Canvas, 280x190 cm + frame 10 cm, Inv. n. 140

During the artist's career there is a persistence of images relative to the deposition. Fenzoni often dealt with this theme during his years in Rome, then in Todi, and increasingly so in Faenza; the reason being perhaps an ardent desire to join the cult of Corpus Christi, favoured by the Counter-Reformation.
This deposition in particular, produced in 1623, comes from the artist's family chapel in the Church of St. Cecilia, which has since been destroyed.
Ferraù Fenzoni had a style of painting, as commented by Anna Colombi Ferretti in a study of altar paintings in Romagna during the Counter-Reformation, where <<even the crowded setting and its spatial imminence maintain discoveries of Manneristic origins>>. A specificity of Fenzoni's paintings is the careful application of the pigment, characterised by an <<accurate balance of surface effects, both rich and contrasting>> where <<the prevailing gloom and obscurity are the key to calculating the effectiveness of the beams of light, of the fibrous lustre of a cloth, of the penumbra, or the luminous rhythm precisely on the pictorial passages that required a more complicated technique>>.