Before turning to the many churches built towards the end of the fifteenth century, one of the cloisters of the great convent at Thomar must be mentioned. It is that called 'do Cemiterio,' and was built by Prince Henry the Navigator, duke of Vizeu, during his grandmastership of the Order of Christ about the year 1440. Unlike those at Alcobaça or at Lisbon, which were derived from a Cistercian plan, and were always intended to be vaulted, this small cloister followed the plan, handed down from romanesque times, where on each side there is a continuous arcade resting on coupled shafts. Such cloisters, differing only from the romanesque in having pointed arches and capitals carved with fourteenth-century foliage, may still be seen at Santo Thyrso and at São Domingos, Guimarães, in the north. Here at Thomar the only difference is that the arches are very much wider, there being but five on each side, and that the bell-shaped capitals are covered with finely carved conventional vine-leaves arranged in two rows round the bells. As in the older cloisters one long abacus unites the two capitals, but the arches are different, each being moulded as one deep arch instead of two similar arches set side by side. CHAPTER VI LATER GOTHIC During the last ten or fifteen years of the fifteenth century there was great activity in building throughout almost the whole country, but it now becomes almost impossible to take the different buildings in chronological order, because at this time so many different schools began to struggle for supremacy. There was first the Gothic school which, though increasing in elaboration of detail, went on in some places almost uninfluenced by any breath of the renaissance, as for instance in the porch and chancel of Braga Cathedral, not built till about 1532. Elsewhere this Gothic was affected partly by Spanish and partly by Moorish influence, and gradually grew into that most curious and characteristic of styles, commonly called Manoelino, from Dom Manoel under whom Portugal reached the summit of its prosperity. In other places, again, Gothic forms and renaissance details came gradually to be used together, as at Belem. To take then first those buildings in which Gothic detail was but little influenced by the approaching renaissance. [Sidenote: Graça, Santarem.]