This originally formed the right-hand panel of three - a triptych. The others would have shown the dead Christ in the centre, with the grieving Virgin Mary to the left. Saint John’s sorrow was a reaction to Christ’s death. The panels could be folded up and used as a private and portable devotional aid on journeys.
Simone dated the work on the original frame. There is no signature, but the refined use of colour, the elegant borders to the drapery and the fine decoration in the gilding are characteristic of this innovative artist.
Inscriptions / Translations: Inscribed I.c.: Anno. dñi. M.CCC.XX
Notes: Exhibited: National Gallery, London, UK, 1939; 'The Art of Painting in Florence and Siena from 1250 to 1500', Wildenstein Gallery, London, UK, 24 February 1964 - 10 April 1964, no. 77; 'Birth of a collection: Masterpieces from the Barber Institute of Fine Arts', National Gallery, London, UK, 22 May 2013 - 01 September 2013; 'Pietro Lorenzetti: Siena to Hull: A Masterpiece Revisited', Ferens Art Gallery, Hull, UK, 09 January 2017 - 23 April 2017