Jacopo da Parisati, or Jacopo da Montagnana, portrayed the Man of Sorrows at least four times, three works in fresco and one in tempera on panel. Each image differs from the other, and they run the gamut of iconographic possibilities for the Imago pietatis in the later 1470s or early ’80s when the artist developed original and affecting imagery for the subject. According to Giorgio Vasari, Montagnana was Giovanni Bellini’s student, but the younger painter’s somewhat brittle pictorial style hardly reflects the older artist’s poetic artistry. Yet he remained up-to-the-minute in terms of absorbing his master’s motifs for the theme. A study of Montagnana’s versions of the Cristo passo (as it is termed in the Veneto) confirms too that he knew Jacopo Bellini’s drawings for the Lamentation in his Paris and London albums. In the context of this volume, it pays due homage as well to Mauro Lucco whose has contributed twice to our understanding of the painter.