On the left edge of the painting stands the Angel of the Annunciation. Mary, blessed with child, walks across the sickle of the moon, which has been turned upside down and which also represents the mountain range Mary has to cross on her way to Elizabeth. With her hands in sacrificial position she offers her child to the Lord, like in the Temple. The child she has given birth to resembles the Prague Child of Jesus - also wearing a crown - and he blesses the world. One halo envelops the divine child and his mother. They are both clothed with the sun.

From among the joyful mysteries only one is missing: the finding of Jesus in the Temple. Instead the artist has included the vision from the 12th chapter of the Apocalypse: the hellish dragon with the symbols of his power ( the 7 heads and crowns, the 10 horns and the tail which sweeps down one third of the stars from heaven) rebels against the woman and her child. But the Angel defeats him by thrusting an amethyst rod into his spine. The amethyst is known as an ancient cure against drunkenness, in this case against Satan’s drunken overbearance. We must not be surprised by the angel’s three hands, they simply symbolise God’s manifold power which is revealed through his angel. In reality the angel has no hands at all.

The grave features of the Holy Virgin on a painting of the joyful mysteries can be explained by the danger which threatens her and her child at all times.

The background is formed by a purple Lenten cloth that is decorated with the ornaments of the flaming Cross of Love. The cross is depicted as a tree of life, it blossoms at all the places where is has been cut, it even brings forth fruits of grace and salvation. The Saviour stands on the cross, spreading his arms in a sacrificial gesture like the priest at the altar. The Hebrew inscription „JEHOSCHUA" - Jesus - in the halo indicates that the Lord became the Redeemer of mankind through his very death on the cross. The cross has been put up as a sign which demands a decision. Everybody has to decide whether he wants to stand at the right side like Mary or to the left with Satan.

Mary is shown in a genuine Christian conflict of the heart. She recoils with horror from the brutal scene of her son’s death and yet joins in his sacrifice with a gesture similar to that of the crucified Lord. Instead of John, the usual „assisting figure" under the cross, we see at the left side what the cross has achieved: the disempowerment of Satan. He falls down from heaven like a flash of lightning and hits the earth with his neck. During this „plunge" he is changed from an angel of light into an evil creature, a monster, with sunken eyes and manifold horns. His pay is death. In his hands he has the scourge and the rod which pressed the crown of thorns onto the Lord’s head. He is responsible for the Lord’s suffering; the soldiers were only the henchmen.

From among the sorrowful mysteries only the carrying of the cross is missing. The Lord’s head, bowing lifelessly in his freely accepted death reveals his infinite suffering. There is no such thing as a „beautiful" crucified master.

This picture is the most difficult of the series as it has to show „what no eye has seen". The risen Christ stands before us, with wide-spread arms and legs. The salvation he pours out into all four directions with the gesture of a victor springs forth from his wounds, from his suffering. From his head proceed 7 fiery flames, the 7 gifts of the Holy Spirit whom Jesus sends.

The garment of the resurrected and ascended Lord is adorned with pomegranates. The richness of its seeds has made the pomegranate a symbol of the fullness of salvation. The painter wants to say: The Redeemer comes to us with the fullness of his grace. Light spreads from his mouth because he has redeemed us also through his word.

On his forehead he wears a sign like one confirmed, he is the one anointed with God’s spirit, t h e true Christ, „Christos". His undergarment is that of a High Priest, adorned with little bells, because he is the one true High Priest of all mankind. The stars of David (like the genealogy in St.Matthew’s gospel) mean that he is the promised noble seed from the house of David, the Messiah.

Kneeling before him we see Mary, taken up into heaven on a cloud, to share her son’s glory. The handmaid of the Lord kneels and receives salvation from the Lord. How beautifully the two gestures correspond: the giving, male element in Christ and the receiving, female element in Mary. Around the head of this „Mother of the beautiful Love" we see the shining flames of love. Hovering above her head there is the crown of glory with which she is adorned by her son. She is a handmaid and yet a queen, a sovereign and yet kneeling to intercede for us. The almost dancing agility of her movements expresses the heavenly joy of her heart. Like in the other parts of the series Mary appears as a symbol of the Church. Thus the Redeemer and mankind redeemed form the theme of the third rosary painting.