Baroque-influenced plan in colonial Brazil is the Glória Church in Rio de Janeiro, probably built in the 1730s and attributed to the military engineer José Cardoso Ramalho based on oral tradition. The church has the form of two elongated and juxtaposed octagonal prisms, with the single tower situated in front. At the base of the tower is a small portico with arcades where the main entrance is located. The plan is absolutely original, both for Brazil and Portugal, and is a true landmark in Luso-Brazilian architecture. Another important church in Rio de Janeiro, unfortunately demolished in the 20th century, was the São Pedro dos Clérigos Church, dated 1733–1738. This church had an elliptical nave flanked by curved apses. The facade, curved, was flanked by two circular towers. São Pedro dos Clérigos in Rio was the first with these characteristics built in Brazil, and probably influenced the elliptical plans of certain churches from Minas Gerais built later. In Rio de Janeiro, also the churches of Conceição e Boa Morte (finished in 1758), Nossa Senhora Mãe dos Homens (begun in 1752), and Lapa dos Mercadores (built in 1747), have plans that incorporate elliptical or polygonal segments. Another notable monument of the period is the São Pedro dos Clérigos Co-Cathedral in Recife, built between 1728 and 1782 and designed by Manuel Ferreira Jácome. The interior of the church nave is octagonal in shape, like that of Glória in Rio, but the exterior is rectangular in plan, hiding the interior organization. In Salvador, in 1739, construction began on the imposing Nossa Senhora da Conceição da Praia Church, designed by military engineer Manuel Cardoso de Saldanha in Portugal. The corners of the nave are chamfered, giving the interior a polygonal shape, similar to Portuguese churches such as the Menino Deus Church in Lisbon (1711). The two towers on the facade are arranged diagonally, following the shape of the nave. The stones for the church were cut in Portugal and shipped to Salvador with the master in charge of directing the construction. After the Great Lisbon earthquake of 1755, the reconstruction of Lisbon organized by the Marquis of Pombal was guided by a late Baroque classicizing style, known today as Pombaline style. This style was strongly influenced by Roman Baroque, favored by the Lisbon court since the reign of King João V (1707-1750). In Brazil, the Pombaline style was reflected especially in Belém do Pará and