ter only being vaulted, with arcades resting
on Doric columns; at first there was a tower at each corner, but they
fell in 1755, and only one has been rebuilt. Most noticeable in the
church are the very fine tiles put up in 1648, with saintly figures over
each arch. They are practically the same as those in the parish church
of Alvito.

[Sidenote: Evora, Cartuxa.]

Another basilican church of this date is that of the Cartuxa or Charter
House,[167] founded by the same Archbishop Theotonio in 1587, a few
miles out of Evora. Only the west front, built about 1594 of black and
white marble, deserves mention. Below there is a porch, spreading beyond
the church, and arranged exactly like the lower Claustro dos Filippes at
Thomar, with round arches separated by two Doric columns on pedestals,
but with a continuous entablature carried above the arches on large
corbelled keystones. Behind rises the front in two stories. The lower
has three windows, square-headed and separated by Ionic columns, two on
each side, with niches between. Single Ionic columns also stand at the
outer angles of the aisles. In the upper story the central part is
carried up to a pediment by Corinthian columns resting on the Ionic
below; between them is a large statued niche surrounded by panels.

Unfortunately the simplicity of the design is spoilt by the broken and
curly volutes which sprawl across the aisles, by ugly finials at the
corners, and by a rather clumsy balustrading to the porch.

[Sidenote: Beja, Misericordia.]

The interior of the Misericordia at Beja, a square, divided into nine
smaller vaulted squares by arches resting on fine Corinthian columns,
with altar recesses beyond, looks as if it belonged to the time of Dom
Joao III., but if so the front must have been added later. This is very
simple, but at the same time strong and unique. The triple division
inside is marked by three great rusticated Doric pilasters on which rest
a simple entablature and parapet. Between are three round arches,
enclosing three doors of which the central has a pointed pediment, while
over the others a small round window lights the interior.

[Sidenote: Oporto, Nossa Senhora da Serra do Pilar.]

But by far the most original of all the buildings of this later
renaissance is the monastery of Nossa Senhora da Serra do Pilar in Villa
Nova de Gaya, the suburb of Oporto which lies south of the Douro.
Standing on a high granite knoll, which rises some fifty feet ab