Dalmatian – Helsinus Preaching; The Canon restored to Life Part 2 National Gallery UK

The composition is vertically divided into two distinct scenes, each possessing a unique atmosphere and narrative weight. The upper portion presents a gathering centered around a figure delivering a sermon or lecture. He stands on a raised platform before a structure resembling a church or fortified building with distinctive blue roofing tiles. A large, golden orb dominates the background, suggesting divine presence or illumination. The audience is composed of individuals dressed in varied attire, some seated and others standing, their expressions ranging from attentive to somewhat indifferent. The overall impression is one of formal instruction within a structured community setting.
Below this scene unfolds a markedly different narrative. Here we see a landscape dominated by undulating terrain and a body of water. A central figure, clad in pink robes, appears to be ascending or being lifted upwards amidst swirling forms that could represent flames or spiritual energy. Several individuals are depicted lying prone on the ground, seemingly unconscious or deceased. Dark, equine figures – perhaps symbolic representations of death or demonic forces – are present near the fallen bodies. A small boat rests at the waters edge, adding a layer of potential symbolism related to passage or salvation. The palette in this lower scene is darker and more muted than that of the upper portion, contributing to a sense of drama and foreboding.
The juxtaposition of these two scenes suggests a narrative arc involving instruction, followed by a crisis or transformative event. The contrast between the orderly setting of the sermon and the chaotic landscape below implies a disruption of established order – perhaps a spiritual trial or divine intervention. The figure ascending in the lower scene could represent resurrection, enlightenment, or deliverance from suffering. The prone figures might symbolize those who have succumbed to adversity or are awaiting redemption.
The architectural details in the upper portion, particularly the church-like structure and blue roofing tiles, hint at a specific cultural context, possibly Byzantine or Eastern European. The overall style of painting – characterized by flattened perspective, stylized figures, and vibrant colors – is consistent with medieval iconography. The use of symbolic animals further enriches the narrative complexity, inviting interpretation beyond a literal reading of events.