their water plates for waihing the hands. And two fmall bells. 
 
 This plate, as may be well conceived, weighs more than 1200 marks, and 
 is very valuable for its workmanfhip, and on account of a great part of it 
 
OF THE ROYAL MONASTERY OF BATALHA. 45 
 
 being gilt. Reduced to otir ftandard, it weighs upwards of 6oolbs. a magni¬ 
 ficent and royal donation for the fervice of the houfe of God, and that, at a 
 time, when we poffelTed neither Eaft nor Weft Indies. 
 
 The furniture that he Commanded to be made, for the fervice and celebration 
 of the mafs, and for decorating the altars, confifts of eleven very rich brocades, 
 with their copes, altar and pulpit cloths, the greateft part of which are orna¬ 
 mented with fancy lace work, or embroidered with gold in a very rich man¬ 
 ner. Thirty-two veftments of coftly filk, together with many particular 
 veftments of brocades, tiffues, and filks, for the ordinary fervice of each day. 
 Befides feveral large cloths of gold, of brocade, and of velvet, and different 
 curtains of filk, to ornament the church, altars, and to cover the fepulchres, 
 at the celebration of the anniverfaries, 
 
 A great deal of the plate being fuperfluous, there was fold as much of it, 
 as weighed 811 marks. Of the veftments, there were fold, altogether, four of 
 the richeft, and another was melted down, which was covered all over with 
 filver foil, in fuch a manner, that none of the filk under it was perceptible, fo 
 that its weight rendered it fitter for ornament than ufe. The committee 
 appointed for dilpofing of the above, were compoled, not of the f athers, but 
 of people called in, who judged it neceffary to raife a fum of money to 
 fupport and carry on the work of the Convent, which was at a ftand. 
 Having obtained licence from the Penitentiary’s Court at Rome, addrefled to 
 the Bilhops of Lamego, S. Thome and Targo, in the fourth year of the Pon¬ 
 tificate of Pope Paul III. they commanded the overfeers and melters to 
 purchafe amalgamating implements; very neceflary things for a Convent that 
 poflelfes but little revenue. 
 
 Defcription of the Chapter Houfe*. 
 
 FROM the Sacrifty you enter the Chapter Houfe. This room is fo conftruded, 
 that there can be nothing more wonderful, in fo much, that it comprehends the 
 utmoft degree of architedural fkill. Its form is a fquare, each fide of which 
 meafures 85 palms, and is covered with a vault of hewn ftone without column, 
 prop, or any thing to fupport it, but external buttreffes, fuch as are in the 
 fide of the church. 
 
 It is recorded, that in conftruding this vault, it fell twice in ftriking the centres, 
 with great injury to the workmen. But the King, defirous, at all events, 
 to have a room without the defed of a central fupport, promifed to reward 
 the Archited, if he could accomplifli it. At this, he was animated in fuch a 
 
 • Annexed is the Sedion of this magnificent 
 
46 
 
 THE HISTORY AND DESCRIPTION 
 
 manner, that he began it again, as if confident of fuccefs. The King, however, 
 would not hazard any more the lives of his workmen in ftriking the centres: 
 therefore he ordered, from the different prifons of the kingdom, fuch men, as 
 were fentenced to capital punilhments, in order that, if the like difafter happened 
 a third tune, none lhould buffer, but thofe, who had already forfeited their lives 
 to the offended laws of their country. 
 
 In the middle of this room, is a large quadrangular eftrade of wood, with 
 fteps on every fide: over this eftrade, are two tombs, covered with rich 
 cloths: in one are the remains of King Alfonlo V. grandfon of the founder; 
 in the other is depofited Prince Alfonfo, fon of King John the Second, 
 who unfortunately loft his life at Santerem, by a fall from his horfe as he 
 was riding along the banks of the Tagus. 
 
 Royal Cloyjler. 
 
 FROM the Chapter Houfe we pafs to the Royal Cloyfter: the door of the 
 one is oppofite to that of the other ; its form is a fquare; each fide meafuring 
 250 palms, 30 of which are covered at each fide with ftone vaults. The vaults 
 of this Cloyfter exhibit a number of magnificent Gothic arches, filled up, from 
 the fpring to the fiimmit, with beautiful tracery work: it is evident from their 
 excellence, that the Artifts who executed them, were not inferior to thole 
 who formed the frontifpiece of the edifice, nor the defigners of the former, 
 lefs ingenious, than thofe of the latter. 
 
 The infcribed quadrangle of the Cloyfter is diftributed into walks, bordered 
 with large hewn Hones, and the inclofed fpaces are planted with a diverfity of 
 fhrubs and flowers. In the midft is a large ciftern of water; and in one of the 
 angles, a lofty fountain, with water jetting out of different bafons, into a large 
 circular refervoir. I he fountain is very ufeful in this fituation, becaufe, the 
 refediory door is contiguous to it, fo that thofe who enter, may walh their hands 
 and gratify their fight, whilft waiting the fignal of the dinner bell: for this 
 purpofe, the wall next the refedtory door is furniflied with feats and 
 wainfcoted backs, for the accommodation of the Fathers. 
 
 
 ter T the E wef^T f*\^ ” the N ; W ‘ an S le of ‘he Royal Cloyf- 
 tude a ,! ^ ° "* lch ’ l£ nearl y occupies. This room, from its magni- 
 
 ude and excellent workmanlhip, may be confidered of a piece with die 
 
OF THE ROYAL MONASTERY OF EATALHA, 
 
 if 
 
 reft of the fabrick, being in length 133 palms and 44 in breadth*, which 
 is nearly equal to one third of its length: it is lofty and well lighted: the 
 whole is covered with a ftone vault fimilar to thofe we have already de- 
 fcribed. 
 
 The other inferior offices of the convent in general, fuch as the ftore rooms 
 and cellars, are of dimenfions fuitable to their ufe, and fufficiently large to 
 contain the various fruits for the fuftenance of the fociety, who are numerous 
 on account of its being a place of continual ftudy. The wine cellar alone is 
 160 palms long by 43 wide, covered with a vault. 
 
 North of the wine cellar there is a cloyfter of about half the area of the 
 Royal cloyfter, of very good workmanfhip. On viewing the outfide of the 
 .convent it appears like a fine village, or many convents together, becaufe of 
 the dormitories, hofpitia , infirmaries, library, and the novices’ preceptory, 
 The laft is extenfive enough for a good convent, from the dimenfions of its 
 corridors, the number of its cells, the diftribution of its oratory, together 
 with its orchard and garden. 
 
 Through the dormitory of the convent runs an extenfive corridor, covered 
 with a common roof, and lined with boards, the better to preferve the Fathers’ 
 health. At the north end is an open terrace, which commands a pleafant 
 profpeft of orchards, and a large vineyard, refrefhed by the conftant courfe 
 of a fine river. Here alfo are feen feveral deep ponds, that at times afford 
 amufement to the reclufe and ftudious Fathers by fifliing with cane rods and 
 nets. In this corridor are the infirmary and hofpitium, with more than (So 
 cells, exclufively of thofe of the novices which amount to 34. The lay- 
 brothers’ apartments both externally and internally, the various entrances, the 
 paffages to the different offices, the feveral involutions, notwithftanding their 
 number, all have the appearance of a Royal edifice; Order and convenience, 
 cleanlinefs and good attendance, are obferved in every part; and, to complete 
 the whole, a large fubterraneous ftream of water runs acrofs the edifice, which 
 carries off all the impurities of the convent. 
 
 * 32 palms is the breadth mentioned in the original, which is a miftake. 
 
 F 
 
48 
 
 THE HISTORY AND DESCRIPTION 
 
 Description oj the Maujoleum oj King Emanuel. 
 
 WITH the foregoing humble and unadorned defcription, we have en¬ 
 deavoured to exhibit the magnificence of the edifice which is completed; 
 but there is another lefs ancient not yet finilhed, which, if perfefted, would 
 crown the fplendor of this monaftery. 
 
 At the back of the chapel of S. Barbara * * * § there is a door, with a crofs 
 over it in demi-relief, like thofe worn by the Knights of the order. of 
 Chrift: this crofs ftands between two armillary fpheres, which guard a Ihield 
 bearing three characters, viz. the letters E y within a large Cj'. 
 
 One would fuppofe that the author of the work intended to excite the 
 attention of the curious who came thither, and was refolved that his enig¬ 
 mas fliould coll: them more trouble to decypher, than an Egyptian hierogly- 
 phick, or a Sibylline oracle. Indeed, it would be much eafier to form a judg¬ 
 ment of fubje&s of the latter kind, becaufe, with the affiftance of words and 
 allufive figures we may draw fome fatisfa&ory conclufion. But from a few 
 infulated letters it is difficult to afcertain the precife meaning of the author; 
 and the more fo, as they are fubjeft to receive, camelion like, the colours we 
 wifh to impart to them, or, like virgin wax, fufceptible of every voluntary im- 
 preffion. 
 
 This door of emblems and myfterious cyphers leads to a loggia direCtly 
 behind the high altar of the church J, in the middle of which is a beauti¬ 
 ful door-way §, compofed of fmall ornamented columns, which are formed 
 into arches over-head: they have no capitals, nor any other reparation what¬ 
 ever. The entrance, which is very wide, has feven columns on each fide, 
 and commences, from the extreme ones at the outfide, to contrail as it 
 recedes till it attains the magnitude of a moderate aperture. 
 
 The dimenfions and ornaments of the feven columns are various, but all 
 fculptured with fuch exquifite delicacy, fo beautiful in form, and perfeil in 
 execution, that one would fuppofe it impoffible to form the like of the mod 
 pliant wood||. The work, therefore, mud have been attended with great ex¬ 
 pence, confidering the time and labour it took to carve and polifli every ftone, 
 
 • See the letter Q_in the General Plan. II i| In the annexed Plate we hare given a reprefentation of thefe co- 
 
 f Vide Fig. 2 in the annexed Plate. lumns, with the other ornaments and hieroglyphicks appertaining to 
 
 t P in the General Plan. this Maufoleum. 
 
 § See the Entrance to the Maufoleum of Emanuel the Great. |[ 
 
49 
 
 OF THE ROYAL MONASTERY. OF BATALHA. 
 
 and the number that muft have been broken under the chifel, on account 
 of the extreme delicacy of the parts. 
 
 In four of the interfpaces of the above columns, there are words at 
 certain intervals, the charafters of which are fimilar in form to thofe we 
 mentioned before: they are as follow, Tanyas erey*. I have been the more 
 particular in noticing thefe charafters, becaufe in palling from this monaftery 
 formerly, in our journey to Entre Douro e Minho, we met at Vienna an edi¬ 
 tion of a book entitled, The Life of the Holy Archbilhop of Braga 
 D. F. Bartolomeu dos Martyres. The Fathers of that place read feme words’ 
 m it thus. Tangos e Bey, making a g of the y, in Tanyas, and dividing 
 erey into two words, which evidently is contraiy to the form of the 
 fculpture, as. I then fliewed them. The frequent repetition of thefe words 
 made me folicitous about inquiring after their meaning among the old Fathers 
 hoping, that by tradition from their predeceffors, they might have obtained a 
 knowledge of the fenfe that was annexed to them at the time they were 
 fculptured. And this did not appear at all improbable, becaufe they are not 
 more ancient than the days of King Emanuel. Of the language it is not 
 eafy to form any opinion, as it is neither Latin nor any of the modem 
 European tongues. But we could find no perfon to fatisfy us with any well 
 founded argument relpediing thofe, or the other cyphers at the entrance of 
 the Loggia. 
 
 As it is the duty of an author to deliver his opinion on doubtful paf- 
 fages of hiftory, it will not be deemed prelumptuous in me, to endeavour 
 to untie, or cut with a Ihort difeourfe, this which is not a Gordian knot, 
 though it belongs only to Alexanders to touch thofe knots which are tied 
 by Kings. 
 
 As I found in thefe words no affinity to the language of the country, 
 I had recourfe to foreign languages; and upon lhewing the words to \ 
 perfon of great erudition, we concluded that they were Greek; Tanyas being 
 the accufative of the Greek word Tanya, which fignifies Region, and Erey the 
 imperative of the word Ereo, which fignifies either Seek thou, or Inquire, or Dif- 
 
 cover, -(peaking as it were in the name of the Lord, from the Temple which 
 
 King Emanuel built, faying, Go thou and explore new regions and new climates; 
 thus animating him, not to defift from his glorious defigns. And this fignifi- 
 cation is conformable to the enterprife this Prince had actually in con¬ 
 templation at the time, namely, the difeovery of India f. It alfo agrees with 
 
 * Vide Fig. 9. of the Plate of columns, ornaments, and hieroglyphicks. 
 , f During the reign of John the Second, the Cape of Good Hope was 
 difeovered by Bartholomeu Diaz. Soon as Emanuel his fucceffor afeended 
 the throne, he aflembled his council to deliberate on the expediency of 
 profecuting the difeovery of India, which, after much conteft, was refolved 
 
 in the affirmative. Vafco de Gama was appointed to take command of 
 the fleet fent upon that expedition. He failed from Lifbon the 8th of 
 July, i497> with three fmall Ihips and t6o men, and arrived in India 
 the year following. 
 
