The Magdalen is shown at a later stage in the story than was depicted by Ambrosius Benson, in which she is shown ready with her alabaster box of ointment to anoint Christ’s feet. Here she appears with the instruments of her conversion, namely the skull and the crucifix.  The unusual element is that she still carries, but no longer wears, her rich attire. With its silvery tones, rapid brushwork and coarse canvas, the picture is strongly under the influence of Paolo Veronese.

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