This Assumption of the Virgin, c. 1500, by Joachim Patinir, is at the Philadelphia Museum of Art. It won't strike everyone as beautiful, but it has considerable appeal for me. First, I love the legend about how all the apostles were able to gather at Mary's bedside as soon as it became known that she was dying. Next, the figures of Christ and God the Father at the top, preparing to welcome Mary, are very nicely done. Finally, the roundels of the Nativity and the Resurrection, in the two upper corners, are remarkable for their detail.
In honor of the season, here is a Nativity by Willem Vrelant or his workshop, done c. 1461. This depiction has the features common to most Nativities of this era: the Christ Child lies naked on the ground; St. Joseph holds a candle; and two tiny angels join Mary and Joseph in adoring the Child.
Note: this page is from the Arenberg Hours, much of which can be seen at the Getty Museum site.
This fine Presentation in the Temple is by Ambrogio Lorenzetti. I especially love the green colors in the stonework, and the various fabrics. Take a look, for example, at the colors in Mary's head-covering. Joseph, Mary, and two companions are on the left; Simeon and Anna are on the right.
This version of the painting comes to us courteous of the remarkable Google Art project. The work itself resides in the Uffizi Gallery, Florence, Italy. Further information is available at the Web Gallery of Art.
Note: I've posted a link to this work before. It's always worth another look, in my opinion. In any event, the glories of Google Art make a new post almost mandatory.
The Prado Museum in Madrid, Spain, possesses one of Fra Angelico's Annunciation altarpieces. The Museum has done us the great favor of placing three different versions of the work, each in a different size, on its website. First, there is the usual introductory page. Next comes an image significantly enlarged. Finally, and most wonderfully, there is a zoom image that will make you feel as though you are standing in front of this very painting.