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Niccolò Circignani known as Pomarancio<break strength="x-strong"/> Deposition of Christ in the Tomb, circa 1590<break strength="x-strong"/> Oil on canvas 122 x 96 centimeters<break strength="x-strong"/> Historical collection of the Abbey<break strength="x-strong"/> The Deposition of Christ in the Tomb is one of the rare works on canvas of small dimensions by Pomarancio, datable to 1590. The artist articulates the narration through a progressive succession of planes and develops it along the diagonal that from Joseph's head reaches to touch Nicodemus' back. He then resumes the story in a circular way, in the soft arch that embraces Christ, Mother Mary, John the Evangelist and the young man in profile who witnesses the burial (whom we will discuss shortly). The Deposition appears immersed in an atmosphere of "fatal calm", which frees the event from the usual pathos and drama. On the left, at the top, Joseph of Arimathea, “who was a disciple of Jesus, but secretly, for fear of the Jews,” lifts the lifeless body of the Son of God and places it on the sacred cloth. The display of the figure of the Messiah, with his bust entirely raised and his legs slightly bent, is peculiar to Roman figurative culture in the second half of the sixteenth century. Influenced by Michelangelo, it enjoyed considerable success thanks to Francesco Salvati, Giovanni de’ Vecchi, Jacopino del Conte, Federico and Taddeo Zuccari, all Tuscan or Marche artists active in the papal city. Next to Joseph, Magdalene looks up towards the sky, seeking contact with the Father; her right hand, with the index and middle fingers slightly open above Christ’s head, refers to the dual nature of the Redeemer, human and divine, and therefore to his forthcoming resurrection. Just below, the Virgin, with her traditional blue cloak, lovingly holds the hand of her lifeless Son. Behind her is John the Evangelist, who will welcome Mary “into his home” among his most precious things”. A little further on, in the two characters apparently unrelated to the story, we can recognize Antonio Circignani, in the young man who with his head bowed attends the pious burial rite and, behind him, his father Niccolò, who often portrayed himself, a little withdrawn, in his paintings. At the feet of Christ, the sacred representation is concluded by the vigorous figure of Nicodemus, “who brought a mixture of myrrh and aloes weighing about one hundred pounds” with which to sprinkle the body of Jesus and place it in the tomb dug into the rock.