Portugal, archbishop of Evora, built himself a small country house which he called Sempre Noiva, or 'Ever New,' about the beginning of the sixteenth century. It is now a ruin having lost all its woodwork, but the walls are still well preserved. The plan is simple; a rectangle with a chapel projecting from the eastern side, and a small wing from the west end of the south side. All the ground floor is vaulted, as is the chapel, but the main rooms on the first floor had wooden roofs, except the one next the chapel which forms the middle floor of a three-storied tower, which, rising above the rest of the building, has a battlemented flat roof reached by a spiral stair. This stair, like the round buttresses of the chapel, is capped by a high conical plastered roof. As usual the whole, except the windows and the angles, is plastered and has a sgraffito frieze running round under the cornice. There is a large porch on the north side covering a stair leading to the upper floor, where most of the windows are of two lights and very like those of the pavilion at Evora. Two like them have the ogee moulding, and at the sides a rounded moulding carried on corbels and finished above the window with a carved finial. The capitals are again carved with leaves, but the horseshoe arches have no cusps, and the mouldings, like the capitals, are entirely Gothic; the union between the two styles, Gothic and Arab, was already becoming closer. Naturally Moorish details are more often found in secular than in religious buildings: yet there are churches where such details exist even if the general plan and design is Christian. [Sidenote: São João Evangelista, Evora.] Just to the north of the cathedral of Evora, Rodrigo Affonso de Mello, count of Olivença, in 1485 founded a monastery for the Loyos, or Canons Secular of St. John the Evangelist. The church itself is in no way notable; the large west door opening under a flat arched porch is one of these with plain moulded arches and simple shafts which are so common over all the country, and is only interesting for its late date. At the left side is a small monument to the founder's memory; on a corbel stands a short column bearing an inscribed slab, and above the slab is a shield under a carved curtain. Inside are some tombs--two of them being Flemish brasses--and great tile pictures covering the walls. These give the life of São Lorenzo Giustiniani, patriarch of Venice, and canon of San Giorgio in Alga, where the founder of the Loyos had been kindly received and whence he drew the rules of his order, and are interesting as being signed and dated 'Antonius ab oliva fecit 1711.'