me one who had learned much from Master Nicolas or from
Joao de Ruao, but who had also learned something from elsewhere. While
the smaller details remain partly French, the dome with its bold ribs
suggests Italy, and it is known that Dom Manoel, and after him Dom Joao,
sent young men to Italy for study. In any case the result is something
neither Italian nor French.

Even more Italian is the tomb of Dona Antonia's father-in-law, Joao da
Silva, sixth lord of Vagos, erected in 1559 and probably by the same
sculptor. Joao da Silva lies in armour under a round arch carved with
flowers and cherubs. In front of his tomb is a long inscription on a
tablet held by beautifully modelled boys. On each side of the arch is a
Corinthian pilaster, panelled and carved below and having at the top a
shallow niche in which stand saints. On the entablature, enriched with
medallions and strapwork, is a frame supported by boys and containing
the da Silva arms. But the most interesting and beautiful part of the
monument is the back, above the effigy. Here, in the upper part, is a
shallow recess flanked by corbel-carried pilasters, and containing a
relief of the Assumption of the Virgin. Now, the execution of the Virgin
and of the small angels who bear her up may not be of the best, but the
character of the whole design is quite Italian, and could only have been
carved by some one who knew Italian work. On either side of this recess
are round-headed niches containing saints, while boys sit in the
spandrils above the arch.

Any one seeing this tomb will be at once struck with the Italian
character of the design, especially perhaps with the boys who hold the
tablet and with those who sit in the spandrils.[148]

[Illustration: FIG. 79.

SAO MARCOS. CHANCEL.]

[Illustration: FIG. 80.

SAO MARCOS. CHAPEL OF THE "REYES MAGOS." _From a photograph by E. Biel &
Co., Oporto._]

Even without leaving their country, Portuguese designers would already
have had no great difficulty in finding pieces of real Italian work. Not
to speak of the white marble door in the old palace of Cintra, possibly
the work of Sansovino himself, with its simple mouldings and the
beautiful detail of its architrave, there exist at Evora two doorways
originally belonging to the church of Sao Domingos, which must either be
the work of Italians or of some man who knew Italy. (Fig. 81.)

[Sidenote: Evora, Sao Domingos.]

Built of white marble from Estremoz and dating from ab