5 o THE HISTORY AND DESCRIPTION 
 
 the device of his myfterious fpheres, which were adopted by him for another 
 end, and were prophetic of his conquefts over a great part of the globe. 
 
 But the cypher of the fir If mentioned door gives us more trouble, as it 
 confifts of letters which form no definite word. The firft difficulty that occurs, 
 is to afcertain the language to which thofe characters belong. I take them to 
 be Greek, like thofe we mentioned before; and, being furrounded by fpheres 
 and the crofs of the order of Chrift, I am induced to conclude there is un- 
 queftionably fome myftery inveloped in them. 
 
 It appears, indeed, as if the founder of the work intended that we fhould have 
 here, an emblem in imitation of the celebrated ancient temple of Delphos in 
 Greece. For, we read, that over the door of that temple, there was a cypher 
 almoft fimilar, and at the portal an infcription addrefled to thofe who entered. 
 The infcription was this, ymii mumy : that is to fay, Know thyjelj. The cy¬ 
 pher was ei, which fignifies, Thou art. This cypher fo puzzled the ancient 
 Sages, that Plutarch compofed a book upon it *, wherein, after many argu¬ 
 ments, he concludes, that by the word Ei is meant One Eternal God. His 
 words are as follow: 
 
 Dens enim eft, et eft nulla ratione temporis , Jed eeternitatts immobilis, tempore 
 et inclinatione carentis, in qua nihil prius eft, nihil pofterius , nihil futurum , nihil 
 prateritum, nihil antiquius, nihil recentius: Jed unus cum Jit , unicus nunc Jernpi- 
 ternam itnplet durationem. 
 
 And lower down. 
 
 Non enim multa Junt Numina, Jed unum. 
 
 Which nearly fignifies, “ that it is only of God one can and ought to lay 
 that He is; and this Being is without any dependence or meafure of time, a 
 permanent and immutable eternity, an eternity without time or change, in- 
 fomuch that there is nothing in it firft or laft, nothing paft or future, no¬ 
 thing more ancient or more modern: as He is but one, with one only His 
 prefence now fulfills, accomplilhes, and declares His perpetual eternity with¬ 
 out end.”—“ Becaufe in truth there is but one God.”—Thus far Plutarch, 
 
 The learned Father Francijco de Mendora, of the Society of Jefus, favours 
 this meaning in his firft volume upon the Book of Kings; and alfo Eufebius 
 in his Evangelical Preparations "jo It is a doctrine fo conformable to what 
 we find in holy writ, that one would think the Gentile Hiftorian took it 
 from that part where we read Ego Jum qui Jum, qui est mifit me ad vos: 
 
 * Plutarch, lib. de ei, apud Dclph. 
 
 f Eufeb. lib. it. c. 7. 
 
OF THE ROYAL MONASTERY OF BATALHA. 
 
 5 » 
 
 I AM THAT i AM. i am hath fent me unto you*. This author finally 
 concludes that the cypher ei is an admonition to us that we are obliged 
 to fear, love, relpeft and adore a God who exifts through all eternity. The 
 words which clofe the treatife fay as much: 
 
 Hoc enim pronunciatum eft, ut nos percellat & ad venerationem Numinis, ut- 
 pote quod Jit Jemper , excitet. 
 
 Hence I have no doubt but the fame thing is reprefented to us in the 
 emblem of which we fpeak, and that it is the anfwer of the King to the Lord, 
 who commands him to undertake the difcovcry of new feas and lands, faying, 
 as it were, I know, 0 Lord! that nothing but thee is worthy to be Jought for. 
 'Theft ft as and lands, even though joined by many worlds, have their limits and 
 duration, but thou alone art eternal, immortal, hfinite. 
 
 Nor does the letter c oppofe this meaning, for it ferves only to fupport 
 the other two, or to point out to us, in the eternal eflence, the facrcd myfi. 
 tery of the Trinity of the Divine perfons, unknown to the Pagan hiftorian. 
 This we fhall attempt to Ihew in two ways; fijft, becaufe it is the third letter 
 of our alphabet, the fame mode of realbning by which Plutarch proves that the 
 cypher ei was the number five. In the fecond place, becaufe with the other 
 two letters, it makes the number three, as it furrounds the e to which the 
 y is joined. 
 
 The third letter is felefted from the Latin alphabet in preference to the 
 Greek, and joined with the other two Greek letters. Though at firft this 
 may appear an impropriety, we may reft allured it -was didtated by judge¬ 
 ment : it is a teftimony of the catholic truth, exprefsly adopted by one who 
 was a fon of the Latin church. 
 
 To conclude, I have only to obferve to thofe who have a knowledge of 
 the Greek, not to be furprifed if they find the Greek y, -where the Latin i, 
 or the Greek iota Ihould be: we ought to pardon fuch inadvertence in the 
 illiterate workmen who carved them, fince in our language and mode of writ¬ 
 ing both letters have the fame power and fignification. 
 
 Having parted through the door of the Loggia, we behold a large unfinilhed 
 edifice which forms a perfect octagon -j\ In this edifice are feven chapels 
 fimilar in defign and execution; their arches, tracery work, and various orna¬ 
 ments are finilhed in the molt exquifite manner. Indeed it is much to be la¬ 
 mented that fuch a ftrudture Ihould remain incomplete, confidering the ex- 
 
 , e. iii. v. 14. + See the letter R, in the General Plan. 
 
 * Exodus, 
 
 G 
 
5 2 
 
 THE HISTORY AND DESCRIPTION 
 
 pence of finilhing it would not be very great in comparifon to what has been 
 already done, as the walls of the entire are raifed to that height, whence, ac¬ 
 cording to the rules of art, the large vault Ihould fpring to cover the fabrick, 
 and make that which is now an open area an inclofed chapel. Notwithllanding 
 this fabrick has been fo many years expofed to the weather, it fcarcely difcovers 
 any marks of decay: an evident proof of the goodnels of the workmanfhip 
 and durability of the materials. 
 
 The purpofe for which this pile was raifed in fo magnificent a ftyle is very 
 evident. The remains of all the Princes after King John the Firft and his 
 Sons, are difpofed about the convent, in a manner that fcarcely deferves the 
 name of interment. It was but reafonable, therefore, that lbme pious heir in 
 the tranquil enjoyment of peace, Ihould collect their remains, and give them 
 a friendly and fuitable abode. 
 
 Now there are various opinions reipecting who it was that conceived the 
 idea of the edifice and put the firft hand to it. But it is not to be doubted 
 that the greateft part of it was done by King Emanuel, or at leaft with his 
 permiffion, and during his reign, for we have pofitive proofs to verify it. In 
 the firft place, we fee in the chapel oppofite to the entrance * (the moft conljri- 
 cuous of the feven) two fpheres fimilar to the above mentioned over the firft door, 
 the well known conftant devices of King Emanuel. In the fecond place, we 
 read upon fliields, in the pendent orbs of the vault of his chapel, the words 
 ‘Tanyas erey. Hence we may conclude, that this infcription, fo often repeated 
 in the beautiful portal, together with the emblem of three letters over the firft 
 door, evidently belonged to the fame King, for both are accompanied by the 
 fpheres. The crofs of the Order of Cbrift feen over the firft entrance is not 
 averfe from this argument, for he was Mafter of that Order before he was 
 King, and afterwards united it for ever to the crown. But all our doubts 
 
 reipecting this matter are removed by a Latin Infcription which is over a door 
 
 in the Loggia contiguous to the entrance: it is this, PerfeBum eft opus anno 
 1509, meaning that it was brought to that ftate of perfeftion in fuch a year, 
 
 being the epoch in which he attained a good age and a glorious reign, enjoy¬ 
 
 ing the viftories and treafures of India J. 
 
 There are fome however who think the founder of this work was Queen 
 haynor , filler to King Emanuel, intending it as a depofitory for the remains of 
 her hufband, King John the Second, and her fon, Prince Alfonfo, neither of 
 whom have proper fepulchres in the convent: having poflefled a large revenue, 
 and was a Princefs of great piety. King Emanuel, her brother, was much at- 
 
 * T, in the General Plan. 
 
 t There is a (Irongcr proof than any he has yet adduced that this chapel 
 was built in the time of King Emanuel, that is, the letters M. R. (Manoet 
 
 Rex) often repeated in demi-relief upon the architraves of all the upper 
 windows of the Chapel. (Vide Fig. 17. in the Plate of Columns, Orna¬ 
 ments, &c.) 
 
OF THE ROYAL MONASTERY OF BA TALK A. 53 
 
 tached to her, as well from kindred, as on account of particular obligations he 
 owed her, for the decided part fhe took in promoting his acceflion to the 
 throne, from which King John his predeceflor was manifeftly averfe. Thofe who 
 hold this opinion add, that flie referred the belt chapel (which is that oppo- 
 fite to the entrance) for King Emanuel, and diftinguiihed it by his mottos and 
 devices, which are very different from the fober modeft ftyle of King John 
 the rirft. The adjoining chapel fhe intended for herfelf and her confort. In 
 this chapel we behold her fapient device, which is the Pelican in the aft of 
 piercing its breaft. But time, the fovereign arbitrator of all human projedts, 
 has evinced the inelficacy of her defigns, and fhe has loft the merit of the work 
 by leaving unfinished and expofed to the weather an edifice worthy of being 
 tranfinitted down to the lateft pofterity. 
 
 I ffiould not forget to mention the fentiments of a perfon of profound judg¬ 
 ment refpe&ing this building, and the entire monaftery; I mean the grand 
 mafter, Cardinal Vincent JuJliniano, our General, who has feen and eftimated 
 the merits of moft of the principal edifices of Europe, and whofe teftimony 
 we can the lefs doubt, becaufe he was a ftranger, and a perfon of the moft 
 religious veracity and candor. When this Father came hither, he made ob- 
 fervations upon every thing worthy of notice in the Kingdom. Upon feeing this 
 convent he exclaimed with admiration —Videmus alterum Salomonis Temp/um. 
 
 Of the Offerings the Founder bequeathed to the Convent. 
 
 ON the anniverfaries of the King and his Sons, offerings are allowed to the 
 convent, confifting of a certain quantity of wheat, wine, and wax. And as 
 the order of this convent originally abftained from flefh-meat, the pious King 
 wifhed likewife to add an offering of fome dozens of dried whitings, of a large 
 and wholefome fpecies. Thefe are of great fervice. to the community, and 
 eafily obtained, as the fea-ports near the convent produce filh in great abun¬ 
 dance. As the anniverfaries are many, the offerings are princely, they amount 
 to fifty-two moyas and a half of wheat*, forty-three pipes of wine, twenty- 
 four arrobas of waxf, and two hundred and fifteen dozen of filh. Thefe 
 offerings, reduced to money, the King commanded to be paid quarterly out of 
 his revenue by the receiver of the diftrift of Leiria. Since the prices of 
 thefe articles have now increafed, they amount to a confiderable charity, and are 
 at prefent the principal fuftenance of the Fathers. 
 
 
 * A Moya is about 2 it buihels, 
 
 obfcrvcd before. 
 
 t An Arroba is a weight of 32 lb. in Portugal. 
 
54 
 
 THE HISTORY AND DESCRIPTION 
 
 Of the Ordinations the King commanded to he obferved in this Convent by his Will. 
 
