Lamentations did not appear in art north of the Alps until the 14th century, but then became very popular there, and Northern versions further developed the centrality of Mary to the composition. The typical position of Christ's body changes from being flat on the ground or slab, usually seen in profile across the centre of the work, to the upper torso being raised by Mary or others, and finally being held in a near-vertical position, seen frontally, or across Mary's lap. Mary Magdalene typically holds Jesus' feet, and Joseph is usually a bearded older man, often richly dressed. In fully populated Lamentations the figures shown with the body include The Three Marys, John the Apostle, Joseph and Nicodemus, and often others of both sexes, not to mention angels and donor portraits.
Giotto di Bondone's famous depiction in the Scrovegni Chapel includes ten further female figures, who are not intended to be individualized as they have no halos. The subject became increasingly a separate devotional image, concentrating on Mary's grief for her son, with less narrative emphasis; the logical outcome of this trend was the Pietà, showing just these two figures, which was especially suitable for sculpture.