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Through the Sculpturisation of the Annunciation Diptych, does Jan van Eyck affectively Dehumanise the Virgin?

Ellen Scott

Introduction

The ‘Annunciation Diptych’, created between 1433-1435, remains a testament to both

the skill and oeuvre of Jan van Eyck.1 The technique, precision and intense realism

captured by van Eyck is undeniable. However, with his use of grisaille and the

sculpturisation of both the Virgin Mary and Archangel Gabriel, has van Eyck created an

artwork that is emotionally impenetrable? Could it be argued that similarities between the

Virgin and Gabriel effectively elevate Mary from human to deity; and through this

deification, are the Virgin Mary’s intrinsic and humanistic qualities lost? An emotional

barrier between stone and flesh, artwork and audience, is produced through van Eyck’s

Annunciation diptych.

Within the context of this essay the word ‘dehumanise’ will be utilised as a functional

descriptor. 2 Dehumanise is useful as a term compounding the removal or lack of

humanistic qualities and emotion from an otherwise detailed depiction of humanoid

statues. The Virgin and Gabriel are presented in this diptych as recognisably humanistic

but are also othered through their sculpturisation. The dichotomy presented here

requires consideration, regarding whether van Eyck has dehumanised the Virgin to such

an extent as to render the painting lacking cohesiveness, or whether a marbleised Mary

becomes the paragon of inspirational piety.

When discussing the connectedness between audience and artwork there are several

terms intrinsically linked to the study of emotions. The most common term used in folk

psychology to describe emotional connection is, arguably, ‘empathy’. Empathy is

summarised as feeling through someone else.3 For example, if an individual witnessed

the depiction of a weeping woman, this individual would not only visually see tears, but

an empathetic person would also experience these perceived emotions. Another

common word that will be utilised throughout this paper is ‘affect’. Here affect (and affect

theory), refers to the inborn nature of emotions all humans experience; the affect theorist

1 Mar Borobia, ‘Jan van Eyck’, Thyssen-Bornemisza Museo Nacional, [n.d.] <https://www.museothyssen.org/en/collection/artists/eyck-jan-van/annunciation-diptych> [accessed 23 April 2021]. 2 Dehumanise definition Cambridge Advanced Learner's Dictionary & Thesaurus, ‘Meaning of Dehumanize in English’, Cambridge Advanced Learner's Dictionary & Thesaurus (2021). 3 Overview of the term empathy in Nancy E. Snow, ‘Empathy’, American Philosophical Quarterly, 37, (2000) p. 66.

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would claim that individuals are connected by an affectual subconscious understanding

of others.4 Barbara Rosenwein and Riccardo Cristiani summarise, ‘affect theorists have

allotted to affects the realm of the irrational. They are, according to these scholars, the

pre-conscious, pre-emotional, pre-verbal forces in our lives.’5

Directly contrasting affect theory is social constructivism; the emphasis here is placed on

the effect that saturation of specific cultures potentially has on the variations in human

emotional experience. 6 There is a dichotomy present between universal affect and

culture specific constructions of emotion. Tension exists between these two fields of

thought, which respectively claim that emotional responses to stimuli are inherent and

socially constructed. Emphasis here lies in the differences between modern audience

interpretations of the ‘Annunciation Diptych’ compared to a medieval audience’s potential

response to the same visual.

This topic requires extensive grounding within empathetic theory and theological

discussions before a formal analysis of the ‘Annunciation Diptych’ can be completed. As

such, visual study will be conducted onwards of the section ‘Affect and the Annunciation

Diptych’.

Affectual Communication

There are several matters to consider when discussing affective impact and audience

response to artworks; firstly, an examination of the intended audience needs to be

critically engaged with. Van Eyck created artworks for patrons and audiences

contemporary to himself; their cultural concerns and proclivities are, arguably, where his

intentionality would lie. As an artist, van Eyck’s artwork is a product of the culture he was

saturated within. This poses a problem regarding accuracy of modern readings of his

artwork. Jan Plamper summarises, ‘History is sometimes said to be necrophiliac or

necromantic because, unlike anthropology and the life sciences, it deals exclusively with

the dead’.7 There is a level of assumption required when discussing emotive responses

from historic audiences. The use of models for ingrained human affective reactions,

4 Summation of various approaches to the scientific research into emotions by Barbara H. Rosenwein and Riccardo Cristiani, ‘The Science of Emotions’, What is the History of Emotions? (Cambridge: Polity Press 2018), pp. 8-25. 5 Ibid., p.11. 6 Ibid., pp.19-25. 7 Jan Plamper, The History of Emotions: An Introduction, trans. by Keith Tribe (Oxford: Oxford University Press 2015), p. 288.

