In some respects the composition of this fragment bears a strong resemblance to the puzzling Deposition from the Cross in our National Gallery.

The trailing languor of the dead Christ's limbs is almost identical in the marble and the painting.
While speaking of these several Pietas, I must not forget the medallion in high relief of the Madonna clasping her dead Son, which adorns the Albergo dei Poveri at Genoa.

It is ascribed to Michelangelo, was early believed to be his, and is still accepted without hesitation by competent judges.

In spite of its strongly marked Michelangelesque mannerism, both as regards feeling, facial type, and design, I cannot regard the bas-relief, in its present condition at least, as a genuine work, but rather as the production of some imitator, or the _rifacimento_ of a restorer.

A similar impression may here be recorded regarding the noble portrait-bust in marble of Pope Paul III.