[1] Saint Peter is at the centre of the symmetrical composition, sitting on an ornate Italianate pontifical throne making the blessing gesture toward the viewer, in full Papal regalia: the ample cope, of rich red brocade, features finely woven ornamental motifs in gold thread and medallions with angels holding the Instruments of the Passion, pearls and precious stones; the papal tiara features three intricately-decorated gold circlets with arabesque patterns of interlacing foliage; the pontifical gloves are white and the Ring of the Fisherman is visible, set with a dark green gem.

[4] When the cathedral was redecorated in keeping with Baroque tastes in the 1720s–30s, these paintings were moved to the sacristy: writings from 1758 (Diccionario Geographico), 1843 (Oliveira Bernardo), 1865 (John Charles Robinson), and 1890 (Joaquim de Vasconcelos) attest their permanence in this space for many decades.

[4] In the 19th century, the work of Grão Vasco gained the attention of the Arundel Society, specifically the Saint Peter in Viseu Cathedral, recognised as a remarkable picture "of the greatest merit, but virtually unknown".

In 1884, Arundel Society trustees Sir William Henry Gregory and Sir Austen Henry Layard submitted a request to Miguel Martins d'Antas, the Minister of Portugal in London, so the Portuguese government would allow an artist appointed by the Arundel Society to copy the painting (along with others in Viseu Cathedral and in the Hospital da Misericórdia, in Oporto) in order to produce and distribute chromolithograph prints of it; the authorisation was granted following the favourable opinion of the Civil Governor of Porto and of the Bishop of Viseu (José Dias Correia de Carvalho).

The nearly insignificant number of works by non-Italian artists chosen to be reproduced makes it truly notable: Grão Vasco was put alongside the likes of Van Eyck, Memling, or Dürer.