and a fine one of the crucifixion in the Jesus Chapel
below it; but this is not the place to enter into the very difficult
question of Portuguese painting, a question on which popular tradition
throws only a misleading light by attributing everything to a more or
less mythical painter, Grao Vasco, and on which all authorities differ,
agreeing only in considering this St. Peter one of the finest paintings
in the country.

[Sidenote: Se, Braga.]

Perhaps the chancel of the cathedral at Braga ought rather

[Illustration: FIG. 42.

SE, VIZEU.]

[Illustration: FIG. 43.

BRAGA. W. PORCH OF CATHEDRAL.]

to be left to a chapter dealing with what is usually called the
Manoelino style--that strange last development of Gothic which is found
only in Portugal--but it is in many respects so like the choir chapels
of the church at Caminha, and has so little of the usual Manoelino
peculiarities, that it were better to describe it now. Whatever may be
thought of the chancel, there is no doubt about the large western porch,
which is quite free of any Manoelino fantasies.

Both porch and chancel were built by Archbishop Dom Diego de Souza about
the year 1530--a most remarkable date when the purely Gothic work here
is compared with buildings further south, where Manoelino had already
been succeeded by various forms of the classic renaissance. The porch
stretches right across the west end of the church, and is of three bays.
That in the centre, considerably wider than those at the side, is
entered from the west by a round-headed arch, while the arches of the
others are pointed. The bays are separated by buttresses of considerable
projection, and all the arches, which have good late mouldings, are
enriched with a fine feathering of cusps, which stands out well against
the dark interior. Unfortunately the original parapet is gone, only the
elaborate canopies of the niches, of which there are two to each bay,
rise above the level of the flat paved roof. Inside there is a good
vault with many well-moulded ribs, but the finest feature of it all is
the wrought-iron railing which crosses each opening. This, almost the
only piece of wrought-iron work worthy of notice in the whole country,
is very like contemporary screens in Spain. It is made of upright bars,
some larger, twisted from top to bottom, some smaller twisted at the
top, and plain below, alternating with others plain above and twisted
below. At the top runs a frieze of most ela