Not very far from Evora in Portalegre, where a bishop's see was founded by Dom João III. in 1549, there is a very fine monument of this kind to a bishop of the Mello family in the seminary, and also a doorway, while at Tavira in the Algarve the Misericordia has an interesting door, not unlike that at Evora, but more richly ornamented by having a sculptured frieze and a band of bold acanthus leaves joining the two capitals above the arch. There is another somewhat similar, but less successful, in the church of São Sebastião at Lagos. [Sidenote: Goes.] [Sidenote: Trofa.] Nearer Coimbra there are some fine monuments to the Silveira family at Goes not far from Louzã, and four less interesting to the Lemos in the little parish church of Trofa near Agueda. At Trofa there is a pair of tombs on each side of the chancel, round-arched, with pilasters and with heads in the spandrils, and covered with arabesques. Each pair is practically alike except that the tombs on the north side, being placed closer together leave no room for a central pilaster and have small shafts instead of panelled jambs, and that the pair on the south have pediments. The best feature is a figure of the founder of the chancel kneeling at prayer with his face turned towards the high altar. [Sidenote: Caminha.] Even in the far north the doors of the church at Caminha show how important had been the coming of the Frenchmen to Coimbra. They seem later than the church, but though very picturesque are clearly the work of some one who was not yet quite familiar with renaissance forms. The south door is the more interesting and picturesque. The arch and jambs are splayed, but there are no capitals; heads look out of circles in the spandrils; and the splay as well as the panels of the side pilasters are enriched with carvings which, partly perhaps owing to the granite in which they are cut, are much less delicate than elsewhere. The Corinthian capitals of the pilasters are distinctly clumsy, as are the mouldings, but the most interesting part of the whole design is the frieze, which is so immensely extended as to leave room for four large niches separated by rather clumsy shafts and containing figures of St. Mark and St. Luke in the middle and of St. Peter and St. Paul at the ends. Above in the pediment are a Virgin and Child with kneeling angels. Besides the innovation of the enlarged frieze, which reminds one of a door in the Certosa near Pavia, the clumsiness of the mouldings and the comparative poorness of the sculpture, though the figures are much better than any previously worked by native artists, suggest that the designer and workmen were Portuguese. The same applies to the west door, which is wider and where the capitals are of a much better shape, though the pilasters are rather too tall. The sculpture frieze is a little wider than usual, and instead of a pediment there is a picturesque cresting, above which are cut four extraordinary monsters. (Fig. 82.)