[a; b; c] -The Manueline works at the Monastery of Santa Cruz: church (Jacques Boytac: 1507-14) and cloister (Marcos Pires, 1517-21). Photos by the author.

Contexts in source publication

Context 1

... 1517 and 1522), saw the building of the late-Gothic Silence cloister (Fig.1c), which also replaced a former Romanesque structure (Correia and Gonçalves, 1947: 41;Dias, 1982: 136-138). ...

Context 2

... "description and drawing" of the Monastery of Santa Cruz (Descripçam e debuxo do mosteyro de Santa Cruz de Coimbra) was originally written In our opinion, the designer of this last chapel must be the same one responsible for the "Last Supper's" opening (and the totality of the refectory's east end, including pulpits, canopies and archways). The pilaster bases of this chapel's frontispiece are exactly the same, with the same detailing (Fig.10). In 1530, when the opening was almost certainly made, Jean de Rouen was the only artist at Santa Cruz which would have been able to elaborate such a design . ...

Context 3

... is not the occasion to elaborate on the disposition of the figures, which we are still working upon. Nonetheless, we know, through Independently of the layout of the long stone bench where the apostles sat, we think that the table would have Relating to the coffer design, we considered a simple grid of square coffers (Fig.12) as in the vault of the chapel of the Silence cloister, given the similarities between the pilasters of both frontispieces (of the "Last Supper" scene and of the cloister chapel) and the resemblance to the coffered vault sections of both pulpit canopies that still exist today. ...

Context 4

... the virtual reconstitution of the pulpits, and considering no pulpit by Jean de Rouen still remains today (and also considering Nicholas Chanterene's church pulpit at Santa Cruz to be too elaborate), we put forward a schematic version (Fig.13) ...

Context 5

... monastic main dormitory would eventually be built along a sole east-west wing over the new refectory and kitchen, as a contract of 26 th September 1530 clearly demonstrates (Garcia, 1913: 253-260;Dias, 1982: 161-164 Today, only a short sector survives. The original corridor was covered by a coffered wooden barrel vault, which no longer exists but can still be seen in old photographs (Fig.15). We have reasons to was refurbished in similar fashion in another, more recent, era. ...

Context 6

... architectonic piece that art historians have attributed to Jean de Rouen is the Manga Fountain tempietto, constructed between 1533 and 1535. The story goes, based on Mendanha, 53-54) which would give name to the tempietto that stood in its centre, a few years later (Fig. ...

Context 7

... the Manga fountain and tempietto stands as a permanent reminder of moral obligation and ideal attitude, passed down by Friar Brás to the canons through the refoundation of the house (Abreu, 2009: 40). Jean de Rouen was the artist behind the reformer's vision, the man capable of executing the classical dome supported by eight Corinthian columns and of coordinating the whole design (Fig.17). ...

Context 8

... the substitution of the original wooden drawbridges by the current wedged stone slabs (Fig.18a), another visible alteration was the opening of passages through the stone bases (in the shape of quarter circles) that unified each pair of Corinthian columns (Fig.18b). ...

Context 9

... the substitution of the original wooden drawbridges by the current wedged stone slabs (Fig.18a), another visible alteration was the opening of passages through the stone bases (in the shape of quarter circles) that unified each pair of Corinthian columns (Fig.18b). These passages originally did not exist -the stone bases have clearly been cut through. ...

Context 10

... passages originally did not exist -the stone bases have clearly been cut through. Therefore, physical access to the drawbridges was not straight forward (it may have been assisted by a stone square platform where the wooden drawbridges would land, Fig.18c). This reinforces, in our view, the required metaphysical process of passing from the "spiritual life", represented by the octagonal platform of the fountain, to the "over-essential and contemplative life" -of which no physical remnants subsisted, when the brother was enclosed in his turret-cell for "over-essential contemplation" (Fig.18d). ...

Context 11

... physical access to the drawbridges was not straight forward (it may have been assisted by a stone square platform where the wooden drawbridges would land, Fig.18c). This reinforces, in our view, the required metaphysical process of passing from the "spiritual life", represented by the octagonal platform of the fountain, to the "over-essential and contemplative life" -of which no physical remnants subsisted, when the brother was enclosed in his turret-cell for "over-essential contemplation" (Fig.18d). ...

Context 12

... is not known when these alterations were produced. We can observe, by enlarging the famous photograph of the Manga cloister of c a 1880 (again, Fig.16), that the stone benches had already been cut through and that the wooden drawbridges had already been replaced by the stone slabs. ...

Context 13

... monastic façade of Santa Cruz no longer exists, as well as the Porter's cloister that was built in the place of the old female monastery of São João das Donas . The whole western section Fig.19). Here, the most striking element appears: a half tempietto, just like the central piece of the Manga fountain, which stood over ...