Santiago from analogous works,--he knows of no other such; the whole subject is usually limited to the tympanum of one arch.[154] He also points out that Lopez Ferreiro is mistaken in thinking that the Christ in the cathedral of Autun has wounded hands outstretched in blessing, and a bare breast showing a wound,--the arms of that statue are not raised, and the breast is covered, so that no wounds are seen. A clustered pillar composed of six granite columns, with a richly carved capital, separates the two entrances beneath the tympanum of the central arch. This pillar rests its base on the back of the figure of a man lying on his stomach with head and shoulders raised above a scroll, the writing upon which has been effaced. His arms are extended over the backs of two lions with huge gaping jaws. Beneath the capital of this column is a large seated figure of St. James, the “Son of Thunder,” the patron saint of Santiago di Compostela, and in fact the patron saint of the Spanish Peninsula. St. James, larger than life, is seated in an armchair, the feet of which are supported by two little lions. Round the saint’s head is a nimbus studded with crystals and other stones,--very Byzantine in appearance, and supposed to be of much more recent date than the sculpture. St. James holds in his left hand a staff the handle of which is shaped like the letter T,[155] and in his right he holds a parchment scroll on which we read “Misit me Dominus.” The lions, and the chair in which St. James is seated, rest upon the beautifully carved capital of a slender marble[156] column, the whole fust, or shaft, of which is covered with delicate bas-reliefs illustrating the Stem of Jesse. The idea was first suggested by Jerome in the fourth century: in this representation of it there are seven human figures. Jesse lies at the foot, while out of the heart there grows a tree which wraps in its foliage the seated figure of King David, with his crown and musical instrument, and between his knees the stem passes; above him is King Solomon, also enfolded in the leaves, and above King Solomon is seated the Virgin Mary, not concealed or shaded by any leaves, but rising out of the tree, as though she (who was believed to be born without sin) were its perfect flower. Above her delicate profile on the capital of the same marble column is sculptured a representation of the Holy Trinity. The Holy Spirit in the form of a dove is appearing from a cloud; below is seated the Almighty with a mantle round His shoulders and a royal crown upon His head, pointing to His Divine Son, whose arms are extended on a cross. Four angels, two on either side, are engaged in adoration of the Holy Trinity. This way of representing the Trinity, according to Sanchez, is very ancient: it fell into disuse centuries ago, because the ignorant crowd used to mistake it for the Coronation of the Virgin.