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By all accounts, the year 1500 was in the midst of the peak of the German Renaissance. In that season, Flemmish artist Jean Hey, known as the "Master of Moulins," painted "The Annunciation" to decorate a part of a change piece because of his royal French patrons. The painting tells the story of the angel Gabriel's visit to the Virgin Mary to deliver the news that she will give birth to this son of God. As the story goes, Mary, an unwed girl, was initially frightened about the possibilities of pregnancy, but finally accepts her fate because God's servant. "The Annunciation" is an oil painting in a smallish canvas, three feet tall and half as broad. The placing of this painting is a study, Mary sitting at a desk at the bottom right hand corner studying, and the angel Gabriel behind her carrying a gold scepter, perhaps floating and marginally off the picture's center to the left. Both figures are creating distinct hand gestures, and a single white dove, in a luminous sphere of gold, floats directly over Mary's head. The remaining part of the research is arty however uncluttered: a tiled floor, a bed with crimson sheets, and Italian-style design. "The Annunciation" was painted at a momentous time, at what is currently considered the conclusion of the Early Renaissance (also the vast majority of the 15th Century) and the beginning of the High Renaissance (roughly, 1495 -- 1520). Because of its proper placement in the Renaissance's deadline and its own distinctly High Renaissance characteristics, Jean Hey's "Annunciation" signifies the culmination of the transition from the trial-and-error procedure of the Early Renaissance, into the technical perfection that uttered the High Renaissance. Specifically, "Annunciation" demonstrates technological advancements at the portrayal of the huma...