But, that it was not only such details as doors and monuments that began to show the result of the coming of the Frenchmen is seen in the work of João de Castilho, after he first left Thomar for Belem. There he had found Master Nicolas Chantranez already at work, and there he learned, perhaps from him, so to change his style that by the time he returned to Thomar to work for Dom João iii. in 1528 he was able to design buildings practically free from that Gothic spirit which is still found in his latest work at Belem.
CHAPTER XVI
LATER WORK OF JOÃO DE CASTILHO AND THE EARLIER CLASSIC
To Dom Manoel, who died in 1521, had succeeded his son Dom João iii. The father had been renowned for his munificence and his splendour, the son cared more for the Church and for the suppression of heresy. By him the Inquisition was introduced in 1536 to the gradual crushing of all independent thought, and so by degrees to the degradation of his country. He reigned for thirty-six years, a time of wealth and luxury, but before he died the nation had begun to suffer from this very luxury; with all freedom of thought forbidden, with the most brave and adventurous of her sons sailing east to the Indies or west to Brazil, most of them never to return, Portugal was ready to fall an easy prey to Philip of Spain when in 1580 there died the old Cardinal King Henry, last surviving son of Dom Manoel, once called the Fortunate King.
With the death of Dom Manoel, or at least with the finishing of the great work which he had begun, the most brilliant and interesting period in the history of Portuguese architecture comes to an end. When the younger Fernandes died seven years after his master in 1538, or when João de Castilho saw the last vault built at Belem, Gothic, even as represented by Manoelino, disappeared for ever, and renaissance architecture, taught by the French school at Coimbra, or learned in Italy by those sent there by Dom Manoel, became universal, to flourish for a time, and then to fall even lower than in any other country.
Except the Frenchmen at Coimbra no one played a greater part in this change than João de Castilho, who, no doubt, first learned about the renaissance from Master Nicolas at Belem; Thomar also, his own home, lies about half-way between Lisbon and Coimbra, so that he may well have visited his brother Diogo at Santa Cruz and seen what other Frenchmen were doing there and so become acquainted with better architects than Master Nicolas; but in any case, who ever it may have been who taught him, he planned at Thomar, after his return there, the first buildings which are wholly in the style of the renaissance and are not merely decorated with renaissance details.
Alcobaça.
But before following him back to Thomar, his additions to the abbey of Alcobaça must be mentioned, as there for the last time, except in some parts of Belem, he allowed himself to follow the older methods, though even at this early date—1518 and 1519—renaissance forms are beginning to creep in.
On the southern side of the ambulatory one of the radiating chapels was pulled down in 1519 to form a passage, irregular in shape and roofed with a vault of many ribs. From this two doors lead, one on the north to the sacristy, and one on the south to a chapel. Unfortunately both sacristy and chapel have been rebuilt and now contain nothing of interest, except, in the sacristy, some fine presses inlaid with ivory, now fast falling to pieces. The two doors are alike, and show that João de Castilho was as able as any of his contemporaries to design a piece of extreme realism. On the jambs is carved renaissance ornament, but nowhere else is there anything to show that João and Nicolas had met at Belem some two years before. The head of the arch is wavy and formed mostly of convex curves. Beyond the strip of carving there grows up on either side a round tree, with roots and bark all shown; at the top there are some leaves for capitals, and then each tree grows up to meet in the centre and so form a great ogee, from which grow out many cut-off branches, all sprouting into great curly leaves.
This is realism carried to excess, and yet the leaves are so finely carved, the whole design so compact, and the surrounding whitewashed wall with its dado of tiles so plain, that the effect is quite good. ([Fig. 83].)