From all these lands, from Africa, from Brazil, and from the East, endless wealth poured into Lisbon, nearly all of it into the royal treasury, so that Dom Manoel became the richest sovereign of his time. In some other ways he was less happy. To please the Catholic Kings, for he wished to marry their daughter Isabel, widow of the young Prince Affonso, he expelled the Jews and many Moors from the country. As they went they cursed him and his house, and Miguel, the only child born to him and Queen Isabel, and heir not only to Portugal but to all the Spains, died when a baby. Isabel had died at her son's birth, and Manoel, still anxious that the whole peninsula should be united under his descendants, married her sister Maria. His wish was realised--but not as he had hoped--for his daughter Isabel married her cousin Charles V. and so was the mother of Philip II., who, when Cardinal King Henry died in 1580, was strong enough to usurp the throne of Portugal. Being so immensely rich, Dom Manoel was able to cover the whole land with buildings. Damião de Goes, who died in 1570, gives a list of sixty-two works paid for by him. These include cathedrals, monasteries, churches, palaces, town walls, fortifications, bridges, arsenals, and the draining of marshes, and this long list does not take in nearly all that Dom Manoel is known to have built. Nearly all these churches and palaces were built or added to in that peculiar style now called Manoelino. Some have seen in Manoelino only a development of the latest phase of Spanish Gothic, but that is not likely, for in Spain that latest phase lasted for but a short time, and the two were really almost contemporaneous. Manoelino does not always show the same characteristics. Sometimes it is exuberant Gothic mixed with something else, something peculiar, and this phase seems to have grown out of a union of late Gothic and Moorish. Sometimes it is frankly naturalistic, and this seems to have been developed out of the first; and sometimes Gothic and renaissance are used together. In this phase, the composition is still always Gothic, though the details may be renaissance. At times, of course, all phases are found together, but those which most distinctly deserve the name, Manoelino, are the first and second. The shape of the arches, whether of window or of door, is one of the most characteristic features of Manoelino. After it had been well established they were rarely pointed. Some are round, some trefoils; some have a long line of wavy curves, others a line of sharp angles and curves together.[105] In others, like the door to the Sala das Pegas at Cintra, and so probably derived from Moorish sources, the arch is made of three or more convex curves, and in others again the arch is half of a straight-sided polygon, while in many of the more elaborate all or many of these may be used together to make one complicated whole of interlacing mouldings and hanging cusps.