English Romantic poets, like Robert Southey and Lord Byron ("Deep in yon cave Honorius long did dwell/In hope to merit heaven, by making earth a hell"). 17th century In the 17th century, a painting/panel of São Pascoal Bailão by Vicente Carducho was completed, while in 1610, several mural paintings were created on the exterior of the Chapel of Senhor Morto. In 1650, a marker was erected to identify the road to the convent. In October 1654, King John IV of Portugal visited the convent, ordering the sheriff of Cascais to send the friars six dozen fish and dried meat, as well as all the fish necessary to support the festival of São Francisco. At the same time, D. Luísa de Gusmão provided the order for a moio of wheat and an arroba of cereals from annual harvests. By the second half of the 17th century, King Peter II of Portugal doubled the gift of D. Luísa de Gusmão. By 1684, the widow of Álvaro de Castro (the third patron of the convent), the lady Maria de Noronha, was buried at the door of the convent (as was the tradition at the time). Similar royal patronage was conceded by King John V of Portugal in the 18th century; he offered a pipa of olive oil to the convent per year, as well as an azulejo tiles. 18th and 19th centuries By 1728, the convent was described by friar António da Piedade as secluded "between dense fields, high boulders, and while trees, that in this refuge produces the mountains that are so many...". Similarly, the convent was still inhabited by members of the religious community in 1787. Between 1830 and 1837, William Burnett completed a carving on the steps leading to the Chapel of Santo António, flanked by a low wall. As a result of the extinction of the religious orders in Portugal, in 1834, the convent was acquired by the second Count of Penamacor, D. António de Saldanha Albuquerque e Castro Ribafria (1815–1864), descendant of João de Castro. It remained in the possession of this generation until 1873, when it was acquired by Sir Francis Cook, 1st Viscount of Monserrate. In 1889, the convent was described as "situated in the centre of a sad solitude, encircled by a dryness and whipped by gales...this small monastery, open to the rocks and containing a dozen cells, in which can barely move the disgraceful