Also coming from the church of Santa Maria Consolatrice degli Afflitti and restored at the restoration laboratory of the Superintendence for Architectural and Historical Environmental Assets of Puglia in Bari, the canvas of the Madonna della Pietà together with the one depicting the Annunciate Virgin, was attributed by D'Orsi (1958), who believes them to be painted around 1746, to Giaquinto.

Although a subject of debate among scholars, due to the style and chronology that suggests they were created shortly after 1720, they can be attributed to the young Giaquinto.

The first one, with her hand on her chest, is called Madonna della pietà, the other Annunciate Virgin.

According to Michele D'Elia, who believes they date back to the second Neapolitan stay (1726-'27), they are considered, along with the San Nicola Pellegrino, among the first known works.

The two canvases, depicting the half figure of the Virgin, are certainly contemporary due to their sober style, chromatic tone, and dimensions.

We can say that if executed by Giaquinto, the two Madonnine of Purgatory mark the end of Giaquinto's apprenticeship years in Naples, where he was introduced by Monsignor de Luca, Marquis of Lizzano, to attend the studio of Nicola Maria Rossi, before joining the workshop of Solimena.