The square tower is exceedingly plain, without string course or buttress to mitigate its severity. Half-way up on the west side is a small window with a battlemented balcony in front projecting out on three great corbels; higher up are plain belfry windows. At the top, square balconies or bartizans project diagonally from the corners; the whole, though there are but three pyramidal battlements on each side, being even more strongly fortified than the rest of the church. Now in the fourteenth century such fortification of a church can hardly have been necessary, and they were probably built rather to show that the church belonged to a military order than with any idea of defence. The inside is less interesting, the pointed arches are rather thin and the capitals poor, the only thing much worthy of notice being the font, belonging to the time of change from Gothic to Renaissance, and given in 1512.[71] [Sidenote: Chancel, Sé, Lisbon.] Of the other buildings of the time of Dom Affonso IV. who succeeded his father Diniz in 1328 the most important [Illustration: FIG. 30. COIMBRA. STA. CLARA.] has been the choir of the cathedral at Lisbon; the church had been much injured by an earthquake in 1344 and the whole east end was at once rebuilt on the French plan, otherwise unexampled in Portugal except by the twelfth-century choir at Alcobaça. Unfortunately the later and more terrible earthquake of 1755 so ruined the whole building that of Dom Affonso's work only the surrounding aisle and its chapels remain. The only point which calls for notice is that the chapels are considerably lower than the aisle so as to admit of a window between the chapel arch and the aisle vault. All the chapels have good vaulting and simple two-light windows, and capitals well carved with naturalistic foliage. In one chapel, that of SS. Cosmo and Damião, screened off by a very good early wrought-iron grill, are the tombs of Lopo Fernandes Pacheco and of his second wife Maria Rodrigues. Dona Maria, lying on a stone sarcophagus, which stands on four short columns, and whose sides are adorned with four shields with the arms of her father, Ruy di Villa Lobos, has her head protected by a carved canopy and holds up in her hands an open book which, from her position, she could scarcely hope to read.[72] [Sidenote: Royal tombs, Alcobaça. (Fig. 31.)]