Boitac or Juan de Castilho. At the end of the side aisles and on both sides of the choir are altars (also in the Manueline style) dating from the 16th and the 17th centuries. They are decorated with carved wood and plated in golden and green pigment, and one of them supports the image of Saint Jerome in multi-coloured enamelled terracotta. This chancel was ordered by Queen Catherine of Austria as the final resting place for the royal family. It is the work of Jerónimo de Ruão (Jean de Rouen) in the Classical style. The royal tombs rest on marble elephants and are set between Ionic pillars, topped by Corinthian pillars. The tombs on the left side of the choir belong to King Manuel I and his wife Maria of Aragon, while the tombs on the right side belong to King João III and his wife Catherine of Austria. Lower choir Within the church, in the lower choir, are the stone tombs of Vasco da Gama (1468–1523), and of the great poet and chronicler of the Age of Discoveries, Luís de Camões (1527–1580). Both tombs were sculpted by the 19th-century sculptor Costa Mota in a harmonious neo-Manueline style. The mortal remains of both were transferred to these tombs in 1880. Monastery Work on the vast square cloister (55 × 55 m) of the monastery was begun by Boitac. He built the groin vaults with wide arches and windows with tracery resting on delicate mullions. Juan de Castilho finished the construction by giving the lower storey a classical overlay and building a more recessed upper storey. The construction of such a cloister was a novelty at the time. Castilho changed the original round columns of Boitac into rectangular ones, and embellished it with Plateresque-style ornamentation. Each wing consists of six bays with tracery vaults. The four inner bays rest on massive buttresses, forming broad arcades. The corner bays are linked by a diagonal arched construction and show the richly decorated corner pillars. The cloister had a religious function as well as a representative function by its decorative ornamentation and the dynastic symbolic motives, such as the armillarium, coat-of-arms, and the cross from the Order of Christ, showing the growing world power of Portugal. The inside walls of the cloister have a wealth of Manueline motives with nautical elements, in addition to European, Moorish and Eastern motifs. The round arches and the