On the other side are Queen Dona Leonor,[12] granddaughter of Ferdinand and Isabella, Dom Manoel's third wife[13] and her two stepdaughters, Dona Isabel, the wife of Charles V. and mother of Philip II., who through her claimed and won the throne of Portugal when his uncle, the cardinal king, died in 1580, and Dona Beatriz, who married Charles III.. of Savoy. The date of the picture is fixed as between 1518 when Dom Affonso, then aged nine, received his cardinal's hat, and 1521 when Dom Manoel died.[14] Unfortunately the picture has been somewhat spoiled by restoration, but it is undoubtedly a very fine piece of work--especially the portraits below--and would be worthy of admiration anywhere, even in a country much richer in works of art. It has of course been attributed to Grão Vasco, but it is quite different from either the Velascus pictures at Coimbra or the paintings at Vizeu; besides, some of the beautifully painted flowers, such as the columbines, which enrich the grass on which the royal persons kneel, are not Portuguese flowers, so that it is much more likely to have been the work of some one from Flanders. Equally Flemish are the pictures at Vizeu, whether any of them be by the Grão Vasco or not. Tradition has it that he was born at a mill not far off, still called _Moinho do Pintor_, the _Painter's Mill_, and that Dom Manoel sent him to study in Italy. Now, wherever the painter of the Vizeu pictures had [Illustration: FIG. 3. THE FOUNTAIN OF MERCY. MISERICORDIA, OPORTO. _From a photograph by E. Biel & Co., Oporto._] studied it can scarcely have been in Italy, as they are all surely much nearer to the Flemish than to any Italian school. There are still in the precincts of the cathedral some thirty-one pictures of very varied merit, and not all by the same hand. Of these there are fourteen in the chapter-house, a room opening off the upper cloister. They are all scenes from the life of Our Lord from the Annunciation to the day of Pentecost. Larger than any of these is a damaged 'Crucifixion' in the Jesus Chapel under the chapter-house. The painting is full, perhaps too full, of movement and of figures. Besides the scenes usually portrayed in a picture of the Crucifixion, others are shown in the background, Judas hanging himself on one side, and Joseph of Arimathea and Nicodemus on the other, coming out from Jerusalem with their spices. Lastly, in the sacristy there are twelve small paintings of the Apostles and other saints of no great merit, and four large pictures, 'St. Sebastian,' the 'Day of Pentecost,' where the room is divided by three arches, with the Virgin and another saint in the centre, and six of the Apostles on each side; the 'Baptism of Our Lord,' and lastly 'St. Peter.' The first three are not very remarkable, but the 'St. Peter' is certainly one of the finest pictures in the country, and is indeed worthy of ranking among the great pictures of the world.[15] (Fig. 4.)