Pietro Lorenzetti (Siena, circa 1280 - circa 1348) and collaborators. 'Deposition of Christ' Tempera and gold on panel. Circa 1330 - 1340. 21 x 33 cm.   Attached is a study by the Professor of Medieval Art History at the Università 'G. D'Annunzio,' Alessandro Tomei, signed in Rome in 2022. He was the curator of the exhibition “Giotto and the Trecento” held at the National Museum of Rome between March and June 2009.   In this study, Tomei supports his attribution to the artist by linking our piece to 'the fresco of the same subject executed by Pietro Lorenzetti in the left transept of the Lower Church of the Basilica of San Francesco in Assisi,' noting 'an absolute compositional harmony between the two works, aside from differences due to the technical medium and, naturally, the dimensions.' According to the professor, this harmony 'is indisputably evidenced by several elements: the figure removing Christ’s feet from the Cross with large pincers; Mary Magdalene prostrating herself to kiss them in an act of total devotion, wrapped in an identical red cloak in both works; Joseph of Arimathea, on the ladder, supporting the body by embracing the torso; John the Evangelist holding the pelvis tenderly; and Mary, equally tenderly, bringing her face close to that of her dead Son. All of this is conveyed with the expressive intensity characteristic of Pietro Lorenzetti’s works, present in both pieces. Even the positioning of the halos relative to the heads of the figures is exactly the same in the Assisi fresco and the painting under discussion' For this reason, Tomei continues, 'it is entirely reasonable to think that the master himself directly intervened in the execution of this painting, although accompanied by a very close collaborator who followed his stylistic methods to the letter, albeit with a slightly more rigid hand.' Regarding the original context of the panel, which he describes as of high quality, the professor states that the painting’s dimensions 'allow us to suppose its original belonging to a much larger pictorial ensemble, perhaps a polyptych. The Deposition could have been placed at the top or, more likely, as a compartment of a predella.'   We would like to highlight what Tomei writes at the beginning of his study: that 'the subject of the Deposition of Christ from the Cross is rendered with an abundance of detail and great attention to the to the expressive portrayal of the figures.' It is enough to pause for a few moments before this masterful piece to appreciate the rich, diverse, and harmonious emotionalities depicted in this horizontal format, with the previously detailed figures weeping, adoring, embracing, and dramatically admiring the lifeless body of Jesus.   Also attached are the pigment stratigraphy carried out by ART-LAB and the restoration study. It concludes that the overall state of preservation of the piece is 'very good and acceptable,' with the 'paint layer also in very good condition, stable and with excellent adhesion to the support.'