The painting known as Pala Baglioni was planned as a deposition as some preparatory drawings witness. In the end Raffaello chose the most dynamic motif of the carrying of Christ.
This choice enabled him to divide the painting in two parts: the main one on the left with (from left) Joseph of Arimatea, John, Nicodemus and Mary Magdalene. On the right, slightly in the background, there is Mary supported and surrounded by three picous women; she fainted out of sorrow. Two bodies, one dead and the other one as if, supported by love and affection.
The michelangelesque figure of the young man at the centre of the painting links the two groups: He belongs to the left part (holding the linen upon which Jesus is laid) but according to the set up, he's part of the right scene (he actually tends in that direction).

The carrying of Christ to the tomb which was supposed to be the end of any expectation became the journey towards the glorious resurrection.