It is impossible now to say how much each of these different architects contributed to the building as finished. At Setubal Boutaca had built a church with three vaulted aisles of about the same height. The idea was there carried out very clumsily, but it is quite likely that Belem owes its three aisles of equal height to his initiative even though they were actually carried out by some one else. Judging also from the style, for the windows show many well-known Manoelino features, while the detail of the great south door is more purely Gothic, they too and the walls may be the work of Boutaca or of Lourenço Fernandes, while the great door is almost certainly that of João de Castilho. In any case, when João de Castilho came the building was not nearly finished, for in 1522 he received a thousand cruzados towards building columns and the transept vault.[130] But even more important to the decoration of the building than either Boutaca or João de Castilho was the coming of Master Nicolas, the Frenchman[131] whom we shall see at work at Coimbra and at São Marcos. Belem seems to have been the first place to which he came after leaving home, and we soon find him at work there on the statues of the great south door, and later on those of the west door, where, with the exception of the Italian door at Cintra, is carved what is probably the earliest piece of renaissance detail in the country. The south door, except for a band of carving round each entrance, is free of renaissance detail, and so was probably built before Nicolas added the statues, but in the western a few such details begin to appear, and in these, as in the band round the other openings, he may have had a hand. Inside renaissance detail is more in evidence, but since the great piers would not be carved till after they were built, it is more likely that the renaissance work there is due to João de Castilho himself and to what he had learned either from Nicolas or [Illustration: FIG. 62. TORRE DE SÃO VICENTE. BELEM.] [Illustration: FIG. 63. BELEM. SACRISTY.] from the growing influence of the Coimbra School. It is, of course, also possible that when Nicolas went to Coimbra, where he was already at work in 1524, some French assistant may have stayed behind, yet the carving on the piers is rather coarser than in most French work, and so was more probably done by Portuguese working under Castilho's direction.