The atmospheric nature of this painting, with its contrasting mountainous landscape, dark foreground and bright golden background is reminiscent of the milieu of Gentile da Fabriano, who vividly painted such contrasting atmospheric lighting. There are also similarities in the design of the rocky landscape and the rich millefleur meadows. The attribution of this painting to Paolo da Visso – whose paintings are otherwise largely lost – was first suggested by Federico Zeri in the 1970s.
Designed for individual contemplation, the iconography of this panel adds complexity to the otherwise straightforward scene, which depicts the final moment before the death of Christ. Kneeling and embracing the foot of the Cross is Saint Francis of Assisi dressed in the traditional Franciscan brown habit fastened with a white rope, looking towards Christ. Although out of place, the presence of Francis at the foot of the cross is not unusual in Italian art of this period, which often merges the story of the saint’s life with the story of Christ’s passion in order to emphasize his direct spiritual authority. The most unusual aspect of the iconography, however, is an intimate scene located in the foreground. The Virgin Mary stands in front of Saint John the Evangelist, who is portrayed with tears rolling down his cheek as he kneels in prayer. The Virgin reaches to hold the Saint’s hand as he weeps, while she brings her coat protectively around him. The agony of the moment is intensified by the blood that pours from Christ’ side and stops as it reaches two lines of text in red script, suggesting that the blood created Christ’s last words on the Cross: Mulier ecce filius tuus, i.e., “Woman, behold your son.”
