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| Anthony van Dyck Pietà ca. 1629 oil on canvas Prado |
Van Dyck groups three mourners side by side, defining them as separate blocks of blue and yellow and red. A small child with a box of crayons would color the figures in this same way, a line-up of big contiguous uniform lumps. How does Van Dyck conceal the crudeness of his scheme and persuade the viewer that it is, on the contrary, naturalistic and inevitable and transcendently harmonious?
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| Alessandro Turchi Lamentation over the Dead Christ ca. 1645-50 oil on touchstone Clark Art institute |
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| Fra Filippo Lippi St Lawrence Enthroned with Saints & Donors 15th century tempera on wood Metropolitan Museum of Art |
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| workshop of Rogier van der Weyden Pietà ca. 1450 oil on wood Prado |
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| Jusepe de Ribera The Trinity ca. 1635 oil on canvas Prado |
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| Antonio Vivarini St Peter Martyr restoring a severed leg 1450s tempera on wood Metropolitan Museum of Art |
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| Francisco Ribalta Dead Christ with Angels ca. 1625 oil on canvas Prado |
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| Michele Parrasio Pope Pius V with the Dead Christ ca. 1572-75 oil on canvas Prado |
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| Northern French painter Legend of St Anthony Abbot, with a Donor ca. 1450 oil on wood Metropolitan Museum of Art |
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| Jacob Jordaens Pietà 1650s oil on canvas Prado |
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| Karel Dujardin St Paul healing the Cripple 1663 oil on canvas Rijksmuseum |
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| Fernando Gallego Pietà 1465-70 mixed media on wood Prado |
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| Carlo Crivelli Pietà 1476 tempera on wood Metropolitan Museum of Art |
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| Daniele Crespi Pietà 1623-24 oil on canvas Prado |