Entombment of Christ in the context of "Easter Triduum"

Mark 15 is the fifteenth chapter of the Gospel of Mark in the New Testament of the Christian Bible. This chapter records the narrative of Jesus' passion, including his trial before Pontius Pilate and then his crucifixion, death and entombment. Jesus' trial before Pilate and his crucifixion, death, and burial are also recorded in Matthew 27, Luke 23, and John 18:28–19:42.

Mary, mother of James is identified in the synoptic gospels as one of the women who went to Jesus' tomb after he was buried. Mark 16 (Mark 16:1) and Luke 24 (Luke 24:10) refer to "Mary the mother of James" as one of the Myrrhbearers, the women who went to the tomb of Jesus.

Along with Mary Magdalene and Mary of Clopas, Mary the mother of James is known as one of the Three Marys.

The Deposition, also known as the Pala Baglioni, Borghese Entombment or The Entombment, is an oil painting by the Italian High Renaissance painter Raphael. Signed and dated "Raphael. Urbinas. MDVII", the painting is in the Galleria Borghese in Rome. It is the central panel of a larger altarpiece commissioned by Atalanta Baglioni of Perugia in honor of her slain son, Grifonetto Baglioni. Like many works, it shares elements of the common subjects of the Deposition of Christ, the Lamentation of Christ, and the Entombment of Christ. The painting is on wood panel and measures 184 x 176 cm.

The Entombment is a glue-size painting on linen attributed to the Early Netherlandish painter Dieric Bouts. It shows a scene from the biblical entombment of Christ, and was probably completed between 1440 and 1455 as a wing panel for a large hinged polyptych. While the altarpiece remains lost as a complete set, it is thought to have contained a central crucifixion scene flanked by four wing panel works half its height – two on either side – depicting scenes from the life of Christ. The smaller flanking panels would have been paired in a format similar to Bouts's 1464–1468 Altarpiece of the Holy Sacrament. The larger work was probably commissioned for export to Italy, possibly to a Venetian patron whose identity is lost. The Entombment was first recorded in a mid-19th-century inventory in Milan, and has been in the National Gallery, London, since its purchase on the Gallery's behalf by Charles Lock Eastlake in 1861.

The painting is an austere but affecting portrayal of sorrow and grief. It shows four female and three male mourners grieving over the body of Christ. They are, from left to right, Nicodemus, Mary Salome, Mary of Clopas, Mary, the mother of Jesus, John the Evangelist, Mary Magdalene and Joseph of Arimathea.

The Swoon of the Virgin, in Italian Lo Spasimo della Vergine, or Fainting Virgin Mary was an idea developed in the late Middle Ages, that the Virgin Mary had fainted during the Passion of Christ, most often placed while she watched the Crucifixion of Jesus. It was based on mentions in later texts of the apocryphal Gospel of Nicodemus (Acta Pilati), which describe Mary swooning. It was popular in later medieval art and theological literature, but as it was not mentioned in the Canonical Gospels, it became controversial - Protestants rejecting it outright, and from the 16th century discouraged also by many senior Catholic churchmen.

The swoon might be placed during the episode of Christ Carrying the Cross, as on the Via Dolorosa in Jerusalem, but very commonly also during the Crucifixion of Jesus; Nicholas Penny estimates that "about half of the surviving paintings of the Crucifixion made between 1300 and 1500 will be found to include the Virgin fainting". It also appeared in works showing the Deposition from the Cross and Entombment of Christ, as well as the 15th-century novelty of Christ taking leave of his Mother.