Oreste's insights in his book further elucidate the significance of Giordano's Catholic inclination, underscoring its pivotal role in shaping the religious thematic essence of his artistic creations.

[4] Luca Giordano, whose father Antonio was also a painter, was first schooled by the Spanish master Jusepe de Ribera, but soon left Naples, possibly after his teacher's death in 1651, and travelled to Rome, Florence and Venice to further his studies.

These include the general luminous quality, the use of vivid colors, particularly reddish flesh-tones, deep reds, bluish-greens, and occasional yellow accents on the garments, as well as the seamless fluidity in the transitions between different tonalities.

Nonetheless, the existence of this replica signifies the widespread admiration for this specific interpretation of a theme that held significance in the Seicento era, particularly in regions of Europe where Counter-Reformation religious beliefs endured.

[3] The versions found in the Museo del Sannio at Benevento and the Philbrook Art Center in Tulsa belong to a slightly later period but still exhibit distinct naturalistic features.

The Detroit Entombment vividly demonstrates Giordano's exceptional skill in seamlessly incorporating and blending various stylistic approaches, showcasing his remarkable versatility and artistic mastery.

Additionally, the dramatic portrayal of the soldier's ancient attire, his facial expression, and the skillful rendering of light on his shoulder and arm illustrate Giordano's profound assimilation of Paolo Veronese's painting techniques.