"Nothing was known about this picture other than its provenance from Villeneuve-lès-Avignon. It has now been attributed to the most illustrious member of the 15th century school of Provence, author of the no less celebrated Coronation of the Virgin (Museum of Villeneuve-lès-Avignon)"(Louvre). The praying donor and St. John, the Virgin and Magdalen stand around the body of Christ and have unique characteristicts of the French sculptural tradition.
2. "Pietà" by Cosimo Tura
Tura's artwork is Much similar to that of the work of Roger Van der Weyden. His style includes much precision in his work, and geometric rigour. "The anguished Pietà once formed the upper lunette of one of Tura's major works, the polyptych painted for the Roverella family in the church of San Giorgio fuori le Mura at Ferrara (dismantled, the central section is now in London)" (Louvre).
3. "Pietà" by Giovanni Battista diJacopo
"Rosso Fiorentino, thus known because of his red hair and Florentine birth, was summoned by François I to work on the Château of Fontainebleau in 1530. Of the numerous frescoes painted by this artist who was, along with Primaticcio, the leader of the School of Fontainebleau, all that remains are the frescoes in the Galerie de François I. Commissioned by Anne de Montmorency whose arms it bears, this picture is unlike this Mannerist master's usual ornamental inventions for its stern concentration on the drama, summed up in the pathos of the Virgin's gesture as the falters at the threshold of Christ's tomb" (Louvre).