cycles appear to be connected, but that connection is closer in terms of iconography

than style. There is an unmistakable similarity between the two cycles on the surface,

but that similarity ends when a closer analysis is performed. I would like to suggest

that it was the Cycle ofthe Life and Passion of Christ in the Bible ofAvila that the

artist of San Justo and Pastor used as his model for his cycle. At this moment it is

necessary to remember that the whereabouts of the Bible ofAvila are unknown from

its arrival in Spain, sometime in the last quarter of the 12th century, until the 14th

century, when an inscription on folio CCXCVIII v places it at the cathedral of Avila.

 In summary, the three folios depicting the Cycle of the Life andPa~ssion of Christ

in the Bible ofAvila were inserted into the bible after its completion in Spain. The Master

of the Cycle of the Life and Pa~ssion of Christ in the Bible ofAvila seems to have been

aware of the traditions of iconography from the minor arts and mural painting as well as

the tradition of Romanesque sculpture in the Peninsula. Yet there are a number of

iconographic examples, such as Christ as the Gardener or Supper at Emmaus, that

apparently do not have any sources in the pictorial arts of the north of Spain during the

10th to 12th centuries. It is possible that some of this iconography relates to an example

that has been lost long ago. On the other hand, there are also a number of characteristics

that would indicate that some elements have been the product of the artist' s imagination,

such as the mouth of Hell in the Harrowing of Hell. Once again in terms of style the

Master seems to rely heavily on the minor arts (sumptuary arts and ivory relief sculpture).

In conclusion, the Master of the Cycle of the Life and Passion of Christ in the Bible of

Avila was an itinerant artist who was personally familiar with the maj or examples of