His last work, dated 1592, was the Triptych of the Legend of Santa Gudula, today in the Cathedral of St. Michael and St. Gudula in Brussels. This contains on the back of one of the side panels the only known portrait of Philip II painted by the artist. Shortly thereafter, he died after accidentally falling off a scaffold while working on the restoration of the Judgment of Solomon in the Antwerp City Hall that he had made nine years earlier for the Antwerp City Council. Work General Coxie was a prolific artist, who painted altarpieces and portraits and produced designs for stained-glass windows, tapestries and prints. He was skilled in the traditional Flemish oil on panel technique as well as the Italian fresco technique. His career spanned almost the entire 16th century. He operated a large workshop which ensured a large output which contributed to his lifetime reputation and influence. After his death his work soon fell into oblivion as it was overtaken quickly by the triumphant Baroque style introduced into Flanders by Rubens, another Flemish artist who had studied and worked for an extended time in Italy. His style is a unique synthesis of the Flemish and Italian artistic traditions. His presumed master Bernard van Orley had possibly never studied in Italy but had certainly familiarised himself with the new pictorial vocabulary of the Italian Renaissance through his study of the designs of Raphael. These designs had been brought to Brussels. He had responded to Raphael's work by making the figures in his altarpieces more monumental and heroic. He also included classical architecture in his compositions. During his stay in Rome, Coxie was able to directly study the works of Raphael, Michelangelo and other Renaissance painters as well as study the works of Antiquity that were being rediscovered at the time. He also read classical literature and philosophy and was aware of the intellectual discussions on the reception of Antique art in Italy. The panel Plato's Cave which he likely painted during his stay in Rome is an attempt by Coxie to express these visual and philosophical influences. The painting references Plato's ideas (the allegory of the cave) expressed in his The Sofist about how art imitates nature and sometimes deviates from perfect imitation by changing the proportions in order for the viewer to get a true appreciation of the real object. Coxie deals in Plato's Cave with the