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. [Sidenote: Thomar, Claustro dos Filippes.] Diogo de Torralva had been nominated to direct the works in Thomar in 1554, but did nothing to this cloister till 1557 after Dom João's death, when his widow, Dona Catharina, regent for her grandson, Dom Sebastião, ordered him to pull down what was already built, as it was unsafe, and to build another of the same size about one hundred and fifteen feet square, but making the lower story rather higher. The work must have been carried out quickly, since on the vault of the upper cloister there is the date 1562--a date which shows that the whole must have been practically finished some eighteen years before Philip of Spain secured the throne of Portugal, and that therefore the cloister should rather be called after Dona Catharina, who ordered it, than after the 'Reis Intrusos,' whose only connection with Thomar is that the first was there elected king. Between each of the three large arches which form a side of the lower cloister stand two Roman Doric columns of considerable size. They are placed some distance apart leaving room between them for an opening, while another window-like opening occurs above the moulding from which the arches [Illustration: FIG. 91. GUARDA. REREDOS IN CATHEDRAL.] [Illustration: FIG. 92. THOMAR. CLAUSTRO DOS FILIPPES.]