ain buttresses run up to the belfry
stage which has round-headed openings, and above it is a low octagonal
spire set diagonally and surrounded by eight pinnacles.

The most unusual feature of the whole cathedral is the fine octagonal
lantern at the crossing. Each face has a two-light window, pointed
outside, with a round-headed arch within, leaving a passage between the
two walls. At each angle are plain buttresses, weathered back a few feet
below the corbel table, above which stand eight octagonal pinnacles each
with eight smaller pinnacles surrounding a conical stone spire. The
whole lantern is covered by a steep stone roof which, passing
imperceptibly from the octagonal to the round, is covered, as are all
the other pinnacles, with scales carved in imitation of tiles. Inside
the well-moulded vaulting ribs do not rise higher than the windows,
leaving therefore a large space between the vault and the outer stone
capping. (Fig. 21.)

Lanterns, especially octagonal lanterns, are particularly common in
Spain, and at Salamanca and its neighbourhood were very early developed
and attained to a remarkable degree of perfection before the end of the
twelfth century. It is strange, therefore, that they should be so rare
in Portugal where there seem now to be only three: one, square, at
Coimbra, an octagonal at Lisbon, and one here, where however there is
nothing of the internal dome which is so striking at Salamanca. Probably
this lantern was one of the enrichments added to the church by Bishop
Durando who died in 1283, for the capitals of the west door look
considerably later.

This door is built entirely of white marble with shafts which look, as
do those of the south transept door, almost like Cipollino, taken
perhaps from some Roman building. It has well-moulded arches and abaci;
capitals richly carved with realistic foliage, and on each side six of
the apostles, all very like each other, large-headed, long-bearded, and
long-haired, with rather good drapery but bodies and legs which look far
too short. St. Peter alone, with short curly hair and beard, has any
individuality, but is even less prepossessing than his companions. They
are, however, among the earliest specimens of large figure sculpture
which survive, and by their want of grace make it easier to understand
why Dom Manoel employed so many foreign artists in the early years of
the sixteenth century.

[Illustration: FIG. 20.

EVORA.

SE. INTERIOR.]

[Illust