The Annunciation of Cortona - Fra Angelico, c. 1433–1434

The Annunciation of Cortona

Fra Angelico | 1433–1434
Tempera on panel | 175 × 180 cm
Now in the Museo Diocesano, Cortona

Fra Angelico’s Annunciation of Cortona is one of the most profound visual meditations on the mystery of the Incarnation produced in the early Italian Renaissance. Painted between 1433 and 1434, this luminous panel once served as the central piece of an altarpiece in the Church of Gesù in Cortona. Today, it resides in the Museo Diocesano, where it continues to inspire viewers with its elegance, symbolism, and spiritual clarity.

At first glance, the composition may appear serene and symmetrical, but it is layered with deep theological meaning and masterful visual storytelling. The moment depicted is the Annunciation—the instant the Archangel Gabriel delivers the divine message to the Virgin Mary that she will bear the Son of God. It is an image of both cosmic consequence and intimate quietude.

Set within a graceful loggia, the scene is filled with Christian symbolism. The enclosed garden (hortus conclusus) signifies Mary’s purity. Behind the architectural frame, Adam and Eve are shown being expelled from Paradise—a striking contrast that highlights Mary as the "New Eve," whose obedience redeems the disobedience of humanity’s first parents.

Above, a golden ray of light descends from the heavens, representing the Holy Spirit entering the Virgin’s womb. The forms are idealized but gentle, and the soft drapery and pale pinks, blues, and golds lend the painting a divine calm.

One of the most intriguing elements of this work lies in the inscriptions between the figures. Gabriel’s words—“Ave gratia plena, Dominus tecum”—are painted in Latin along two lines of text that float in the air. Mary’s response, “Ecce ancilla Domini” (“Behold the handmaid of the Lord”), is inscribed between them, but it’s painted upside-down. This subtle artistic decision suggests that her words are not intended for the viewer—they are directed toward God. It’s a moment of profound humility, both in content and presentation.

The altarpiece originally featured a predella with scenes from the life of the Virgin, including the Marriage of the Virgin, the Adoration of the Magi, the Presentation in the Temple, and the Dormition. These smaller narrative scenes are believed to have been painted by Fra Angelico’s close collaborator and pupil, Zanobi Strozzi. Together, the full altarpiece formed a cohesive meditation on Mary’s pivotal role in salvation history.

This painting is one of several Annunciations Fra Angelico created throughout his career, each subtly different in composition and tone. What sets the Cortona version apart is its lyrical balance of narrative, symbolism, and theology—all communicated through a style that is both technically sophisticated and spiritually transparent.

Fra Angelico, a Dominican friar, approached his work not simply as an artist but as a devotional act. That spirit of contemplative reverence radiates from every inch of the Annunciation of Cortona—an artwork meant not only to be seen, but to be prayed through.