The year before he had begun for Cardinal Henry, afterwards king, and then commendator of the abbey, a second story to the great cloister of Dom Diniz. Reached by a picturesque stair on the south side, the three-centred arches each enclose two or three smaller round arches, with the spandrils merely pierced or sometimes cusped. The mouldings are simple but not at all classic. The shafts which support these round arches are all carried down across the parapet through the rope moulding at the top to the floor level, and are of three or more patterns. Those at the jambs are plain with hollow chamfered edges, as are also a few of the others. They are, however, mostly either twisted, having four round mouldings separated by four hollows, or else shaped like a rather fat baluster; most of the capitals with curious volutes at the corner are evidently borrowed from Corinthian capitals, but are quite unorthodox in their arrangement. Though this upper cloister adds much to the picturesqueness of the whole it is not very pleasing in itself, as the three-centred arches are often too wide and flat, and yet it is of great interest as showing how João de Castilho was in 1518 beginning to accept renaissance forms though still making them assume a Manoelino dress. [Sidenote: Batalha, Santa Cruz.] But in the door of the little parish church of Sta. Cruz at Batalha, also built by João de Castilho, Manoelino and renaissance details are used side by side with the happiest result. On each jamb are three round shafts and two bands of renaissance carving; of these the inner band is carried round the broken and curved head of the opening, while the outer runs high up to form a square framing. Of the three shafts the inner is carried round the head, the outer round the outside of the framing, while the one in the centre divides into two, one part running round the head, while the other forms the inner edge of the framing, and also forms a great trefoil on the flat field above the opening. In the two corners between the trefoils and the framing are circles enclosing shields, one charged with the Cross of the Order of Christ, the other with the armillary sphere. The inner side of the trefoil is cusped, crockets and finials enrich the outer moulding of the opening, while beyond the jambs are niches, now empty. (Fig. 84.) It is not too much to say that, except the great entrance to the Capellas Imperfeitas, this is the most beautiful of all Manoelino doorways; in no other is the detail so refined nor has any other so satisfactory a framing. Unfortunately the construction has not been good, so that the upper part is now all full of cracks and gaping joints. [Sidenote: Thomar.] Since Dom João III. was more devoted to the Church than [Illustration: FIG. 83. ALCOBAÇA. SACRISTY DOOR.] [Illustration: FIG. 84. W. DOOR, STA. CRUZ. BATALHA.]