The scene with the three kings has the identical gold curtain behind it, however the floor is a inexperienced grass garden sprinkled with flowers. The youngest king, slender and blond, seems to be uncertain of what to do. He half hangs again, half approaches the newborn, shyly, tentatively. He’s an newbie amongst skilled actors of the sacred. Awed into awkwardness by the occasion, he’s a stand-in for us.
The subsequent portray within the collection, “The Coronation of the Virgin,” is a single steady scene that rises in tiers. At the underside, 19 saints kneel in rows. They face a steep staircase that appears to be manufactured from rainbow-colored clouds. At its high, an enthroned Christ reaches to regular his mom’s new crown.
The saints, for all their glamour, are earthbound. With their embroidered cloaks and crosiers, they’re too heavy, too human, to climb that cloud-staircase. Still, they’re riveted by the sight of it, or all however two of them are. In the portray’s foreground, St. Thomas Aquinas, intellectual-in-chief of the Dominican order, holds out an open ebook of psalms to us like a maître-d’ providing a menu. Less invitingly, farther again within the crowd, a gray-haired Saint Peter, clutching his keys to heaven, eyes us over his shoulder as if suspicious of our intrusion.
Of the Marian work within the present, none is extra elegant than the Gardner’s personal. When Bernard Berenson, who brokered its buy, referred to it as “a darling” he wasn’t improper. It has two separate however associated scenes. In the decrease one, the deceased Virgin lies in deathlike sleep amid a gathering of apostles. Four are about to carry her bier — you possibly can sense from their postures that they’re anticipating its weight — whereas others whisper amongst themselves or stare in numbed sorrow. Jesus presides over all, carrying Mary’s soul, within the type of a bright-eyed little one tucked in his arm.