You looking at aloft head bold Angel. The Angel is slightly bent, look at and raised in blessing to her his rights, in his left hand, which is placed on his left knee, he holds a long white lily. It has occurred a change in the self-confidence of the represented compared to the small image of the Annunciation. A time signal of the Renaissance. The wings of the Angel seem smaller, Olli, finely plumose, and going in the next moment to beat down and lift up. This causes the impression of a snapshot.
Also the subject of the Niederkniens is slimmer. The arrangement is the same: the Angel on the flowering grass, Maria in the corner of the House, whose edges using bright blocks are set off from the dark walls of the House. Also a great open door with insight into the building and the lower part of a window are visible. Everything appears genteel, more elegant, hofischer. Here goes the tree silhouettes against the landscape background, blue earth tones into the distance. Was it at the small Annunciation round leaf trees, high pines, which underline the delicate elements can be found.
Behind the subject of blessing and the lily, a hole in the garden wall allows the look on a narrow road winding into the landscape. The green coat lining of the Angel blends with the green tones of the image. The two images of the Annunciation are dated around 1470-75, at that time Leonardo worked in the workshop of Verrocchio (up to 1478) as his angelic character in the factory around 1475 Verrocchios baptism of Christ”proves. in 1472 he absorbed as a master in the Guild of painters in Florence.