This painting is an old copy with some variations of Murillo's Saint Francis embracing the crucified Christ in the Museo de Bellas Artes, Seville. The present composition lacks the angels at upper right of the Seville painting, and has a shorter inscription on the top of the cross, as well as different architectural elements in the lower background. In the late nineteenth century, the Hispanic Society's picture passed through the collection of George Salting, who, upon his death, bequeathed numerous masterpieces to the National Gallery, London, the Victoria & Albert Museum and the British Museum, including works by Johannes Vermeer, Frans Hals and Andrea del Verrocchio.
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The painting has a wax lining and is taut on a keyed strainer. The extreme edges of the canvas have been extended in the lining process, leaving the original untacked edge visible, most notably along the left edge, where wax has pooled. There are some small unrestored losses scattered across the painted surface, the largest of which measures 1.5 centimeters in length in Francis' shoulder. Abrasion is visible across the surface, most notably in the dark background, the crown of thorns, Saint Francis's shoulder, and in areas of Christ's skin tones. There are unrestored pinpoint losses in the lower left corner. Inspection under ultraviolet light reveals an area of toning to Christ's abdomen and to Christ's and Saint Francis' right hands. The painting can be hung in its present state.