Contrasting in style are the naive votive paintings by the church entrance, where the Madonna and Child appear as ghostly apparitions in life-and-death situations.

The painting contrasts significantly with Raphael's earlier Ansidei Madonna (1505), influenced by the strict expression of divinity of the Umbrian School within his Florentine Period.

Two 1877 paintings of an orchard in the village of Pontoise present further contrasts.

The painting contrasts soft, round figures with harder geometrical shapes, using "brushy, transparent touches and dense, vigorous strokes."

The painting, which is of a vase of yellow and red poppies, contrasted against a dark ground is a reflection of Van Gogh's deep admiration for Adolphe Monticelli, an older painter whose work influenced him when first he saw it in Paris in 1886.

William Holman Hunt's painting from the poem (illustration, right) contrasts the completely pattern-woven interior with the sunlit world reflected in the roundel mirror.

His painting, titled "Glowing and Burnt-Out Cells With Conduit," contrasts a fluorescent red panel with a black one.

Again like the paintings over the fireplaces in this room, these paintings contrast the use and abuse of power, in this case clemency versus betrayal.

The painting contrasts nicely with a nearby lamp, which has a (fake) AK-47 machine gun as its base.