] but otherwise the detail is all Gothic. Twisted
shafts bearing the corbels, elaborate canopies, crocketed finials, all
are rather Gothic than Manoelino. Since the material--a kind of
marble--is much less fine than the stone used at Batalha or in Coimbra
or Thomar, the carving is naturally less minute and ivory-like than it
is there, and this is especially the case with the foliage, which is
rather coarse. The statues too--except perhaps Prince Henry's--are a
little short and sturdy.

The tall windows in the bays on either side of this great door are like
those in the transept, except that round them are three bands of carving
instead of two, the one in the centre formed of rods which at intervals
of about a foot are broken to cross each other in the middle, and that
beyond the jambs tall twisted shafts run up to round finials just under
the cornice.

In the next bay to the west, where is the choir gallery inside, there
are two windows, one above the other, like the larger ones but smaller,
and united by a moulding which runs round both.

The same is the case with the tower, where, however, the upper window is
divided into two, the lower being a circle and the upper having three
intersecting lights. The drip-mould is also treated in the common
Manoelino way with large spreading finials. Above the cornice, which is
less elaborate than in the nave, was a short octagonal drum capped by a
low spire, now replaced by a poor dome and flying buttresses.

The west door once opened into a three-aisled porch now gone. It is much
less elaborate than the great south door, but shows great ingenuity in
fitting it in under what was once the porch vault. The twisted and
broken curves of the head follow a common Manoelino form, and below the
top of the broken hood-mould are two flying angels who support a large
corbel on which is grouped the Holy Family. On the jambs are three
narrow bands of foliage, and one of figures standing under renaissance
canopies. On either side are spreading corbels and large niches with
curious bulbous canopies[133] under which kneel Dom Manoel on the left
presented by St. Jerome, and on the right, presented by St. John the
Baptist, his second wife, Queen Maria--like the first, Queen Isabel, a
daughter of Ferdinand and Isabella and the aunt of his third wife,
Leonor. These figures are evidently portraits, and even if they were
flattered show that they were not a handsome couple.

Below these large corbel