Benassi dates this panel to around 1660, by which time Mazzoni was well established in Venice. He compares the rich colours and movement of the figures at the base of the cross to Mazzoni's much larger canvas of The Sacrifice of Jepthta
in the Nelson-Atkins Museum of Art in Kansas City.1
Mazzoni returned to this subject once more in the late 1660s or even later, in a small canvas of altogether more Spartan and dramatic composition, which was last recorded in a Milanese private collection.2
1 Benassi 1999, p. 104, cat. no. 35, reproduced in colour plate IX.
2 Benassi 1999, p. 118, cat. no. 53, reproduced fig. 98.