The Roettgen Pietà, a painted wooden sculpture about three feet high, tells us a couple of important things about Christian devotion in 14th-century Germany.
In German, this subject is called a Vesperbild, an image for use during ritual devotions at sundown. More broadly, it's an example of an Andachtsbild, an image intended to stimulate meditation. For this reason, the holy figures are isolated from their narrative context and presented in a pose and a moment that amplify the statue's emotional import.
The body of Jesus has been removed from the cross, and Mary now holds her dead son on her lap and laments his passing. The poignancy of the statue resides in a cluster of double meanings. Just as Mary once held the baby on her lap, she now holds the man. Before, he was brimming with new life; now he is beyond life's end. Once he was beautiful; now he is ugly. Once perfect and intact, now distorted and destroyed. Continue reading….