 “ HAVING confidered the manner the Fathers of S. Dominick ufually live 
 in their communities, we command that the following ordinance be obferved 
 in the completion of the faid Monaftery, and for the good fupport and main¬ 
 tenance of the faid Fathers. For this purpofe we command and befeech the 
 Infante Duarte my fon, or whoever may hereafter be King and Lord of thefe 
 realms, that he fulfill and obferve every tiling after the manner by us pre- 
 fcribed. Firft, we command that the faid Monaftery be finilhed with a cloyfter, 
 dormitories, and all other neceflary apartments. That they be of fuch ample 
 dimenfions, as lliall be found neceflary, and, that the expences of the fame be 
 defrayed out of the rents of Leiria and its diftrift. That there be maintained 
 and continued the fame number of Friars which are in it at this time, and in 
 the manner in which they are fupported at prefent. That they obferve the 
 fame manner of praying, and faying their mafles, refponfes, and making funeral 
 proceffions for my foul, and that of the Queen my wife—the Lord reft her 
 foul! That they offer for the benefit of my foul, after interment, fuch 
 mafles and prayers as the faid Infante, or whoever may hereafter be King 
 of thefe realms, lliall ordain in the Monaftery. And, that the number of 
 thirty Fathers be kept in it, and fupported in the undermentioned manner, 
 and from henceforth obferve the regulations by us ordained. And when the 
 faid Monaftery is complete in all the forefaid neceflary works, with the rents 
 and taxes of Leiria and its diftrift, that there be drawn thence fuch fums as 
 lliall be found requifite for the maintenance of the faid Fathers, and for the 
 purchafing as many eftates and holdings, as may decently fupport, and pro¬ 
 vide eating, drinking, clothing and flioes, for the faid thirty Friars of the 
 Dominican order, to wit, twenty of facred orders, ten Novices and Lay- 
 Brothers, befides a certain number of fervants, and likewife a baker, cook, 
 muleteer, laundrefs, Ihoemaker, and fuch like perfons as may be thought ne¬ 
 ceflary; and thefe thirty Fathers we command to live continually in the faid 
 Monaftery.” 
 
 Of the Regulations the King ordained for the Government and Prefervation of the 
 
 Edifice. 
 
 THE Pope, through the entreaty of the King, granted particular graces and 
 indulgences to the Novices who take the habit in this Convent, or receive 
 their education, or die in it. And as to bodily affairs, he did not forget 
 to provide the Fathers with eflentials. He ordained that a phyfician Ihould refide 
 continually in a neighbouring place, whence he could haften to the indifpofed. 
 To this end he was obligated, not only by a competent falary, but likewife by 
 
OF THE ROYAL MONASTERY OF BATALHA. 55 
 
 certain honours, and the privilege of a phyfician to the Royal Houfehold; 
 dhis he left eftablilhed as firm as law could enact. Nor did his prudence 
 forget the necellity which all great edifices have for continual reparation; 
 therefore he ordered an agent, with the title of Surveyor of the Works, to re- 
 fide in the vicinity, to whom a number of workmen of different trades were 
 allowed, as often as there was necellity to build or repair any part, and thefe 
 he honoured with certain exemptions and privileges. And, that there might 
 be no faults nor delays in accomplifliing every thing that was wanting, he 
 commanded that they Ihould be numerous, to wit, 125 ftone-cutters, 56 quarry- 
 men, 20 carters, 10 labourers, 1 fmith, and only 2 carpenters; as we ob- 
 ferved from the beginning, that there is no timber nor carpentry in the 
 ftrufture, except the doors, all the reft is ftone and glafs. For this clafs of 
 people and their attendants, the honour of the privileges granted to them, 
 was fufficient to make them always ready without any other inducement, be- 
 caufe thefe privileges were always highly efteemed; but when aftually employed, 
 they were paid their ordinary wages befides. 
 
 Since the number and magnitude of the ftained glafs windows form a principal 
 part of the beauty of this church; and as a thing fo brittle is often in need of 
 repair, the King affigned a particular fum to a glazier to keep them conftantly in 
 order; in purfuance of which, he was bound to replace at his own coft, what¬ 
 ever was damaged to the fize of one palm, and all above that dimenfion was 
 to be paid for in proportion, from the fund for fimilar expences. 
 
 H 
 
5 6 
 
 THE HISTORY AND DESCRIPTION 
 
 THE 
 
 EPITAPH OF KING JOHN I. 
 
 WE can never fufficiently acknowledge our obligations to this Prince, for giving us a place of abode, and 
 choofing us for his perpetual chaplains. In teftimony of our reverence for his venerable remains, which he or¬ 
 dered to be depofited amongft us, we fubjoin the following memorial of his glorious achievements, word for word 
 as engraved on his fepulchre by order of his fon King Edward: 
 
 IN nomine Domini, ferenifiimus, et femper invi&us princeps, ac vi&oriofiffimus et magnificus refplendens 
 virtutibus, Dominus Joannes Regnorum Portugali® Decimus, Algarbii Sextus Rex, et poft generale Hifpani® 
 vaftamen primus ex Chriftianis famof® civitatis Septae in Africa potentiffimus Dominus, pnefenti tumulo extat 
 fepultus. Excellentiflimus ifte Rex, nobiliflim® ac fidelifllm® Civitatis Uhxbonae ortus Anno Dom. 1358, extitit 
 per Serenillimum Dominum Petrum fuum genitorem militaribus in ®tate quinquennij ibidem decoratus 
 infignijs: et fufcipiens, poft deceffum Regis Ferdinandi fratris fui, iplius Lixbonenfis urbis et aliarum com- 
 plurium munitionum, quae fe illi fubdiderunt, gubernamen, obfefiam perfonaliter per Regem Caftelke novem 
 menfibus Ulixbonam mari grandiflimi claffe, et per terrain ingenti vallatam exercitu, et plurimis Portugalenfium 
 Regis Caftell® potentiam roborantibus circumfeptam, adverfus feras et multiphces impugnationes ipfam Ulix- 
 bonenfem civitatem ftrenuiflime defenfavit. 
 
 Deinde nobilis civitatis Colimbric® Anno Domini 1385, jocundifllme fublimatus in Regem, per fe et per 
 fuos bellicos proceres miranda exercuit guerrarum certamina: et pluries adverfantium dominia et terras intrando 
 glorioliflimus triumphavit: et prcecipuam, et regiam circa iftud Monafterium vicftoriam eft adeptus: ubi 
 Regem Caftelke Dominum Joannem, fuorum maximo firmatum robore nativorum, et plurium Portugalienfium 
 et aliorum extraneorum fultum fubfidiis, ifte invidliflimus Rex, virtute Dei Omnipotentis, potentiflimd debel- 
 lavit: et quamplures iftius Regni munitiones et caftra jam fub hoftium redadta poteftate, viribus recuperavit 
 armorum, ufque in fuse vitae terminum virtuoliffimd protegendo. Et Deo recognofcens, Gloriofillimaeque 
 Virgini Mari®, Domin® noftr®, potilTimam vidtoriam, quam in vigilia Affumptionis obtinuit in menfe Augufti, 
 hoc Monafterium in eoram laudem ®dificari mandavit, pr® c®teris Hifpani® fingularius et decentius. Et foli 
 Deo optans honorem et glofiam exhiberi, et tantiim ipft aut propter eum majoritatem fore cognofcendam de- 
 fcriptionem, quae fuorum pr®decefforum temporibus in publicis fcripturis fub Mri C®faris notabatur, decrevit 
 fub Anno Domini noftri Jefu fore de c®tero annotandam. Hoc adtum eft vEr& C®faris M.CCCC.LX. et Anno 
 Domini 1422, tempore aliter defluendo. 
 
 Ifte feliciflimus Rex, non minus reperiens qu® fufceperat regna illicitis fubjedta moribus, quam f®vis hoftibus, 
 ipfa expurgavit cum diligentia falutari, et propriis adtibus virtuofis ufitata facinora extirpando, pullulare fecit 
 in his Regnis probitates honeftas: et follicitus ad pacem cum Chriftianis ampledtendam, eandem ante proprium 
 deceffum pro fe fuifque fuccefloribus obtinuit perpetuam. Et fuccenfus fidei fervore, ifte Chriftianiflimus Rex, 
 comitante eundem Sereniflimo Infante Domino Eduardo fuo filio et h®rede, et Infante Domino Petro, et Infante 
 Domino Henriquo, et Domino Alfonfo Comite de Barcellos, pr®fati Regis filiis, et ingenti fuorum naturalium 
 impavidi fociatus potentiH, cum maxima claffe plus quam ducentis viginti aggregata navigiis, quorum pars nu- 
 merofior maiores naves et grandiores extitere triremes, in Afficam transfretavit, et die prim a qua telluri Afrorum 
 impreflit veftigia, nobilem et munitiffimam civitatem Septam oppugnando in fuam poteftatem redegit mirifice, 
 et poftmodo eidem urbi plus quam centum mille (ut afleritur) Agarenorum ultramarinis, et Granat® pugnatoribus 
 obfeff® idem glorioliflimus Rex per fuos illuftres genitos, Infantem Dominum Henricum, et Infantem Dominum 
 Joannem, et Dominum Alfonfum Comitem de Barcellos, et alios Dominos, et Generofos fuccurfum mifit: qui 
 fugantes de obfidione Agarenos quamplurimos in ore gladii trucidando; ipforum claffe fubmerfione, incendio, 
 et captura conquaffata; pr®didtam liberavit civitatem Septam: quam decern et odto annis minus odlo diebus Anno 
 Domini 1433, in menfe Augufti, vigilia Affumptionis Sandliflim® Mari® Virginis terminatis adverfus bellicos 
 Agarenorum multiplicatos, infultus validifllme pr®fidiavit. 
 
 Menfe autem et vigilia pr®didtis, ifte glorioliflimus Rex in civitate Ulixbon®, affiftentibus fuis filiis et aliis 
 quamplurimis generofis, vitam feliciter complevit mortalem, relinquens notabilem urbem Septam fub poteftate 
 altilfimi potentiffimique Domini Eduardi filii eius, qui paternos aftus viriliter imitando, eandem in fide Jefu 
 Chrifti nititur profpere gubernare. Ifte autem excellentiflimus et virtuofiflimus Rex Dominus Eduardus 
 tranftuht honorantiflim& corpus Chriftianiflimi Regis patris fui, affiftentibus eidem fuis germanis, Infante Do¬ 
 mino Petro Duce Colimbri®, et Montis Majoris Domino; Infante D. Henrico Ducede Vifeo,et Domino Covillian®, 
 et Gobernatore Magiftratus Chrifti; Infante Domino Joanne Comiteftabili Portugali® et Gobernatore Magiftratfis 
 Sandli Jacobi; et Infante Domino Ferdinando, et Domino Alfonfo, Comite de Barcellos, filiis pr®fati Regis Domini 
 Joannis, qui tempore fui obitfts alios non habebat, pr®ter duas Alias, quarum una erat Domina Infans Elifabeth, 
 
OF THE ROYAL MONASTERY OF B A T A L H A. 
 
 57 
 
 Ducifla Burgundix et Comitifla Flandrix, et aliorum Ducatuum et Comitatuum: et alia Domina Beatrix Co¬ 
 mitifla Hontinto, et Arondel, qux in fvtis terris permanebant. Habebat autem Dominus Joannes nepotes qui 
 Dominicx tranflationi affuerunt, Dominum Alfonfum Comitem de Ourem, et Dominum Ferdinandum Comitem 
 de Arrayolos, filios Comitis de Barcellos: et habebat nepotem Dominum Infantem Alfonfum primogenitum 
 Domini Eduardi, et alios nepotes, et pronepotes, qui annumerati cum filiis erant viginti, tempore quo de 
 prxfenti fxculo migravit ad Dominum. 
 
 Affuerunt etiam hujus tranflationis celebritati omnes qui tunc in Cathedralibus Ecclefiis iflorum Regnorum 
 Prxlati erant, et alii complures, cum multitudine Clericorum et Religioforum coplosS.: et Domini et Generofi 
 hujus patrix, civitatum etiam et munitionum Procuratores extitere prxfentes. Fuit autem venerandilfime de- 
 latum Regium Corpus ejus ad iftud Monafterium trigefim 4 die Novembris Anno Domini fupradidto, et in Ca¬ 
 pelin majori cum excellentiflimll, et honeftiHima, et ChriftianifTima Domina Philippi ejus unica uxore, prx- 
 didlorum Regis Eduardi et Infantum, et Ducifsfl illuftriflimA genitrice. Anno vero fequenti, die decimal quarts 
 menfis Augufti, fuere per Regem Eduardum, et Infantes et Comites prxlibata corpora prxdidtorum Regis, et 
 Reginx Philippx cum honore mirifico ad hanc Capellam delata, quam xdificari pro fua fepulturft imperavit, et 
 huic dedudtioni extitere prxfentes altiflima et excellentiflima prihceps Domina Leonor horum Regnorum Re¬ 
 gina, et Infans Domina Elifabeth DucifTa Colimbrix, et Infans Domina Elifabeth uxor Infantis Domini Joannis, 
 et prxcipua pars Dominorum et Generoforum iftius terrx, qui interfuerunt fepultUris prxdidtorum Dominorum 
 Regis et Reginx, quibus Deus fua miferatione et pietate largiri dignetur fine fine fxlicitatem. Amen. 
 
