d, but there are no capitals; heads look out of circles in the
spandrils; and the splay as well as the panels of the side pilasters are
enriched with carvings which, partly perhaps owing to the granite in
which they are cut, are much less delicate than elsewhere. The
Corinthian capitals of the pilasters are distinctly clumsy, as are the
mouldings, but the most interesting part of the whole design is the
frieze, which is so immensely extended as to leave room for four large
niches separated by rather clumsy shafts and containing figures of St.
Mark and St. Luke in the middle and of St. Peter and St. Paul at the
ends. Above in the pediment are a Virgin and Child with kneeling angels.
Besides the innovation of the enlarged frieze, which reminds one of a
door in the Certosa near Pavia, the clumsiness of the mouldings and the
comparative poorness of the sculpture, though the figures are much
better than any previously worked by native artists, suggest that the
designer and workmen were Portuguese.

The same applies to the west door, which is wider and where the capitals
are of a much better shape, though the pilasters are rather too tall.
The sculpture frieze is a little wider than usual, and instead of a
pediment there is a picturesque cresting, above which are cut four
extraordinary monsters. (Fig. 82.)

[Sidenote: Moncorvo.]

A somewhat similar but much plainer door has been built against the
older and round-arched entrance of the Misericordia at Moncorvo in Traz
os Montes. The parish church of the same place begun in 1544 is both
outside and in a curious mixture of Gothic and Classic. The three aisles
are of the same height with round-arched Gothic vaults, but the columns
are large and round with bases and capitals evidently copied from Roman
doric, though the abacis have been made circular.

Outside the buttresses are still Gothic in form, but the west door is of
the fully developed renaissance. The opening is

[Illustration: FIG. 81.

PALACE, CINTRA.

DOOR BY SANSOVINO.]

[Illustration: FIG. 82.

W. DOOR, CAMINHA.]

flanked by coupled columns which support an entablature on which rest
four other shorter columns separating three white marble niches. Above
this is a window flanked by single columns which carry a pediment.
Though built of granite, the detail is good and the whole doorway not
unpleasing.[149]

But, that it was not only such details as doors and monuments that began
to show the result of the