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It is only necessary to compare São Vicente de Fora with the great clumsy cathedral which Herrera had begun to build five years earlier at Valladolid to see how immensely superior Terzi was to his Spanish contemporary.
It is probable, therefore, that tradition is right in assigning São Vicente to Terzi, and even if it be actually the work of Tinouco, he has here done little but copy what his master had already done elsewhere. After São Roque the first church begun by Terzi was Santo Antão, now attached to the hospital of São José.
Above the chapels are square-headed windows, and then a corbelled cornice. Even this is plain, and it owes most of its richness to the paintings and to the beautiful tiles which cover part of the walls. The three other great churches which were probably also designed by Terzi are Santo Antão, Sta. Maria do Desterro, and São Vicente de Fora.
The sacristy of Santa Cruz at Coimbra must have been begun before Nossa Senhora da Serra had been finished. Though so much later for it is dated 1622 the architect of this sacristy has followed much more closely the good Italian forms introduced by Terzi.
Two windows look south down the hillside over rich orchards and gardens, while immediately below them a water channel, the end of a great aqueduct built under Philip I. of Portugal, II. of Spain, by the Italian Filippo Terzi, cools the air, and, overflowing, clothes the arches with maidenhair fern. Another window opening on to the Claustro de Sta.
The church too is very poor, though the private chapel with barrel vault and white marble dome is better, yet the whole building shows, like the Graça porch, that classic architecture was not yet fully understood, for Diogo de Torralva had not yet finished his cloister at Thomar, nor had Terzi begun to work in Lisbon.
Filippo Terzi seems first to have been employed at Lisbon by the Jesuits in building their church of São Roque, begun about 1570. Outside the church is as plain as possible; the front is divided into three by single Doric pilasters set one on each side of the main door and two at each corner. Similar pilasters stand on these, separated from them only by a shallow cornice.
This picture, with all its glow of colour, is softer than the earlier works of the master, and reminds us of Titian...." The beautiful Santa Conversazione in the National Gallery, again, which was formerly in the Casa Terzi at Bergamo, was there attributed to Palma Vecchio.
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. 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 most important architectural event in Dom Sebastião's reign was the coming of Filippo Terzi from Italy to build São Roque, the church of the Jesuits in Lisbon, and the consequent school of architects, the Alvares, Tinouco, Turianno, and others who were so active during the reign of Philip.
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