Lamentation of Christ at the Tomb

In this masterful drawing by Filippino Lippi, Christ's body is supported on the edge of his tomb by a man (either Joseph of Arimathea or Nicodemus) while angels bearing the three nails and crown of thorns reverently support Christ's arms. The drawing has been pricked for transfer; it is also one of the few known pricked Renaissance drawings for which the corresponding panel painting, part of the predella to an altarpiece (National Gallery of Art, Washington, DC) survives. Pricking consists of making small pinprick holes along the outlines of a preparatory drawing. The drawing was then overlaid on a surface such as a panel, wall, or canvas, and a powder-often pulverized charcoal- was dusted over it, penetrating the holes. The traces of charcoal left on the surface of the panel or other support supplied the outlines used in painting the final version of the work.

The influence of Leonardo da Vinci in this work is strongly felt, particularly in the psychological intensity, exquisite modeling, and dramatic chiaroscuro. Evidence of reworking can be seen in the angels' wings and Christ's hands; the artist once intended to show the spear that pierced Christ's side more prominently. Christ's frontal position and the symmetrically placed angels give the drawing a monumental character far removed from its actual size.