Fra Carnevale Umbrian-Florentine, active c. 1445 - 1484 The Annunciation, c. 1448 tempera on panel, 87.6 x 62.8 cm (34 1/2 x 24 3/4 in.) Samuel H. Kress Collection 1939.1.218

From the Tour: The Early Renaissance in Florence

Despite attempts to link the painter of this panel with well-known fifteenth-century artists, his identity remains uncertain. His style, which draws on older artists such as Fra Filippo Lippi, also shows evidence of newer trends, especially in his treatment of distant space. Follow the lines of the architecture: the regular rhythm of arcades and arches recedes into the background. The grid formed by the courtyard measures the distance for our eye.

These converging perspective lines lead to a door beyond which we glimpse a lush garden. This is not a random choice of landscape. The artist has used perspective not simply to create a convincing depiction of space, but to lead us to see the theological implications of his scene. In reference to her virginity, Mary was often called the hortus conclusus (enclosed garden) and the porta clausa (closed door). Many Annunciations translate these themes with visual images of locked doors and walled gardens. Here instead, the perspective takes us through an open door into the heavenly garden of Paradise. The Annunciation, because it is the beginning of Christ's human existence, also heralds the redemption of humankind. The open door underscores the promise of salvation as well as Mary's role in the Incarnation and as intercessor forthe prayers of men and women.