The
subject has to do from a theologicaal point of view and of its plastic representation. The used sources for this compilation
have been sacred texts-the Holy Testament starting from Genesis at Reveletion, Apocrifism texts of the Old Testament, Apocrife Evangiles and scripts of Chutch Fathers-from each one from which the author extracts a fragment that serves to recapitulation of subject that will be developed within a few pages.
The elence and quality of art task reproduction play in the book a fundamental role and transform it to a good peace of interetsted people oriented to this argumentation. There has been a collection of religious
subjects for study and there has been offer of corresponding fragment of the holy text. This is accompanied by a series of images in rigorous chronolgical- there''s has been an exception surviving-of peaces from
various artists and within vastness of the whole Hsitory of Sacred Art practically 9since the christian Palace up to XX century with Max Chagall, for instance.
The vastness of the temporary arc that leads the peace undoubtedly represented a difficulty for its redaction, what a most clear structure for making its reading easier should have implied to plantear carefully. In this case there has been an establishing proces, within temporal order of the scriptures, an episode series that aere referred to the index that appears in the final pages and is completed by an index of. Numbers, as much of mantined authors as of painters. In one sort of Appendix we meet, also to the end of the peace, a series of definitions round angels and their respective categories.
The comments accompanying each subject are not for a pass to somere descriptions in which the attention of some details of the task is drawn to, but the reader many times may be cheated, as no interpretation is to be met here that manages to explain the changes of vision that are produced with a certain period and other of the history or between one or another area of culture.
included in some cases it may not remain complicated before some affirmations not necessarily constructed. This situation is presented in order to examine the serie that illustrates the subjects of Anunciation. When it comments on the task of Dominico Bartolomeo (pag.578) the author affirms ;''''The Angel and Virgin Maria, although situated opposite to each other, cannot be seen completely, among them exists the claustre columns'''' and in a proving way, it suggests the follow of the line of pavement that-always according to text- troupes with Maria''s face. If knowledge of represented system is applied in vagant perspective already in XV century, it can approve the falacy. The same is repeated in other work peaces, of Peter of Holy Fransesca 9pag.584), and of Francseco of Cosso (page 5860. In some cases we troupe with reasearch of symbolic references that may seem relative somehow, as well as compelled, and are announced in a fairly categoric way, as if it were about a dictionnary in which every word has a univoque inception. It would have been may be producive to verify the signified of some elements in literature sources, that are invariously repeated : the column, the door, the real pave etc
In the biggest part of the descriptions there is a special reference made upon reaching the perssons and this ends up by being asserted, already dress is one of the elements that has a close relationship with the author''s socio-cultural context or with the message theat he wants to transmit. Indeed there are no deductions of this kind expressed in the text, the fact of observing them motivates the reader and leads him/her up to the search of meanings. It''s repeatidly implied-for example- to the richness of abstracts in flamenco authors of workpeaces without mentionning anything in regard to the importance that existed in the production area of this kind products and consequently, the main sensibility of these burgeois people up to the shine and light of materials. Without a clear reference in this meaning, the element comes out superflowing.
Another group of suggested subjects is the reference to various angelic categories-querubines arcangels and serafines-that constitute the central content of the book and covers, inasmuch a most particular interest. This will be satified, as it was previously expressed in an Appendix that determines them and explains. Apart from this, querubines and serafines are subjects for analysis in various opportunities in which the text admits the diffused separation line marked by the scripts that is alos revealed in the pictures. With this edition there has been intention of a new study offer of certain mode ''''new age'''' with certain esoteric matices well expanded at time. If we pay attention to the bibliograaphy that is offered as a content enlargement, we meet what its author was devoted to to the subject, for long time now and throughout various work peaces. For the whole exposure-and by relating some misfavoring details that we have notice-we can assess in this book as a good work peace consult from the view point of iconography , mainly for the enormous documental cargo that is offered through good reproductions. Nevertheless, for most specifid works of History of Art, it should b complemented and contrasted by other focus readings.