The provenance from Palazzo Ricci Sacchetti in Rome of a panel painting representing the 'Resurrection of Christ', which in terms of iconography and style derives from Francesco Salviati's fresco masterpiece in the chapel of the Margrave of Brandenburg in Santa Maria dell'Anima, reopens the much-debated question of the chronology of the work executed by the great Florentine painter on that worksite (see the article by Roberto Bartalini in the present issue). Due to evident stylistic similarities, the panel painting can be compared to a series of works, particularly frescoes, which in terms of attribution have long been disputed among various exponents of the second generation of Roman Mannerism, such as the painter from Lucca, Michele Grechi (Bernice Davidson), or Pompeo Cesura from L'Aquila. The recent identification of a painter from Lyon, Guillaume Bonoyseau, as the author of a series of works mostly commissioned by ambassadors or French prelates stationed in Rome, emerging on the basis of irrefutable documentary evidence (Tosini), now makes it possible to attribute to this brilliant French disciple of Salviati also the 'Resurrection' from Palazzo Ricci. This conclusion about its attribution also prompts further considerations on the relations between Francesco Salviati and the École de Fontainebleau in the mid-1550s, when the artist turned his hand to the frescoes of Palazzo Ricci in Rome.