artist achieves a certain degree of natural or rudimentary perspective, and in other

occasions the artist continues the tradition of using inverted perspective. None of the

compositions have full symmetry, not even when the theme requires such conventions, as

in the Last Supper or the Second Coming of Christ. The Eigurative style is vigorously

linear with no, or little, modeling to show volume. The Eigures are elongated and more or

less proportional with a couple of exceptions, as in the Doubting Thomas where Christ' s

figure has been grotesquely deformed. The figures are rendered in a profie or three-

quarter view, and only Christ in the Second Coming presents a complete frontal stance. In

a number of instances the artist has carefully delineated the muscles and shadows of the

body and the face, but in other cases he has left the figures strangely unfinished. For

example, the interior of the anatomical structure of Christ in the Crucifixion has been

completed, but it is incomplete in the next scene. Furthermore, a number of figures were

partially painted, increasing the unfinished feeling of the Cycle. The style then presents

itself as coarse but full of verve. From the stylistic analysis it is possible to conclude that

a single artist, who for some unknown reason left certain elements unfinished, created the

Cycle of the Life andPa~ssion of Christ. That one single artist did the cycle is evidenced

by the use of the same compositional and figurative style through out the cycle. In

addition, there are some elements that appear to be experimental such as the coloring of

the drapery--done in different styles but unified nevertheless--or the application of color

to the faces and bodies of certain figures in the middle of the cycle, but not done so at the

beginning nor at the end. In addition, the artist' s use of different iconographical formulas,

such as the Syrian, Hellenistic and Early Christian, the more traditional or archaic