This painting has often been compared to the fellow Mannerist painter Pontormo's near contemporary (1528) treatment of the same subject in his Deposition canvas in Florence.

Unlike Pontormo's bright coloration and unitary collection of billowing figures, the Fiorentino depiction has two arenas: above is an Escher-like geometric struggle of laborers on ladders, removing the crucified Christ, while below, the women and men are subsumed in grief.

Mary Magdalen in bright red, swoons to hug the Madonna's legs.

[1] One reviewer describes the scene as "violent suffering ...rendered by extreme expression, the concatenation of angular bodies, and the dazzling light that sharply draws clear folds on the clothing.

"[2] Another states that this is the prototype of early-Mannerism, with "no logical spatial connection between the figures, the cross and ladders; the size of the figures appears arbitrarily chosen, and their elongated bodies and small heads" distort classical proportions.