by prof. Trident Cosmo.
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The theme of the "Pieta", the Virgin Mother, who welcomes her lap and covers the dead body of her Son, has a long history. E 'to this type of representation that made use of Michelangelo Buonarroti (1475-1564) when, not yet twenty-five, has completed one of his most famous works: the Pieta in St. Peter conserved, sculpted in 1500 by order of the French Cardinal Bilhères Lagraulas Jean de, French ambassador at the time the Holy See.
the softness of a loving mother makes her pain, the body of the Son is broken by the torments of passion and the torment of the gallows. It is said that one of the visitors who went to Lombard see this work of mercy, he asked who was the author. Another said, "is our Gobbo di Milano (Cristoforo Solari, Milan artist). Michelangelo, who happened to be present, this attribution was angry and "one night you are shut in with a little light, and having brought the chisels - this refers to Vasari - we carved his name."
the softness of a loving mother makes her pain, the body of the Son is broken by the torments of passion and the torment of the gallows. It is said that one of the visitors who went to Lombard see this work of mercy, he asked who was the author. Another said, "is our Gobbo di Milano (Cristoforo Solari, Milan artist). Michelangelo, who happened to be present, this attribution was angry and "one night you are shut in with a little light, and having brought the chisels - this refers to Vasari - we carved his name."
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. La Pietà venerated in the church of the Purgatorio, is the last statue that closes the procession of Holy Saturday and tradition has it that leaving the band sounds the march "Dolor" Master Xavier Calo. Strictly subject to compliance with the organization, in view of the function of the Resurrection, the procession ends within 22 hours and it is customary for the last section the Pieta is carried on shoulders by priests.
In his project to rebuild the statues of Holy Saturday, Giulio Cozzoli never thought of remaking the Madonna della Pietà in the group, namely the head, and never walk, it is a skeletal figure covered with a robe. He was the first to realize how the statue was exceptional, how her face was unique, a genuine work of art to preserve and transmit to posterity. He thought instead of shaping a new image of the dead Christ on your lap of the Madonna, also to reduce the gap between the aesthetic and the statue of the Mother of the Son (the latter of poor workmanship).
In his project to rebuild the statues of Holy Saturday, Giulio Cozzoli never thought of remaking the Madonna della Pietà in the group, namely the head, and never walk, it is a skeletal figure covered with a robe. He was the first to realize how the statue was exceptional, how her face was unique, a genuine work of art to preserve and transmit to posterity. He thought instead of shaping a new image of the dead Christ on your lap of the Madonna, also to reduce the gap between the aesthetic and the statue of the Mother of the Son (the latter of poor workmanship).
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Well, shortly after Easter of 1907, the Administration official in charge of Death gave Cozzoli of shaping a new statue of Christ Dead to the group of the Pieta. The young author committed himself to its full capacity and so he went several times Cemetery to study the inanimate bodies, in the abandonment of death. From sketches made there, then processed and translated into the final sketch, it turned out the evocative image of the Dead Christ, which was carried in procession at Easter 1908. Figure Cozzoli
shaped by the Christ, pour on the lap of Mother Teresa, the attitude property of a corpse, but not the static fixity, as they put in three cases: the head thrown back to the left, the center of the body by ' humerus at the knees, right leg hanging. One arm is stretched out on the lap of the Madonna, who shakes his hand and the other, hanging downwards, with the index finger touches the maternal sandal.
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injuries inflicted on her forehead from the crown of thorns, the lumpy bruises of the beatings, the bruises caused by falls to his knees, the holes of the nails of the hands and feet, the wound open and bleeding from the spear in his side, giving plausibility and completeness of the statue in the sufferings endured by Christ.
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The face of the Virgin, bathed in tears, suffered a light touch. The sculptor wanted to give him a more intense expression of pain: a face of vehement brilliance that represents the Virgin at the top of the agony, petrified, as disheartened by the sword of sorrow that pierces.
also Cozzoli any substantial change to the group. Originally the statue was sitting on a wooden crate at the foot of the Cross. Everything, then, was wrapped in the large black cloak of the Virgin, giving the impression that the Cross comes out from the back of Madonna. The Cozzoli corrected the defect, creating a large mass of paper, away from the cross and a reliquary containing the shroud, on which the seating of the Madonna.
also Cozzoli any substantial change to the group. Originally the statue was sitting on a wooden crate at the foot of the Cross. Everything, then, was wrapped in the large black cloak of the Virgin, giving the impression that the Cross comes out from the back of Madonna. The Cozzoli corrected the defect, creating a large mass of paper, away from the cross and a reliquary containing the shroud, on which the seating of the Madonna.
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. Recently (October 2009) the old Dead Christ eighteenth century, deteriorated by time, has returned to its former glory after restoration operated by the restorers Andria Valerio Iaccarino and Joseph Zingaro (the same ones who restored the other statues), on the initiative of the prior office, dr. Franco Stanzione.
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. In this connection I should like to express, as a brother, my personal observation. Especially in recent times, the outgoing administration, in office for six years, has been the subject of an unjust and unjustified smear campaign by a mob brothers that sometimes exceeded the limits of a civil dialectic. The friend Franco Stanzione is not a fanatic, not a cocky, not a dictator as it might look in the eyes of some myopic brethren. He is simply a deep lover of the rituals and traditions of Holy Week that the saddle has the merit of having worked for and acted during his mandate, solely for the good of the pious Association, bequeathing the establishment of a series of initiatives that no ' other directors can match. Therefore, in the words of dear Toto, we try to be men and foremen, thanks, without adding to the friend Stanzione for what he has done and will remain in the history of the arch. All the rest belongs to the same but in a dialectic that can not sterile and defeatist minimally affect a venerable example is the arch which Sodality Death.
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* Text by the prof. Trident Cosmo. * Photos coming from 'private archive of Dr.. Francesco Stanzione.
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