Wearing a white tunic and bearing the standard of victory, Christ leans toward Adam and Eve who, nude, hope to be rescued from Limbo and taken to the Kingdom of Heaven. This passage appears in the Apocrypha, specifically in the Gospel of Nicodemus, which tells of the Resurrection of Christ. The painting's composition reveals two fundamental influences: Michelangelo, in the monumentality of the figures; and the Venetian school, to which Piombo belonged, in the use of color for symbolic and dramatic purposes. This work was originally one of the sides of an altar dedicated to the Death and Resurrection of Christ, which explains its rectangular format. That altarpiece's central panel, Lamentation over the Dead Christ, dating from 1516, is at the Hermitage Museum in Saint Petersburg. The present work was first owned by Jerónimo Vich, ambassador to Rome from 1506 to 1521. It was later given to Felipe IV (1605-1665) by Diego Vich. It is documented as being in the Monastery of El Escorial in 1657 and entered the Prado Museum from there in 1837.