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coupled with culturally constructed views of emotionality, will act as a baseline for this

paper.

A study from 2019, carried out by Chantal A. Miller and Ronald Hübner, explores the

accuracy of predictions made regarding other’s perceived connections to artworks.8 The

study analysed the aesthetic preferences of its participants with the prescribed artworks,

but also the accuracy of predictions made regarding the preferred tastes of the other

subjects. Findings indicated that ‘participants had a more individualized emotional

response to artworks, but were more homogenous, as a group, in their expectancies of

how other people would emotionally appraise the artworks.’9 The study demonstrates

that modern scholarship has the capacity to theorize as to the affective impact of art on

historical audiences. Further conclusions made in this study also suggested participants,

when judging the experience of others, first had to question whether they believed other

individuals would find the artwork beautiful.10

Furthering the implications of beauty as a key signifier for the accurate prediction of the

preferences of others, it is important to keep in mind the transient beauty ideals of

different cultures. However, there is evidence indicating that aesthetic experience

coincides with neural networks in the brain that match signifiers of moral judgement.11 If

aesthetic ideals of beauty and moral judgement both have the potential to contribute to

audience connectivity with artworks, where then does affect fit in this scenario? Affectivity

in modern terms concerns itself with initial, autonomous reactions to stimuli; in summary,

affect is emotion before precognition.12

However, the believed function of affect -affectus- in medieval Christian Europe, holds a

similar but separate meaning. Referred to by Augustine, from an earlier story by Aulus

Gellius, affect constitutes the first pang or impulse when faced with stimuli.13 Augustine

describes a sea voyage in which a large storm passes overhead; a philosopher states

he does not fall victim to passionate disturbances, however the crew witness his cheeks

whiten in fear. The philosopher argues this reaction is not passion by stating that, ‘the

8 Chantel A. Miller and Ronald Hübner, ‘Two Routes to Aesthetic Preference, One Route to Aesthetic Inference’, Psychology of Aesthetics, Creativity and the Arts, 14.2 (2019) pp. 237-249. 9 Ibid., p. 241. 10 Ibid., p. 244. 11 Summarisation: Christoph Redies, ‘Combining Universal Beauty and Cultural Context in a Unifying Model of Visual Aesthetic Experience’, Frontiers in Human Neuroscience, 9.218 (2015). 12 Plamper, p. 301. 13 Referenced: Damien Boquet and Piroska Nagy, ‘The Christianization of Emotion (Third to Fifth Centuries)’, Medieval Sensibilities: A History of Emotions in the Middle Ages (Cambridge: Polity Press 2018), pp.9-30 (p.23).

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first pang of emotion, from which in fact no man could escape, was in no way the same

as passion, which required consent.’ 14 Following then, passion -passio- is when an

individual makes an active choice to act upon the whims of affect. The works of Thomas

Aquinas also offer and explanation of the passions, Boquet and Nagy summarise his

views below:

Thomas Aquinas defined passions as motions of the sensitive appetite of the

soul: they responded to the external influences and were accompanied by

transformations within the body.15

Theological separation of impulse and action, ‘the mastery of the body and emotions was

emphasized’ within medieval Christian society. Control over emotion was paramount in

order to protect the soul.16 That is not to say that Christian teachings were entirely

passionless– the passionate love Christ had for humanity was so completely

immeasurable that his sacrifice and suffering instigated the purification of original sin.17

According to Christian doctrine it is human to suffer and ‘the fact that he suffered on the

cross as a man was the indispensable proof of his humanity.’18 Through a rejection of

carnal affect in conjunction with bodily suffering, purity of the soul could be achieved.19

The bodily suffering of Christ was utilised within the visual arts reminding common people

that suffering predicates virtue.

Christ’s humanity purified original sin: whereas empathetic understanding and

recognition of this suffering, allowed the possibility for an individual to also be purified.

