Detail of the Archangel Gabriel from the Lamentation, This image shows a detail of the Archangel Gabriel; he and the Virgin Mary flank the central scene in two smaller arched panels. The overall composition is an arched panel with a central Pieta scene and two flanking columns that both include two saints in arched panels and two Biblical figures atop in the remaining space between the arches. The photographic record looks as if this image has been or was at one time removed from the larger scene, but it emerges from the following. The bigger picture shows a scene of the Pieta in an arched panel. On either side two full length portraits of saints are shown, and in the top left and right on either side are renderings of Biblical figures labeled and looking down at the scene. The Pieta scene consists of the following is a copy of a Bronzino composition. This painting shows Christ after his death on the cross. He is held by Saint John the Evangelist on the far left in a yellow cloak, who holds up his head and chest; Saint Mary Magdalene in a blue gown and red cape has hit feet on the far right; and Mary the Mother of Christ in blue veil and cloak holds her son's chest and has him seated on her lap. Surrounding the scene are various saints, identified by their attributes. Above there are putti--winged, nude infants--flying the cross, nails, and spears--the instruments of the Passion--away from the scene. This is a devotional image, meant to conjure emotion with its dramatized emotion rendered in the figures. The scene's composition in the Baroque style with its hunched and cramped figures in an awkward style that is meant to increase the increase the intensity and energy of the scene. Furthermore, since all of these saints were believers in Christ after his death, they could not have been present for the deposition. Instead, they are shown to venerate the scene in the spiritual sense. The surrounding scenes of this arched painting give evidence that it is from a section of an interior wall. This is a basic record created to enable public access to scanned images. Full research on this image is pending., 1545-1555

Detail of the Archangel Gabriel from the Lamentation, This image shows a detail of the Archangel Gabriel; he and the Virgin Mary flank the central scene in two smaller arched panels. The overall composition is an arched panel with a central Pieta scene and two flanking columns that both include two saints in arched panels and two Biblical figures atop in the remaining space between the arches. The photographic record looks as if this image has been or was at one time removed from the larger scene, but it emerges from the following. The bigger picture shows a scene of the Pieta in an arched panel. On either side two full length portraits of saints are shown, and in the top left and right on either side are renderings of Biblical figures labeled and looking down at the scene. The Pieta scene consists of the following is a copy of a Bronzino composition. This painting shows Christ after his death on the cross. He is held by Saint John the Evangelist on the far left in a yellow cloak, who holds up his head and chest; Saint Mary Magdalene in a blue gown and red cape has hit feet on the far right; and Mary the Mother of Christ in blue veil and cloak holds her son's chest and has him seated on her lap. Surrounding the scene are various saints, identified by their attributes. Above there are putti--winged, nude infants--flying the cross, nails, and spears--the instruments of the Passion--away from the scene. This is a devotional image, meant to conjure emotion with its dramatized emotion rendered in the figures. The scene's composition in the Baroque style with its hunched and cramped figures in an awkward style that is meant to increase the increase the intensity and energy of the scene. Furthermore, since all of these saints were believers in Christ after his death, they could not have been present for the deposition. Instead, they are shown to venerate the scene in the spiritual sense. The surrounding scenes of this arched painting give evidence that it is from a section of an interior wall. This is a basic record created to enable public access to scanned images. Full research on this image is pending., 1545-1555, spc-mss0088-s02-ss02-i5800, Box: 113. Contini-Volterra Photographic Archive, MSS.0088. Vanderbilt University Special Collections and University Archives. https://collections.library.vanderbilt.edu//repositories/2/archival_objects/556371 Accessed August 01, 2026.