 THE 
 
 EPITAPH OF QUEEN PHILIPPA. 
 
 In gratitude to the memory of this moll: virtuous and excellent Queen, the confort of fo great a King and the 
 mother of fo many illuftrious Princes, we give the following Epitaph, which was didtated by her Royal Hulband, 
 and engraved on her tomb by command of King Edward her fon: 
 
 HvEC feliciflima Regina a puellari xtate, ufque in fux terminum vitx, fuit Deo deVotiffima: et divinis officiis 
 ecclefiafticd confuetis tam diligenter intenta, quod clerici et devoti erant religiose per eandem fxpius eruditi : 
 in oratione autem tam continua, quod demptis temporibus gubernationi vitx neceffariis, contemplationi aut 
 ledtioni, feu devotx orationi totum reliduum applicabat. Plurimum vero fideliffime dilexit proprium virum: 
 et moraliflimd proprios filios caftigando virtuofiffima dodtrinavit: et bona temporalia circa Ecclefias et Monafteria 
 diftribuendo pauperibus plurima erogabat; generofis Domicellis maritandis manus liberalilfimas porrigebat. Erat 
 enim integra populi amatrix et pacis plena defideratrix, et efficax adjutrix ad pacem habendam cum Chrifticolis 
 univerfis, et libenter aflentiens in devaftationem infidelium pro Dei injurifi. vindicandft: ettantum prona etiam ad 
 indulgentiam, quod nunquam accepit de fibi errantibus, nec confenfit vindidtam fieri aliqualem. Virtuofinima ilia 
 Domina extitit fceminis maritatis bene vivendi regulare exemplar, Domicellis diredtio, ettotiushoneftatisoccafio; 
 cundtifque fuis fubjedtis fuit curialis urbanitatis moderatiffima dodtrix. In his autem et aliis quamplurimis per- 
 feverando virtutibus, quarum plurimitatem hujus lapidis humilitas nequiret ullatenixs prxfentare, didtim et 
 continue pervenit ad iftius vivendx mortalis limitem ordinatum ; et ficut ejus vita fuit optima et valde facra, fic 
 mors extitit preciofa in confpedtu Domini, et nimium gloriofa: et, receptis laudabiliter omnibus Ecclefiafticis 
 facramentis, proprios filios benedixit, commendans eifdem qux intendebat fore ad divinum obfequium et honorem 
 et profedtum iftorum Regnorum, et qux in eis fperabat caufatura crementum indubid: virtuofilfime, taliterque 
 hujus mundi labores finaliter adimplevit, quod prxfentes, qui relata audierunt, firmam fux falvationis fpem reti- 
 nent fingularem. Obiit autem decim 4 odtava die Julii Anno Domini 1415, et in Monafterio de Odivellis ante 
 chorum Moniahum decima non 4 die menfis ejufdem extitit fepulta: et anno fequenti, menfis Odtobris die non 4 
 fuit prxtiofum corpus ejus defepultum, integrum inventum et fuaviter odoriferum, et per vidtoriofilfimum Regem 
 Dominum Joannem ejus conjugem, et per Sereniflimos Infantes, fcilicet, Dominum Eduardum fuum primoge¬ 
 nitum, et Dominum Petrum Colimbrix Ducem, et Dominum Henricum Ducem Vifeenfem, et Dominum Jo¬ 
 annem, et Dominum Fernandum, et Infantem Dominam Elifabeth, ipfius gloriofiffimi Regis et felicillimx Reginx 
 filios: fociante Prxlatorum, et Clericorum et Religioforum copift numerosa,et Dominis et generofis Dominabus, et 
 Domicellis quamplurimis comitantibus, fuit corpus didtx Reginx honorandiffimd tranflatum ad iftud Monafterium 
 de Vidtoriii, et tumulatum in Capelin majori et principaliori, die menfis Odlobris decinra quinta Anno Domini 1416; 
 et poftea fuit tranflatum ad hanc Capellam, in hoc tumulo reconditum cum corpore gloriofiffimi Regis Donum 
 Joannis, fni conjugis virtuofiffimi, fub illft formi qux in fuo epitaphio continetur. Horum autem perfonas Deus 
 omnipotens glorificare dignetur perpetua fxlicitate. Amen. 
 
 END OF DE SOUSA’s HISTORY. 
 
DESCRIPTION 
 
 58 
 
 THE HISTORY AND 
 
 A Paper, of which the. following is a Tranflation, I am indebted for to the Journal of the Right Honourable 
 William ConynghaM. The Original is in French , and appears to have been written by one of the 
 Fathers of Batalhafor the above Gentleman when he viftecl the Monaflery in 1783 . 
 
 A N 
 
 ACCOUNT 
 
 OF THE 
 
 MODERN ESTABLISHMENT 
 
 OF THE 
 
 ROYAL CONVENT OF BATALHA. 
 
 The number of Friars refiding in the Convent are forty-four, of the Dominican order; to wit, twenty-five in 
 facred orders; two Deacons; four Novices; and thirteen Lay-brothers. They are governed by a Prior and three 
 fubordinate dignitaries, viz. a Redtor of Novices, a Vicar, and a Matter of Morals. There are two Profeflors for 
 teaching grammar to feculars, and another for inftrudting them to read and write. The other officers of the 
 Monaftery are, the Sacrift , Precentor, Cellerarius, Granatarius, and the Eleemofynarius. There are alfo two Trea- 
 furers under the direction of the Prior; each has a feparate key of the cheft, which contains the flock of the 
 community. 
 
 The annual revenue of the Convent is computed at between ten and twelve thoufand cruzados *, according to 
 the fale of the fruit. The fixed revenue is 3,000 cruzados and forty moyas f of wheat, befides 200 mil reis 
 received annually from the cuftom-houfe of Oporto. 
 
 The difburfements amount on an average to 7,000 cruzados a year. Each Friar is allowed 4,800 reis J for his 
 clothing. The tillage of the eftate called Quinta da Porgea amounts to 400 mil reis per annum; at prefent it is 
 farmed for one half of its produce. There are alfo let out four mills, one of flour and three of oil. In rebuilding 
 the Dominican Church at Lifbon, which had been deftroyed by the great earthquake, the Convent contributes 
 300 mil reis annually. The expences attending the Church, in wax, See. amount to 200 mil reis. The remainder 
 of the income is expended in repairs and other contingencies. 
 
 There are fourteen fervants belonging to the Monaftery. The cook is allowed 4,800 reis a year, and wine at 
 diferetion. The carters have but three moidores a year without victuals, except two, who are allowed four moi- 
 dores. The ffiepherd and fwineherd have each 600 reis a month, and four alqueires of maize. The two boys who 
 attend the Sacrifty and Choir have no fixed falary. 
 
 Every year the Convent has four feafts and two days of double allowance; the ordinary allowance of each 
 Father is ij lb. of meat, and the fame quantity of fiih; befides wine, fruit, 8cc. 
 
 A cruzado {yelho) is worth 2s. 3d. 
 
 f A moya contains about 21 buihels. 
 
 t A thoufand reis is equal to js. 7id. 
 
S! 2 r * 
 
 OF THE ROYAL 
 
 MONASTERY 
 
 B A T A L II A. 
 
 59 
 
 O F 
 
 A Defcription of the feveral Parts of the General Plan. 
 
 THE length of the Building from the Weftern entrance at A to the Eaftern extremity at Z 
 The extent of the Church and Monaftery from Y to B, North and South 
 
 C The Maufoleum of King John the Firft. 
 
 D The Church. 
 
 E The Tranfept. 
 
 a Stairs leading to the Roof of the Church, 
 b Stairs leading to the Organ-loft, Roof of North 
 Aifle, &c. 
 
 c The fituation of the Organ, 
 d The Pulpit. 
 
 F An Altar dedicated to our Saviour. 
 
 G The Choir. 
 
 e The High Altar dedicated to God. 
 
 I-I Chapel of our Lady of the Aflumption. 
 
 I Chapel of our Lady of the Rofary. 
 
 J Chapel of our Lady of Mercy. 
 
 Chapel of St. Michael. 
 
 The Sacrifty. 
 
 The Tower over which the Spire is built. 
 
 Caza da Prata, or Room where the Plate, Relicks, 
 &c. are depolited. 
 
 O Chapter-houfe. 
 
 P Loggia of the Maufoleum of King Emanuel. 
 
 Q RecelTes for Altars. 
 
 f. f Small Recefles to contain the Phials with the Ele¬ 
 ments ufed in the Celebration of the Holy 
 Sacrament. 
 
 R Maufoleum of King Emanuel. 
 
 S Chapels. 
 
 T The Chapel intended for King Emanuel, 
 g Apparently intended as a Repolitory for the Veft- 
 ments of the Clergy. 
 
 V Excavations evidently intended for Sepulchres, 
 h The Entrance to the Excavations, which is filled 
 up with hewn Stone without Cement, 
 i Stairs leading to the Platform over the Chapels. 
 
 W The Royal Cloifter. 
 
 W W The Walks of the Cloifter, through which the 
 Friars and Novices pafs in Proceflion from the 
 Choir to the Refedtory and back again, chant¬ 
 ing grace before and after dinner *. 
 
 X A Garden, 
 k Ciftern. 
 
 A Great Fountain. 
 
 B Refedtory. 
 
 1 Prior’s Seat. 
 
 m The Pulpit, where one of the Novices reads the 
 Holy Scripture whilft the Friars are at their 
 meals. 
 
 1 n Apertures where two of the Novices receive the 
 difhes from the Cook, which they carry to the 
 Friars. 
 
 C The Kitchen. 
 
 D The Larder. 
 
 E A fmall Refedtory, where the Prior and fome of the 
 principal Fathers occafionally dine. 
 
 F The Wine and Fruit Cellar. 
 
 G The Hall where the Profeflors give Ledtures. 
 
 H The Sacrift’s Store-room, 
 o The Belfry. 
 
 p Stairs leading to Prior’s Apartments, See. 
 
 I An open Arcade, where the Laundrefles, &c. be¬ 
 
 longing to the Convent are permitted to enter. 
 y The School, 
 
 q Stairs leading to the Wheel of the Lay Brothers’ 
 Corridor. 
 
 K Servants’ Hall. 
 
 r Stairs leading to the principal Cells, 
 s Corridor leading to the Church, 
 f Wax Chandler’s Room. 
 
 L Servants’ Cloifter. 
 
 M A Court planted with Orange-trees. 
 
 N Lay Brothers’ Cloifter. 
 
 O A Garden. 
 
 P Novices’ Cloifter. 
 
 ^ Novices’ Garden. 
 
 R Store for Fuel. 
 
 S Oil Magazine. 
 
 T Wine Prefs. 
 
 II Labourers’ Store-rooms, 
 v v Artificers’ Store-rooms. 
 
 V Cloaca. 
 
 w Stairs leading from the Dormitories to the Refedtory. 
 x Servants’ Cell. 
 
 W Magazines for provifions. 
 
 X Granary, 
 y Corridor. 
 
 z Stairs leading to Lay Brothers’ Cells. 
 
 T Labourers’ Apartments. 
 
 Z Prior’s Coach-houfe and Stable, 
 a a Stalls for Cattle. 
 
 bb R epofitory for Implements of Hufbandry. 
 
 I. II. 111 . IV. Comprehends the fpace finifhed during 
 the life-time of the Founder. 
 
 I. II. VI. V. Comprehends the fpace built by King 
 Edward, Son of the Founder. 
 
 References to the Tombs. 
 
 a Tomb of King John the Firft and Queen Philippa his 
 Confort. 
 
 b Tomb of Don Pedro, Duke of Coimbra, Knight of the 
 Garter, &c. 
 
 c Tomb of Don Anrique, Duke of Vifeu, Knight of the 
 Garter, See. 
 
 d Tomb of Don John, Matter of the Order of Sant¬ 
 iago, 8cc. 
 
 * The Novices walk firft, and the Prior laft, in the proqeflion coming from the Refedtory. In going thither the contrary order is obferved. 
 
 I 
 
6o 
 
 AND 
 
 DESCRIPTION 
 
 THE HISTORY 
 
 e Tomb of the Infante Don Fernando. 
 
 N. B. The above Princes were Sons of King 
 John the Firft. 
 
 f Tomb of King Edward and Queen Lianor. 
 g Tomb of King John the Second. 
 h Tomb of Don Lopo Diaz de Soufa *. 
 i Tomb of Dona Mecia, wife of the Condi de Miranda, 
 Anrique de Soufa. 
 
 k Tomb of Dona Ifabel, Queen of Alfonfo the Fifth. 
 
