(the pinnacles and parapets have been added since 1834), and the apses quite like those of the church. (Fig. 36.) The tracery of the chief windows too is not unlike that of the lantern windows of the founder's chapel except that there is a well-marked transome half-way up--a feature which has been attributed to English influence--while the single windows of the tomb chambers are completely filled with geometric tracery. Inside, the capitals of the chapel arches as well as their rich cuspings are very like those of the founder's chapel; the capitals having octagonal abaci and stiff vine-leaves, and the trefoiled cusps ending in square vine-leaves, while the arch mouldings are, as in King João's chapel, more English than French in section. There is nothing now to show how the great central octagon was to be roofed--for the eight great piers which now rise high above the chapel were not built till the time of Dom Manoel--but it seems likely that the vault was meant to be low, and not to rise much above the chapel roofs, finishing, as everywhere else in the church, in a flat, paved terrace. The only important addition made during the reigns of Dom Affonso V. and of Dom João II. was that of a second cloister, north of the Claustro Real, and still called the Cloister of Affonso. This cloister is as plain and wanting in ornament as everything else about the monastery is rich and elaborate, and it was probably built under the direction of Fernão d'Evora, who succeeded his uncle Martim Vasques as master of the works before 1448, and held that position for nearly thirty years. Unlike the great cloister, whose large openings must, from the first, have been meant for tracery, the cloister of Affonso V. is so very plain and simple, that if its date were not known it would readily be attributed to a period older even than the foundation of the monastery. On each side are seven square bays separated by perfectly plain buttresses, each bay consisting of two very plain pointed arches resting on the moulded capitals of coupled shafts. Except for the buttresses and the vault the cloister differs in no marked way from those at Guimarães and elsewhere whose continuous pointed arcades show so little advance from the usual romanesque manner of cloister-building. Above is a second story of later date, in which the tiled roof rests on short columns placed rather far apart, and with no regard to the spacing of the bays below. Round this are the kitchens and various domestic offices of the convent, and behind it lay another cloister, now utterly gone, having been burned by the French in 1810. Such are the church and monastery of Batalha as planned by Dom João and added to by his son and grandson, and though it is not possible to say whence Huguet drew his inspiration, it remains, with all the peculiarities of tracery and detail which make it seem strange and ungrammatical--if one may so speak--to eyes accustomed