Rosso’s composition is extremely interesting from an iconographic point of view. There is a naked body in close-up, and it takes up almost the whole picture. It is surrounded by four angels, two of them hold lighted torches. We recognize the body of Christ, because we can see the wound on the chest and an angel is pointing his fingers at Him. On the ground we notice some objects related to the Passion (nails, sponge with vinegar). However, the wound does not bleed any more, Christ’s face looks unstrained, as if His body does not seem to have suffered at all; angels are not in pain, and they are calmly looking at Him.

It seems that the Florentine mannerist painter was not trying to represent the moment in which Jesus was buried, but the day when the angels, with the light of life, lifted His body, that was about to resurrect from death.

Perhaps, the fact that his paintings were not very clear in their meaning, and the unusual themes he represented, did not help Rosso to become a popular artist in Italy, whereas he was hold in high esteem by Francois I, king of France, who called him, along with some other Italian painters, to work in his castle in Fontainebleu.