the figures are barefoot.165 The toes of the figures in San Justo are long an thin, without

any detail, while the toes depicted in the Cycle of the Life and Passion of Christ are

similar to slightly curved claws with nails. Once again it is evident that even if the

iconography of the scene is slightly similar, on close examination the style is very

different.

 The next scene on folio CCCXXIIII r is the Crucifixion (Fig. 47). There are a

number of examples not only in the form of illuminations but they also appear in other

mediums.166 Nevertheless, it is more common to find examples of the crucified Christ by

himself or in a reduced form of the episode than in a more complex narrative--which is

what we have in the Bible ofAvila.167 In terms of iconography the example that slightly

resembles its counterpart in the Bible ofAvila comes from the Pantheon of Kings from

San Isidoro of Leon (Leon) from the early 12th century where Christ is at the center


165 The Cycle of the Passion and Resurrection of Christ in San Justo has a definite
unfinished characteristic, but even comparing the unfinished elements of this cycle with
the Cycle of the Life and Passion of Christ in the Bible ofAvila it is obvious that they are
different.

166 Yarza Luaces, J., Iconograpia de la M~iniatura Ca;stellano-Leonesa,~~11~11~~1 1973, p. 3 1.
According to Yarza Luaces this scene has been depicted in the Beatus of Gerona, M~issale
Vetus Oxomense (fol. 42v), M~isal ofSan Facundo de Sahagun, Beato ofSan M\~illanlllll~~~~~~11111 de la
Cogolla, and the M\~isal of the Academy of History (ms. 35) during the 11Ith to 12th
centuries.

167 Louis Reau, Iconoguraphie de l'Art Chretiene, Tome Second, "Iconographie de la
Bible: Nouveau Testament (II)," Paris: Presses Universitaires de France, 1957, p. 493,
classified the different types of the Crucifixion into four: the Crucifixion with Christ by
himself, the Crucifixion with Christ, the Virgin Mary and St. John, the Crucifixion with
Christ, the Virgin Mary, St. John, and Mary Magdalene, and finally the Crucifixion with
all the actors that appear in the Bible. There are multiple examples in Spain of the first
two types in ivory relief sculpture or in silver such as in a reliquary crucifix of the 10Oth
century from Asturias or two book covers from the early 11Ith century found in the
monastery of Santa Cruz de la Seros, Jaca (Spain) (see The Art of2~edieval Spain, ad
500-1200, pp. 271, 268-269, figs. 130, 128a and 128b).