nes"--Pedro Annes had been master builder of the royal palace, now the
university at Coimbra, and being older may have had more experience than
Marcos Pires, the designer of the monastery--who had it shored up, and
they say that after the vault of the cloister is finished and the wooden
floors in it will be quite safe. Also six days ago came the master of
the reredos from Seville and set to work at once to finish the great
reredos, for which he has worked all the wood--he must surely have
brought it with him from Seville--but the glazier has not yet come to
finish the windows.'

[Illustration: PLAN OF STA. CRUZ]

On 22nd July following he writes again that all but one of the vaults of
the cloister were finished--'and Marcos Pirez works well, and the master
of the reredos has finished the tabernacle, and the "cadeiras" [that is
probably, sedilia] and the bishop has come to see them and they are very
good, and the master who is making the tombs of the kings is working at
his job, and has already much stonework.'

These tombs of the kings are the monuments of Dom Affonso Henriques on
the north wall of the chancel and of Dom Sancho I. on the south. The two
first kings of Portugal had originally been buried in front of the old
church, and were now for the first time given monuments worthy of their
importance in the history of their country.

In 1521 Dom Manoel died, and next year Gregorio tells his successor what
his father had ordered; after speaking of the pavement, the vault of Sao
Theotonio's Chapel, the dormitory with its thirty beds and its
fireplace, the refectory, the royal tombs and a great screen twenty-five
palms, or about eighteen feet high, he comes to the pulpit--'This, Sir,
which is finished, all who see it say, that in Spain there is no piece
of stone of better workmanship, for this 20$000 have been paid,' leaving
some money still due.

He then speaks of the different reredoses, tombs of two priors, silver
candlesticks, a great silver cross made by Eytor Gonsalves, a goldsmith
of Lisbon, much other church plate, and then goes on to say that a
lectern was ordered for the choir but was not made and was much needed,
as was a silver monstrance, and that the monastery had no money to pay
Christovam de Figueiredo for painting the great reredos of the high
altar and those of the other chapels, 'and, Sir, it is necessary that
they should be painted.'

Besides making so many gifts to Sta. Cruz, Dom Manoel endowe