Signed and dated "G.D.F. 1708" at the base.

This important group, which stands out for the high quality of the carving, the expressiveness of the figures and the complexity of the decoration, including the unusual imaginary landscape in the background of the scene, can be ascribed to an artist active in Northern Italy between the 17th and 18th century, probably in the area between eastern Lombardy and Veneto. The expertise of the manufacture and the abundance of details help to create a complex and three-dimensional work, which suggests an ideal reduction for private use of a typology most used in the decorations of the side chapels of the religious buildings of the time, with groups large wooden sculptures inserted in niches with frescoed landscapes in the background. The work presents on the base the monogram "G.D.F." and the date 1708: although not identified, the still unknown author of this Crucifixion seems to fit into the context of the wooden sculpture of the Venetian area, which, precisely on the same theme, produced just between the two centuries examples of extraordinary quality, among which can be recorded the Crucifix by Giuseppe Torretti (1664-1743) of the Church of San Moisé in Venice (recently restored) and that by Andrea Brustolon (1662-1732) preserved in the Musei Civici of Belluno. See also, from the Lombard side, some groups from the Fantoni workshop, like the chamber Crucifix, with the figures of Eternity, Death and Time at the base, in the collections of the Accademia Carrara in Bergamo and assigned to the workshop of Andrea Fantoni (R. Bossaglia, "I Fantoni: Quattro Secoli di Bottega di Scultura in Europa", Vicenza 1978, p. 213, n ° 20a).