Page:Lisbon and Cintra, Inchbold, 1907.djvu/47

Rh Gothic, Renaissance and Moorish forms, seen in its early purest style in the Cathedral of Belem, in a more elaborate stage in the cloisters at Batalha, and in its ultra-intricate and most exuberant state in the famous Capellas Imperfeitas.

In the ambulatory behind the choir is the Chapel of S. Vicente, whose remains D. Alfonso Henriques had removed from the cliff in the south and brought to Lisbon, the ship which conveyed them being piloted by the martyr's guardian ravens, one at the prow, the other at the stern. This episode with various others in S. Vicente's history are pictorially represented in the blue and white tiles which line the walls of the Cathedral aisles. Through the gilded grating of the chapel gleam the gold and black of the reredos above the altar which conceals the ashes and one hand of the Saint contained in two costly caskets, one of silver and ivory, the other of silver richly embossed with the figures of S. Vicente, the galley and the ravens. The ravens, by the way, multiplied so numerously, says tradition, that a special fund for their support was assigned to the chapter.

The royal tombs of D. Alfonso IV and his wife Rainha D. Brite sare worthy of note. It is that Alfonso who was the "Brave," his device, an eagle with outstretched wings and the words, "Altiera peto," showing his character. Here is also an old seat or throne of stone in which the early kings are said to have administered justice. The arms of Alfonso IV are upon the back; and it bears the date 1629, but this is considered to mark only the date of its removal to the Sé. Through iron grilles we peer at ancient tombs, figures, altars and the blue and white azulejos which to this day show the survival of Moorish art as an integral feature of Portuguese decoration. There is the Capella Sepulchre with sarcophagi on both sides, and one of them 25