to is of the thirteenth century.
The cup is quite plain and small, but on the wide-spreading base are
eight enamels of Our Lady and of seven of the Apostles.

The finest of all the objects in the Guimaraes treasury is the reredos,
taken by Dom Joao I. from the Spanish king's tent after the victory of
Aljubarrota, and one of the angels which once went with it.

The same king also gave to the small church of Sao Miguel a silver
processional cross, all embossed with oak leaves, and ending in
fleurs-de-lys, which rises from two superimposed octagons, covered with
Gothic ornament.

Another beautiful cross now at Coimbra has a 'Virgin and Child' in the
centre under a rich canopy, and enamels of the four Evangelists on the
arms, while the rest of the surface including the foliated ends is
covered with exquisitely pierced flowing tracery. (Fig. 5.)

Earlier are the treasures which once belonged the Queen St. Isabel who
died in 1327, and which are still preserved at Coimbra. These include a
beautiful and simple cross of agate and silver, a curious reliquary made
of a branch of coral with silver mountings, her staff as abbess of St.
Clara, shaped like the cross of an Eastern bishop, and with heads of
animals at the ends of the arms, and a small ark-shaped reliquary of
silver and coral now set on a high renaissance base.

But nearly all the surviving church plate dates from the time of Dom
Manoel or his son.

To Braga Archbishop Diogo de Souza gave a splendid silver-gilt chalice
in 1509. Here the cup is adorned above by six angels holding emblems of
the Passion, and below by six others holding bells. Above them runs an
inscription, _Hic est calix sanguinis mei novi et eter_. The stem is
entirely covered with most elaborate canopy work, with six Apostles in
niches, while on the base are five other Apostles in relief, the
archbishop's arms, and six pieces of enamel.

Very similar is a splendid chalice in the Misericordia at Oporto,
probably of about the same date, and two at Coimbra. In both of these
the cup is embossed with angels and leafage--in one the angels hold
bells--and the stem is covered with tabernacle work. On the base of the
one is a _pieta_ with mourning angels and other emblems of the Passion
in relief, while that of the other is enriched with filigree work. (Fig.
6.)

Another at Guimaraes given by Fernando Alvares is less well proportioned
and less beautiful.

So far the architectural details of the chalic