The landscape and figures, the feelings and emotions are translated with pitiful outbursts and expressive movements to the limit of physical and perspective deformation. The pictorial space opens up onto 2 dimensions: a tense and dramatic expressiveness in the foreground where the bodies of the apostles roll up into the slope of the mountain in a chaotic and agitated scene and above, the infinity of space beyond the mountain and the figures. Here the composition lies on a more balanced pattern, like a double triangle with vertexes which converge at Christ’s face and the tensions and the directional movements of the figures are reset. It is a compositional structure which ignores the perspective and its harmonic rules. Its two-dimensional vision plans, its gold inscriptions and its bright and clashing colours are intentionally archaic.
