The royal tombs are both practically alike. In each the king lies under a great round arch, on a high altar-tomb, on whose front, under an egg and tongue moulding a large scroll bearing an inscription is upheld by winged children. The arch is divided into three bands of carving, one--the widest--carved with early renaissance designs, the next which is also carried down the jambs, with very rich Gothic foliage, and the outermost with more leaves. The back of each tomb is divided into three by tall Gothic pinnacles, and contains three statues on elaborate corbels and under very intricate canopies, of which the central rises in a spire to the top of the arch. On the jambs, under the renaissance band of carving, are two statues one above the other on Gothic corbels but under renaissance canopies. Beyond the arch great piers rise up with three faces separated by Gothic pinnacles. On each face there is at the bottom--above the interpenetrating bases--a classic medallion encompassed by Manoelino twisting stems and leaves, and higher up two statues one above the other. Of these the lower stands on a Gothic corbel under a renaissance canopy, and the upper, standing on the canopy, has over it another tall canopy Gothic in style. Higher up the piers rise up to the vault with many pinnacles and buttresses, and between them, above the arch, are other figures in niches and two angels holding the royal arms. The design of the whole is still very Manoelino, and therefore the master of the royal tombs spoken of by Gregorio Lourenço was probably a Portuguese, but the skill shown in modelling the figures and the renaissance details are something quite new. (Fig. 71.) Many Frenchmen are known to have worked in Santa Cruz. One, Master Nicolas, has been met already working at Belem and at the west door here, and others--Longuim, Philipo Uduarte, and finally João de Ruão (Jean de Rouen)--are spoken of as having worked at the tombs. Though the figures are good with well-modelled draperies, their faces, or those of most of them, are rather expressionless, and some of them look too short--all indeed being less successful than those on the pulpit, the work of João de Ruão. It is likely then that the figures are mostly the work of the lesser known men and not of Master Nicolas or of João de Ruão, though João, who came later to Portugal, may have been responsible for some of the renaissance canopies which are not at all unlike some of his work on the pulpit. The pulpit projects from the north wall of the church between two of the chapels. In shape it is a half-octagon set diagonally, and is upheld by circular corbelling. It was ready by the time Gregorio Lourenço wrote to Dom João III. in 1522, but still wanted a suitable finishing to its door. This Gregorio urged Dom João to add, but it was never done, and now the entrance is only framed by a simple classic architrave.