Sevillian school; second half of the 17th century. "Pietà". Oil on canvas. Relined. Measurements: 94 x 145 cm; 160 x 110 cm (frame). In this work of landscape format the author represents the Pietà, placing the Virgin and the body of Jesus in the centre of the triangular composition. The artist has arranged a vertical line constructed by the Virgin's face and accentuated by the profile of Christ's body, in opposition to the horizontal line of the Virgin's arms, which give the scene a great sense of stability and introduce the other figures in the scene. Christ's anatomy, which is perfectly described and classicised, is no doubt derived from observation from life, while the postures of the other figures give the piece a sense of theatricality. The work is enveloped in a pronounced darkness in relation to the drama of the scene, leaving visible only an unreal luminosity emanating from the bodies and flesh tones, especially the body of Christ and Nicodemus, who wears a red tunic that adds warmth to the scene. It is important to point out that iconographically this work is situated between the usual representation of the Pieta and the burial of Christ, in such a way that the artist has enriched the scene in a completely personal and narrative way. The iconography of the Pietà arises from a gradual evolution of five centuries and, according to Panofsky, derives from the theme of the Byzantine Threnos, the lamentation of the Virgin over the dead body of Jesus, as well as from the Virgin of Humility. The first artists to see the possibilities of this theme were German sculptors, the first surviving example being found in the city of Coburg, a piece from around 1320. Over time the iconography spread throughout Europe and in the 17th century, after the Counter-Reformation, it became one of the most important themes in devotional painting. The 17th century saw the arrival of the Baroque in the Sevillian school, with the triumph of naturalism over Mannerist idealism, a loose style and many other aesthetic liberties. At this time the school reached its greatest splendour, both in terms of the quality of its works and the primordial status of Sevillian Baroque painting. Thus, during the transition to the Baroque which later laid its foundations during the 18th century. This was due to the greatness that Seville achieved due to its strategic position as the main port of the Indies. The transit of goods from America not only enriched the city, but also made it one of the most cosmopolitan cities of the time.