Lamentation, This image shows a detail of the Virgin Mary as she is given the Annunciation by the Archangel Gabriel; the two flank the central scene in two smaller arched panels, with her on the right of the central arched panel. This contains the overall composition 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. This photographic record shows a saint with her hair in a bun, kneeling and holding her cloak close. This may be a donor or the namesake of the chapel, Eleanor of Toledo. 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.

Lamentation, This image shows a detail of the Virgin Mary as she is given the Annunciation by the Archangel Gabriel; the two flank the central scene in two smaller arched panels, with her on the right of the central arched panel. This contains the overall composition 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. This photographic record shows a saint with her hair in a bun, kneeling and holding her cloak close. This may be a donor or the namesake of the chapel, Eleanor of Toledo. 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., spc-mss0088-s02-ss02-i5801. Vanderbilt University Special Collections and University Archives. https://collections.library.vanderbilt.edu//repositories/2/digital_objects/40646 Accessed August 01, 2026.