Oil on panel. Signed and dated in the lower left corner. Johann Caspard Memberger is one of the most important figures in South German Mannerist painting. Son of the painter Philipp Memberger, he had the opportunity to discover the Roman artistic environments of the last third of the 16th century thanks to the fact that he traveled to Rome in 1579 with his uncle, Bishop Markus Sitticus von Hohenems, dealing there with the decoration of the Altemps Palace, the residence of his benefactor in the Eternal City. When Memberger returned to Germanic lands, already with a much more cosmopolitan training marked by the influence of the Italian painting of the time, He was appointed court painter to Wolf Dietrich von Raitenau, Prince-Bishop of Salzburg, who commissioned him in 1588, the same year of his return, a cycle of five paintings on the Universal Deluge, in which the knowledge of Venetian painting, especially from the formal repertoires of the Bassano. On the other hand, his Portrait of Wolf Dietrich von Raitenau highlights the artist's knowledge of Roman and Florentine portraiture. The unpublished work presented here, from a private Spanish collection, falls within the last period of his professional career, which took place in the city of Konstanz (Constance) between 1598 and 1616. It represents The Crucifixion and is signed with his initials in capital letters "CMF" and dated in the year 1605. In this last period, We know that he was commissioned to make a cycle of paintings with the Mysteries of the Rosary for the Church of Christ in Konstanz and a panel that appeared in the store in 2019 representing the Transfiguration of Christ, in which the coat of arms and the portrait appear. Jacob Rassler, with whom this painting shares many stylistic parallels. This work perfectly shows the characteristics of the painter's mature stage. It brings together vague memories of the Gothic tradition, but with a strong Italian imprint, of clear Venetian descent, reminiscent in some models and compositional aspects of the painting of Tintoretto or the Bassano. His color palette is very personal, since he does not opt ​​decisively for either the Italian world or Flemish, and the representation in his figures of somewhat heavy eyes, very detailed folds and especially elongated hands are especially characteristic of him. In the same way, his use of white brushstrokes is characteristic, executed with a quick and nervous line, which serve the painter to define profiles, model volumes and provoke lighting effects. The polychrome decoration, with Mannerist plaques, on its back suggests that this panel could have been the main piece of a large triptych whose remote provenance is unknown. Measurements: 141 x 95 cm. that serve the painter to define profiles, model volumes and cause lighting effects. The polychrome decoration, with Mannerist plaques, on its back suggests that this panel could have been the main piece of a large triptych whose remote provenance is unknown. Measurements: 141 x 95 cm. that serve the painter to define profiles, model volumes and cause lighting effects. The polychrome decoration, with Mannerist plaques, on its back suggests that this panel could have been the main piece of a large triptych whose remote provenance is unknown. Measurements: 141 x 95 cm.