On the other hand, Harold Wethey rejects as "unconvincing" the view that the composition of the "Burial" is derived from the "Dormition", "since the work is more immediately related to Italian Renaissance prototypes". In connection with its elimination of spatial depth by compressing figures into the foreground, the early Florentine Mannerists—Rosso Fiorentino, Pontormo and Parmigianino—are mentioned, as well two paintings by Tintoretto: the "Crucifixion" and the "Resurrection of Lazarus", the latter because of the horizontal row of spectators behind the miracle. The elliptical grouping of the two saints, as they lower the dead body, is said to be closer to Titian's early "Entombment" than to any other work. Wethey asserts that "El Greco's Mannerist method of composition is nowhere more clearly expressed than here, where all of the action takes place in the frontal plane".* * F. Philipp, "El Greco's Entombment", 76* S. Schroth, "Burial of the Count of Orgaz", 7</ref>