n, but most have
perished, either during the French invasion or during the eleven years
after the expulsion of the monks in 1834 when the church stood open for
any one to go in and do what harm he liked. Some also, including the
'Raising of Lazarus,' the 'Entry into Jerusalem,' the 'Resurrection,'
and the 'Centurion,' are now in Lisbon. Four--the 'Nativity,' the 'Visit
of the Magi,' the 'Annunciation,' and a 'Virgin and Child'--are known to
have been given by Dom Manoel; twenty others, including the four now at
Lisbon, are spoken of by Raczynski in 1843,[8] and some at least of
these, as well as the angels holding the emblems of the Passion, who
stand above the small arches of the inner octagon, may have been painted
by Johannes Dralia of Bruges, who died and was buried at Thomar in
1504.[9]

Also at Thomar, but in the parish church of Sao Joao Baptista, are some
pictures ascribed by Justi to a pupil of Quentin Matsys. Now it is known
that a Portuguese called _Eduard_ became a pupil of Matsys in 1504, and
four years later a Vrejmeester of the guild. So perhaps they may be by
this Eduard or by some fellow-pupil.

The Jesus Church at Setubal, built by Justa Rodrigues, Dom Manoel's
nurse, has fifteen paintings in incongruous gilt frames and hung high up
on the north wall of the church, which also have something of the same
style.[10]

More interesting than these are two pictures in the sacristy of Santa
Cruz at Coimbra, an 'Ecce Homo' and the 'Day of Pentecost.' It is the
'Pentecost' which is signed Velascus, and in it the Apostles in an inner
room are seen through an arcade of three arches like a chapter-house
entrance. Perhaps once part of the great reredos, this picture has
suffered terribly from neglect; but it must once have been a fine work,
and the way in which the Apostles in the inner room are separated by the
arcade from the two spectators is particularly successful.

In Oporto there exists at least one good picture, 'The Fountain of
Mercy,' now in the board-room of the Misericordia,[11] but painted to be
the reredos of the chapel of Sao Thiago in the Se where the brotherhood
was founded by Dom Manoel in 1499. (Fig. 3.)

In the centre above, between St. John and the Virgin, stands a crucifix
from which blood flows down to fill a white marble well.

Below, on one side there kneels Dom Manoel with his six sons--Joao,
afterwards king; Luis, duke of Beja; Fernando, duke of Guarda; Affonso,
afterwards archbisho