As in the 'Day of Pentecost' there is a triple division; St. Peter's throne being in the middle with an arch on each side open to show distant scenes. The throne seems to be of stone, with small boys and griffins holding shields charged with the Cross Keys on the arms. On the canopy two other shields supporting triple crowns flank an arch whose classic ornaments and large shell are more Italian than is any other part of the painting. On the throne sits St. Peter pontifically robed, and with the triple crown on his head. His right hand is raised in blessing, and in his left he holds one very long key while he keeps a book open upon his knee. The cope is of splendid gold brocade of a fine Gothic pattern, with orfreys or borders richly embroidered with figures of saints, and is fastened in front by a great square gold and jewelled morse. All the draperies are very finely modelled and richly coloured, but finest of all is St. Peter's face, solemn and stern and yet kindly, without any of that pride and arrogance which would seem but natural to the wearer of such vestments; it is, with its grey hair and short grey beard, rather the face of the fisherman of Galilee than that of a Pope. Through the arches to the right and left above a low wall are seen the beginning and the end of his ministry. On the one side he is leaving his boat and his nets to become a fisher of men, and on the other he kneels before the vision of Our Lord, when fleeing from Rome he met Him at the place now called 'Quo Vadis' on the Appian way, and so was turned back to meet his martyrdom. Fortunately this painting has suffered from no restoration, and is still wonderfully clean, but the wood on which it is painted has split rather badly in places, one large crack running from top to bottom just beyond the throne on St. Peter's right. This 'St. Peter,' then, is entirely Flemish in the painting of the drapery and of the scenes behind; especially of the turreted Gothic walls of Rome. The details of the throne may be classic, but French renaissance forms were first introduced into the country at Belem in 1517, just the time when the cathedral here was being built by Bishop Dom Diogo Ortiz de Vilhegas. This, and the other pictures in the sacristy, were doubtless once parts of the great reredos, which would not be put up till the church was quite finished, and so may not have been painted till some time after 1520, or even later. Already in 1522 much renaissance work was being done at Coimbra, not far off, so it is possible that the painter of these pictures may have adopted his classic detail from what he may have seen there. It is worth noting, too, that preserved in the sacristy at Vizeu there is, or was,[16] a cope so like that worn by St. Peter, that the painting must almost certainly have been copied from it. We may therefore conclude that these pictures are the work of some one who had indeed studied abroad, probably at Antwerp, but who worked at home.