The Annunciation and The Nativityc. 1457 · Study 1953.660

Context from the museum

These paintings are believed to be the remaining components of a six-panel altarpiece. The large central panel is now preserved in Barcelona (Museu National d’Art de Catalunya). Ferrer collaborated with the painter Pere Garcia de Benavarri on this commission. Spanish works like these often feature elaborate treatment of the gold background, evident here in the exuberant raised decoration (called pastiglia) in the skies and the haloes, as well as other details. Here the Archangel Gabriel proclaims the Virgin’s destiny as the mother of Christ. The setting is an ordinary house, but simple objects have symbolic meaning. The lilies represent the Virgin’s purity; the covered jar and water carafe symbolize inviolability; the pomegranate symbolizes Christ’s resurrection, while the apple alludes to humankind’s fall from grace. The two books, closed and open, refer respectively to the Old and New Testaments: one foretelling and the other fulfilling the promise of the messiah. Both The Annunciation and The Nativity were components of a large altarpiece probably dedicated to the Virgin. Spanish works like these often feature elaborate treatment of the gold background, evident here in the exuberant raised decoration (called pastiglia) in the skies and haloes, as well as other details such as the vase of lilies in the Annunciation. The Annunciation The archangel Gabriel, gesturing toward God in a window above, proclaims the Virgin's destiny as the mother of Christ. Gabriel holds a scroll with the words from the New Testament (in Latin) "Hail Mary, full of grace, the Lord is with you." The angels in the sky hold another scroll proclaiming: "Glory to God in the highest, and peace to good people on earth". The simple objects surrounding the Virgin appear to be the furnishings of an ordinary house, but they carry symbolic meaning. The lilies represent the Virgin's purity; the covered jar and the water carafe symbolize inviolability. The towel and basin hint at ritual cleansing during Mass. The blown out candle points to the arrival of divine light in the world. The pomegranate symbolizes Christ's resurrection, while the apple alludes to humankind's fall from grace. The two books, closed and open, refer respectively to the Old and New testaments: one foretelling and the other fulfilling the promise of the Messiah.

Museum description reproduced from its CC0 open-access record. Read the original catalog entry.

Read the dimensions before the image

The selected unframed measurement for The Annunciation and The Nativity is 124.7 cm wide and 172 cm high, equivalent to approximately 49.1 × 67.7 inches. Dividing width by height gives a format ratio of 0.72:1. The rectangular bounding area is 2.14 square meters; it describes the measured footprint, not the amount of paint or the monetary value.

On an illustrative 300 cm wall, the recorded width occupies 41.6% of the span before adding a frame. A centered placement leaves approximately 87.7 cm on each side before adding a frame. These are calculations by Physical Art For Crypto using museum measurements. They are not the museum’s display recommendations.

Questions to bring to your own collection

With The Annunciation and The Nativity in view, identify one feature you can point to, then distinguish what the museum records from your personal response. Keep its medium, oil, tempera, and gold on wood panel (fir), in your notes when comparing contemporary works.

• Which part of this vertical composition catches your eye first?
• Would a 124.7 cm width still suit the space after allowing for furniture and a frame?
• What surface detail would you need to see in person or in a close photograph?