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The most widely accepted tendency at present is to attribute the work to Hans Memling, and this painting of the Uffizi would constitute the best of the many later versions conserved in other museums. For a long time, however, it was attributed to Dürer and to Joos van Cleve. It probably formed part of a diptych portraying the Mater Dolorosa on one panel and Christ crowned with thorns on the other. (This panel could be the Man of Sorrow in Genoa.)
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