One of the earliest of these is the west front, added towards the end of the fifteenth century to that Augustinian church of the Graça at Santarem whose roof the Devil knocked down in 1548. Here the ends of the side aisles are, now at any rate, quite plain, but in the centre there is a very elaborate doorway with a large rose-window above. It is easy to see that this doorway has not been uninfluenced by Batalha. From well-moulded jambs, each of which has four shafts, there springs a large pointed arch, richly fringed with cusping on its inner side. Two of its many mouldings are enriched with smaller cuspings, and one, the outermost, with a line of wavy tracery, while the whole ends in a crocketed ogee. Above the arch is a strip of shallow panelling, enclosed, as is the whole doorway, in a square moulded frame. May it not be that this square frame is due to the almost universal Moorish habit of setting an archway in a square frame, as may be seen at Cordoba and in the palace windows at Cintra? The rest of the gable is perfectly plain but for the round window, filled with elaborate spiral flowing tracery. Here, though the details are more French than national, there is a good example of the excellent result so often reached by later Portuguese--and Spanish--builders, who concentrated all their elaborate ornament on one part of the building while leaving the rest absolutely plain--often as here plastered and whitewashed. [Sidenote: São João Baptista, Thomar.] Not long after this front was built, Dom Manoel in 1494 began a new parish church at Thomar, that of São João Baptista. The plan of this church is that which has already become so familiar: a nave and aisles with wooden roof and vaulted chancel and chapels to the east, with here, the addition of a tower and spire to the north of the west front. The inside calls for little notice: the arches are pointed, and the capitals carved with not very good foliage, but the west front is far more interesting. As at the Graça it is plastered and whitewashed, but ends not in a gable but in a straight line of cresting like Batalha, though here there is no flat terrace behind, but a sloping tile roof. At the bottom is a large ogee doorway whose tympanum is pierced with tracery and whose mouldings are covered with most beautiful and deeply undercut foliage. The outside of the arch is crocketed, and ends in a tall finial thrust through the horizontal and crested moulding which, as at the Graça, sets the whole in a square frame. There are also doorways in the same style half-way along the north and south sides of the church. The only other openings on the west front are a plain untraceried circle above the door, and a simple ogee-headed window at the end of each aisle.