Empathy as Susan Lanzoni writes is, ‘an identification with, or an understanding of, the

emotional life of another person’.20 The empathetic connection of common people with

the suffering of Christ had the potential to be activated through visual imagery. As the

viewer was purified through their empathetic suffering, they could be brought closer to

the love of God.

Affect and the Annunciation Diptych

14 Ibid., p. 23. 15 Ibid., p.185. 16 Ibid., p. 47. 17 Ibid., p. 10. 18 Ibid., p. 17. 19 Ibid., p. 46. 20 Susan Lanzoni, ‘Introduction: Empathy and the Sciences: Varieties of Empathy in Science, Art and History’, Science in Context, 25.3 (2012) p. 287.

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Van Eyck’s ‘Annunciation Diptych’ (Figure 1) consists of a sculpturised Archangel Gabriel

and the Virgin facing each other in dialogue.21 The painted frames feature text from the

biblical annunciation scene. Above Gabriel the first spoken line appears as if it has been

chiseled into the stone frame, the text reads: “Hail, thou that are highly favoured, the

Lord is with thee.” Above the Virgin the last line of dialogue, “Behold the handmaiden of

the Lord; be it unto me according to thy word.”22 There are several framing devices

utilised within these panels; the outside panels are warm-umber marble frames, inside

these are a second set of painted, stylized, stone frames. Susie Nash comments on van

Eyck’s variation of painted stone:

The impossible is thus made possible here; a diptych made of richly polished

black stone, against which two figures also of stone, are carved fully in the round,

despite being insufficient depth for them to be set there, with a stone frame, and

all set in a marble block.23 Looking within these frames, the background depicts

either polished stone or mirrors, reflecting both the Virgin’s back and the

Archangel’s hand as he points towards Mary. This reflective surface is worth

mentioning as it presents itself as a possible physical- and symbolic-

manifestation of the Virgin’s purity, the speculum sine macula (perfect mirror).24

The Virgin and Archangel are of different realms: Gabriel a representation of the

heavenly and Mary the earthly, van Eyck has chosen to paint them in reflective dialogue.

They are both depicted in grisaille (in grey), they are both positioned atop hexagonal

plinths, they are both of similar stature and they both exist in-front of a reflective surface.

Although the painted figures have been stylistically marbleised into immobility, there is

still movement within the painting as the scene characters seem to burst from their

frames. Gabriel’s wing falls forward of the inside frame, whilst his back, as well as the

Virgin’s, cast shadows across the stone framing device. These similarities, particularly

when analysing the figure’s heights, could signal a position of equality: Gabriel is greeting

the Virgin at her level.

21 Jan van Eyck, The Annunciation Diptych, c.1433-1435, oil on panel, left wing (The Archangel Gabriel) 38.8 × 23.2 cm, right wing (The Virgin Mary) 39 x 24 cm, Museo Nacional Thyssen-Bornemisza, Madrid. 22 The Holy Bible Containing the Old and New Testemants, Authorised King James Version (Hendrickson Bibles 2004), Luke 1:26-38. 23 Susie Nash, ‘Moving Images’, Northern Renaissance Art (New York: Oxford University Press 2008) p. 245. 24 Refer to footnote 1, Borobia, ‘Jan van Eyck’.

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The panels themselves are small and both similarly dimensioned (around 39 × 24cm),

suggesting that functionally the piece was intended for private lamentation. 25 Yet,

through the process of sculpturisation, the figures are othered, resembling statues that

resemble humans, rather than depicting humans themselves. The stone faces of the

Virgin and Archangel are neutrally devoid of emotion. Further, the annunciation scene

presented is sparsely populated, stripped back to its base elements; Gabriel points

towards Mary, she holds an open book, and the Holy Spirit above her head. Frank

Fehrenbach discusses the scene:

