Description: This panel, in a modern frame, was originally the central part of a tabernacle or the pinnacle of an altarpiece. The combination of the formal and expressive qualities of this painting allow historians to attribute it to the early mature stage of Nardo di Cione, an artist working in Florence in the second half of the fourteenth century who left no signed pieces. In this painting, the influence of Maso di Banco can be detected in the compact and simplified forms of the two mourners. The work also echoes the elegant narrative rhythm of the works of Bernardo Daddi. The artist's interest in the search for naturalism is present in the modeling of the body of Christ, while his scholarship is evident in dramatic pose of St. John, a precise evocation of the ancient sacred gestures. The panel can be dated to the early 1360s, close in time to the Standing Madonna of the Minneapolis Institute of Art and the San Benedetto found in Stockholm, while it is slightly later than the Uffizi Crucifixion, with a more elaborated and sculptural plasticity.