Spanish school, late 15th - early 16th century.

Spanish school, late fifteenth century - early sixteenth century.
Adoration of the Shepherds", "Epiphany", "Resurrection of Christ" and "Dormition of the Virgin".
Four scenes of a Marian altarpiece.
Tempera and oil on panel.
Measurements: 163 x 54.5 cm (each panel); 182 x 75 cm (frame).
These four scenes, the Nativity or Adoration of the shepherds, the Epiphany, the Resurrection of Christ and the Dormition of the Virgin must have constituted, in origin, the lateral streets of an altarpiece of Marian dedication, perhaps dedicated to the joys of the Virgin, where they were habitual, next to others like the Annunciation or the Visitation to Isabel. Stylistically, the four scenes show strong roots in late Hispanic Gothic, with especially strong links to the Aragonese and Catalan schools, although it can also be seen, in some details, the timid introduction of Renaissance novelties. Thus, the use of gilding in the background of the compositions has been restricted, preferring to use architectural and landscape spaces, with a certain realist will. Both the Adoration of the Shepherds and the Epiphany take place in the context of a ruined building that seeks to evoke the stable where the Holy Family took refuge on their way to Bethlehem. The construction of the stable, open to the viewer, as well as the presence of the angelic trio surrounding the Child or the gesture of St. Joseph, who protects with his hands the fire of the candle with which it is illuminated, are common aspects in the Aragonese and also Catalan Adorations of the second half of the 15th century, in many cases derived from Flemish paintings and engravings. In the Resurrection Christ is presented standing on a firmly closed tomb, which still shows the seals that demonstrate its inviolability, insisting on the prodigy of the event. Around him, the soldiers who were to guard the tomb to prevent any trickery by the followers of Christ remain asleep or oblivious to the miracle. The scene is prolonged in a panoramic landscape and, in the background, it is still possible to see the three crosses that evoke the Passion of Jesus. The last scene is dedicated to the end of the Virgin's life, seeking to exemplify Mary's singular destiny, different from that of the rest of the human race, according to her role as mother of the Redeemer and her suffering during the Passion of her Son. The Transitus or Dormition of Mary is represented, the moment in which her soul is received by Christ, awaiting the Ascension to heaven in body and soul a few days later. The scene is set inside the Virgin's bedroom, where Mary appears stretched out on a bed with a sumptuous canopy of the type known as "encaixat" or encased, that is, surrounded on its four sides by arches or arquibancos that served as a platform, as a seat and as containers to store objects and clothes. The mother of Jesus appears accompanied at this moment, as narrated in various apocryphal gospels, by the entire apostolic college, being able to clearly identify St. John the Evangelist, with youthful features, St. Peter, with his characteristic short beard, officiating the ceremony, or St. James, dressed as a pilgrim. In the upper left margin of the composition, on the other hand, it can be seen how Christ, represented as an apparition, bust, welcomes in his arms a figurine of infantile aspect and tapered body that symbolizes the soul of Mary.