Francis Frith, Photograph: Batalha, Portugal, mislabeled “Capela Imperfeita [Unfinished Chapel],” actually Main Portal of the Mosteiro de Santa Maria da VitÃ³ria [Monastery of St. Mary of Victory], photographed between 1850 and 1880, whole-plate albumen print from wet collodion glass negative, Victoria & Albert Museum.
My personal version of OCD makes me research and identify striking unknown Tumblr images which come to my attention.
The Monastery of Batalha (Portuguese: Mosteiro da Batalha), literally the Monastery of the Battle, is a Dominican convent in the civil parish of Batalha, in the district of Leiria, in central region of Portugal. Originally, and officially known, as the Monastery of Saint Mary of the Victory (Portuguese: Mosteiro de Santa Maria da VitÃ³ria), it was erected in commemoration of the 1385 Battle of Aljubarrota, and would serve as the burial church of the 15th-Century Aviz dynasty of Portuguese royals. It is one of the best and original examples of Late Gothic architecture in Portugal, intermingled with the Manueline style.
The convent was built to thank the Virgin Mary for the Portuguese victory over the Castilians in the battle of Aljubarrota in 1385, fulfilling a promise of King John I of Portugal. The battle put an end to the 1383-1385 crisis.
It took over a century to build, starting in 1386 and ending circa 1517, spanning the reign of seven kings. It took the efforts of fifteen architects (Mestre das Obras da Batalha), but for seven of them the title was no more than an honorary title bestowed on them. The construction required an enormous effort, using extraordinary resources of men and material. New techniques and artistic styles, hitherto unknown in Portugal, were deployed.
Work began in 1386 by the Portuguese architect Afonso Domingues who continued till 1402. He drew up the plan and many of the structures in the church and the cloister are his doing. His style was essentially Rayonnant Gothic, however there are influences from the English Perpendicular Period. There are similarities with the faÃ§ade of York Minster and with the nave and transept of Canterbury Cathedral.
He was succeeded by Huguet from 1402 to 1438. This architect, who was probably from Catalonian descent, introduced the Flamboyant Gothic style. This is manifest in the main faÃ§ade, the dome of the square chapter house, the Founder’s Chapel, the basic structure of the Imperfect Chapels and the north and east naves of the main cloister. He raised the height of the nave to 32.46 m. By altering the proportions he made the interior of the church even seem narrower. he also completed the transept but he died before he could finish the Imperfect Chapels. …
The portal shows in the archivolt a profusion of 78 statues, divided over six rows, of Old Testament Kings, angels, prophets and saints, each under a baldachin. The splays on both sides display (inferior copies of) statues of the apostles, with one standing on a chained devil. The tympanum shows us Christ enthroned, sitting under a baldachin and flanked by the Four Evangelists, each with his own attribute.
Hat tip to Fred Lapides.