Before finally leaving wood ceilings it were better to speak of another form or style which was sometimes used for their decoration although they are even freer from Moorish detail than are those at Coimbra, though probably like them ultimately derived from the same source. One of the finest of these ceilings is found in the upper Nuns' Choir in the church of Santa Clara at Villa do Conde. The church consists of a short nave with transepts and chancel all roofed with panelled wooden ceilings, painted grey as is often the case, and in no way remarkable. The church was founded in 1318, but the ceilings and stalls of both Nuns' Choirs, which, [Sidenote: Convent, Aveiro.] one above the other take up much the greater part of the nave, cannot be earlier than the first half of the seventeenth century. Like the other ceilings it is polygonal in section, but unlike all Moorish ones is not returned round the ends. Above a finely carved cornice with elaborate frieze, the whole ceiling is divided into deeply set panels, large and small squares with narrow rectangles between: all alike covered with elaborate carving, as are also the mouldings and the flat surfaces of the dividing bands. Here the wood is left in its natural colour, but in the nave of the church of a large convent at Aveiro, where the general design of the ceiling is almost the same, pictures are painted in the larger panels, and all the rest is heavily gilt, making the whole most gorgeous. As time went on wooden roofs became less common, stone barrel vaults taking their place, but where they were used they were designed with a mass of meaningless ornament, lavished over the whole surface, which was usually gilt. One of the most remarkable examples of such a roof is found in the chancel of that same church at Aveiro. It is semicircular in shape and is all covered with greater and smaller carved and gilt circles, from the smallest of which in the middle large pendants hang down. These circles are so arranged as to make the roof almost like that of Henry VII. Chapel, though the two really only resemble each other in their extreme richness and elaboration. This same extravagance of gilding and of carving also overtook altar and reredos. Now almost every church is full of huge masses of gilt wood, in which hardly one square inch has been left uncarved; sometimes, if there is nothing else, and the whole church--walls and ceiling alike--is a mass of gilding and painting, the effect is not bad, but sometimes the contrast is terrible between the plain grey walls of some old and simple building and the exuberance behind the high altar. [Illustration: FIG. 51. COIMBRA. HALL OF UNIVERSITY.] CHAPTER X EARLY MANOELINO