Lippo Memmi (after1290-1356) – Annunciation and six saints Part 3

The composition is structured in two distinct registers, separated by a clear horizontal division. The upper register depicts a scene of revelation and contemplation, while the lower presents a group portrait of figures seemingly engaged in veneration or observation.
Here we see a woman seated within an interior space, absorbed in reading from a book held open on her lap. Her posture is one of quiet attentiveness, with a slight inclination of the head suggesting humility or introspection. She is draped in rich fabrics – a dark green mantle over a crimson undergarment – that emphasize her status and dignity. A halo encircles her head, marking her as a figure of spiritual significance.
An angelic messenger appears before her, wings spread wide, delivering what seems to be an announcement. The angel’s gesture is one of extended communication; his hand points outwards, directing attention beyond the immediate scene. Above him, another smaller winged figure hovers, adding to the sense of divine presence and otherworldly intervention. A vase containing lilies sits between them, a traditional symbol of purity and innocence often associated with the Virgin Mary.
Below this primary narrative, six figures are arranged in a formal grouping. Three men, distinguished by their elaborate robes and beards, appear on the left side, while three women occupy the right. Each figure holds an object – a book, a chalice, or another symbolic item – suggesting individual roles within a larger community. Their gazes are directed upwards towards the scene unfolding above, implying reverence or witnessing of the divine event. The uniformity in their poses and expressions creates a sense of collective piety.
The color palette is dominated by earth tones – ochres, browns, and greens – which contribute to a feeling of solemnity and antiquity. Gold leaf highlights certain elements – the halos, the angel’s wings, and portions of the garments – drawing attention to their sacred nature. The overall effect is one of restrained elegance and spiritual depth, characteristic of devotional art intended for private contemplation.
Subtly, the division between the registers creates a visual hierarchy. The upper scene, with its focus on divine communication and personal revelation, appears elevated in importance compared to the lower register, which depicts a group seemingly observing this momentous event from afar. This separation might suggest a distinction between direct experience of grace and the communal act of veneration.