With the beginning of the Claustro dos Filippes the work of João de Castilho comes to an end. He had been actively employed for about forty years, beginning and ending at Thomar, finishing Belem, and adding to Alcobaça, besides improving the now vanished royal palace and even fortifying Mazagão on the Moroccan coast, where perhaps his work may still survive. In these forty years his style went through more than one complete change. Beginning with late Gothic he was soon influenced by the surrounding Manoelino; at Belem he first met renaissance artists, at Alcobaça he either used Manoelino and renaissance side by side or else treated renaissance in a way of his own, though shortly after, at Belem again, he came to use renaissance details more and more fully. A little later at Thomar, having a free hand--for at Belem he had had to follow out the lines laid down by Boutaca--he discarded Manoelino and Gothic alike in favour of renaissance. In this final adoption of the renaissance he was soon followed by many others, even before he laid down his charge at Thomar in 1551. In most of these buildings, however, it is not so much his work at Thomar which is followed--except in the case of cloisters--but rather the chapel of the Conceição, also at Thomar. Like it they are free from the more exuberant details so common in France and in Spain, and yet they cannot be called Italian. [Sidenote: Thomar, Conceição.] There is unfortunately no proof that the Conceição chapel is João's work; indeed the date inscribed inside is 1572, twenty-one years after his retirement, and nineteen after his death. Still this date is probably a mistake, and some of the detail is so like what is found in the great convent on the hill above that probably it was really designed by him. This small chapel stands on a projecting spur of the hill half-way down between the convent and the town. Inside the whole building is about sixty feet long by thirty wide, and consists of a nave with aisles about thirty feet long, a transept the width of the central aisle but barely projecting beyond the walls, a square choir with a chapel on each side, followed by an apse; east of the north choir chapel is a small sacristy, and east of the south a newel-less stair--like that in the Claustro de Sta. Barbara--leading up to the roof and down to some vestries under the choir. Owing to the sacristy and stair the eastern part of the chancel, which is rather narrower than the nave, is square, showing outside no signs of the apse.