in the Washing of the Feet of the Disciples, or the Kiss of Judas among others. Within the

scenes, the architecture appears as arches and horseshoe arches flanked by towers

indicating interior or exterior space. The architectural settings are created with a more

free flowing approach. There appears to be none or little ruling to create the architecture.

In many instances the architecture has decorative designs in the facade. The most typical

decorations are squares with crosses inscribed in their interior, diamond patterns with

crosses, triangular patterns on a horseshoe arch, and arches with consecutive dots.

Finally, there are also squares with flowers drawn in their interior. There are also yellow

roof-tiles with red curvilinear lines delineating them and crossing them in the center. The

architecture seems to have been inspired by mozarabic sources. The artist has a tendency

to mix oriental with occidental iconographical typologies into his own particular style.

Examples of this can be found in the Three Maries at the Tomb, which would be fully

described below.

 There is inverted perspective in many scenes containing architecture, with the

exception of the altar in the Presentation of Christ at the Temple, which appears to be in

perspective. When the artist represents obj ects such as tables or cups or food he uses the

same type of conventions. The tables are inverted, almost parallel to the picture plane.

The tables are decorated with a rhomboidal pattern--the table in Wedding Feast at Cana,

unlike the one in the Last Supper, also has crosses in the interior of the rhomboidal

patterns--and drapery covers the front of the table. The most common obj ect that appears

in both scenes is a cup with a stem. The cups use the edge of the table as their base, and

they more or less appear to be in perspective. In a number of occasions the cups have a

fish over them--but this trait can only be seen in the Last Supper. All the loaves of bread