contains in folio 265 the Holy Women at the Sepulcher (Fig. 62).189 The architectural

setting is similar since the sepulcher has a three-arch covering--although the arches are

more uniform and symmetrical in this example than in the Bible ofAvila. There is one

angel sitting over the tomb of Christ, and from above the ceiling hangs a censor. The

three Maries are located inside the tomb, unlike in the Bible ofAvila, yet their garments

and the fact that they bring the ointment j ars are similar. And finally the closest example

is the fresco located in the Hermitage of San Baudelio de Berlanga (Soria) from the mid-

12th century (Fig. 63).190 In San Baudelio the women approach the tomb carrying

ointment j ars, and all of them have their heads covered. The tomb itself has two

chambers; each one of them is represented with an arch and separated by columns. The

antechamber is filled with soldiers, and inside the chamber an angel with a halo sits over

the tomb of Christ.


 There are a number of motifs in this scene that also have other sources that are

worth mentioning. The angels who have their wings attached to their halos have several

iconographical sources. Among them is the Commentary on the Apocalypse by Beatus of

Liebana in the monastery of Saints Facundo and Primitivo in Sahagun (Leon) dated to

1086 (Fig. 64). 191 Saint John's Vision of Christ (Apoc. 8: 2-5) in the verso of folio 102

contains the image of an angel. A pair of wings proj ects from the sides of its brilliant blue

halo. There is an attempt to depict every feather individually, just as the Master of the


189 J. Dominguez Bordona, La M~iniatura Espaiola, Tomo I, Ed. Gustavo Gili, Barcelona:
Pathon-Casa Editrice-Firenze, 1930, Fig. 46.

190 The Art of2~edieval Spain, ad' 500-1200, 1993, pp. 223-228.

191 The Art of2~edieval Spain, ad' 500-1200, 1993, p. 158.