John the Evangelist is depicted in the red robe, placing his hand in her back in comfort and the painting's two donors kneeling to the right.

To her left shown consoling her is Saint John, wearing a vibrant red covering gazing up towards Jesus on the cross.

Van der Weyden, a Flemish painter, painted this image in a typical Northern Renaissance style.

[4] Mary Magdalene depicted on the left panel piece is shown isolated and sorrowfully looking down whilst she holds a small jar.

[5] Her veil has an image of Jesus’s face painted in an idealistic style and is thought to have magically appeared as she displays it for the viewer.

[6] This demonstrates Van Der Weyden’s ability to create an independent style separate from the influence of Campin’s in this painting.

On the left side of the Crucifixion triptych by Van der Weyden he made another independent decision to illustrate the Magdalene isolated and slightly aged to look older.

This image is believed to hold great symbolism in its landscape of Jerusalem from the green rolling hills to the gradient blue sky.

The gradient sky reflects the dark navy blue back onto the angels flying on the same plane as Jesus’s upper body.

Having Jesus depicted in this way demonstrates a oneness between the patrons and Christ, allowing the image to become a prayer aid.

The floating loin cloth, flowing angelically and defying the laws of gravity, symbolizes his connection to the heavens, or his other worldly powers.