 / Tomb of a Cardinal w'hofe name and family are un¬ 
 known. 
 
 Near the entrance of the Church are the Names of tl: 
 
 Firjl Majler Workmen. 
 
 Mejlre Matheos. Portuguefe. 1515. 
 
 Mejlre Congiate. A ftranger. 
 
 Mejlre Conrado. A ftranger. 
 
 Ornaments , Mottos , &c. appertains. 
 
 Figures 1, 2, 3, and 4. Capitals in the Nave of the 
 Church. 
 
 Fig. 5. A Capital in one of the Windows. North Front. 
 
 6. --in the Arcade of the Royal Cloifter. 
 
 7. -in one of the Windows. South Front. 
 
 8. ■-in the Maufoleum of the Founder. 
 
 9. -* in the Weftern Porch. 
 
 10. -in the Tranfept entrance. 
 
 11. A Corbel fupporting the Precentor’s feat in the 
 
 Choir. 
 
 12. Ornaments appended to the Intrados of the 
 
 Arches in the Maufoleum of the Founder. 
 
 13. An Ornament in one of the Arches of the great 
 
 Fountain. 
 
 14. A Specimen of the Ornaments placed on the 
 
 Arches of contrary Flexion. Weft Front. 
 
 15. One of the Ornaments on the Anglesof the Spire. 
 
 16. Profile of the above Ornament. 
 
 17 and 18. Pateras of the Pendent Orbs in the Chap¬ 
 ter Houfe. 
 
 m Tomb of King Alfonfo V. 
 n Tomb of Prince Alfonfo, fon of John II. 
 
 0 A Tomb-ftone on which is carved in relief a large 
 Gothic D, furrounded with a glory. It is 
 thought to be the Tomb of Don Diogo Gon- 
 falvez Travejfos , a great favourite of King 
 John I. 
 
 p A plain Tomb-ftone, without any infcription, under 
 which, it is faid, lies a Soldier who faved King 
 John’s life in battle. 
 
 following Workmen, who are there interred. 
 
 Firjl Majler Workmen for tbe Windows. 
 
 Mejlre Ugado. A ftranger. 
 
 Mejlre Whitaker. A ftranger. 
 
 r to the Royal Monajlery of Batalha. 
 
 19. A mural Font in the Maufoleum of the 
 
 Founder. 
 
 20. A Patera in the centre Vault of the above Mau¬ 
 
 foleum. 
 
 21. APatera in one of the Aifle Vaults of theChurch. 
 
 22. A Figure fupporting one of the Ribs of the 
 
 Vault in the Chapter Houfe, fuppofed to re- 
 prefent the Architect of that Fabrick. 
 
 23. John the Firft’s Sword and Battle-axe. 
 
 24. John the Firft’s Helmet. 
 
 25. John the Second’s Sword and Battle-axe. 
 
 26. Ornaments of the Maufoleum of the Founder, 
 
 externally. 
 
 27. A Tablet in the front of a fmall Houfe oppofite 
 
 to the Church, faid to be wrought by the 
 Workmen of Batalha. 
 
 No. 28. Motto on the Tomb of King John the Firft. 
 
 No. 29. - on the Tomb of Don Pedro. 
 
 No. 30.-on the Tomb of Don Anrique. 
 
 No. 31. - on the Tomb of Don John. 
 
 Columns , Ornaments , and Hieroglyphicks in the Maufoleum of King Emanuel. 
 
 Figures 1, 2, 3, 4, 5, and 6. Columns at the entrance 
 of the Maufoleum. 
 
 Fig. 7. Pedeftal of the above Columns. 
 
 8. In each Angle of the Odtagon, there is a Co¬ 
 
 lumn like this, from the Top of which the 
 Ribs of the intended Vault commence. 
 
 9. Hieroglyphicks at the Entrance of the Maufo¬ 
 
 leum. 
 
 10. Ornaments in the intervening fpaces of the 
 
 Columns at the Entrance. 
 
 f This tomb is modern, but well defigned and executed in different kinds of 
 marble; and fupported by three couchant lions of Sienna, with their paws 
 refting upon as many balls, intended, I fuppofe, to indicate mutability. The 
 top of the monument is finilhed with a ducal coronet refting upon a cufhian, 
 and fupported by two weeping figures of Carara marble, lu the middle is a 
 
 11. Architrave, Frieze, and Cornice of the Maufo¬ 
 
 leum. Internally. 
 
 12, 13, and 14. Vafes on the Pedeftals andPilafters 
 
 of the intended Orcheftre. 
 
 15. An Ornament over the Loggia. 
 
 16. A Balufter in front of the intended Orcheftre. 
 
 17. The Initials of the Founder’s name, i. e. 
 
 Manoel Rex. Thefe letters are often repeated 
 on the Architraves of the large Windows of 
 the Otftagon. 
 
 tablet, handfomely ornamented, bearing the following letters, 
 
 X • R • P • M • H • S • E 
 The meaning of thefe letters, according to the Almoner of tire Convent, is as 
 follows, 
 
 Decima, Regia, Perfona, Mafculiua, Hie Sepulta Eft. 
 
OF THE ROYAL MONASTERY OF BATALHA. 
 
 6 1 
 
 OBSERVATION. 
 
 THE Work from which we have tranflated the foregoing Account of Bataiha, entitled Hijloria de St. Dominingos, 
 
 Was publifhed at Lifbon in the year 162a, under the names of Cacegas and De Soufa. The former, who was hifto- 
 riographer to the Dominican Order in the Portuguefe dominions, firft compiled the Hiftory of that Order; and 
 fome years after it was continued by De Soufa, who alfo made many alterations in, and additions to, what his pre- 
 deceffor had written. From the fuperiority this writer poffeffed as an hiftorian over Cacegas, and the approbation 
 his labours received from the literati of Portugal, the Work at prefent bears the title of De Soufa’s Hiftory of the 
 Dominican Order. 
 
 From this Hiftory I have feleCted fuch faCts as appeared effential to my purpofe, and no more ; and even the 
 paffages thus feledted are not always rendered word for word with the original text. Where the author had either 
 miftook or mifunderftood the terms of architecture, which indeed is excufable in an hiftorian, I thought myfelf 
 authorifed in giving them their proper names. I have alfo corrected the dimenfions he affigns to fome parts of 
 the edifice when I found them wrong, and inferted the real meafurements in their place, in feet and inches. As it 
 would be tedious and uninterefting to enter upon a difcuflion with my Author on thefe points, I generally omitted 
 to notice them. Such are the liberties taken with Father De Soufa’s Account of Bataiha in the foregoing Tranfla- 
 tion, of which I thought it necefiary to apprife the Reader. 
 
 MEMOIRS OF FATHER LEWIS DE SOUSA. 
 
 A S the circumftance which induced our Author to feclude himfelf from the world and become a Friar is rather 
 fingular, a Ihort account of it may not be unacceptable. 
 
 In 1578, when Don Sebaftian King of Portugal was defeated and flain in a pitched battle againft Muly Moloch 
 
 Emperor of Morocco, many of the nobility of Portugal, who accompanied him, fhared the fame fate; and others 
 
 who fell into the enemy’s hands were made captives. 
 
 Amongft the gentlemen who accompanied King Sebaftian in this unfortunate expedition, was one whofe name 
 the Biographer has omitted; it was included, however, in the return of the flain. When his wife, who refided in 
 Lifbon, received the intelligence, fire neverthelefs entertained hopes that it might have been a miftake, and that 
 Heaven would yet favour her with a fight of him. 
 
 Under this pleafing expectation fhe remained ten years, notwithftanding the repeated accounts fhe received from 
 the agents employed to redeem the captives confirmed the relation of his death. Her friends, who were convinced 
 of the truth of it, entreated her to relinquiffi the idea of ever feeing him, and to enter once more into the marriage 
 ftate. 
 
 Soufa at this time moved in the firft circles of fafhion ; his company was much fought for, as he was an excel¬ 
 lent fcholar, as well as an accomplifhed gentleman. He paid his addreffes to this lady; her incredulity refpeCting 
 her hufband’s death at this time began to give way, and fhe was prevailed on by her relations to give him her 
 hand. 
 
 Accordingly they were married, and lived together in the great eft harmony. But it was of fhort duration: a 
 merchant from Africa arrived in Lifbon, fought out the lady, and informed her, that he was charged with a com- 
 miflion from her hufband, who was in captivity, and relied upon her affeCtion to expedite his releafe. 
 
 The unfortunate woman, quite overwhelmed with fhame and furprife, in this affeCting dilemma afked De Soufa’s 
 advice, who was alfo aftoniihed at the news. As he was a prudent and confcientious man, he refolved to be guided 
 in a matter of fuch delicacy by the pureft dictates of honour. 
 
 In the firft place, in order to afcertain the faCt, he had recourfe to an ingenious expedient: he conducted the 
 meflenger to a piCture-gallery in his houfe, and told him that a portrait of the gentleman whom he affirmed to 
 have feen was in the collection, and requefted him to point it out, as a proof that there was no miftake in his de¬ 
 claration. The merchant endeavoured to excufe himfelf, faying that a long ftate of fervitude aud cruel treatment 
 had made fuch a change in the captive gentleman, that he doubted if his moft intimate friends could recognize 
 him if he were prefent: neverthelefs, fays he, fome leading features induce me to think that this is his portrait, 
 pointing to the identical one. Soufa from this and other collateral circumftances was now convinced of the truth 
 of the whole, and applauded the merchant for his humanity. 
 
 This affair affeCted Soufa very much : he deliberated with himfelf in what manner to aCt; at length he refolved, 
 having no children to provide for, to retire from the world and feclude himfelf in a monaftery. The wife approved 
 the refolution; and, as a proof of her grief and affeCtion, retired alfo into a nunnery near Lifbon. But previous to 
 their feclufion, they ufed every means in their power to refcue the unfortunate gentleman from captivity. 
 
 men 1CUUUUU, ---— r- — _ T ^ . 
 
 Soula now entered into the Dominican Order, and lived in the Convent of Bemfica near Lifbon. The Fathers 
 of this Order, defirous of completing the Hiftory of their Foundation, thought this a favourable opportunity; and 
 knowing Soufa to be a man of great talents, they requefted him to undertake the talk, and perfedt what Cacegas, a 
 Friar of the fame Order, had begun. He accordingly fet about it, and, after many years labour, publifhed it in 1619, 
 „„ m e of Cacegas and his own; thus, from his extreme modefty, dividing the honour of the work, the 
 
 faid to be accurate and well arranged; his deductions natural and folid; his ftyle throughout is 
 vous; and, what adds greater honour to his memory, he was a man of exemplary piety and hu- 
 
 fimple and nervous 
 manity. 
 
 FINIS. 
 
DIRECTIONS FOR PLACING THE PLATES. 
 
 I HE Dedication to precede the Preface. 
 
 Plates i, 2,3,4, Introduction; and theTranfvcrfe Section 
 of the Church; after the Introduction. 
 
 The reft of the Plates to be placed after the Hiftory, 
 in the following Order: 
 
 General Plan. 
 
 North Elevation of the Church, See. 
 
 Longitudinal Section of the Church. 
 
 Elevation of the Chancel. 
 
 Section of the Chapter Houfe. 
 
 Elevation of the RefeCtory. 
 
 Weft Elevation of the Church. 
 
 Elevation of the Tranfept Entrance. 
 
 Interior View of the Church. 
 
 Elevation of the Maufoleum of King John. 
 
 Section of the Maufoleum of King John. 
 
 Effigies of King John and Queen Philippa. 
 
 Entrance to the Maufoleum of King Emanuel. 
 
 Defign for completing the Maufoleum of K. Emanuel. 
 Arches appertaining to the Maufoleum of K. Emanuel. 
 Ornaments, Mottos, See. 
 
 Columns, Ornaments, and Hieroglyphicks. 
 
 Elevation of the Pillars of the Church. 
 
 Elevation and Section of the Spire. 
 
 Rails, Cornices, and Arched Modillions. 
 
 Total, Twenty-feven with the Title. 
 
LIST OF SUBSCRIBERS. 
 
 HIS BRITANNIC MAJESTY. 
 
 HER MOST FAITHFUL MAJESTY. 
 
 HIS ROYAL HIGHNESS THE PRINCE OF BRAZIL, io fets. 
 
 HER ROYAL HIGHNESS THE PRINCESS OF BRAZIL. 
 
 Her royal highness the princess dowager of brazil. 
 HER ROYAL HIGHNESS THE PRINCESS SOPHIA OF GLOUCESTER. 
 
