elements and the original elements, would indicate that the artist was aware of the artistic

tendencies of his time and the traditions from which they came.

 Chapter 4 investigated the possible sources for the iconography and style that

influenced the Master of the Life and Passion of Christ. A great number of sources can be

found in Spain along the pilgrimage road to Santiago de Compostela, along the territorial

boundaries of the kingdom of Castile and Leon with the Muslim territories, and possibly

along the ivory trade routes. To this author' s eye, it appears that the Master of the Cycle

of the Life and Pa~ssion of Christ in the Bible ofAvila saw or was familiar with a number

of the comparative works described. The strongest comparisons in terms of iconography

can be found in the Arca Santa (Oviedo) from the 11Ith century, the cloister of the

monastery of Santo Domingo de Silos (Burgos) from the last third of the 11Ith century,

and the ivory plaques of the abbey of San Millan de la Cogolla (Rioj a) dated to 1060-

1080, or the Beatus of San Millan de la Cogolla dated to the 10th to 11Ith century. In terms

of style, the closer comparisons identified by this author are the Arca Santa (Oviedo)

from the 11Ith century, the ivory plaque of San Felices, from the North of Spain dated to

circa 1090, or the tympanum in San Isidoro of Leon (Leon) from the early 12th century.

An important issue is the connection of the Cycle of the Life and Passion of Christ in the

Bible ofAvila with the cycle of mural paintings in the church of San Justo and Pastor

(Segovia) from the late 12th century or early 13th century. Two authors, S. Moralejo and

Joaquin Yarza Luaces, have maintained that the Cycle of the Passion of Christ in San

Just and Pastor is stylistically related to the Cycle ofthe Life and Passion of Christ in

the Bible ofAvila. However after careful examination of the iconography and style of

both cycles, the present study indicates that their assumptions are partially right. Both