Flemish school; mid-17th century.

Flemish school; mid 17th century.
"Sorrowful Virgin".
Oil on copper partially gilded.
With inscription on the back. Year 1793.
Measurements: 16,5 x 13,5 cm; 29,5 x 27 cm (frame).
The devotion to the Virgin's sorrows has its roots in medieval times, and was especially spread by the Servite order, founded in 1233. There are many and varied iconographic representations whose central theme is the Virgin Mary in her Sorrowful aspect, the first of which depicts her next to the Child Jesus, who sleeps oblivious to the future suffering that awaits him. The cross, the main symbol of the Passion, is usually present in these works, even embraced by the Child, while Mary looks on with a pathetic expression. Another aspect is that which forms part of the Pieta, similar to the previous one although her Son is here dead, not asleep, depicted as an adult and after his crucifixion. In the oldest representations of this theme, Christ's body appears disproportionately small, as a symbol of the mother's memory of her Son's childhood, when she contemplated him asleep on her lap. Finally, the Virgin of Sorrows and Solitude also stands out in importance, in which Mary appears alone, sometimes with her heart pierced by one or more swords. As this representation is very close to popular sentiment, the iconography of the Virgin of Sorrows is followed by that of Solitude: Mary, completely alone, is haunted by the memory of the main moments of her life, afflicted in solitude, without her Son. This theme frequently depicts the weeping of the Virgin, with torrents of tears streaming down her cheeks.