At the same time much was done to enrich the old Templars' church. All the shafts were covered with gilt diaper and the capitals with gold; crockets were fixed to the outer sides of the pointed arches of the central octagon, and inside it were placed figures of saints standing on Gothic corbels under canopies of beautiful tabernacle work. Similar statues stand on the vaulting shafts of the outer polygon and between them, filling in the spaces below the round-headed windows, are large paintings in the Flemish style common to all Portuguese pictures of that time--of the Nativity, of the Visit of the Magi, of the Annunciation, and of the Virgin and Child. To-day the only part of the south side visible down to the ground level is the eastern bay in which opens the great door. This is one of the works which João de Castilho claims as his, and on one of the jambs there is carved a strap, held by two lion's paws on which are some letters supposed to be his signature, and some figures which have been read as 1515, probably wrongly, for there seems to have been no renaissance work done in Portugal except by Sansovino till the coming of Master Nicolas to Belem in 1517 or later.[114] If it is 1515 and gives the date, it must mean the year when the mere building was finished, not the carving, for the renaissance band can hardly have been done till after his return from Belem. The doorway is one of great beauty, indeed is one of the most beautiful pieces of work in the kingdom. The opening itself is round-headed with three bands of carving running all round it, separated by slender shafts of which the outermost up to the springing of the arch is a beautiful spiral with four-leaved flowers in the hollows. Of the carved bands the innermost is purely renaissance, with candelabra, medallions, griffins and leaves all most beautifully cut in the warm yellow limestone. On the next band are large curly leaves still Gothic in style and much undercut; and in the last, four-leaved flowers set some distance one from the other. At the top, the drip-mould grows into a large trefoil with crockets outside and an armillary sphere within. At the sides tall thin buttresses end high above the door in sharp carved pinnacles and bear under elaborate canopies many figures of saints.[115] Two other pinnacles rise from the top of the arch, and between them are more saints. In the middle stands Our Lady, and from her canopy a curious broken and curving moulding runs across the other pinnacles and canopies to the sides. But that which gives to the whole design its chief beauty is the deep shadow cast by the large arch thrown across from one main buttress to the other just under the parapet. This arch, moulded and enriched with four-leaved flowers, is fringed with elaborate cusps, irregular in size, which with rounded mouldings are given a trefoil shape by small beautifully carved crockets. (Fig. 55.)