 Chevalier de Almeida, Portuguefe Airibaflador 
 at London. 
 
 Vifcount de Anadk, Portuguefe Ambaffador at Berlin. 
 Vifcount de Affeca, Lifbon. 
 
 Don Antab de Almada, Lifbon. 
 
 Monfenhor Acciaolli, Lifbon, 3 fets. 
 
 Don Bernardin Freire de Almada, Lifbon. 
 
 Earl of Aylesford. 
 
 Mr. Andrade. 
 
 Mr. Archer, Dublin. 
 
 Richard Amies, Efq. Lifbon. 
 
 John Armftrong, Efq. Architect. 
 
 B 
 
 Cardinal Bellifomi, Nuncio at Lifbon. 
 
 Bifliop of Beja, Portugal. 
 
 Bifhop of Caftello Branco, Portugal. 
 
 Sir Jofeph Banks, Bart. P. R. S. F. S. A. Sic. 
 
 Owen Salufbury Brereton, Efq. F. R. S. F. S. A. 
 William Beckford, Efq. 
 
 William Bofville, Efq. F. R. S. 
 
 John Thomas Batt, Efq. 
 
 Richard Bullock, Efq. 
 
 Richard Buller, Efq. 
 
 George Byfield, Efq. Architect. 
 
 Mr. John Berril, Dublin. 
 
 Mr. Richard Butler, Dublin. 
 
 Richard Burn, Efq. Lifbon, 2 fets. 
 
 Francis Beafley, Efq. Oporto. 
 
 William Boys, Efq. 
 
 Charles Beazley, Efq. Architect. 
 
 Sir Francis Blake, Bart. 
 
 Edward Burton, Efq. 
 
 Thomas Barrett, Efq. 
 
 Charles Bulfinch, Efq. Bofton, America. 
 
 Col. Biefter, Lifbon. 
 
 C 
 
 Right Honourable William Conyngham, M. R. I. A. 
 
 F. S. A. &c. 10 fets. 
 
 Lord Vifcount Conyngham. 
 
 Lord Camelford. 
 
 Bifhop of Cloyne. 
 
 R. Pole Carew, Efq. M. P. 
 
 John Clements, Efq. 
 
 Sir William Chambers, K. P. S. F. R. S. R. A. &tc. 
 Architect to the Queen. 
 
 Charles Cameron, Efq. Peterfburg, Architedt to the 
 Emprefs of Rulfia, 2 fets. 
 
 John Haydon Cardew, Efq. 
 
 Thomas Collins, Efq. M. P. R. M. T. 
 
 Meflrs. Colnaghi and Co. 
 
 John Coltsman, Efq. Lifbon. 
 
 Denis Connell, jun. Efq. Oporto. 
 
 R. M. T. Chifwell, Efq. M. P. 
 
 George Cooke, Efq. 
 
 John Claxton, Efq. F. A. S. 
 
 Mr. W. Cole, Architedt. 
 
 Mr. Crace. 
 
 William Carr, Efq. Architedt. 
 
 Senhor Joao Vidal da Cofta, Portugal. 
 
 D 
 
 Lord Vifcount Dillon. 
 
 George Dance, Efq. Architedt to the City of London. 
 Gerard Devifme, Efq. 
 
 Mr. Timothy Doyle, Dublin. 
 
 Mr. Whitmore Davis, Architedt, Dublin. 
 
 George Dohrman, Efq. Lifbon. 
 
 William Danby, Efq. 
 
 Samuel Dobree, Efq. 
 
 E 
 
 Earl of Exeter. 
 
 Count de Ega, Lifbon. 
 
 Mr. John Edwards. 
 
 Rev. John Eyre. 
 
 Mr. Elmfley. 
 
 F 
 
 Don Miguel Frojaz, Lifbon. 
 
 Monfenhor Freire, Lifbon. 
 
 William Fauquier, Efq. 
 
 Mr. Fry. 
 
 Mr. Thomas Frazer. 
 
 Mr. John Fofter, jun. Architedt. 
 
 Dr. Antonio Mendes Franco, Lifbon. 
 
 G 
 
 Count Gervazone, Lifbon. 
 
 Richard Gough, Efq. F. R. S. F. S. A. 
 
 Dr. Gray, F. R. S. 
 
 Sir Richard St. George, Bart. 
 
 Mr. Thomas Gowland. 
 
 William Gonne, Efq. Lifbon. 
 
 Walter Grofett, Efq. Lifbon. 
 
 Timothy Goodall, Efq. Lifbon. 
 
 Abbe Gamier, Chaplain to the French Fadtory, 
 Lifbon, 2 fets. 
 
 George Gibfon, Efq. Architedt. 
 
 John Groves, jun. Efq. Architedt. 
 
 H 
 
 Lord Howard. 
 
 Sir John Hort, Bart. 
 
 Sir James Hall, Bart. 
 
 Sir Richard Hoare, Bart. 
 
 Rev. Herbert Hill, M. A. Chaplain to the Britiih Fac¬ 
 tory, Lifbon, 2 fets. 
 
 Mrs. Harcourt. 
 
 John Heathcote, Efq. 
 
 Adair Hawkins, Efq. 
 
 Capt. Hanchet. 
 
 Charles Hoane, Efq. 
 
 Mr. John Hartwell, Dublin. 
 
 Mr. Daniel Harris, Architedt. 
 
 Richard Holland, Efq. Architedt. 
 
 Mr. John Jofiah Holford. 
 
 George Harding, Efq. M. P. 
 
 Benjamin Harrifon, Efq. Lifbon. 
 
 Peter Henry Henrichfen, Efq. Lifbon. 
 
 Mr. John Hurft. 
 
 John James, Efq. 
 
 Colonel Johnes, M. P. 
 
 Rev. T. Jones, M. A. 
 
 Jofeph Johnfton, Efq. 
 
 Bromley Illius, Efq. Lifbon. 
 
 Richard Jupp, Efq. Architedt. 
 
 K 
 
 Edward King, Efq. F. R. S. and F. S. A. 
 
 J. T. Kofter, Efq. Lifbon, 2 fets. 
 
 I. A. Kantzon, Efq. his Swedifh Majefty’s Agent at the 
 Court of Lifbon. 
 
 L 
 
 Marquis of Lanfdown. 
 
 Earl of Leicefter, P. S. A. and F. R. S. 
 
 Lord Lifmore. 
 
 William Lock, Efq. F. R. S. and F. S. A. 
 
 Charles Lambert, Efq. F. S. A. 
 
 Thomas Lane, Efq. 
 
LIST OF SUBSCRIBERS. 
 
 Don Lourenco de Lencaftre, Lifbon. 
 
 Senhor Joao Gabriel Lobo, Lifbon. 
 
 M 
 
 Marquis das Minhas, Lifbon, 4 fets. 
 
 Marquis de Marialva, Lifbon. 
 
 Marquis de Caftello Melhor, Lifbon. 
 
 Earl of Mount Edgcumbe. 
 
 Earl of Moira. 
 
 Countefs of Moira. 
 
 Charles Marfli, Efq. F. S. A. 
 
 William Meredith, Efq. 
 
 -M c Gowan, Efq. 
 
 Jofeph May, Efq. 
 
 Robert Mitchell, Efq. Architedl. 
 
 Mr. Michael Murphy, Dublin. 
 
 Mr. Richard Morrifon, Architect, Dublin. 
 
 Charles Murray, Efq. Conful General at Madeira. 
 Senhor Joze Caetano Machado, Lifbon. 
 
 John Henry Metzener, Efq. Lifbon. 
 
 Mr. T. Milton. 
 
 Jofeph Mufgrave, Efq. 
 
 Henry Mairs, Efq. 
 
 Senhor ]ozi de Cofla Mourao, Lifbon. 
 
 N 
 
 Duke of Norfolk, 4 fets. 
 
 Duke of Northumberland, 2 fets. 
 
 Hon. Mrs. O’Neale. 
 
 Sir Roger Newdigate, Bart. 
 
 Mr. George Nicols. 
 
 William Nafh, Efq. Oporto. 
 
 John Nafh, Efq. Architedl'. 
 
 William Northey, Efq. 
 
 Rev. P. Newcombe. 
 
 O 
 
 Earl of Orford. 
 
 Earl of Upper Offory. 
 
 John Frederic Oftervald, Efq. Charge <TAffaires, Lifbon. 
 Rev. Hugh Owen. 
 
 P 
 
 Marquis de Pombal, Lifbon, 6 fets. 
 
 Chevalier Pinto, Secretaiy of State, Lifbon, 6 fets. 
 Don Bafilio Francifco de Carvalho Pinto,' Malta. 
 
 John Peachy, Efq. F. R. S. 
 
 Roger Palmer, Efq. 
 
 Thomas Pennant, Efq. 
 
 Mx\ John Plaw, Architedl. 
 
 Mr. Thomas Payne. 
 
 William Porden, Efq. Architedl. 
 
 Mr. Pilkington. 
 
 Thomas Powell, Efq. 
 
 Q 
 
 Don Pedro Joaquim Quintella, Lifbon. 
 
 Dodtor Quin, Dublin. 
 
 R 
 
 Sir George Robinfon. 
 
 William Reveley, Efq. Architedl. 
 
 Alvez Rebello, Efq. 
 
 S 
 
 Earl Spencer. 
 
 Chev. deSoufa, Portuguefe Ambaffador at Stockholm. 
 Chev. de Soufa, Portuguefe Ambaffador at Copenhagen. 
 William Seward, Efq. F. R. S. and F. S. A. 
 
 Hugh Skeys, Efq. Dublin, 2 fets. 
 
 Sir Richard St. George, Dublin. 
 
 Thomas Sikes, Efq. 
 
 Senhor Joze Penheiro Salgado. 
 
 Captain Smith. 
 
 John Soane, Efq. Architedl to the Bank of England. 
 Mr. Dias Santos. 
 
 Mr. Roiz de Sad. 
 
 j Senhor Joze Correft de Sad, Lifbon. 
 i Senhor Joao Correa de Sad, Lifbon. 
 
 ! John Searle, Efq. Oporto. 
 
 Nicholas Bernard Schick, Efq. Lifbon. 
 
 Jofeph Sill, Efq. Lifbon. 
 
 Richard Sealy, Efq. Lifbon. 
 
 Senhor Manoel Caetano de Soufa, Lifbon. 
 
 ! William Stephens, Efq. Marinha Grande, Portugal, 
 16 fets. 
 
 | Senhor Joao Vidal de Cofla e Soufa, Lifbon. 
 
 Mr. Alexander Stevens, Architedl. 
 
 Sir Chriftopher Sykes, Bart. 
 
 Senhor Joze Antonio da Sylveira, Lifbon; 
 
 Lourenco Rodrigues de Sd, Efq. 
 
 T 
 
 John Topham, Efq. F. S. A. 
 
 -Todd, Efq. 
 
 i Richard Townfend, Efq. M. D. Dublin. 
 
 1 Mr. Richard Tawney, Architedl. 
 j; Mr. W. Todd. 
 
 V- 
 
 ! Count de St. Vincent, Lifbon. 
 
 | Mr. John Upward. 
 
 I Timothy Verdier, Efq. Lifbon. 
 
 W 
 
 Hon. Robert Walpole, Britifh Envoy, Lifbon. 
 
 Jofeph Windham, Efq. F. S. A. 
 
 William Watfon, Efq. F. R. S. 
 
 Mifs Walker. 
 
 William Webb, Efq. 
 
 Dr. Willis. 
 
 John Woodhoufe, Efq. 
 
 Daniel Whalley, Efq. 
 
 Benjamin Weft, Efq. P. R. A. Painter to his Majefty. 
 James Wyatt, Efq. R. A. Architedl to his Majefty. 
 
 Mr. Thomas Whetten, Architedl. 
 
 Jofeph Cooper Walker, Efq. M. R. I. A. Dublin. 
 William Whitehead, Efq. Britifh Conful at Oporto. 
 William War re, Efq. Oporto. 
 
 Mr. Thomas Wright. 
 
 Mr. Watfon. 
 
 I Mr. Jeffery Wyatt, 
 j Mr. Waters. 
 
 Y 
 
 Hon. John Yorke. 
 
 | Sir George Young, Bart. F. R. S. 
 
 . Colleges and Libraries. 
 ij His Majefty’s Library. 
 
 I Antiquary Society. 
 j 1 : Royal Academy. 
 
 . Britifh Mufeum. 
 
 ' Trinity College, Dublin. 
 
 Royal Irifh.Academy. 
 
