Interesting and even beautiful as are the tombs on the north side of the chancel of São Marcos, the chapel dos Reis Magos is even more important historically. This chapel, as stated above, was built by Dona Antonia de Vilhena in 1556 as a monument to her husband. Dona Antonia was in her time noted for her devotion to her husband's memory, and for her patriotism in that she sent her six sons to fight in Morocco, from whence three never returned. Her brother-in-law, Lourenço da Silva, also, who lies on the east side of the same chapel, fell in Africa in the fatal battle of Alcacer-Quebir in 1578, where Portugal lost her king and soon after her independence.
The chapel is entered from the nave by a large arch enriched in front with beautiful cherubs' heads and wreaths of flowers, and on the under side with coffered panels. This arch springs from a beautifully modelled entablature borne on either side by a Corinthian pilaster, panelled and carved, and by a column fluted above, and wreathed with hanging fruits and flowers below, while similar arches form recesses on the three remaining sides of the chapel, one—to the north—containing the altar, and the other two the tombs of Diogo and of Lourenço da Silva.
On the nave side, outside the columns, there stands on either side—placed like the columns on a high pedestal—a pilaster, panelled and carved with exquisite arabesques. These pilasters have no capitals, but instead well-moulded corbels, carved with griffin heads, uphold the entablature, and, by a happy innovation, on the projection thus formed are pedestals bearing short Corinthian columns. These support the main entablature whose cornice and frieze are enriched, the one with egg and tongue and with dentils, and the other with strapwork and with leaves. In the spandrils above the arch are medallions surrounding the heads of St. Peter and of St. Paul, St. Peter being especially expressive.
Inside, the background of each tomb recess is covered with strapwork, surrounding in one case an open and in another a blank window, but unfortunately the reredos representing the Visit of the Magi is gone, and its place taken by a very poor picture of Our Lady of Lourdes.
The pendentives with their cherub heads are carried by corbels in the corners, and the dome is divided by bold ribs, themselves enriched with carving, into panels filled with strapwork. ([Fig. 80].)
This chapel then is of great interest, not only because of the real beauty of its details but also because it was the first built of a type which was repeated more than once elsewhere, as, for instance, at Marceana near Alemquer, on the Tagus, and in the church of Nossa Senhora dos Anjos at Montemor-o-Velho, not far from São Marcos. Of the chapels at Montemor one at least was built by the same family, and in another where the reredos—a very fine piece of carving—represents a Pietà, small angels are seen to weep as they look from openings high up at the sides.
Perhaps the most successful feature of the design is the happy way in which corbels take the place of capitals on the lower pilasters of the front. By this expedient it was possible to keep the upper column short without having to compare its proportions with those of the pilaster below, and also by projecting these columns to give the upper part an importance and an emphasis it would not otherwise have had.
There is no record of who designed this or the similar chapels, but by 1556 enough time had passed since the coming of the French for native pupils to have learned much from them. There is in the design something which seems to show that it is not from the hand of a Frenchman, but from that of some one who had learned much from Master Nicolas or from João de Ruão, but who had also learned something from elsewhere. While the smaller details remain partly French, the dome with its bold ribs suggests Italy, and it is known that Dom Manoel, and after him Dom João, sent young men to Italy for study. In any case the result is something neither Italian nor French.
Even more Italian is the tomb of Dona Antonia's father-in-law, João da Silva, sixth lord of Vagos, erected in 1559 and probably by the same sculptor. João da Silva lies in armour under a round arch carved with flowers and cherubs. In front of his tomb is a long inscription on a tablet held by beautifully modelled boys. On each side of the arch is a Corinthian pilaster, panelled and carved below and having at the top a shallow niche in which stand saints. On the entablature, enriched with medallions and strapwork, is a frame supported by boys and containing the da Silva arms. But the most interesting and beautiful part of the monument is the back, above the effigy. Here, in the upper part, is a shallow recess flanked by corbel-carried pilasters, and containing a relief of the Assumption of the Virgin. Now, the execution of the Virgin and of the small angels who bear her up may not be of the best, but the character of the whole design is quite Italian, and could only have been carved by some one who knew Italian work. On either side of this recess are round-headed niches containing saints, while boys sit in the spandrils above the arch.
Any one seeing this tomb will be at once struck with the Italian character of the design, especially perhaps with the boys who hold the tablet and with those who sit in the spandrils.[148]]