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Journey through the story of European art, masterpiece by masterpiece.

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How do you tell the difference between a heroine and a femme fatale? And why could the woman in this painting be either Judith or Salome? Join Maria as she unpacks this ambiguity to discover what it tells us about the way artists experiment with iconography.

We hope you enjoyed learning more about ‘The Entombment’ by Michelangelo. Find the painting alongside other Renaissance masterpieces on display in Rooms 9, 11, and 14: nationalgallery.org.uk/paintings/mich

Room 11 of the National Gallery, featuring paintings by Raphael.

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The Entombment reflects Michelangelo’s belief that painting is better the closer it is to sculpture; the picture is almost like a high relief sculpture. The twisting movements and defined muscles of the figures are based on Michelangelo’s direct observation of live models.

'The Entombment' Michelangelo, about 1500-1. Various figures carry Christ’s body on strips of winding cloth towards his tomb.

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It may be that he was waiting to the last before adding this colour as it was the most expensive pigment and possibly difficult to obtain. The other female figure on the right is another of the Three Marys, perhaps Mary Salome.

'The Entombment' Michelangelo, about 1500-1. Detail of a woman thought to be Mary Salome helps to carry Christ’s body on strips of winding cloth towards his tomb.

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The space left empty on the right was probably intended for the Virgin Mary. Michelangelo would have needed ultramarine blue made from the semi-precious stone lapis lazuli to complete the missing figure of the Virgin, as her mantle is traditionally painted this colour.

'The Entombment' Michelangelo, about 1500-1. Detail of a blank space thought to be meant for the figure of the kneeling Virgin Mary.

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Another of the Three Marys, possibly Mary Magdalene, sits on the ground on the left-hand side of the composition. A drawing for this figure, currently in the

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shows that she was intended to be gazing sorrowfully at the nails with which Christ had been crucified.

'The Entombment' Michelangelo, about 1500-1. Detail of a female figure thought to be Mary Magdalene sits kneeling.

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The woman who strains with Saint John to carry Christ’s body on the strips of winding cloth is one of the Three Marys, probably Mary Cleophas, who looked after Christ at the end of his life.

'The Entombment' Michelangelo, about 1500-1. A woman thought to be Mary Cleophas, helps to carry Christ’s body on strips of winding cloth towards his tomb.

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The figure on the left, helping to carry Christ’s body may be Saint John the Evangelist, who is usually depicted wearing red, with long, dark hair.

'The Entombment' Michelangelo, about 1500-1. A man thought to be Saint John, helps to carry Christ’s body on strips of winding cloth towards his tomb.

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In this painting, Christ’s body is shown being carried to his tomb. The man who lifts Christ from behind is thought to be either Joseph of Arimathea, who donated his own burial place for Christ, or Nicodemus, who helped lower Christ’s body from the Cross.

'The Entombment' Michelangelo, about 1500-1. A man helps to carry Christ’s body on strips of winding cloth towards his tomb.

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However, the altarpiece was left unfinished when Michelangelo returned to Florence the following year, probably to procure the block of marble intended for the statue of David, a project Michelangelo would be working on until 1504.

'The Entombment' Michelangelo, about 1500-1. Detail of Christ being carried towards his tomb.

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Looks like we have a winner! Let’s take a look at ‘The Entombment’ by Michelangelo. It is one of only three known surviving panel paintings by the artist. It was commissioned in 1500 for the funerary chapel of Giovanni da Viterbo, the bishop of Crotone.

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