The inside was of the usual pattern, except that the pilasters were not coupled between the chapels, that they were panelled, and that above the low chapel arches there are square windows looking into a gallery.
Torreão do Paço.
Besides these churches Terzi built for Philip a large addition to the royal palace in the shape of a great square tower or pavilion, called the Torreão. The palace then stood to the west of what is now called the Praça do Commercio, and the Torreão jutted out over the Tagus. It seems to have had five windows on the longer and four on the shorter sides, to have been two stories in height, and to have been covered by a great square dome-shaped roof, with a lantern at the top and turrets at the corners. Pilasters stood singly between each window and in pairs at the corners, and the windows all had pediments. Now, not a stone of it is left, as it was in the palace square, the Terreno do Paço da Ribeira, that the earthquake was at its worst, swallowing up the palace and overwhelming thousands of people in the waves of the river.
Coimbra, Sé Nova.
Meanwhile the great Jesuit church at Coimbra, now the Sé Nova or new cathedral, had been gradually rising. Founded by Dom João iii. in 1552, and dedicated to the Onze mil Virgems, it cannot have been begun in its present form till much later, till about 1580, while the main, or south, front seems even later still.[164]]
Inside, the church consists of a nave of four bays with side chapels—in one of which there is a beautiful Manoelino font—transepts and chancel with a drumless dome over the crossing. In some respects the likeness to São Vicente is very considerable; there are coupled Doric pilasters between the chapels, the barrel vault is coffered, and the chapel arches are extremely plain. But here the likeness ends. The pilasters are panelled and have very simple moulded capitals; the entablature is quite ordinary, without triglyphs or mutules, and is broken round each pair of pilasters; the coffers on the vault are very deep, and are scarcely moulded; and, above all, the proportions are quite different as the nave is too wide for its height, and the drum is terribly needed to lift up the dome. In short, the architect seems to have copied the dispositions of Santo Antão and has done his best to spoil them, and yet he has at the same time succeeded in making the interior look large, though with an almost Herrera-like clumsiness.
The south front is even more like Santo Antão. As there, three doors take the place of the porch, and the only difference below is that each Doric pilaster is flanked by half pilasters. Above the entablature the front breaks out into a wild up-piling of various pediments, but even here the likeness to Santo Antão is preserved, in that a great curve comes down from the outer Ionic pilasters of the central part, to end, however, not in obelisks, but in a great volute: the small towers too are set much further back. Above, as below, the central part is divided into three. Of these the two outer, flanked by Ionic pilasters on pedestals, are finished off above with curved pediments broken to admit of obelisks. The part between these has a large window below, a huge coat of arms above, and rises high above the sides to a pediment so arranged that while the lower mouldings form an angle the upper form a curve on which stand two finials and a huge cross. ([Fig. 95].)
Oporto, Collegio Novo.
Very soon this fantastic way of piling up pieces of pediment and of entablature became only too popular, being copied for instance in the Collegio Novo at Oporto, where, however, the design is not quite so bad as the towers are brought forward and are carried up considerably higher. But apart from this horrid misuse of classic details the greatest fault of the façade at Coimbra is the disproportionate size of some of the details; the obelisks and the cherubs' heads on which they stand, the statues at the ends, and the central cross, and above all the colossal acanthus leaves in the great scrolls are of such a size as entirely to dwarf all the rest.
From what remains of the front of Santo Antão, it looks as if it and the front of the Sé Velha had been very much alike. Santo Antão was not quite finished till 1652, so that it is probable that the upper part of the west front dates from the seventeenth century, long after Terzi's death, and that the Sé Nova at Coimbra was finished about the same time, and perhaps copied from it.