p of Lisbon, with his cardinal's hat; Henrique,
later cardinal archbishop of Evora, and then king; and Duarte, duke of
Guimaraes and ancestor of the present ruling house of Braganza.

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 Grao 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
Grao 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, Ju