Description These fragments originally adorned a monumental crucifix. The Blessing Christ would have appeared at the top, while Mary and John the Evangelist would have occupied the left and right ends of the cross's horizontal beam. Pietro da Rimini imitated the naturalistic figural style of Giotto, the famed Florentine painter, but also excelled at combining dazzling colors and stylized expressions for dramatic effect. The exaggerated facial features of Pietro da Rimini's figures ensured that their expressions would be comprehensible even when suspended high above the floor. In a recent innovation that demanded the worshiper's imagination, the open mouths of Mary and St. John suggest the sound of their lamentation.
|12/31/1969||Examination||examined for condition|
|1/06/1951||Treatment||cleaned; examined for condition; loss compensation; other; varnish removed or reduced|
|1/06/1951||Treatment||examined for condition; inpainted; other; varnish removed or reduced|
|1/06/1951||Treatment||examined for condition; other; varnish removed or reduced; x-ray|
|4/15/1987||Examination||examined for condition; other|
|5/01/1987||Treatment||inpainted; loss compensation; other|
|11/01/2001||Examination||examined for condition|
|11/13/2001||Treatment||examined for condition; other; surface cleaned; varnish removed or reduced|
|1/07/2003||Examination||cleaned; examined for condition; other; varnish removed or reduced|
Provenance Don Marcello Massarenti Collection, Rome [date and mode of acquisition unknown] [1881 catalogue: no. 6, 7, and 8, as Cimabue; 1897 catalogue: no. 39, as Giotto]; Henry Walters, Baltimore, 1902, by purchase; Walters Art Museum, 1931, by bequest.
Credit Acquired by Henry Walters with the Massarenti Collection, 1902
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