… with the protagonists’ smooth, white eyes, van Eyck takes from the painting in

terms of animation what he adds in terms of materiality. The diptych

demonstrates marvellously and painfully that something is missing, that the

sculptures are only about to unleash the dynamic impact of the sacred story, only

about to see, move, and speak.26

An annunciation scene is, arguably, not subject to the same functional empathy as a

descension from the cross would have been. However, critics have discussed the

physicality and humanity of the Virgin. Cistercian Baldwin of Ford spoke of the Virgin’s

physical appearance as follows: ‘The grace of her charm resides in the grace of her

complexion, where paleness and blush mingle.’27 The physicality of embodied emotions

were scrutinised within Christian theology. Boquet and Nagy comment on the

"mechanism of spirits and fluids" conceived as causing physical responses in the body -

such responses may have been exhibited as blushing when feeling embarrassed or

crying when feeling sad.28 Curious then that van Eyck has chosen to negate fleshliness

for stone, stripping the Virgin of her humanity and earthly ties. She is suggestively

presented as an equal to the heavenly. Erwin Panofsky talks about the alteration of

biblical scenes when depicted by van Eyck stating they, ‘Confront us with a

reconstruction rather than a mere representation of the visible.’29

25 Example of large altarpiece by Hubert and Jan van Eyck, The Ghent Altarpiece, c.1432, oil on panel, 340 × 460cm, Saint Bavo's Cathedral, Ghent. 26 Frank Fehrenbach, ‘Coming Alive: Some Remarks on the Rise of “Monochrome” Sculpture in the Renaissance’, Source: Notes in the History of Art, 30.3 (2011), p. 50. 27 Cited by Boquet and Nagy, p.93. Cistercian Baldwin of Ford, ‘Sermon 13 sur l’annociation (traité VII)’, (d.1190). 28 Boquet and Nagy, p. 137. 29 Erwin Panofsky, Early Netherlandish Painting, 1st edn. (Routledge, 1971), p.181.

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Could the lack of fleshliness lead to a lack of affective embodiment of the Virgin? The

scene is still recognisably an annunciation; simply through recognition, could affectual

associations be conjured for the medieval audience? David Freedberg writes:

When we recall a scene from the Bible, for example, and recognise what the

scene represents, whether in whole or part, on the basis of accretions of

experience and emotions arise from our personal historical associations with

such a scene, or we may react viscerally and corporeally in ways that seem to

proceed memory.30

Freedberg’s interest lies in why certain artworks successfully retain their captivating

presence on audiences over hundreds of years, as opposed to others which are

forgotten. However, questions of hierarchy must be considered when examining the work

of Freedberg; there is an assumed universal importance placed on the artworks present

in the study.31 As scholarship evolves past previous assumptions regarding hierarchal

artistic placements within the discourse, there is scope to re-evaluate why specific

artworks have achieved status in the collective consciousness.

There is still worth to be found within the study of affectual recognition. It is plausible to

posit that medieval audiences would recognise the presented scene of the annunciation

and feel a superficial recognition connection. Further research is being made into the link

between affect and empathy and the human capacity to experience empathy for beings

that are other. Capacity for humans to empathise with animals (or even automata), is

showing outcomes that denote humanities ability to connect with otherness in an

intermediary level.32 This would suggest that simply depicting a recognisably humanoid

figure fosters an artwork- audience connection. Nonetheless, the lack of fleshliness,

emotional expression, and statuesque pose of the Virgin acts as potential barrier for the

fostering of affective embodiment with an audience.

Affective Embodiment

The ‘Annunciation Diptych’ is technically, highly proficient; the realism of the rendered

stone variety across both panels exquisite. However, this skilful display has the potential

30 David Freedberg, ‘Memory in Art: History and the Neuroscience of Response’, in The Memory Process, Neuroscientific and Humanistic Perspectives, ed. by Suzanne Nalbantian, Paul M. Matthews, and James L. McClelland (Cambridge, Mass.: The MIT Press, 2011), p. 338. 31 Plamper, p. 228. 32 Ibid., pp. 26-29.

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to disguise a lack of emotive depth. It could be stated that the scene as depicted in stone

is intended as a realisation of the stillness of sculpture– as could have been the artists

intent– but the cost of this technique is a potential loss of affectual connection. A

medieval audience had the ability to recognise the scene as a reconstruction of the

annunciation, yet the artwork holds a quiet resistance to full affective embodiment. There

is a disturbance in connectivity between audience and artwork.

