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Max Friedländer believed this to be a workshop replica after a Crucifixion by Jan van Scorel, now lost, previously on the high altar of the Oude Kerk in Amsterdam (op. cit.).
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The painting is executed on panel, made up of three boards joined vertically, bevelled to the upper and lower edges. The central board is slightly thicker than the two side boards and has been strengthened to the lower half by to vertical battons. The panel is stable. Examination in natural light shows some scattered retouching to the sky, to the flesh tones and to the paler areas of the costumes. There is an old varnish that carries some dirt. There is evidence of some retouching along the panel joins. Examination under UV light confirms all the aforementioned retouchings. The paint remains stable and the detail of composition fully appreciable.