The central panel of the Annunciation Triptych of Aix is characterized by a number of typological iconographies between «sub lege» and «sub gratia»; the oratory at its left side with Romanesque arches, metaphor of the «Synagoga», is contrasted by the principal arcades at the right with Gothic ogives, that of the «Ecclesia»: the exterior landscape viewed at the extreme left side, based on Is. LX, 1-8, is corresponding with a interior scene at the extreme right of a High Mass in which a priest standing at the epistle side of an altar, beside a deacon holding a calix, is reading sacramental words of the «Canon Missae» from the Missae Romanum: "Hic est enim Calix Sanguis mei, novi et aeterni testamenti". The words of the "novum testamentum" have theologically a close relationship with prophecies of Jeremiah XXXI, 31 ("foedus novum"); iconographically, this link justifies a presence of the figure of Prophet Jeremiah at the right wing in correspondence with that of Prophet Isaiah at the left one. The hexagonal lectern depicted in the middle of the central panel, as a visual axis of composition of the Triptych, with a shaft in spiral, allusion to a wine press (Is. LXIII, 3), and a seated monkey on the top cleansed by divine radiations, symbol of Original Sin maculating the Virgin, could be considered as a symbol of Salvation, "Fountain of Life" transposing the world from «sub lege» to «sub gratia». The iconographical program of the inner parties of the Triptych, as a whole, could be inspired with a Bernardine mariology by which the Virgin in a Mystery of Salvation is located as a "mediator" between Old Alliance and New Testament. This mariological concept had been preached by St. Bernardine of Siena in whom the King Rene had put his personal faith.
Two versions of the Massacre of the Innocents after Raphael have often been given to Marcantonio, one with a "fir tree" (B. 18), an one without (B. 20). But both stylistic and technical evidence suggest that Marcantonio engraved only the second. This engraving also must be early, for it resembles Marcantonio's early pre-Roman work more than his other engravings after Raphael, making it the first work designed by Raphael to be engraved. Iconographically, this image bridges ancient Jerusalem and Raphael's Rome.
Before becoming "the pearl of painting in all Germany" as Karel van Mander called him, Christoph Schwarz (Ingolstadt, c. 1548 - Munich 1592) in the years 1570—1573 went to Venice. There he received the essential part of his professional training with Titian. Paolo Veronese, too, became an important model. This is confirmed by Schwarz's small Venetian œuvre, here enlarged by a few easel paintings and by frescoes decorating various rooms on the ground floor of Villa Giunti (now Giacomini) at Magnadola di Cessalto near Treviso. These frescoes were attributed by Ridolfi and the later authors to Paolo Veronese and/or his assistants or pupils.
The identity of the mysterious Edo print artist, Tōshūsai Sharaku, has been the subject of numerous theories and postulations since the Edo period. An examination of stylistic features, such as Sharaku's choice of subject matter and method of depicting highly individualized facial expressions and bodily postures, shows strong similarities to the work of Shunro (an early name used by the great landscape artist Katsushika Hokusai). Additional consideration of political and personal artistic concerns which would have lead a great artist such as Hokusai to guard his true identity so closely serve to solidify the theory that these two artists were in fact the same person.