are seen from above. They are of elliptic shape and they are usually cut above in the

shape of a cross. There are also a number of knives represented--but only in Wedding

Feast at Cana--which are very naturalistic. The cycle does not present full symmetry in

the composition of the scenes, even when the composition demands symmetry, for

example in the Last Judgment or Second Coming of Christ. The vegetation is scarce and

it is more conceptual than naturalistic. The examples of vegetation can be found in the

First Temptation of Christ, and in the Noli me Tangere.

 Let us now focus on the figurative style. The figures are vigorously linear. The

artist was able to convey the flexibility and movement of draperies that attach to the body

of the figures. However, the artist was not able to convey three-dimensional figures since

they lack full modeling and hence volume. In general the figures are elongated and they

are more or less proportional. However, in some instances the figure of Christ has been

grotesquely deformed to fit the space, such as in the Doubting Thomas, where Christ's

legs do not seem to be attached to His body, and His overextended arm has been

elongated to impossible proportions. Most of the figures in the Cycle show their faces in

profile or in a three quarter view, only Christ in the Last Judgment presents Himself fully

frontal. The figures have rather unexpressive features, but the artist is at his best

representing emotion through the figures' expressive hands. Most of the time the color of

the skin of the figures is the same as the color of the parchment. In other instances, the

face, arms and feet are painted with pinkish pen lines delineating all the muscles and

tendons of the body. For example, in the Crucifixion, Christ' s anatomy is carefully

described; every muscle on his ribcage has been delineated. His stomach, arms, legs and

face have also been emphasized with the same pinkish hue. Finally, some figures are