Crucifix, Segna di Bonaventura
This wooden crucifix was erroneously attributed to Giotto or his school until the early twentieth century, when Salmi suggested that it belonged to a Sienese painter from Duccio di Bonaventura’s shop. This hypothesis was later confirmed, again from Salmi, thanks to a recovered document in the papers of the diplomat of the Badia, where it was stated that Segna di Bonaventura in 1319 had entered into a contract with the Badia. So, 1319 could be the date when it was carried out.
Segna di Bonaventura, was one of the most important artists in Duccio’s circle. It is a large cross, measuring 618 cm in height and 439 cm in width.
Originally it was placed in the high altar of the Badia, it was later replaced in the sixteenth century and placed between the third altar and the door of the sacristy. The subject represented is the Christus Patiens that is the Suffering Christ, characterized by his head on his right shoulder, the arched body to symbolize his submission to death, the half-closed eyes and mouth, the arms outstretched tilted upward and the lower limbs that are slightly bent. The image of Christ, marked by sorrow and repentance, shows us his process of humanization. The dramatic pasture is refined by gradual chromatic passages.
The light brings out the body of Christ; it seems that it comes out from the frame, taking a realistic position, thanks to the shape and position of the arms and knees.
On the Cross terminals are depicted the Virgin Mary on the left and St. John the Evangelist on the right; at the top, in the cornice, God the Father is represented as Christ blessing.
The panel with the titulus, under the blessing Christ, is not quite readable, owing to incorrect cleaning operations.
The “suppedaneum” had been painted with a three-dimensional marble effect, in a pale green color with darker streaks.
Under the crucifix two paintings by Bernardino Santini, depicting angels with bucket and aspergillum of blessed water, are preserved.
The crucifix was made on a wooden support, made up of poplar boards. The artist has glued the pieces of linen cloth to insulate the support from painting layers and then drew up a plaster and glue preparation. This primer has been shaved and smoothed to accommodate the drafts of egg tempera. Before the actual painting, the artist has carried out the gold backgrounds of the background and the frame.
The color palette used by the painter is not very wide, and uses both solid colors and lacquers. The pigments used are: land, ochres, transparent verdigris, lead white, black, charcoal, azurite, lapis lazuli and vermilion.
To paint the complexion, then artist used the technique used at the time by the Florentine tradition: a greenish color background consisting of a mixture with black and ocher, the so-called verdaccio, on which the artist has superimposed with small and thin brush strokes, the final colors that make up the complexion,that is mixtures of lead white, land and cinnabar.
The two compartments at the sides of the body of Christ have been made with a complex geometric pattern, where bigger octagonal elements alternate with small squares placed in diagonal.
The Cross has undergone some restoration, even if documents concerning the interventions haven’t been found. In 1947 the side compasses with the images of St. John and the Virgin and the coping with Christ Blessing probably underwent conservative interventions and were brought to Florence for an exhibition of restored works. In the archives of the Superintendence of Arezzo the photographic documentation relating to a restoration carried out in the fifties was found. The work has been maintained over time in a fairly good condition, the main conservation problems stemmed from unsuitable previous intervention, as incorrect cleaning and improper restoration methods. The last restoration was carried out from 2002 to 2005. To do a construction site in the left aisle of the church, was set up by the Superintendence of Arezzo. The need to keep the cross inside the Abbey, during the restoration, derives from the large size of the work and the need to preserve stable climatic conditions. The restoration has made it possible to bring the work back to its original integrity and improve the state of preservation and fruition.