 1 Dublin Society. 
 
 | Royal Convent of Batalha. 
 
 ! Univerfity of Coimbra. 
 
 1 Leeds Library. 
 
 j Charles Town Library, South Carolina. 
 
 Royal Library, Gottingen. 
 
 ADDITIONAL NOTE. 
 
 Since the former Iheets of this work were printed, the author has been favoured by the Rev. Herbert Hill, chaplain to the Britilh 
 Fadtory at Lifbon, with an Extradt from a Portuguefe Hiftorian *; wherein are ascertained, apparently from good authority, the 
 name and country or the Architedl of Batalha. The following is a Tranflation of the paflage: 
 
 ^ r ‘ j j? S°ufe,.inthe Hillory of the Dominican Order, part I. and D. Fernandes de Menezes, Count de Ereiceira, at 
 u-u - °‘ ,. e Ll • ° f Vi" 5 J o}in *’ Ilave both-defcribed the Royal Monaftery of Batalha with all the exadtnefs and elegance 
 which it well merits. To thefe Authors 1 refer the Reader for an account of that noble edifice; and left my unpolifhed lan- 
 t( j? ua f. a °V ld lull 7 “ s ren ° wn ’ 1 fllaIi only Obferve, that the Architedl of it was an Irijhman, named David Racket , who then 
 lived m Vianna da Caminha, as may be fcen in one of the Memoirs of Fr. Antonio da Madureira, a Dominican friar, and a 
 “ celebrated genealogift. 
 
 * “ Joze Soares da Sylva Mem. de! Rey D. Jt .0 1°. Tom. 2. p. J33.” 
 
r * 
 

 
 TvTTTxvC?- 
 
 '*&£^ Jf 
 
 
 A ,WITH THE UNFINISHED MAITS O LEUM OF KING EMANUEL O J 
 
BATAL.HA 
 
 . /I,MM to 
 


' V y,, _ '/lay,//yMy///!’/.* ('/>.' >%>/n> 0%m/»t/i f/mry/', i r u > 
 
 /y/,:_ '/&* u/tmA. jy /''■’> ■ s/y/. % 
 
 
 'M/ZMti/' / ;mu/ '"/</ /’cry/ um/>//' o/ewm/^ 
 
J hirpliu thl . ^ 
 
 ARC HES appertaining to the MAUSOLEUM of K.EMANUEL ..batalha 
 
 
ORNAMENTS MOTTOS *c ammtainino ™ tokRoyal Monastery of Batalha. 
 
\1LS • CORNICES • AND -ARCHED • MOD1LLONSjto*. 
 
 On the North front of Church. uppermost part . 
 
 Cornice of the Safer -her/. Supports the Spire. 
 
 t the Side fr Rfrctorp. 
 
 fin the IVer/l hetnern the Re feet or)- 
 .end Vest front of Chunk. -— 
 
A CATALOGUE 
 
 of Modern Books on ArchMwe, 
 
 THEORETICAL, PRACTICAL, axd ORNAMENTAL; 
 
 VIZ. 
 
 Books of Plans And Elevations for Houfes, Temples, Brito. &e 
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 Books of Ufe to Carpenters, Bricklayers, and Workmen in general, tec. &c. 
 
 Which, with the belt Ancient Authors, are conftantly on Sale 
 At I. and J. Taylor’s Architectural Library, No. c6 I r,.], rr.u,,,,.,, T 
 
 Where may he had the Works of the molt 2ir«£ = 
 
 P LANS.Hevations, SeSions and Vicwsof theCluirch oiBatalha, in the Province of RHremnA. 
 
 and Defcription by Fr. Luis dc Soufa, with Remarks; to which is perfixed An ’ nv ^ Wlth an Hlftory 
 
 of Gothic ArchiteHure, by Jam,: Murphy, Architect. Uluftrated with 27 plat«. \leeanS^° n i Princ , i P les 
 preffed, price 4I. 14s. 6d. ' v Biigantiy printed on imperial folio, and hot 
 
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 Defgodetz's Antiquities has - ’ ’ ‘ ’ ’ 
 
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 nber be paid 
 
 . ‘ °! J u P't,r Stator, Temple of Jupiter 7 
 n of No va, Portico of Septimius Sevens, Arch of T 
 
 Th %mo, i S s. ’ Wlth SiX FricZCS ’ fr ° m the Anl '"* uc - En 2 ra '’ cd >n Aqua-tinta t^G RiL/dfe^in 
 
 Defigns for Shop-Fronts and Door-Ca/es, on 27 plates, quarto, 10s. 6d 
 
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 Defigns for Ch 
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 of each from Antiques: Aifo, Extrafts ‘from Vitruvius, Pliny, &c. relal. , 
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 24 quarto Plates, 10s. 6d. 
 
 of the h ive Orders, with their Proportion, and Examples 
 the Buildings of the Ancients; calru- 
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 with 176 very large folio Plates, 61. 16s. 6d. hall-bound. J rcn.tect in tne Board of Works: avols, 
 
 The Defignslof Inigo Jones confifting of Plans andl Elevations for Public and Private Buildings; including the detail of .h- 
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 Vitruvius Britannicus, 3 vols. half bound, 61. 6s. 
 
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 with many other things entirely new. The whole founded on true Geometrical Principles ; The Theory and Prafticc 
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 embellifhments, in the moft modern tafte. A great variety of mouldings, for bafe and furbafe architraves, impofts, friezes, 
 and cornices, with their proper ornaments for prafticc, drawn to half fize: to which arc added, leaks for enlarging or 
 lcftening at pleafurc, if required. Alfo, great variety of flair-cafes ; flicwing the praftical method of executing them, in any 
 cafe required, viz. groins, angle-brackets, circular circular flewing and winding foffits, domes, lky-lights, dec. all made 
 plain and eafy to the mcanell capacity. The proportion of windows for the light to rooms. Preparing foundations; 
 the proportion of chimneys to rooms, and feftions of flews. The principal timbers properly laid our on each plan, vim. 
 the manner of framing the roofs, and finding the length and backing of hips, either I'quarc or bevel. Scantlings of the 
 timbers, figured in proportion to their bearing. The method of miffing girders, fcarfing plates, Arc. and many other 
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 The Practical Houfe Carpenter-, or. Youth's InJlruClor: containing a great Variety of ufeful Defigns in Carpentry and Architefture; 
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 Mouldin'", &c. at large, with their Enrichments. Plans, Elevations and Scftions of Houfes for Town and Country, 
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 brary. Variety of Stair-Cafes, with many other important Articles, and ufeful Embellifhments. To which is added, a Lift 
 of prices for-Materials and Labour, Labour only, and Day Prices. The whole illuftrated, and made perfcftly ealy_. by 148 
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 Fourth Edition, with large Additions. Price 15s. bound. 
 
 N. B. This is PAIN’s Uft work. 
 
Tin PretDical Builder, or Workman's General A (Titiant; (liewing the’moft approved and eafy methods for drawing and worki ng 
 the whole or feparatc part of any building ; as, the ul'e of the tramci for groins, angle brackets, niches, &c. feimcirc.ilar 
 arches on Hewing jambs, the preparing and making their foflits; rules of carpentry, to find the length and backing of 
 straight or curved hips, trulfcs for roofs, domes, he. Truffing of girders, fiction of floors, he. The proportion of the 
 live orders in their general and particular parts: gluing of columns; flair-cafes, with their ramp and twilled rails, fixing 
 their carriages,, newels, he. Frontifpieces, chimney-pieces, ceilings, cornices, architraves, &c. in the neweft taftc; with 
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 ...a, --.c.-o—.—— .l-_l.ii—-, i—J- -,r framino. timbers of all figures and dimenlions, with their 
 
 Ted roofs, fpires, and domes; truffing girders, 
 . cutting Hone ceilings', groins, &c. with their 
 d fedtions of a barn. Engraved on twenty-four 
 
 SCENERY AND ANTIQUITIES 
 
 OF 
 
 Scotland. 
 
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 In Two Vols. Quarto, 
 
 Enriched with One Hundred ELEGANT PLATES of 
 
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 DESCRIPTIVE AND HISTORICAL ACCOUNTS. 
 
 Price si. 5s. Boards: and with the Plates of Natural History, 
 coloured from the Original Drawings, 61. 6s. Boards. 
 
 REMARKABLE RUINS, 
 ROMANTIC PROSPECTS 
 NORTH BRITAIN j 
 
 WITH 
 
 Ancient Monuments, and Singular Subjefts 
 
 NATURAL HISTORY. 
 
 J3y the Rev. CHARLES CORDINER, of Banff. 
 The ENGRAVINGS by MAZELL. 
 
 Published by I. and J. TAYLOR, 
 
 No. 56, HIGH HOLBORN, London. 
 
 Where may be had, in Quarto, by the fame Author, 
 a few remaining Copies of 
 ANTIQUITIES AND SCENERY OF THE 
 NORTH OF SCOTLAND, 
 
 in a Series of Letters to Thomas Pennant, Efq. with El Plates, 
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 0 Andrea Palladio-, and by equal pans. Like- 
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[ a ] 
 
 A S?"'"SdfSSS ^T^whtchh added 4 , fa Introduaion, containing many ufeful Obfcrvations on this Clafs of Build- 
 In” tendintr to the Comfort of the Poor and Advantage of the Builder—with Calculations of Expends. By the late 
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 The Continuation to Ditto, 2 vols. 
 
 Chambers ’s [Sir William) Treatife on the Decora' 
 
 ___Buildings and Views of 
 
 ___Deligns for Chinefe Bt 
 
 Inigo Jones's Defigns, by Kent, 2 vols. folio. 
 
 Lewis's Defigns in Architecture, half bound. 
 
 Paine’s Plans, Elevations, &c. of Noblemen’s S 
 Plans and Elevations of Holkham-Hall in Norfolk, 
 
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 Perronel fur les Ponts, 2 tom. 
 
 Belidor l’Architecture Hydraulique, 4 tom. quart 
 Nouvelle Arch. Hydraulique, par deProny, tome pt 
 Piranefls Works, compleat, 20 vols. large folio. 
 
 DiClionare D’ Architecture, Civile, Militaireet Na 
 Dr- Brook Taylor's Method of PerfpeClive made e, 
 
 Art of Perfpeaive eafy and familiar, to ad; 
 
 Gentleman who fhall choofe fo polite ai 
 rcaiy engraved under the Author’s infped 
 printed on imperial paper, half bound, il 
 The fame Work in two Volumes quarto, fewe 
 The PerfpeClive of Architecture, a work entirely 
 rules of univerfal application: illuftrated 
 Prince of Wales. By Jojhua Kirby. Elef 
 The Defription and Vfe of a new Injlrument cc 
 with facility and exaftnefs. By jojhua 
 half bound, il. is. 
 
 Kirby’s Works on Perfpeaive, 3 vol. complete 
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 ftriking regular and quirked Mouldings, f 
 of an Order to any given height, for ftrikii 
 of the Orders, their Planceers, &c. and i 
 Price 6s. bound. 
 
 The Carpenter's New Guide, being a comp. 
 
 Geometry, Soffits, Lines for Roofs and 1)' 
 
 Bridges, &c. Stair-Cafes and Hand-Rails 
 with many other things entirely new. 
 well explained and fully exemplified on ; 
 
 Strength of Timber, by Peter Nicbolfin, h, 
 
 The Carpenter’s and Joiner's Repofttory i or, a r, 
 
 and Mouldings, for fimfhing of Rooms, . 
 underftood. Circular circular Soffits, fit 
 and elliptical Sky-Lights, and the met! 
 
 Pain, Joiner. Engraved on fixty-nine f 
 Pain's Briti]h Palladio, or the Builder’s General 
 rules of Architetfture, from the ground 
 houfes, with their plans, elevations, and f 
 with a lift of prices for materials and labc 
 tnafons, joins's, plaijierers, and others, con . 
 viz. Plans, elevations, and fe&ions of ge 
 embeUiffimcnts, in the moll modern tafte 
 and cornices, with their proper ornamen 
 
 leffening at pleafure, if required. Alfo, g.. . , • .0 • , — - r -- 1 ■nnn 
 
 cafe required, viz. groins, angle-brackets, circular circular Hewing and winding foffits, domes, lky-hglns, &c. all made 
 plain and eafy to the mcaneft capacity. The proportion of windows for the light to rooms. Preparing foundations j 
 the proportion of chimneys to rooms, and feflions of flews. The principal timbers properly laid out on each plan, viz. 
 the manner of framing the roofs, and finding the length and backing of hips, either fquare or bevel. Scantlings ol the 
 timbers, figured in proportion to their bearing. The method of trufling girders, fcarfing plates, &c. and many other 
 articles, particularly ufeful to all perfons in the building profeffion. The whole correctly engraved on forty-two folio 
 copper-plates, from the original defigns of William and James Pam, bound, 16s. 
 
