Probably this was the last part of the church to be built, and so would not be finished till about the year 1502, when the whole was dedicated.
More interesting than this is the Jesus College at Setubal. Founded by Justa Rodrigues, Dom Manoel's nurse, in 1487 or 1488 and designed by one Boutaca or Boitaca,[106] it was probably finished sooner than the church at Caldas, and is the best example in the country of a late Gothic church modified by the addition of certain Manoelino details. Unfortunately it was a good deal injured by the great earthquake in 1755, when it lost all pinnacles and parapets. The church consists of a nave and aisles of three and a half bays and of a square chancel. Inside, the side aisles are vaulted with a half barrel and the central with a simple vault having large plain chamfered ribs. The columns, trefoils in section, are twisted, and have simple moulded caps. The chancel which is higher than the nave is entered by a large pointed arch, which like its jambs has one of its mouldings twisted. The chancel vault has many ribs, most of which are also twisted. All the piers and jambs as well as the windows are built of Arrabida marble, a red breccia found in the mountains to the west of Setubal; the rest is all whitewashed except the arches and vaulting ribs which are painted in imitation of the marble piers.
Outside, the main door, also of Arrabida marble, is large and pointed, with many mouldings and two empty niches on each side. It has little trace of Manoelino except in the bent curves of the upturned drip-mould, and in the broken lines of the two smaller doors which open under the plain tympanum. The nave window is of two lights with simple tracery, but in the chancel, which was ready by 1495, the window shows more Manoelino tendencies. It is of three lights, with flowing tracery at the head, and with small cusped and crocketed arches thrown across each light at varying levels. There are niches on the jambs, and the outer moulding is carried round the window head in broken curves, after the manner of Resende's house at Evora. Though the chancel is square inside, the corners outside are cut off by a very broad chamfer, and a very curious ogee curve unites the two.