File:14th-century unknown painters - Crucifixion with Saints and Noli Me Tangere - WGA23903.jpg

(active mid-14th century in Rimini)

Crucifixion with Saints and Noli Me Tangere around 1350 Tempera and gold on wood, 56 x 38 cm Pinacoteca, Vatican

The painting is attributed to the school of Rimini, mainly because it can be compared to a polyptych in the Museo Civico in Rimini. It could have been an altarpiece for an altar dedicated to Saint Mary Magdalene, who holds a prominent position in both parts of the panel.

The panel is divided horizontally in two parts. On the top is the Crucifixion with Saint Peter and Saint Paul, and on the bottom are scenes of the Three Holy Women at the Sepulcher and Noli me tangere.

Two types of angels are depicted in this panel. The angels around the cross are reminiscent of figures of angels created first by Giotto, such as the angels in the fresco of the <a onclick="return OpenOther('/html/g/giotto/padova/3christ/scenes_4/chris201.html')" href="/html/g/giotto/padova/3christ/scenes_4/chris201.html">Lamentation over the Dead Christ<A> in the Scrovegni Chapel, Padua, or in the <a onclick="return OpenOther('/html/g/giotto/z_panel/4stefane/13stefan.html')" href="/html/g/giotto/z_panel/4stefane/13stefan.html">Stefaneschi Altarpiece<A> at the Vatican. These angels are able to express emotions, in this case grief. The angel sitting on the tomb is different in appearance and size and is more distinguished than the angels around the Crucifixion. He has an active and important role in the scene, linking the two parts together. He is therefore depicted not light and ephemeral as the mourning angels at the top; and, in contrast to them, he has legs.

The panel is divided horizontally in two parts. On the top is the Crucifixion with Saint Peter and Saint Paul, and on the bottom are scenes of the Three Holy Women at the Sepulcher and Noli me tangere.

Two types of angels are depicted in this panel. The angels around the cross are reminiscent of figures of angels created first by Giotto, such as the angels in the fresco of the <a onclick="return OpenOther('/html/g/giotto/padova/3christ/scenes_4/chris201.html')" href="/html/g/giotto/padova/3christ/scenes_4/chris201.html">Lamentation over the Dead Christ<A> in the Scrovegni Chapel, Padua, or in the <a onclick="return OpenOther('/html/g/giotto/z_panel/4stefane/13stefan.html')" href="/html/g/giotto/z_panel/4stefane/13stefan.html">Stefaneschi Altarpiece<A> at the Vatican. These angels are able to express emotions, in this case grief. The angel sitting on the tomb is different in appearance and size and is more distinguished than the angels around the Crucifixion. He has an active and important role in the scene, linking the two parts together. He is therefore depicted not light and ephemeral as the mourning angels at the top; and, in contrast to them, he has legs. <P> <TABLE ALIGN=LEFT CELLPADDING=5 BORDER=1 WIDTH=320 BGCOLOR="#99CCCC"> <TR VALIGN=MIDDLE><TD><IMG SRC="/support/gif/listen.gif" BORDER=0 VALIGN=MIDDLE> Suggested listening (streaming mp3, 12 minutes):<BR><A HREF="#" onClick="w=window.open ('/music1/14_cent/gregorian_chants.html', 'newWin', 'scrollbars=yes,status=no,dependent=yes,screenX=0,screenY=0,width=350,height=350');w.opener=this;w.focus();return true"><B>Gregorian chants</B></A> </TD></TR></TABLE>

--- Keywords: --------------

Author: UNKNOWN MASTER, Italian Title: Crucifixion with Saints and Noli Me Tangere Time-line: 1301-1350 School: Italian Form: painting