Bodily affect is currently being studied; conclusions drawn hypothesising that this form

of affection contributes to an intrinsic form of human connectivity. Not just interpersonally,

but also connectivity with other visual stimuli- including artworks. When studying

relational displays of emotion, Thomas Fuchs and Sabine C. Koch have posited:

The facial, gestural and postural expression of a feeling is part of the bodily

resonance that feeds back into feeling itself, but also induces processes of

interaffectivity: Our body is affected by the other’s expression, and we experience

the kinetics and intensity of his emotions through our own bodily kinaesthesia

and sensation.33

Although medieval audiences lacked modern scientific language to express affective

embodiment, there was still an awareness of bodily connection. Boquet and Nagy

address this awareness thusly, ‘The religious fervour that frequently shook the Western

world in the second half of the Middle Ages always involved both body and soul: their

total engagement was often signalled by strident emotions and gestures.’34 With this in

mind, the Archangel’s subtle gesture toward the Virgin has the capacity to elicit a

mirrored response from audiences. Yet the statuesque form distorts the humanity of the

Virgin, denying audiences the ability to foster a humanistic connection with her.

Focusing on the top two panels of ‘The Last Judgement Polyptych’ (Figure 2)35, painted

by Rogier van der Weyden, there is similar depiction of the annunciation scene to that

exhibited in van Eyck’s diptych. Correlations existing between the two annunciations are

apparent. They both depict the annunciation, the Archangel featured on the left panel

and the Virgin on the right, with the usual symbolism associated with the scene: Gabriel

33 Thomas Fuchs and Sabine C. Koch, ‘Embodied Affectivity: On Moving and Being Moved’, Frontiers in Psychology, 5.508 (2014) p. 5. 34 Boquet and Nagy, p. 185. 35 Rogier van der Weyden, The Last Judgement Polyptych, c.1445-1450, oil on panel, 220 x 548 cm when open, Hôtel-Dieu Museum, France.

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points towards Mary, whilst she is painted in contemplation. The Virgin holds an open

book whilst the dove, an allusion to the Holy Spirit, is positioned above her head. Parallel

to each other, both scenes are also depicted using grisaille and sculpturisation

techniques. Our concern here is not how they visually mirror one-another, but how they

diverge.

Although the figures in van der Weyden's annunciation are depicted sculpturally, the

image maintains an implied degree of movement. When focusing on the left panel,

Gabriel’s movements can be traced within the image: movement is found within the

tumbling rolls of the scroll as it falls towards his feet, the sweeping back of both his hair

and robes, as-well-as in the bending of his knee. Although van der Weyden’s scene

depicts the sculptural, the implied movement exhibited in only the left panel provides a

larger degree of animation than that present in the entirety of van Eyck’s diptych.

Potential affective connection with the audience becomes a more likely possibility with

physical embodiment. There’s not only a witnessing of bodily movement, but also implied

muscle tension, a begging for the pose to be bodily replicated from witnessing audiences.

The implication of action triggers a ‘felt bodily response’36, the audience experience the

potential for action. It can be posited that through a higher degree of felt movement when

experiencing van der Weyden’s annunciation, the audience’s visual participation would

be more evocative affectively. Through this regard, the sculpturisation of van der

Weyden’s annunciation is potentially more humanistic.

Conclusion

Although there is no way to know for certain van Eyck’s intentions regarding audience

reception of the ‘Annunciation Diptych’, it does appear that he purposefully obscured

affective connection with this artwork. Although typically annunciations were not

depictions of heightened emotions, scenes could be imbued with affect. This is

evidenced in van der Weyden’s sculptured annunciation, specifically through the

implication of bodily movements. There is still further research needed regarding the lack

of positive affect featured within medieval Netherlandish art. Artists often displayed

suffering but seem reticent in their displays of openly positive emotions. Perhaps with

further examination, combining scholarship regarding the history of emotions and history

of art, this field can be studied more fully.

36 Freedberg, p. 348.

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The functionality of the diptych is implied with its size, existing as a space for private

lamentation rather than public experience. The monochromatic, humanoid figures are

frozen together, denying the audience real emotive connection. The work of van der

Weyden exists in the adverse; the bodily qualities transcending sculpturisation, coaxing

the audiences mirrored responses. Bob Boddice evaluates audience interactions with

objects as follows, ‘… the inescapable observation that emotions are sensed in a world

of interactions with other beings and objects.’37

Van Eyck’s sculpturisation others Mary, dehumanising her affectively from the audience,

furthered in the stillness of the bodily poses. The artist places the Virgin on the same

plinth as the Archangel, deifying her form, but denying her humanity. Through this denial,

van Eyck has inhibited audience connection, as such denying bodily lamentations on the

eventual purification of sin Christ’s sacrifice brings.

