A three-centique wall painting depicting the Pietà is hidden in a cavity immediately to the right of the urn with the bones of the beate Simone da Todi in Sant’Alessio in San Giacomo Maggiore a St. Giacomo Maggiore a. The painting is already mentioned in 1934 in the ‘Agostiniano Historical Bulletin’ as the work of XIII secolo.The contribution is intended to present the discovery that the painting is in fact part of a buried buried buried in in the ‘Agostiniano Historical Bulletin’ as the work of the XIII Sec. The contribution aims to present the discovery that the painting is in fact part of a buried bowl, which is the first buried buried. The painting is already mentioned in in the ‘Agostiniano Historical Bulletin’ as the work of XIII secolo.The contribution seeks to present the discovery that the painting is in fact part of a buried buried buried, which is the first buried. The painting is already mentioned in in the ‘Agostinian Historical Bulletin’ as the work of XIII secolo.The contribution aims to present the discovery that the painting is in fact part part of a buried buried buried, in the ‘Agostiniano Historical Bulletin’. The contribution aims to present the discovery that the painting is in fact part of a buried buried buried arp. The painting is already mentioned in in the ‘Agostinian Historical Bulletin’ as the work of the XIII Sec. The contribution aims to present the discovery that the painting is in fact part part of a buried buried buried buried arp. The painting is already mentioned in in the ‘Agostinian Historical Bulletin’ as the work of XIII secolour.The contribution aims to present the discovery that the painting is in fact part of a rubbish buried buried buried in in the ‘Agostinian Historical Bulletin’. The contribution aims to present the discovery that the painting is part of a rubbish buried buried buried buried arc. The painting is already mentioned in in the ‘Agosgostinian Historical Bulletin’ as part of the XIII Sec. The contribution aims to present the discovery that the painting is in fact part of a rubbish buried, the painting is already mentioned in in the ‘Agosgostinian Historical Bulletin’. The contribution aims to present the discovery that the painting is in fact part of a rubbish rubbish buried, the painting is already mentioned in in the ‘Agostechtinian Historical Bulletin’ as the work of the 13th century. The contribution aims to present the discovery that the painting is in fact part part of a rubbish buried, the painting is already mentioned in in the ‘Agosteeth’ stor@@ iconographic, stylistic and historical. It is therefore specified that the painting belongs to the late medieval iconographic tradition of northern origin of Pietà or Vesperbild, with particular reference to the Bologna context, where this subject returns very frequently to the Italian environment. The pictorial culture of the anonymous painter who was the author of the painting and proposed a date by the second quarter of the fourteenth century, taking into consideration comparisons with the patetic and expressive language represented in Bologna by the Maestro of 1333 and the Maestro dei Polittifishes. We would therefore highlight the connection between the existing testimonies of this language and the production of the ‘pro remedio-animae’ images provided for by the legacies, as our painting also seems to be. Finally, the circumstances of the origin of the painting and arch to which it belongs are assumed, bearing in mind that at the current cappella of Sant’Alessio, a altar dedicated to Marta santa was erected by testamentary intent of Fino Beccaro in 1327 and that the bumen of the beate Simone da Todi, who died in 1322, has been recalled in this area of the church since 1567.