 The Practical Houle Carpenter-, or, Youth's InflruCtor: containing a great Variety of ufeful Defigns in Carpentry and Architcflure; 
 as Centering for Groins, Niches, See. Examples for Roofs, Sky-Lights; &c. The bive Orders laid down by a New Scale. 
 Mouldin'", &c. at large, with their Enrichments. Plans, Elevations and ScAtons of Houfes for Town and Country, 
 Lodges,'noi-Houfes, Green-Houfes, Stables, &c. Defign for a Church, with Plan, Elevation, and two Scflions ; an 
 Altar-Piece, and Pulpit. Defigns for Chimney-Pieces, Shop-Fronts, Door-Cafes. Scflion of a Dining-Room and Li¬ 
 brary. Variety of Stair-Cafes, with many other important Articles, and ufeful Embelliffimcnts. To which is added, a Lift 
 of Prices for-Matcrials and Labour, Labour only, and Day Prices. The whole illuftrated, and made perfcflly caly. by 148 
 Copper-Plates, with Explanations to each. By William Pain , Author of t! e PiaSlcal Builder, and Britilh Pallad.o. Tiie 
 Fourth Edition, with large Additions. Price 15s. bound. 
 
 N. B. This is PAIN’s laft work. 
 
[ 3 ] 
 
 Tht Pradical Builder, or Workman’s General AfUfiant; (hewing the'moft approved and eafy methods for drawing and working 
 the whole or fc-parate part of any building; as, the life of the tramci for groins, angle brackets, niches, &c. femicirciilar 
 arches on Hewing jambs, the preparing and making their foffits; rules of carpentry, to find the length and backing of 
 ftraight or curved hips, truffes for roots, domes, Stc. Trufling of girders, (edition of floors, &c. The proportion of the 
 five orders in their general and particular parts: gluing of columns; (lair-cafes, with their ramp and twitted rails, fixing 
 their carriages,, newels, &c. Frontifpieces, chimney-pieces, ceilings, cornices, architraves, &c. in the neWeft taftc; with 
 plans and elevations of gentlemen’s and farm houl'es, barns, &c. By IV. Pain, Architeft and Joiner. Engraved on eighty- 
 
 three quarto plates, bound, 12s.-A new edition, with improvements by. the Author. 
 
 The Carpenter’s Pocket Diredory ; containing the beft methods of framing timbers of all figures and dimtnfions, with their 
 
 — —i . floors, roofs in ledgments, ihcir length and backings ; trufiid roofs, fpires, and domes; trufling girders, 
 
 - — nhmnn arches, vaults, &c. cutting ftone ceilings, groins, &c. with their 
 and feftions of a barn. Engraved on twenty-four 
 i> 4S- 
 
 ly neceffary to be underftood by Builders and 
 'e numbers and frail ions. 2. Geometry, lineal, 
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 .dies by the force of levers, pulleys, axes in peri- 
 &c. wherein the properties and preffure of the 
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 jtc. By John Soane. Engraved on thirty-eight 
 
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 underftood. Circular circular Soffits, fie 
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 of Prices for-Materials and Labour, Labour only, and Day Prices. The whole illuftrated, and made perfcftly caly. by 148 
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Tht Pradical Builder, or Workman’s General A Aidant; diewing the’mod approved and eafy methods for drawing and working, 
 the whole or fc-parate part of any building ; as, the ufe of the framei for groins, angle brackets, niches, &c. fcmicircular 
 arches on dewing jambs, the preparing and making their foffits; rules of carpentry, to find the length and backing of 
 ftraight or curved hips, trullcs for roots, domes, Ac. Truding of girders, feidion of doors, &c. The proportion of the 
 five orders in their general and particular parts : gluing of columns ; d:\ir-cafcs, with their ramp and twided rails, fixing 
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 partitions, and bridges, with abutments; centering for arches, vaults, See. cutting done ceilings', groins, &c. with their 
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 fuperficial, and folid. 3. Architeaure, univerfal. 4. Menfuralion. 5. Plain trigonometry. 6. Surveying of land. Ac. 
 7 Mechanic powers. 8. Hydrodaticks. llludrated by above thirteen hundred examples of lines, fupcrficics, folids, 
 mouldings, peded.ds, columns, piladers, entablatures, pediments, imports, block cornices, rudic .quoins, froutifpicces, 
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 n dons in Architecture-, confiding of plans, elevations, and feftions for temples, baths, caffincs, pavilions, garden feats, obclilks, 
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 ’ ' ro , e r ’ c feats, green-houfes, &c. many of which may be executed with flints, irregular Hones, rude branches 
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 Ideas fo 1 
 
 fewed, 4s. 6d. 
 
 Rujlie Furniture, proper for Garden Chairs, Summer Houfes, Hermitages, Cottages, &c. engraved o 
 
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 mouldings and enrichments 1 
 
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Batalha, No. 2, 
 
 Price Fifteen Shillings to Sublcribers. 
 
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 ADVERTISEMENT. 
 
 THE Author begs leave to inform the Subscribers 
 to this Work, that the 'whole of the Letter-press 'will ex¬ 
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 the Introduction 'will be comprised in the next Number , 
 -which -will be published in Augitst next ; and the History 
 of Batalha, from Father Luis de Sousa, together -with 
 the Author s Notes in the subsequent Numbers. 
 

The WORK will chiefly contain as follows: 
 
 Plans, Elevations, and Sections of the Church and Monaftery. 
 
 The Manner of proportioning the Church. 
 
 The Maufoleum of the Founder, King John the Firll. 
 
 The Effigies of King John I. and Queen Philippa his Wife. 1 
 The Maufoleum of King Emanuel. 
 
 The Principal Windows throughout the Building, with their feveral Plans accurately figured. 
 
 The Columns, Bales, and Capitals of the Church. 
 
 The Cornices, Belts, Ribs of the Vaults, Mullions, Architraves, Stiles, and other Mouldings, laid 
 down on a large Scale, and accurately figured. 
 
 The Railing of the Church and of the Chapels externally, with the carved Orbs or Patent of the 
 Vaults and other ornamental Pieces. 
 
 The Monuments and Infcriptions throughout the Building. 
 
 A View/of the Entrance into the Maufoleum of King Emanuel, with the Columns and Hiero¬ 
 glyphics that furround it, &c. &c. with every neceflary Explanation relating to each Part. 
 
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 ■Li/bon. F. R. S. Lond. &c. &c. 
 
 Tlie Right Hon. William Conyn^ham, M.R.I.A. F.A.S. Lond. j the 
 Patron and Promoter of this Work. 20 Setts. 
 
 The Right I Ion. the Earl of Charlemont, P. R. I. A. 
 
 The Right Hon. the Earl of Leicefter, P. A. S. and F. R. S. 
 
 Sir Joieph Banks, Bait. P. R. S. and F. A. S. 
 
 Owen Salufbury Brereton, El'q. V. P. A. S. and F. R. S. 
 
 Benjamin Weft, Elq. P. R. A. Hiftorical Painter to His Majefty. 
 
 The Society of Antiquaries, London. 
 
 The Royal Academy of Arts, London. 
 
 The Truftees of the Britilh Mufeum. 
 
 The Royal Irifh Academy. 
 
 Trinity College, Dublin. 
 
 The Dublin Society’s Library. 
 
 His Grace the Duke of Norfolk, 4 Sets. 
 
 Sir John Hort, Bart. 
 
 The Moft Noble the Marquis of Lanfdown. 
 
 The Lord Chancellor of Ireland. 
 
 The Countefs of Moira. 
 
 The Moft Noole the Marquis of Waterford. 
 
 The Right Hon. Lord Conyngham. 
 
 The Right Hon. the Earl of Moira, 
 
 The Right Reverend the Lord Bilhop of Corke. 
 
 The Right Hon. Lord Orford, F.A.S. 
 
 The Vifcount de Anadia. 
 
 The Chevalier de Soufa, Envoy from her Moft Faithful Majefty to the 
 Court of Sweden. 
 
 The Right Hon. the Earl of Exeter. 
 
 The Right Hon. the Earl Spencer. 
 
 The Hon. Mr. Walpole, Envoy from his Britannic Majefty to the Court 
 of Portugal. 
 
 A List of all the Subscribers will be printed at the Condufion of the Work. 
 
Ltndon, July, 175(4, 
 
 Dedicated to the Right Hon; WILLIAM CONYNGHAM. 
 
 GOTHIC ARCHITECTURE, 
 
 ACCURArELr bELItiEATED. 
 
 No. III. 
 
 PLANS, ELEVATIONS, SECTIONS, and VIEWS 
 
 OF tHE 
 
 CHURCH AND ROYAL MONASTERY OF 
 
 B A T A L H A, 
 
 Including the Mausolea of King John I. and King Emanuel 
 
 SITUATE IN THE 
 
 ' PROVINCE OF ESTRE-MADURA, IN PORTUGAL; 
 
 Mcofured and Drawn on the Spot, in the Tear 1789, 
 
 WITH AN 
 
 HISTORICAL AND DESCRIPTIVE ACCOUNT OP THIS FAMOUS 
 
 GOTHIC STRUCTURE. 
 
 TRANSLATED FROM TH^ PORTUGUESE OF FR. LUIS DE SOUSA j 
 WITH REMARKS AND OBSERVATIONS: 
 
 To which will be prefixed, 
 
 AN INTRODUCTORY DISCOURSE ON THE PRINCIPLES OF GOTHIC ARCHITECTURE. 
 
 By JAMES MURPHY. Architect. 
 
 TERMS OF THE SUBSCRIPTION. 
 
 Th I S Work will confift of Five Numbers in Imperial Folio, each containing Five Plates, or more, betides Letter-Prels, 
 elegantly printed on a fine Vellum Paper. 
 
 The Price to Subfcribers, Fifteen Shillings per Number, befides Half-a-Guinea to be paid at the Time of Subfcribing. 
 Each Number to be paid for on Delivery, which will take place in the Order the Work is fubferibed for. 
 
 A Lift of the Patronizers of the Work will be given at the Conclufion. 
 
 Subfcriptions for the Work are received by Meffrs. Taylor, No. 56, High Holborn, where Mr. Murphy requefts aU 
 Orders relative to the Work to be fent. 
 
 N. B. Numbers IV and V, which complete the Work, will be publilhed in the enfuing Winter. 
 
Ltodon, January t, 179 ^ 
 
 Dedicated to the Right Hon. WILLIAM CONYNGHAM. 
 
 GOTHIC ARCHITECTURE, 
 
 accurately delineated. 
 
 No. IV. 
 
 Containing Five Plates, and Six Sheets of Letter-Prefs. 
 
 PLANS, ELEVATIONS, SECTIONS, and VIEWS, 
 
 OF THE 
 
 > - 
 
 CHURCH 
 
 ? —“ -- 7 
 
 O F 
 
 BAT 
 
 A L 
 
 H A, 
 
 IN THE 
 
 PROVINCE OF ESTRE-MADURA, IN PORTUGAL; 
 
 WITH AH 
 
 HISTORY AND DESCRIPTION 
 
 By FR. LUIS DE SOUSA; 
 
 w IT H * ICE MARKS; 
 
 To which 11 prefixed, - p . .TVV‘V ~ ' ^ — j 
 
 AN INTRODUCTORY DISCOURSE ON THE PRINCIPLES OF GOTHIC ARCHITECTURE. 
 
 By JAMES MURPHY, Architect. 
 
 ILLUSTRATED WITH TWENTY-SEVEN PLATES. 
 
 TERMS OF THE SUBSCRIPTION. 
 
 THIS Work will confift of Five Numbers in Imperial Folio, each containing Five Plates, or more, befides Lettcr-Prefs, 
 elegantly printed on a fine Vellum Paper. 
 
 The Price to Subfcribers, Fifteen Shillings per Number, befides Half-a-Guinea to be paid at Lhe Time of Subfcribing. 
 Each Number to be paid for on Delivery, which will take place in the Order the Work is fubferibed for. 
 
 A Lift of the Patronizers of the Work will be given at the Conclufion. 
 
 Subfcriptions for the Work are received by Meffrs. Taylor, No. 56, High Holborn, where Mr. Murphy requefts ai; 
 Orders relative to the Work to be lent. 
 
 N. B. The Fifth and Laft Number is in great Forwardnefs, and will be publithed with all poffihle Speed.