A lifeless Christ is lowered towards a stone slab, his body supported by two men at the center and left of the composition. The man in the foreground, wearing a vivid orange-red garment, bends forward to grip Christ’s legs, his face turned outward with a furrowed brow and intense gaze. To his left, another man, draped in green, cradles Christ’s torso and head with both arms, his expression somber and focused on the task.

Christ’s right arm hangs limply, his hand nearly touching the stone, while a white burial shroud cascades down from his waist and over the edge. Behind the central group, three women stand close together: one in a blue and white veil clasps her hands in grief, another bows her head, and the third, at the far right, raises both arms upward, her mouth open in anguish. The figures are set against a deep, unbroken darkness, which throws their forms into sharp relief and focuses attention on their gestures and faces.

A single, strong light source falls from the upper left, illuminating the pale body of Christ and the vivid folds of the garments, while casting deep shadows across the scene. The color scheme is dominated by earthy reds, greens, and browns, with stark contrasts between the luminous flesh and the dark background. Visible brushwork gives the drapery a sense of weight and texture, especially in the folds of the white shroud and the orange-red cloak.

The composition is tightly packed, with the figures forming a diagonal that leads from the raised arms of the woman at right down to Christ’s outstretched hand and the stone below. A copy now hangs in the original chapel, while the original work is in the Vatican Pinacoteca. The subject brings together Jesus Christ, Nicodemus, John the Apostle, Mary, Mary Jacobi, and Mary Magdalene, as identified in the records. The Entombment of Christ is recognized as a key work of Italian Baroque painting, notable for its dramatic use of light and shadow and its intense emotional realism.