São Paulo and Rio were the Jesuit church and college in Santos, demolished in the 19th century but well known from plans and drawings. Several churches from the 17th century, of a Mannerist character, still survive in Brazil. One example is the church of the São Bento Monastery in Rio de Janeiro, built between 1633 and 1677 based on a design from 1617. The facade is composed of geometric shapes, with a triangular pediment, flanked by two towers and with a galley with three portals, similar to the Monastery of São Vicente de Fora in Lisbon. A later example is the former Jesuit church, now Cathedral Basilica of Salvador, dated 1652–1672, with a Mannerist facade topped by volutes and with two towers, features similar to the Jesuit church of Coimbra (now Sé Nova de Coimbra Cathedral). The interior, with a single nave with side chapels and shallow transept and chancel, is based on São Roque Church in Lisbon. The Jesuit church in Salvador would inspire others in the region, such as the church of the São Francisco Church and Convent of Salvador. Around the middle of the 17th century, new churches appeared, and although they do not have curved Baroque plans, they present scenographic main facades, which escape from the previous rigid forms. An important example is the Santo Antônio Convent and Church of Cairu, in Bahia, built in 1654. The church entrance is preceded by a galilee formed by five arches, with two staggered upper stories flanked by volutes. The pediment of the church on the third floor contains a niche with the image of St. Anthony, and the church's single tower is set back from the facade. This facade scheme, whose Mannerist prototype could be the Franciscan church in Ipojuca, was used in the Northeast, giving rise, among others, to the churches of the Franciscan convents of Paraguaçu (Bahia), Olinda, Igarassu (Pernambuco) and João Pessoa (Paraíba), the latter built in the 18th century with a richly decorated facade. The northeastern Franciscan convents were organized around a noble two-story cloister (dating already from the 18th century), of Tuscan order, often decorated with Portuguese tiles. In front of the convents, a wide churchyard with a cross increased the imposing and urbanistic importance of the ensemble. The various characteristics in common led some authors to consider the northeastern Franciscan convents to form an architectural "school", the so-called Northeastern Franciscan School (Escola