Plaque "Lamentation du Christ", vers 1500, Limoges. Émail peint sur cuivre, 32.6 x 38. Ident.Nr. 1898.219. Kunstgewerbemuseum © Foto: Kunstgewerbemuseum der Staatlichen Museen zu Berlin - Preußischer Kulturbesitz. Foto Saturia Linke.

The focus of the presentation Maria sitting under the cross, his hands plaintively folded across his chest. You can look on the face of her son, whose rigid body lying on her lap.John on the left holds the head of Christ crowned with thorns in a gold-embroidered cloth: Magdalena, to the right, kneeling, the left hand of the dead has taken and bends down to her. Behind this the image width filling Figurengruppe standing sideways the crosses on which the two thieves, are with broken bones and bleeding wounds, tied in the middle ground. The left, "good" thief's head dropped to his chest, the torso of the right, "evil" thief fell forward. The background has a view of a vast landscape with the silhouette of Jerusalem, a fortified town with Tower Group, on the bright horizon. The sky is covered all over with stars and the stretched pile clouds. 
The proportions of the figures appear randomly, the figures have strikingly small heads in proportion to their bodies. That does not seem to go to the original back, as the comparison with other works shows. Individual color effects, such as red and yellow ball fruit on the trees or the yellow-green crown of thorns of Christ, may be regarded as specific to the idiosyncratic handling of emailleur with its color means. These color effects based on such medieval enamel art. Unusually, the absence of "gems" of colored glass fluxes, spherical glass beads is (cabochons) in haloes and drapery hems especially that are otherwise characteristic of the early works of Limousin enamel painting. 
A prototype of this exist in many variants also in painting and sculpture Pietà settled not yet determined. The iconographic model can be assumed due to the figure and folding style in the Dutch art or their sphere of influence. Due to the hard cut facial features served as a direct template possibly a woodcut. 
The format of the panel and the comparison with other works suggests that it could have acted in this case to the central panel of a triptych. The narrower side wings would then possibly shown figures standing saint. SN