37 Rob Boddice, ‘Spaces, Places and Objects’, The History of Emotions (Manchester: Manchester University Press 2018), p.183.

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List of Artworks Figure 1

Jan van Eyck, The Annunciation Diptych, c.1433-1435, oil on panel, left wing (The

Archangel Gabriel) 38.8 x 23.2 cm, right wing (The Virgin Mary) 39 x 24 cm, Museo

Nacional Thyssen-Bornemisza, Madrid

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Figure 2

Rogier van der Weyden, The Last Judgement Polyptych, c.1445-1450, oil on panel, 220

x 548 cm when open, Hôtel-Dieu Museum, France

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Figure 3

Master of Flémalle, Robert Campin workshop, ‘The Flémalle Panels: Mercy Seat, c.

1428-1430, mixed media on oak, 148.7 x 61.0 x 1.1 cm, Städel Museum, Frankfurt

Bibliography

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Baldwin of Ford, Cistercian, ‘Sermon 13 sur l’annociation (traité VII)’ Boddice, Rob, ‘Spaces, Places and Objects’, The History of Emotions (Manchester: Manchester University Press 2018), pp.168-189 Boquet, Damien and Nagy, Piroska, ‘The Christianization of Emotion (Third to Fifth Centuries)’, Medieval Sensibilities: A History of Emotions in the Middle Ages (Cambridge: Polity Press 2018) Borobia, Mar, ‘Jan van Eyck’, Thyssen-Bornemisza Museo Nacional, [n.d.] <https://www.museothyssen.org/en/collection/artists/eyck-jan-van/annunciation-diptych> [accessed 10 January 2021 Cambridge Advanced Learner's Dictionary & Thesaurus, ‘Meaning of Dehumanize in English’, Cambridge Advanced Learner's Dictionary & Thesaurus, (2021) <https://dictionary.cambridge.org/dictionary/english/dehumanize> [accessed 9 January 2021] Fehrenbach, Frank, ‘Coming Alive: Some Remarks on the Rise of “Monochrome” Sculpture in the Renaissance’, Source: Notes in the History of Art, 30.3 (2011), 47-55 Freedberg, David, ‘Memory in Art: History and the Neuroscience of Response’, in The Memory Process, Neuroscientific and Humanistic Perspectives, ed. by Suzanne Nalbantian, Paul M. Matthews, and James L. McClelland (Cambridge, Mass.: The MIT Press, 2011) Frere, Jean-Claude, Early Flemish Painting (Paris: Pierre Terrail 1997) Fuchs, Thomas and Koch, Sabine C., ‘Embodied Affectivity: On Moving and Being Moved’, Frontiers in Psychology, 5.508 (2014), 1-12 Lanzoni, Susan, ‘Introduction: Empathy and the Sciences: Varieties of Empathy in Science, Art and History’, Science in Context, 25.3 (2012), 287-300 Miller, Chantel A. and Hübner, Ronald, ‘Two Routes to Aesthetic Preference, One Route to Aesthetic Inference’, Psychology of Aesthetics, Creativity and the Arts, 14.2 (2019), 237-249 Nash, Susie ‘Moving Images’, Northern Renaissance Art (New York: Oxford University Press 2008), pp.229-254 Panofsky, Erwin, Early Netherlandish Painting, 1st edn. (Routledge, 1971) Plamper, Jan, The History of Emotions: An Introduction, trans. by Keith Tribe (Oxford: Oxford University Press 2015) Redies, Christoph, ‘Combining Universal Beauty and Cultural Context in a Unifying Model of Visual Aesthetic Experience’, Frontiers in Human Neuroscience, 9.218 (2015) Ridderbos, Bernhad, van Buren, Anne and van Veen, Henk, ‘Objects and Questions’, Early Netherlandish Paintings: Rediscovery, Reception and Research, trans. by Andrew McCormick and Anne van Buren (Amsterdam: Amsterdam University Press 2005), pp.4-170 Rosenwein, Barbara H. and Cristiani, Riccardo, ‘The Science of Emotions’, What is the History of Emotions? (Cambridge: Polity Press 2018), pp.8-25 Snow, Nancy E., ‘Empathy’, American Philosphical Quarterly, 37.1 (2000), 65-78

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The Holy Bible Containing the Old and New Testemants, Authorised King James Version, (Hendrickson Bibles 2004), Luke 1:26-38