The essay analyses the Louvre Crucifixion by Paolo Veronese (c. 1575–1580) and aims to clarify the presence and significance of the woman cloaked in yellow in the middle of the composition. Alternatively identified with the personification of the Synagogue, Mary Magdalen, or one of the three Marys, the veiled figure recurred frequently in representations of different moments of the Passion of Christ from the Middle Ages to the Renaissance, including a number of works by Veronese himself. A study of this visual tradition explains how Veronese arranged the Louvre composition to be observed from a specific viewing angle. When contemplated from the right-hand side, the image reveals how the woman robed in yellow, none other than one of the Marys, has the function of guiding viewers through a spiritual journey from the suffering of the Virgin to the sacrifice of Christ on the Cross.