Pieta michelangelo firenze

It was returned to the Vatican afterwards. Four fingers on Mary's left hand, broken during a move for the centennial anniversary of her Pontifical coronation. The damage parts were professionally restored in by the Roman sculptor Giuseppe Lirioni — Accordingly, modern scholars today are divided as to whether the restorer took artistic liberties to make the hand gestures more "rhetorical".

The most substantial damage occurred on 21 May Pentecost Sunday , when a mentally disturbed geologist, the Hungarian-born Australian Laszlo Toth , walked into the chapel and attacked the sculpture with a geologist's hammer while shouting, "I am Jesus Christ; I have risen from the dead! He recalled the following events:. We both fell into the crowd of screaming Italians.

It was something of a scene. Onlookers took many of the pieces of marble that flew off. Later, some pieces were returned, but many were not, including Mary's nose, which had to be reconstructed from a block cut out of her back. After the attack, the work was painstakingly restored and returned to its place within the basilica, just to the right of the entrance, between the Holy Door and the altar of Saint Sebastian , and is now protected by a bulletproof acrylic glass panel.

Contents move to sidebar hide. Article Talk. Read Edit View history. Tools Tools. Download as PDF Printable version. In other projects. Wikimedia Commons Wikidata item. Sculpture by Michelangelo. History [ edit ]. The apparent youth of Mary [ edit ]. Pontifical coronation [ edit ]. Pious cult and veneration [ edit ]. Modern use [ edit ].

Other namesake sculptures [ edit ]. Restoration [ edit ]. Vandalism [ edit ]. Il restauro venne avviato quasi subito, dopo una fase di studio ed esperimenti di laboratorio durata da maggio ad agosto , fu effettuato riutilizzando per quanto possibile i frammenti originali, oltre che un impasto a base di colla e polvere di marmo di Carrara.

Furono incaricati del restauro Vittorio Federici, direttore del Gabinetto ricerche scientifiche, Ulderico Grispigni capo laboratorio restauro pietre, Giuseppe Morresi capo laboratorio materie plastiche e Franco Dati restauratore e tecnico del Gabinetto. La bellezza della statua risiede forse proprio nel naturalismo straordinariamente virtuoso della scena, fuso con un'idealizzazione e una ricerca formale tipica del Rinascimento , e un notevole spessore psicologico e morale [ 1 ].

Una Madonna giovanissima si trova ad esempio, per restare in ambito romano, nel mosaico di Jacopo Torriti in Santa Maria Maggiore. Lo stesso Vasari riporta questa opinione nel confutare le critiche alla scelta dell'artista: «Se bene alcuni, anzi goffi che no, dicono che egli abbia fatto la Nostra Donna troppo giovane, non s'accorgono e non sanno eglino che le persone vergini senza essere contaminate si mantengono e conservano l'aria de 'l viso loro gran tempo, senza alcuna macchia, e che gli afflitti come fu Cristo fanno il contrario?

Altri progetti. Indice sposta nella barra laterale nascondi. Voce Discussione. Leggi Modifica Modifica wikitesto Cronologia. Strumenti Strumenti. In altri progetti. But we will explain its meaning, or rather its meanings, which are 3. Magnificent locations and gourmet menus: here are the best restaurants in town for a memorable Easter lunch. Art historians have found possible answers that explain on a deeper level the dissatisfaction he had with the sculpture.

They theorize that Michelangelo could have had significant problems with both the growing sexual motif of a slung leg over another's lap, and with the persecution of the Nicodemists. The slung leg theory has been summed up by a multitude of historians. The theory suggests that at this time, it had become a growing motif. The two involved are in a caring relationship that presents a sense of eroticism.

In the context of this sculpture, it would have been acceptable to keep it as is. At the time, there had been manuscripts and catechisms that explain the relationship between Christ and the Virgin. The Virgin, in this relationship, would represent the church as Christ's bride. Despite his knowledge on the Virgin and Christ's relationship, Michelangelo wanted the leg to simply and lifelessly hang over the Virgin's lap as an act of innocence.

The slung leg in Michelangelo's sculpture would not have represented the couple in a sexual manner but in a realistic manner. Without life in Christ's body, his limbs are forced to fall involuntarily over the Virgin's. In order to avoid confusion about his intentions, Michelangelo may have removed Christ's left leg in order to later change its composition to something that would be interpreted correctly.

The representation of Michelangelo's face on Nicodemus solidifies his ties to a specific belief of his known as Nicodemism. Michelangelo was introduced to a group known as the Spirituali by his friend Vittoria Colonna. Nicodemists agreed with Protestant beliefs on nearly all their bases except for the Protestants' need to break away from the Catholic Church.

Nicodemists wanted to avoid a schism from the church at all costs. Upon this inquisition, Michelangelo began to fear for not only his life but also for those he knew including those who were involved with the Spirituali. Knowing that he would be questioned sooner or later by the Pope and that the self-portrait showing him as Nicodemus would be used as truly convicting evidence of his beliefs, he destroyed the work.

This, Edwards asserts, casts doubt as to the question of Michelangelo's fear of being seen as holding heretical views. Therefore, the identification of the hooded figure as Nicodemus is in question. Each of these theories are plausible and even more plausible than that, all of the reasons could have worked together to create a climactic realization of the poor timing Michelangelo had in composing the sculpture the way he did.

No matter what the final straw was, the attempted destruction marked the end of Michelangelo's involvement with it.

Pieta michelangelo firenze

The work was then given away as a gift to one of Michelangelo's servants and was eventually sold to Francesco Bandini. Calcagni used models provided by Michelangelo himself on which to base his repairs. In his restoration, Calcagni reattached the limbs of Mary Magdalene, the Virgin's fingers, Christ's left nipple, Christ's left arm and elbow, and Christ's right arm and hand.

Calcagni caused controversy with the changes he made to the Magdalene's face. The change in her face altered the overall tone of this work. She was no longer in complete anguish but instead was now disassociated from and uninvolved with the rest of the scene.