An artwork on Galleree from Cleveland Museum of Art.
About the artwork
Crucifix with Scenes of the Passionc. 1230–40
Large painted crucifixes dating from the 1100s and 1200s are among the earliest surviving Italian panel paintings. Large crosses, like this beautiful example, were typically suspended high above an altar in the main apse of Italian churches. Smaller crosses were placed on or just above altars in small side chapels. Such crosses served as the visual focus for devotion and symbolized the Eucharistic sacrament performed by the priest on the altar below. This crucifix shows Christ alive on the cross as the triumphant savior of mankind. Smaller images on the "apron" represent images of Christ's Passion (to the left) and his death and Resurrection (to the right). On the far left terminal appear the mourning Virgin and Saint John the Evangelist, while on the right the viewer is shown Saint James Major and Saint Bona, patroness of the city of Pisa. The concluding event, the Ascension of Christ, once appeared on the upper terminal, just above the Virgin and Apostles. The figure of Christ is painted in a severe and hieratic style suggestive of medieval Pisa's artistic and commercial links with the Byzantine East. The appearance of Saint Bona on this cross may suggest that it was made for the Church of S. Martino in Pisa, where Franciscan nuns tended the holy woman's relics.
Although the artist did sign this panel at the bottom, the signature is illegible, his first name perhaps being Michael.
tempera with gold on panel
Framed: 186.6 x 160.7 x 12.7 cm (73 7/16 x 63 1/4 x 5 in.); Unframed: 185 x 160 x 10.2 cm (72 13/16 x 63 x 4 in.)
Leonard C. Hanna, Jr. Fund
In the quiet corners of time, where history whispers softly, we find ourselves drawn to the very essence of faith depicted in large painted crucifixes from the 1100s and 1200s. These striking relics are not merely objects; they are profound testimonies of devotion, standing as some of the earliest surviving panel paintings from the heart of Italy.
Imagine, if you will, an Italian church, its structure grand and solemn. High above the altar, there hangs a beautifully crafted crucifix, its colors fading yet vibrant with stories. This is not just any crucifix; it is a silent guardian of faith, commanding attention. Larger than life, it is suspended in the main apse, observed by all who gather—a visual focus for prayers and the sacred Eucharistic sacrament, a place where earth meets the divine.
As we lean closer to this intricate work, we can see Christ, not in any state of despair, but alive and vibrant on the cross, embodying the triumphant savior of mankind. On his body rests a tapestry of smaller images painted upon the apron below, intertwining narratives from his Passion on the left, shimmering with sorrow, and the glorious themes of his death and Resurrection on the right, illuminating hope.
Peering closely at the left, we encounter the figures of the mourning Virgin and Saint John the Evangelist, expressions etched with grief. They remind us that love and loss are intertwined in the human experience. Shift a gaze to the right, and there stand Saint James Major and Saint Bona, the patroness of Pisa, steadfast in their faith. Each brushstroke tells us something deeper, a connection back to a city and its stories, a reverent nod to her presence.
Above it all, where the heavens touch the earthly realm, the figure of Christ once soared during the Ascension, hovering just beyond the reach of those below—each viewer a seeker, yearning to grasp what is divine. The striking portrayal of Christ is rendered in a severe, hieratic style, echoing the artistic discussions of medieval Pisa, influenced by the bustling connections with the Byzantine East. The artistry is not just about beauty; it reflects a meeting of worlds, a confluence of trade, faith, and culture.
What stands before us may have adorned the Church of S. Martino in Pisa, perhaps crafted with love and reverence by artisans who understood its mission. Here, among these sacred walls, Franciscan nuns tended to the precious relics of Saint Bona, a ritual of love and care that breathed life into these stones.
This crucifix carries with it an aura, a profound journey of faith encapsulated in paint and wood—reminding us, through centuries of change, of the resilience and depth of the human spirit. Each gaze, each prayer whispers stories, connecting us across ages, inviting us to reflect on our own paths of devotion and belief.
About the artist
Creating transformative experiences through art “for the benefit of all the people forever.”The Cleveland Museum of Art is renowned for the quality and breadth of its collection, which includes more than 66,500 artworks and spans 6,000 years of achievement in the arts. The artworks shared on this platform are sourced from the museum's Open Access data under the CC0 license. No endorsement is implied.Address: 11150 East Boulevard, Cleveland, OH, USA 44106
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