A golden background fills the entire surface, setting the figures against a luminous, otherworldly space. At the center, Christ hangs on the cross, his head bowed and blood flowing from his wounds, while his pale body is modeled with delicate, almost translucent brushwork. Below the cross, a woman in a pink robe and blue mantle kneels with her arms raised in grief, her golden halo catching the light.

All the figures are ringed with finely tooled gold halos, their faces rendered with subtle modeling and individualized features. The composition arranges the mourners in a gentle arc around the cross, guiding the gaze from one expression of grief to another. The figures are set close to the picture plane, their gestures and gazes drawing attention to the drama at the center.

On the far left, a woman dressed in black stands with her hands pressed together in prayer, her face turned slightly toward the cross. Behind the kneeling woman in pink, a figure in a deep blue robe stands with hands clasped, the folds of the garment rendered in smooth, curving lines. On the right side, a young man in a blue tunic and red cloak stands barefoot, one hand raised to his cheek in a gesture of sorrow.

Next to him, a monk in a brown habit stands with both hands joined in prayer, his head slightly bowed. At the far right edge, a woman in a pale blue dress and dark red cloak carries a shallow dish filled with small, round objects, standing apart from the other mourners near the border of the panel. The Crucifixion is attributed to Fra Angelico and dated possibly circa 1440. The Metropolitan Museum of Art lists this work as a bequest of Benjamin Altman, and notes that the paint has been transferred to canvas and laid down on wood.