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Versão Portuguesa

XVII and XVIII century

On 16 July 1604 a decree by Philip III of Spain (Philip II of Portugal) defined the Monastery as a royal pantheon. A new gate was also built during this monarch's reign (approx. 1625). This led to construction of the Cloister gate, the gate house, the monastery staircase and the room that provided access to the upper cloister gallery, which were all designed by the royal architect Teodósio Frias and executed by the stonemason Diogo Vaz.

In 1640 the Monastery's Library was built, commissioned by the Abbot, Friar Bento de Siqueira. It housed the books left by the Infante Luís (Manuel I's son) and others who bequeathed assets to the religious order.

Following the restoration of the Portuguese monarchy, the Jerónimos Monastery regained importance as a royal pantheon, with four of the eight children of João IV being laid to rest in the church: Prince Teodósio (1634-1653), the Infanta Joana (1636-1653), King Afonso VI (1643-1683) and Catarina de Bragança [Queen Catherine of England, Ireland and Scotland] (1638-1705). On 29 September 1855 the remains of Afonso VI and his three siblings were moved to the pantheon of the House of Braganza in the Monastery of São Vicente de Fora in Lisbon.

One of the most important donations to the Jerónimos Monastery was made by Afonso VI and his brother Pedro in return for success at the Battle of Montes Claros in 1665, which put an end to the War of Restoration. Thus, in 1675, Pedro, as Regent, delivered the grandiose silver tabernacle, the work of the silversmith João de Sousa, which was placed behind the high altar replacing a painting of the "Adoration of the Magi", part of a triptych.

In 1682, in the reign of Pedro II, the remains of King Sebastião and the Cardinal Dom Henrique were placed in mausoleums similar to those in the High Altar.

In the late 17th century repair and additional work was carried out in the Monastery, including the covering of the Chapel of Our Lord of the Stations of the Cross and the altars in the transept in gilded wood and the frescoes on the stairway featuring the arms of St. Jerome, as well as those in room at the top of the staircase (ca. 1700).

18th Century

During the reign of João V, gilded carved wood retables in what became known as the Joanine style were added to the altars in the Transept in 1709-11 and the sacristy was redecorated in 1713.

In 1720, full-body portraits of the João V and his wife - the royal series - were commissioned from the painter Henrique Pereira; a painted nativity scene was also ordered from the same artist.

The Monastery survived the Great Earthquake of 1755, although the central part of the upper choir collapsed.