In the half-story at the bottom are half-figures of the twelve Apostles, four under each of the square panels at the sides, and one between each pair of pilasters.
Above is represented, on the left the Annunciation, on the right the Nativity; in the centre, now hidden by a hideous wooden erection, there is a beautiful little tabernacle between two angels. Between the pilasters, as between the columns above, stand large figures of prophets.
In the next story the scenes are, on the left the Magi, on the right the Presentation, and in the centre the Assumption of the Virgin.
The whole of the top is taken up with the Story of the Crucifixion, our Lord bearing the Cross on the left, the Crucifixion under the arch, and the Deposition on the right.
Although the whole is infinitely superior in design to anything by Master Nicolas, it must be admitted that the sculpture is very inferior to his, and also to João de Ruão's. The best are the Crucifixion scenes, where the grouping is better and the action freer, but everywhere the faces are rather expressionless and the figures stiff.
As everything is painted, white for the background and an ugly yellow for the figures and detail, it is not possible to see whether stone or terra cotta is the material; if terra cotta the sculptor may have been a pupil of Filipe Eduard, who in the time of Dom Manoel wrought the Last Supper in terra cotta, fragments of which still survive at Coimbra.
CHAPTER XVII
THE LATER RENAISSANCE AND THE SPANISH USURPATION
This earlier style did not, however, last very long. Even before the death of Dom João more strictly classical forms began to come in from Italy, brought by some of the many pupils who had been sent to study there. Once when staying at Almeirim the king had been much interested in a model of the Colosseum brought to him by Gonçalo Bayão, whom he charged to reproduce some of the monuments he had seen in Rome.
Whether he did reproduce them or not is unknown, but in the Claustro dos Filippes at Thomar this new and thoroughly Italian style is seen fully developed.