he horizontal moulding, there is a row of urnlike objects,
the only renaissance features about the whole door. (Fig. 41.)

[Illustration: SAO JOAO BAPTISTA VILLA DO CONDE

S^TA MARIA DOS ANJOS CAMINHA]

Inside, all the piers are octagonal with a slender shaft at each angle;
these shafts alone having small capitals, while their bases stand on,
and interpenetrate with, the base of the whole pier. All the arches are
round--as are those leading to the chancel and transept chapels--and are
moulded exactly as are the piers. All the vaults have a network of
well-moulded ribs.

The tower has been added some fifty years later and is very
picturesque. It is of four stories: of these the lowest has rusticated
masonry; the second, on its western face, a square-headed window opening
beneath a small curly and broken pediment on to a balcony with very fine
balusters all upheld by three large corbels. The third story has only a
clock, and the fourth two plain round-headed belfry windows on each
face. The whole--above a shallow cornice which is no bigger than the
mouldings dividing the different stories--ends in a low stone dome, with
a bell gable in front, square below, and arched above, holding two
bells.

[Sidenote: Azurara.]

Scarcely a mile away, across the river Ave, lies Azurara, which was made
a separate parish in 1457 and whose church was built by Dom Manoel in
1498.

In plan it is almost exactly the same as Villa do Conde, except that
there are no transept chapels nor any flanking the chancel. Outside
almost the only difference lies in the parapet which is of the usual
shape with regular merlons; and in the west door which is an interesting
example of the change to the early renaissance. The door itself is
round-headed, and has Gothic mouldings separated by a broad band covered
with shallow renaissance carving. On each side are twisted shafts which
run up some way above the door to a sort of horizontal entablature,
whose frieze is well carved, and which is cut into by a curious ogee
moulding springing from the door arch. Above this entablature the shafts
are carried up square for some way, and end in Gothic pinnacles. Between
them is a niche surmounted by a large half-Gothic canopy and united to
the side shafts by a broken and twisted treelike moulding. What adds to
the strangeness of this door is that the blank spaces are plastered and
whitewashed, while all the rest of the church is of grey granite. Higher
up there