MEMMI, Lippo
(b. ca. 1285, Siena, d. ca. 1361, Siena)


c. 1340
Collegiata Santa Maria Assunta, San Gimignano

The scene of the Crucifixion interrupts the three-register schema of the cycle: it takes up the space of four fields in the fifth bay, thus it is given prominence within the overall cycle. The principal source for this large painting is clearly the corresponding fresco by Pietro Lorenzetti in the lower church of Assisi. Both scenes are filled with people. Now, however, the crowd of figures gathered around the three crosses is sparser and the view of Christ on the cross at full height is unobstructed. Individual figures and groups are more clearly distinguished from one another; the variety, colour and splendour of the costumes is toned down; and the emotional content is heightened.