In the centre--now partly blocked up by eighteenth-century additions, and sunk several feet below the street--is a great moulded arch, about eighteen feet across and once divided into two by a central jamb bearing a figure of Our Lord, whence the door was called 'Portal da Majestade'; above the arch a large round-headed window, deeply recessed, lights the choir gallery, and between it and the top of the arch are three renaissance niches, divided by pilasters, and containing three figures--doubtless some of those for which Diogo de Castilho and Master Nicolas were paid one hundred cruzados in 1524. The window with its mouldings is much narrower than the door, and is joined to the tall pinnacles which rise to the right and left of the great opening by Gothic flying buttresses. Between the side pinnacles and the central mass of the window a curious rounded and bent shaft rises from the hood-mould of the door to end in a semi-classic column between two niches, and from the shaft there grow out two branches to support the corbels on which the niche statues stand. All this is very like the great south door of the Jeronymite monastery at Belem, the work of Diogo's brother João de Castilho; both have a wide door below with a narrower window above, surrounded by a mass of pinnacles and statues, but here the lower door is far too wide, and the upper window too small, and besides the wall is set back a foot or two immediately on each side of the window so that the surface is more broken up. Again, instead of the whole rising up with a great pinnacled niche to pierce the cornice and to dominate parapet and cresting, the drip-mould of the window only gives a few ugly twists, and leaves a blank space between the window head and the straight line of the cornice and parapet; a line in no way improved by the tall rustic cross or the four broken pinnacles which rise above it. Straight crested parapets also crown the wall where it is set back, but at the sides the two corners grow into eight-sided turrets ending in low crocketed stone roofs. Of course the whole front has suffered much from the raising of the street level, but it can never have been beautiful, for the setting back of part of the wall looks meaningless, and the turrets are too small for towers and yet far too large for angle pinnacles. (Fig. 69.) Although the soft stone is terribly perished, greater praise can be given to the smaller details, especially to the figures, which show traces of considerable vigour and skill.