A drawing of the Entombment of Christ, his body held on the edge of the tomb by two bearded men (presumably Nicodemus and Joseph of Arimathea), the Virgin fainting to the left supported by another woman, two further women beyond.

The composition corresponds with that of Farinati's painting in the Abbazia di Vangadizza (see G. Baldissin Molli, 'Paolo Farinati e gli affreschi della chiesa dei Santi Nazaro e Celso a Verona', Arte Veneta, XXXVIII, 1984, pp.31–45; for the painting see Cinquant'anni di pittura veronese, 1974, no. 55). However the sheet is 'signed' with Farinati’s personal device of a snail, and the sheet may therefore have been intended for the collectors' market, rather than simply preparatory for the Vangadizza painting. As Carlo Ridolfi (1594–1658) notes in his biography of Farinati, his drawings were ‘highly admired and collected’ during his lifetime (Le maraviglie dell’arte, Venice, 1648, p.125). A similar drawing by Farinati depicting Christ supported by putti is in the Albertina Museum, Vienna (inv. 1592). 

The sheet is stamped with the collector’s mark of Peter Lely (1618–80; Lugt 2093); another sheet by Farinati bearing Peter Lely’s initials is held in the Getty Museum, Los Angeles (inv. 90.GA.67). The Royal Collection holds 47 sheets by Farinati and his followers, and it is probable that most were acquired during the reign of Charles II, though the dispersal of Lely's collection from 1688 postdates Charles II's death. A list of albums at Kensington Palace in 1727 includes one volume of drawings by Farinati and his followers, in which this sheet was presumably housed.