das 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.)

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 f