Botticelli makes his Pieta a “sacra conversazione,” or
group of several saints separated by time and place. Not only are St. John and Mary
Magdalene present, but Sts. Peter, Stephen, and Paul are also in attendance.
These all bear characteristic marks of identification, and St. Peter wears the
colors typical of old iconography. Also traditionally, no one immediately
touches Christ’s body except his mother, with her limp right hand—even Mary
Magdalene’s pitiful face rests behind Christ’s in perspective.
But here, the Pieta is presented—not before the Cross
but before an altar, or perhaps a sepulcher. The figure at Mary’s left shoulder
is only identifiable from other of Botticelli’s Pietas: she holds the four
nails from the cross, and remains anonymous. Botticelli is innovative with his
portrayal of the dead Christ, whose figure is anatomically accurate without
being harsh or linear. Christ’s face is peaceful, His features boyish, and His
wounds are only lightly suggested. In this Pieta, much greater emphasis is
placed on the saints surrounding Christ, hoping to console Him by their
devotion.
