rom 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.

Not only to paint religious pictures and portraits did Flemish artists
come to Portugal. One at least, Antonio de

[Illustration: FIG. 4.

ST. PETER.
IN THE CATHEDRAL SACRISTY.
VIZEU.
]

Hollanda, was famous for his illuminations. He lived and worked at
Evora, and is said by his son Francisco to have been the first in
Portugal 'to make known a pleasing manner of painting in black and
white, superior to all processes known in other countries.'[17]

When the convent of Thomar was being finished by Dom Joao III., some
large books were in November 1533 sent on a mule to Antonio at Evora to
be illuminated. Two of these books were finished and paid for in
February 1535, when he received 63$795 or about L15. The books were
bound at Evora for 4$000 or sixteen shillings.

By the end of the next year a Psalter was finished which cost 54$605 or
L12, at the rate of 6$000, L1, 6s. 8d. for each of four large headings,
forty illuminated letters with vignettes at 2s. 2d. each, a hundred and
fifteen without vignettes at fivepence-halfpenny, two hundred and three
in red, gold, and blue at fourpence-farthing, eighty-four drawn in black
at twopence, and 2846 small letters at the beginning of each verse at
less than one farthing. Next March