Very similar is a splendid chalice in the Misericordia at Oporto, probably of about the same date, and two at Coimbra. In both of these the cup is embossed with angels and leafage--in one the angels hold bells--and the stem is covered with tabernacle work. On the base of the one is a _pietà_ with mourning angels and other emblems of the Passion in relief, while that of the other is enriched with filigree work. (Fig. 6.) Another at Guimarães given by Fernando Alvares is less well proportioned and less beautiful. So far the architectural details of the chalices mentioned have been entirely national, but there is a custodia at Evora, whose interlacing canopy work seems to betray the influence of the Netherlands. The base of this custodia[20] or monstrance, in the shape of a chalice seems later than the upper part, which is surmounted by a rounded canopy whose hanging cusps and traceried panels strongly recall the Flemish work of the great reredos in the old cathedral at Coimbra. Even more Flemish are a pastoral staff made for Cardinal Henrique, son of Dom Manoel and afterwards king, a monstrance or reliquary at Coimbra,[21] and another at Guimarães.[22] Much splendid plate was also given to Santa Cruz at Coimbra by Dom Manoel, but all--candlesticks, lamps, crosses and a monstrance--have since vanished, sent to Gôa in India when the canons in the eighteenth century wanted something more fashionable. Belem also possessed splendid treasures, among them a cross of silver filigree and jewels which is still preserved. Much filigree work is still done in the north, where the young women invest their savings in great golden hearts or in beautiful earrings, though now bunches of coloured flowers on huge lockets of coppery gold are much more sought after. Curiously, many of the most famous goldsmiths of the sixteenth century were Jews. Among them was the Vicente family, a member of which made a fine monstrance for Belem in 1505, and which, like other families, was expelled from Coimbra to Guimarães between the years 1532 and 1537, and doubtless wrought some of the beautiful plate for which the treasury of Nossa Senhora is famous. The seventeenth century, besides smaller works, has left the great silver tomb of the Holy Queen St. Isabel in the new church of Santa Clara. Made by order of Bishop Dom Affonso de Castello Branco in 1614, it weighs over 170 lbs., has at the sides and ends Corinthian columns, leaving panels between them with beautifully chased framing, and a sloping top. Later and less worthy of notice are the coffins of the two first sainted abbesses of the convent of Lorvão, near Coimbra, in which elaborate acanthus scrolls in silver are laid over red velvet. TILE WORK OR AZULEJOS.