Even more Italian is the tomb of Dona Antonia's father-in-law, João da Silva, sixth lord of Vagos, erected in 1559 and probably by the same sculptor. João da Silva lies in armour under a round arch carved with flowers and cherubs. In front of his tomb is a long inscription on a tablet held by beautifully modelled boys. On each side of the arch is a Corinthian pilaster, panelled and carved below and having at the top a shallow niche in which stand saints. On the entablature, enriched with medallions and strapwork, is a frame supported by boys and containing the da Silva arms. But the most interesting and beautiful part of the monument is the back, above the effigy. Here, in the upper part, is a shallow recess flanked by corbel-carried pilasters, and containing a relief of the Assumption of the Virgin. Now, the execution of the Virgin and of the small angels who bear her up may not be of the best, but the character of the whole design is quite Italian, and could only have been carved by some one who knew Italian work. On either side of this recess are round-headed niches containing saints, while boys sit in the spandrils above the arch. Any one seeing this tomb will be at once struck with the Italian character of the design, especially perhaps with the boys who hold the tablet and with those who sit in the spandrils.[148] [Illustration: FIG. 79. SÃO MARCOS. CHANCEL.] [Illustration: FIG. 80. SÃO MARCOS. CHAPEL OF THE "REYES MAGOS." _From a photograph by E. Biel & Co., Oporto._] Even without leaving their country, Portuguese designers would already have had no great difficulty in finding pieces of real Italian work. Not to speak of the white marble door in the old palace of Cintra, possibly the work of Sansovino himself, with its simple mouldings and the beautiful detail of its architrave, there exist at Evora two doorways originally belonging to the church of São Domingos, which must either be the work of Italians or of some man who knew Italy. (Fig. 81.) [Sidenote: Evora, São Domingos.] Built of white marble from Estremoz and dating from about 1530, the panelled jambs have moulded caps on which rests the arch. Like the jambs, the arch has a splay which is divided into small panels. Above in the spandrils are ribboned circles enclosing well-carved heads. On either side are pilasters with Corinthian capitals of the earlier Italian kind. The entablature is moulded only, and instead of a pediment two curves lead up to a horizontal moulding supporting a shell, and above it a cherub's head. Such real Italian doors, which would look quite at home in Genoa, seem almost unique, but there are many examples of work which, like the tomb and the chapel at São Marcos, seem to have been influenced not only by the French school at Coimbra, but also by Italian work. [Sidenote: Portalegre.] [Sidenote: Tavira.] [Sidenote: Lagos.]