Piety

The Virgin embraces the lifeless body of Christ on her lap after removing him down from the cross. Her face fully reflects the drama of the Passion with the same realism as the disarranged position of her son. A XVII century Christian artistic practice was to foster devotion by representing scenes related to Mary’s seven sorrows or anguishes. The preference for local wood and ivory imported from the Philippines, in the rough or carved, is a characteristic of this sculpture, possibly Guatemalan, and which, due to its dimensions was probably used in a domestic environment.