On CoppoThe figure on the S. Gimignano Crucifix only reflects the gentle curve and almost standing posture in such works as Giunta Pisanos signed Crucifix of c. 1235-40 in S. Francesco at Assisi. There is as yet no trace of the more pronounced sway develop by Pisarello in his later signed works in the Museo Civico at Pisa and in S. Domenico at Bologna. The proof that this is due as much to Coppos innate conservatism as to any need to leave sufficient space for the subsidiary scenes that may have demanded by his patrons lies in the slimmer forms and greater sway, approximating to that in Giuntas later works.