The tower, which is not whitewashed, rises as a plain unadorned square to a little above the aisle roof, then turns to an octagon with, at the top, a plain belfry window on each face. Above these runs a corbelled gallery within which springs an octagonal spire cut into three by two bands of ornament, and ending in a large armillary sphere, that emblem of all the discoveries made during his reign, which Dom Manoel put on to every building with which he had anything to do. Inside the chapels are as usual overloaded with huge reredoses of heavily carved and gilt wood, but the original pulpit still survives, a most beautiful example of the finest late Gothic carving. It consists of four sides of an octagon, and stands on ribs which curve outwards from a central shaft. Round the bottom runs a band of foliage most marvellously undercut, above this are panels separated the one from the other by slender pinnacles, and the whole ends in a cornice even more delicately carved than is the base. At the top of each panel is some intricate tabernacle work, below which there is on one the Cross of the Order of Christ, on another the royal arms, with a coronet above which stands out quite clear of the panel, and on a third there has been the armillary sphere, now unfortunately quite broken off. But even more interesting than this pulpit itself is the comparison between its details and those of the nave or Coro added about the same time to the Templar church on the hill behind. Here all is purely Gothic, there there is a mixture of Gothic and renaissance details, and towards the west front an exuberance of carving which cannot be called either Gothic or anything else, so strange and unusual is it. [Sidenote: Villa do Conde.]