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Inside of this context it really is nearly very unlikely to make your mind up with any accuracy even if the Virgin's shadow is the made of a extra complicated symbolism. within the absence of any 'definite' indicators, this may neither be proved nor disproved. nonetheless, Lippi's symbolization is conspicuous. but when it really is in accordance with what he has realized from van Eyck, then it's so that he can practice it by means of integrating it into the tale. If in van Eyck the statues' shadow is produced by way of their simulated quantity, then in Lippi, who makes stone appear like flesh once again, the shadow turns into the figurative manifestation of tangible presence. The narrative's hugely reflective sort turns into even clearer after we evaluate it with different artworks produced in the course of the fourth decade of the Quattrocento, which elevate difficulties just like these raised by means of the Frick diptych. seventy one The huge pala that embellishes the altar of the church of S Lorenzo in Florence was once painted by means of Lippi c. 1440 (illus. 15). just like the Frick diptych it illustrates the Annunciation. because it is most unlikely to set up which was once painted first,5 1 we will be able to do not more than underline alterations in functionality and structure: whereas the paintings in Florence is a church altarpiece, the Frick diptych used to be most likely destined for personal devotion. the tactic of presentation utilized in the altarpiece is intensely advanced and hugely developed so far as the spatial solidarity of the weather within the formerly pointed out diptych are involved. We go through the imitation body of the portico into a space whose point of view is unified via the point of view of the structures and bushes within the historical past. The dividing pillar, whose functionality it was once to outline the constitution of the diptych, 15 Filippo Lippi, Annunciation, c. 1440, tempera on wooden. five Lorenzo, Florence. 19 [an van Eyck, Annunciation, 1437, oil on wooden, panels. Cemaldegalerie Alte Meister, Dresden. Konrad Witz, Adoration of the Magi, 1444, wing from a polyptych of St Peter, tempera on wooden. Musee d'Art et d'Histoire, Geneva. 20 23 Marie-Louise Elisabeth Vigee-Lebrun, Self-portrait, 1790, oil on canvas. has develop into a pilaster, positioned among fiction and fact. It transforms the 'diptych' - either as a illustration in addition to a panel-object - right into a unmarried scene, because it covers and hides the sign up for among the 2 items of wooden that act because the actual aid of the picture. " we'd ask yourself actually even if it nonetheless includes whatever of its unique symbolic functionality. The query turns into extra pressing after we become aware of that the angel within the photo has crossed it and entered the realm reserved for the Virgin. P There are different narrative symptoms that strengthen the assumption of transcendence. the 1st is without doubt one of the fragment of Gabriel's cloak that we will simply see in the back of the pilaster. one other is the Virgin Mary's perspective, for she reacts to the angel's visual appeal with a gesture that expresses the 'profound consternation' (conturbatio) of which the exegetes communicate. " Her reticence and worry are usually not just a response to the angel who's already kneeling quietly as a mark of respectful greeting, but in addition (or relatively) to his shadow.