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.
For more information on these fragments, please see Zeri catalogue number 36, pp. 60-61.
<bdi><a href="https://en.wikipedia.org/wiki/en:Pietro_da_Rimini" class="extiw" title="w:en:Pietro da Rimini"><span title="Italian painter (1280-1350)">Pietro da Rimini</span></a>
</bdi>
between 1340 and 1349 <div style="display: none;">date QS:P571,+1340-00-00T00:00:00Z/8,P1319,+1340-00-00T00:00:00Z/9,P1326,+1349-00-00T00:00:00Z/9</div> (<a href="https://en.wikipedia.org/wiki/en:Middle_Ages" class="extiw" title="w:en:Middle Ages"><span title="period of European history from the 5th to the late 15th-century">Middle Ages</span></a><div style="display: none;">era QS:P2348,Q12554</div>)
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