Jacopo di Cione, 'The Crucifixion', about 1369-70
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About the work
Overview
This picture is unusual in Italian painting of this period in showing so much detail from the Gospel accounts of Christ’s crucifixion in one relatively small panel. Such images were usually reserved for large wall paintings. Christ is shown on the Cross between the two thieves who were crucified with him. Below, the Virgin Mary collapsing in grief is supported by Mary Magdalene, recognisable by her red robes and long red hair. Saint John the Evangelist stands slightly apart from them, raising his hand to his face in grief.
Saints Benedict and Bernard, the founders of the Cistercian Order, flank the Virgin and Child in the roundels below the main scene. The prominent position of women in the scene – particularly Mary Magdalene – and the inclusion of two female saints in the roundels indicates that the original location may have been a nunnery. This was possibly Santa Maria Maddalena di Cestello, the Cistercian nunnery dedicated to Mary Magdalene in Florence.
In-depth
This painting is unusual in Italian painting of this period in showing so much detail from the Gospel accounts of Christ’s crucifixion in one relatively small panel. These kind of images were usually reserved for fresco paintings that decorated large walls. Jacopo di Cione may have used Andrea da Firenze’s fresco showing the Crucifixion in the chapter house of the Florentine church of Santa Maria Novella, completed in 1368, as a model.
Christ is shown on the Cross between the two thieves who were crucified with him. On the right is the thief who, according to the Bible, mocked Christ. He is tormented by two devils – they hold a brazier, representing hell, over his head. On the left is ‘the good thief’, shown with a halo, who believed in Christ; two angels take his soul, represented as a small baby, to heaven. Christ’s blood is gathered in chalices by angels.
One man raises a stick with a vinegar-soaked sponge intended to quench Christ’s thirst, an incident mentioned in all the Gospels apart from Luke. Between the crosses, Roman soldiers on horseback guard the site, their spears raised. One of them, to the right of Christ, has a blue polygonal halo. He is probably the centurion mentioned in the Gospel of Luke who recognised Christ as the Son of God.
In the foreground a vast crowd is gathered. To the left, soldiers draw straws for Christ’s clothes, as mentioned in the Gospel of John; others cluster at the far right, behind a group of priests or Pharisees. The central group shows the Virgin Mary collapsing in grief and supported by Saint Mary Magdalene, recognisable by her red robes and long red hair. Saint John the Evangelist stands slightly apart from them, raising his hand to his face in grief.
The painting is an adaptation of the standard format of a polyptych, although much smaller. The central image is flanked by two sets of full-length saints stacked on top of each other, like pilaster saints (standing figures which decorated the pilasters – supporting piers – of large-scale altarpieces). The lowest edge consists of four half-length figures of saints surrounding a central image of the Virgin and Child, painted in roundels. This layer stands in for the predella which ran along the bottom of polyptychs. The entire construction is framed by decorative pilasters and crowned with a canopy known as a baldachin. This resembles the vaults of a fourteenth-century church and, like those, it is painted blue with gold stars to represent heaven.
Clues within the picture suggest that it might have been made for a Cistercian nunnery: Saints Benedict and Bernard, the founders of the Cistercian Order, flank the Virgin and Child in the predella. The prominent position of women in the scene, particularly Mary Magdalene, and the inclusion of two female saints in the predella indicates that the original location may have been a nunnery. The likely candidate seems to be Santa Maria Maddalena di Cestello, the Cistercian nunnery dedicated to Mary Magdalene in Florence. The painting might have sat upon the high altar there, which was flanked by chapels dedicated to Saint Benedict and Saint Bernard, or possibly in the chapter house, where scenes of the Crucifixion were traditionally found.
A little black hog peeks out from next to Saint Benedict – it’s a later addition, perhaps intended to transform him into Saint Anthony, who is often shown accompanied by the creature.
