A predella from an altarpiece consisting of five panels embedded in a gilded late Gothic crested relief work, with ornamental vegetal and creeping thistle motifs. The panels are divided by profusely decorated thin pilasters supporting ogee arches with ornaments based on pendant thistles crowned with identical motifs, which are worked with small interlinked arches in the centre.

In the central compartment, a Suffering Christ (Christus Patiens) is seen in his tomb attended by two angels with melancholic expressions. Apart from the evident thematic centrality, his position also responds to a strictly functional liturgical motivation, for it was the painting placed immediately next to the altar in front of which the priest officiated the rite of the Eucharist during mass. Left to right we see

 St Barbara 

usually depicted holding a tower in one hand, the palm branch of her martyrdom in the other and wearing a crown on her head. The tower has three windows open, symbolising the saint’s veneration of the Holy Trinity.

, St Anne and the Virgin Mary,

 St Catherine 

usually seen wearing a crown (in allusion to her royal origin), with a book in her hand (an allusion to her science), the sword of her beheading and the palm branch of her martyrdom. Other attributes are the wheel and the ring alluding to her mystical marriage.

and

 St Margaret 

her main attribute is the dragon tied or lying at her feet, and she is depicted holding a Bible or a crucifix in her hand.

, all of them solemnly represented with their iconographic attributes, depicted frontally or turning slightly to one side, standing out against a stone balustrade and a landscape in the background which includes trees to add to the symmetry and to further accentuate the feeling of space.

is often represented in conjunction with and , as in the case of this predella. As far as St Anne and the Virgin Mary are concerned, we ought to highlight the greater iconic role played by the former, covered with a white headdress, over the figure of the Virgin Mary, a reduced and infantilised carving that contrasts with the figure of her mother.

All the characters have golden halos, decorated using a , except Christ’s halo which contains a cross. The clothes are depicted with rich elaborate fabrics, instilling life into the composition with their bright colours.

In the second half of the 15^th century Aragonese painters gradually incorporated the naturalism of Northern Germanic and Flemish painting, known for its great formal elegance and in which the use of oil painting was already widespread at the end of the century. The landscape in the background is also reminiscent of the northern landscapes characteristic of Flemish painting.