The donor, possibly Aelbrecht Adriaensz. van Adrichem with St. Peter (left); the donor, possibly Elisabeth van Dorp with St. Paul (right)

Jan Mostaert's donor wing panels — here possibly depicting Aelbrecht Adriaensz. van Adrichem with Saint Peter and Elisabeth van Dorp with Saint Paul (c. 1512) — are among the finest examples of Flemish donor portraiture in the Netherlands in the first decade of the sixteenth century. The pairing of Peter and Paul is theologically significant as the twin pillars of the Church, and presenting donors in their company aligned the patron family with apostolic authority. Mostaert's court connection through Margaret of Austria meant his donor portraits circulated among the highest levels of Netherlandish society, setting the standard for how powerful families wished to be represented in devotional contexts.

Mostaert's handling of the donor portrait achieves a balance rare in Flemish practice between individual physiognomic truth and dignified idealization. Faces are modeled with warm, even lighting that avoids harsh shadows — the court preference for a certain luminous composure. The saints Peter and Paul are depicted as vigorous, physically substantial presences beside the smaller-scale donors, a conventional scale differential that persists in Netherlandish donor portraiture into the seventeenth century.