The predella of the Polyptych of St Anthony consists of three panels showing St Anthony of Padua resurrecting a child, the Stigmatisation of St Francis and St Elizabeth saving a boy who had fallen down a well.
Angelico stops short of portraying the figures lamenting Christ's death in the agonies of grief; instead he shows them in languorous contemplation of their inner sorrow. Mary Magdalen kneels before Christ, taking his feet in her hands and kissing them. The Virgin kneels, her hands clasped, head on one side in reflective misery, with an air of particular detachment. She is partly screened from the viewer by the winding sheet held before her. The other holy women stand in positions of contemplation or prayer; one wipes a tear from her eye. As in earlier paintings by Angelico, the sense of the space in which the Virgin kneels is created by placing figures in a circle around her. In the background the road begins to wind its way up to Jerusalem.
The picture shows the fourth (central) predella panel of the St Barnaba Altarpiece.
The Passion of Christ, to which the large main panel also alludes, is the theme of the predella panel. Christ is standing in a stone sarcophagus, displaying his stigmata. In front of him lie the instruments of his Passion, the crown of thorns and nails. To the right, in the background, the Bearing of the Cross can be made out. To the left, swans are swimming on a river. They were well-known for their delightful death songs.
Dürer created his single panel altarpiece showing the Adoration of the Trinity, a celestial vision which forms an iconographical whole with the picture frame, for the wealthy merchant Matthäus Landauer. The Trinity is depicted with Christ on the Cross being supported by angels, the focal point of the heavenly gathering of saints. The crowd of martyrs on the left is led by Mary, and the group of Old Testament prophets and kings on the right by St John the Baptist. Clergymen and laypersons following the heads of the State and Church form the lowest horizontal zone in heaven. The artist depicts himself in the earthly zone in the manner of a secondary portrait. The client is the only layperson portrayed in the group of clergymen on the left, and he is being received into the heavenly community by a cardinal. Dürer prepared this detail in a portrait study.
Matthäus Landauer had gained his wealth by trading in ore, and in 1501 had founded a home for twelve old craftsmen who had fallen on hard times, to which Chapel of All Saints was attached. In addition to the portrait of the donor, there is a second one in the picture, that of his son-in-law Wilhelm Haller.