isty.]

The sacristy of Santa Cruz at Coimbra must have been begun before Nossa
Senhora da Serra had been finished. Though so much later--for it is
dated 1622--the architect of this sacristy has followed much more
closely the good Italian forms introduced by Terzi. Like that of the Se
Velha, the sacristy of Santa Cruz is a rectangular building, and
measures about 52 feet long by 26 wide; each of the longer sides is
divided into three bays by Doric pilasters which have good capitals, but
are themselves cut up into many small panels. The cornice is partly
carried on corbels as in the Serra church, but here the effect is much
better. There are large semicircular windows, divided into three lights
at each end, and

[Illustration: FIG. 98.

OPORTO.

CLOISTER, NOSSA SENHORA DA SERRA DO PILAR.]

[Illustration: FIG. 99.

COIMBRA.

SACRISTY OF STA. CRUZ.]

the barrel vault is covered with deep eight-sided coffers. One curious
feature is the way the pilasters in the north-east corner are carried on
corbels, so as to leave room for two doors, one of which leads into the
chapter-house behind the chancel. (Fig. 99.)

[Sidenote: Lisbon, Santa Engracia.]

Twenty years later was begun the church of Santa Engracia in Lisbon. It
was planned on a great scale; a vast dome in the centre surrounded by
four equal apses, and by four square towers. It has never been finished,
and now only rises to the level of the main cornice; but had the dome
been built it would undoubtedly have been one of the very finest of the
renaissance buildings in the country.

Like the Serra church it is, outside, two stories in height having Doric
pilasters below--coupled at the angles of the towers--and Ionic above.
In the western apse, the pilasters are replaced by tall detached Doric
columns, and the Ionic pilasters above by buttresses which grow out of
voluted curves. Large, simply moulded windows are placed between the
upper pilasters, with smaller blank windows above them, while in the
western apse arches with niches set between pediment-bearing pilasters
lead into the church.

Here, in Santa Engracia, is a church designed in the simplest and most
severe classic form, and absolutely free of all the fantastic misuse of
fragments of classic detail which had by that time become so common, and
which characterise such fronts as those of the Se Nova at Coimbra or the
Collegio Novo at Oporto. The niches over the entrance arches are severe
but well des