Key facts
Details
- Full title
- The Crucifixion
- Artist
- Jacopo di Cione
- Artist dates
- documented 1365; died 1398 -1400
- Date made
- about 1369-70
- Medium and support
- egg tempera on wood
- Dimensions
- 154 × 138.5 cm
- Inscription summary
- Inscribed
- Acquisition credit
- Bequeathed by the Revd Jarvis Holland Ash, 1896
- Inventory number
- NG1468
- Location
- Not on display
- Collection
- Main Collection
- Frame
- 14th-century Florentine Frame (original frame)
Provenance
Additional information
Text extracted from the ‘Provenance’ section of the catalogue entry in Dillian Gordon, ‘National Gallery Catalogues: The Italian Paintings before 1400’, London 2011; for further information, see the full catalogue entry.
Exhibition history
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2014Making ColourThe National Gallery (London)18 June 2014 - 7 September 2014
Bibliography
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1822J. Rutter, A Description of Fonthill Abbey and Demesne, in the County of Wilts: Including A List of Its Paintings, Cabinets, and Other Curiosies, 2nd edn, Shaftesbury 1822
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1823Phillips, The Valuable Library of Books at Fonthill Abbey, London, 9 September 1823 - 31 October 1823
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1854G.F. Waagen, Treasures of Art in Great Britain: Being and Account of the Chief Collections of Paintings, Drawings, Sculptures, Illuminated Mss. […], vol. 2, trans. E. Eastlake, London 1854
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1877Royal Academy of Arts, Exhibition of Works by the Old Masters, and by Deceased Masters of the British School (exh. cat. Royal Academy of Arts, 1877), London 1877
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1917O. Sirén, Giotto and Some of His Followers, Cambridge MA 1917
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1930R. Offner and K. Steinweg, A Critical and Historical Corpus of Florentine Painting, 8 vols, New York 1930
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1932H.D. Gronau, 'Jacopo di Cione', in U. Thieme and F. Becker (eds), Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, Leipzig 1932
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1951Davies, Martin, National Gallery Catalogues: The Earlier Italian Schools, London 1951
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1978S. Jones, 'The Fonthill Abbey Pictures: Two Additions to the Hazlitt Canon', Journal of the Warburg and Courtauld Institutes, XLI, 1978, pp. 278-96
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1986Davies, Martin, National Gallery Catalogues: The Earlier Italian Schools, revised edn, London 1986
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1988Gordon, Dillian, National Gallery Catalogues: The Early Italian Schools before 1400, revised edn, London 1988
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1989D. Bomford et al., Italian Painting before 1400 (exh. cat. The National Gallery, 29 November 1989 - 28 February 1990), London 1989
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1991J. Dunkerton et al., Giotto to Dürer: Early Renaissance Painting in the National Gallery, New Haven 1991
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1991D.F. Zervas, 'Lorenzo Monaco, Lorenzo Ghiberti, and Orsanmichele: Part 1', The Burlington Magazine, CXXXIII/1064, 1991, pp. 748-59
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1994A. Thomas, An Illustrated Dictionary of Narrative Painting, London 1994
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1997N. Penny, Frames, London 1997
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1998N. Penny, 'The Study and Imitation of Old Picture-Frames', The Burlington Magazine, CXL/1143, 1998, pp. 375-82
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2001
C. Baker and T. Henry, The National Gallery: Complete Illustrated Catalogue, London 2001
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2011Gordon, Dillian, National Gallery Catalogues: The Italian Paintings before 1400, London 2011
Frame
This fourteenth-century Italian multi-part panel painting is structured in the format of a polyptych, with predella, framing elements and three-dimensional canopy, and separate pilasters. The canopy at the top consists of seven domes with tall gables interspersed with finials and adorned with drop capitals. The domes feature Gothic arches and crockets. Each dome is made from a separate block of wood, hollowed to form a vault which is painted blue with gold stars, visible only from below. The pilasters and predella have slightly raised outer framing elements and are decorated with pastiglia ornaments of scrolling flowers and foliage. Eight roundels on the pilasters originally featured coats of arms (no longer legible), with four appearing on the front of the frame, and four on the sides.
The structure of the altarpiece is in excellent condition but most of the finials and finer decoration around the domes, and the spires at the tops of the pilasters, are later replacements.
About this record
If you know more about this painting or have spotted an error, please contact us. Please note that exhibition histories are listed from 2009 onwards. Bibliographies may not be complete; more comprehensive information is available in the National Gallery Library.