Pietà

When we speak of Classical or Renaissance sculpture, it is almost natural to think of marble. Certainly not of humble terracotta, with which Antonio Begarelli made the sculptures in this church. In the area around Modena, the lack of marble quarries gave rise to a tradition of sculpture based on terracotta and Begarelli knew how to work terracotta with such mastery that he made it look like sculpted marble. Considering that his sculptures were painted white at the time, the difference between the two elements was further reduced. What’s more, the choice to bring dignity to such a poor material had a spiritual value for Catholic morality. In this Pietà of 1544, the imitation of marble is combined with a style that echoes ancient sculpture not only in the forms, but also in the rendering of feelings. Christ, lifeless, is shown to Mary before the entombment. None of the three figures around the body makes any striking gestures: they do not cry out in agony; they do not raise their hands to heaven. There is a measured suffering, which denies distracting us with theatricality. The scene should not show the horror of mourning, but the sacredness of sacrifice that is the basis of Christian belief. Through his death, Jesus redeems man from sin. Of course, the pain is present and visible in their faces, but it is an intimate suffering, a suffering that can strengthen one’s faith.