Dead Christ, Mary Magdalene and Two Angels

The painting – which is applied on a slab which unfortunately broke into several fragments reassembled during the restoration – derives partially from a touchstone, just a little larger, signed by Felice Brusasorzi. The work of Castelvecchio, traditionally referred to Brusasorzi, was rightly attributed to Ottino in 1991. There is a plastic effect and a palette that tend to cold notes. The original location of Ottino's works on touchstone almost always included the cells of the Veronese monks, from those of the Fraciscans of San Bernardino to those of the canons of San Giorgio in Braida.