BARTOLOMEO MANCINI (c. 1630-1715); Rome, 1701. "Christ and the Virgin and Child." Oil on copper. They present jumps in the painting. They retain period frames. Signed and dated on the back. Measurements: 27,5 x 20,5 cm (x2); 34 x 26,2 cm (frames, x2). Due to the material and the reduced dimensions of each of the works that make up this set, it is very likely that they were intended for private devotion. Both pieces are conceived in the same way, although they represent a different image. It is a clear and simple composition with the main protagonist imbued in an ochre background, illuminated by the rays of sanctity given off by each of the characters. These are presented through the bust inscribed in the oval format of the support, facing the viewer, although in both cases looking away and avoiding direct contact. In the representation of Jesus, she raises her gaze upwards, while Mary turns her face in profile and lowers her gaze in a completely pious attitude. Both works stand out for the softness and softening of the features, combined with the use of a chromatic range of energetic and emphatic tonalities. These characteristics invite us to think of the work of the Italian painter Bartolomeo Mancini, to whom is attributed a piece, located in the Museo di Casa Martelli in Florence, which presents the same composition as the portrait of the Virgin present here except for the format. It is his well-known Madonna Addolarata There are many and varied iconographic representations whose central theme is the Virgin Mary in her Sorrowful aspect, the first of them being those in which she appears next to the Child Jesus, who sleeps oblivious to the future of suffering that awaits him. In these works is usually present the cross, the main symbol of the Passion, embraced even by the Child, while Mary observes him with a pathetic expression. Another aspect is the one that is part of the Pietà, 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, the body of Christ appears disproportionately small, as a symbol of the memory that the mother has 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, where Mary appears alone, sometimes with her heart pierced by one or several swords. Since this representation is very close to popular sentiment, the iconography of the Virgin of Sorrows is followed by that of Solitude: Dimensions 27,5 x 20,5 cm (x2); 34 x 26,2 cm (frames, x2).