Above the entablature a second story rises forming a sort of portico. At the corners are square fluted Corinthian pilasters; between them in front runs a balustrading, divided into three by the pedestals of two slender columns, Corinthian also, and there are others next the pilasters. The entablature has been most delicate, with the finest wreaths carved on the frieze. Over the canted sides are built small round-domed turrets.
Above this the third story reaches nearly up to the top of the wall. In the middle is an arch resting on slender columns and supporting a pediment; on either side are square niches with columns at the sides, beyond them fan-shaped semicircles, and at the corners vases. Behind this there rise to the top of the battlements four panelled Doric pilasters with cornice above, and two deep round-headed niches with figures, one on each side.
Inside the church are pilasters and a wealth of delicate relief.
Perhaps the whole may not be much more fortunate than most attempts to build up a tall composition by piling columns one above the other, and the top part is certainly too heavy
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FIG. 75. Coimbra Sé Velha. Reredos. |
FIG. 76. Coimbra. Sé Velha. Chapel of São Pedro. |
for what comes below it. Yet the details are or were beautiful, and the portico above the door most graceful and pleasing, though, being unfortunately on the north side, the effect is lost of the deep shadow the sun would have thrown and the delicacy of the mouldings almost wasted.
Less important are the changes made to the north transept door. Fluted pilasters and Corinthian columns were inserted below, a medallion with a figure cut on the tympanum, and small coupled shafts resting on the Doric capitals of the pilasters built to uphold the entablature.
Inside the most important, as well as the most beautiful addition, was a reredos built by Dom Jorge as his monument in the chapel of São Pedro, the small apse to the north of the high altar.
Just above the altar table—which is of stone supported on one central shaft—are three panels filled in high relief with sculptured scenes from the life of St. Peter, the central and widest panel representing his martyrdom, while on the uprights between them are small figures under canopies.
The upper and larger part is arranged somewhat like a Roman triumphal arch. There are three arches, one larger and higher in the middle, with a lower and narrower one on each side, separated by most beautiful tall candelabrum shafts with very delicate half-Ionic capitals. In the centre, in front of the representation of some town, probably Rome, is Our Lord bearing His Cross and St. Peter kneeling at His feet—no doubt the well-known legend 'Domine quo vadis?' In the side arches stand two figures with books: one is St. Paul with a sword, and the other probably St. Peter himself. Above each of the side arches there is a small balustraded loggia, scarcely eighteen inches high, in each of which are two figures, talking, all marvellously lifelike. Beautiful carvings enrich the friezes everywhere, and small heads in medallions all the spandrils. At the top, in a hollow circle upheld by carved supports, crowned and bearing an orb in His left hand, is God the Father Himself. ([Fig. 76].)