mantles, do not show any part of the anatomy of the figures, not even the arms are visible

from behind their garments. Joseph holds the four doves precariously with what appears

to be a knotted mantle, and the rabbi's left hand is covered by his red mantle. Only the

right hand of the rabbi is visible, yet he does not hold the head of the baby Jesus as it

would be expected, on the contrary, he holds Jesus by the green and red cross halo. All

the figures are wearing shoes. The Virgin Mary is represented abstracted to a certain

degree. The details of her face have been drawn into an almost geometric shape framed

by the veil. The figures of Joseph and the rabbi are somewhat similar. The hair of the

figures is done geometrically; the curls in the back are tightly held together, and even

their beards are represented smoothly. The figures of Joseph and Mary gaze in the

direction of the rabbi, while the rabbi looks back at Mary. None of them look directly at

the figure of the baby Jesus who looks at the rabbi blessing him. This scene presents a

characteristic that could be considered to be puzzlingly when considering the time when

it was made. The altar and the steps to climb to it are made in accurate perspective, seen

from the side. Even the drapery falling from the altar appears to be folding

naturalistically.

 It is interesting to see how the artist uses the body of the figure of Christ to

separate the Presentation of Christ in the Temple and the First Temptation of Christ,

which is the next scene on the register. Christ's body is oriented towards the left, while

raising his right arm above his head pointing towards the devil. His arm is almost in the

same plane to the mantle falling from his shoulders and the tunic covering His leg. This

makes a visual separation between the two scenes. The head of Christ and the hand act as

pointers, which direct the action towards the floating stones and the devil. The devil's