Il Compianto: Scream of Stone

Sometimes plans go wrong!

That’s what happened for the sightseeing portion of our day. But we made do.

An 11:00a check-out from one AirBNB. A 3:00p check-in at another AirBNB. Plenty of time for a leisurely breakfast; a recycling and trash run; and last minute packing. It was 10:45a when we finally carried the bags downstairs.

First up. Roll the bags through the city to the luggage drop at the offices of the company that manages the property we’re moving to. Soon enough the bags were locked in closet #8 and we were off to kill time sans-luggage.

Last night, we settled on Palazzo Fava as today’s sightseeing destination. The building, which dates back to the Middle Ages, is now the Palazzo delle Esposizioni. In addition to exhibiting important works of art, such as Vermeer’s “Girl with a Pearl Earring,” the property is a treasure trove of frescoes.

We found the place just fine. We entered the lobby and waited for the woman at the desk to finish her phone call. And then our plans fell apart. Turns out that the palazzo was closed to visitors while they prepare for a Michelangelo exhibit that will be starting after we leave and ending before we return. Bummer.

What to do now? Mui wanted to get an espresso, so he went to the palazzo’s café. I walked outside to check out the Medieval Museum as an alternative. No luck there, either.

The attendant at Palazzo Fava suggested that we visit the Church of Santa Maria della Vita to see the “Scream of Stone” … the terracotta sculpture group created by Niccolò dell'Arca between 1463-1490. I knew immediately that this was the church near the Portico della Morte that Stella had also told us was a must-visit … if for no other reason than to see the famous statue group. So, we made our way to the church.

This monumental complex, which originally consisted of a hospital as well as the church, dates back to the 13th century. It was commissioned by a Perugian who came to Bologna in the mid-13th century with about 20,000 followers. After arriving in the city, he founded the Confraternity of the White Penitents, establishing a place for the care and aid of pilgrims and the infirm.

If one wishes to just see the church, there is no admission. But if you want to see the “Scream of Stone” and/or the oratory where there is a second sculpture grouping as well as a small collection of art, you need to pay the price of admission … no senior rate unless you have an Italian ID card.

After taking photos in the church, we showed our tickets to an attendant off to the side of the altar and were allowed to go into what looked like an unadorned side chapel. There, a panel hiding the grouping from non-paying prying eyes, was “Il Compianto sul Cristo Morto” (Lamentation Over the Dead Christ) … as dell'Arca’s “Scream of Stone” is officially named.

When Stella had suggested not-missing these sculptures, I had mentioned that I’d seen a similar grouping at the cathedral. Her response … “There’s no comparison to the emotions evident on the faces of these statues.” She was right. I’m going to have to pull the photos from the cathedral to take another look, but I don’t remember them leaving me with the same impression of deep, furious sadness that these sculptures portray.

On the panel blocking the grouping from general view was a quote from 1686 that referred to the “prominent Marys.” Indeed the grouping includes four women named Mary … labels on the floor in front of the antique gate separating the sculptures from visitors identified them as: a probable representation of Mary Salome, mother of the Apostle John; the Virgin Mary; Mary of Clophas, the mother of two other apostles; and Mary Magdalene … which, while some might think it blasphemous, is believed in some circles to have been Jesus’s wife. The figures also include Apostle John, who seems quite stoic in comparison to the women, and Nicodemus, who detached Christ from the cross.

*** There seems to be some question as to the identity of the sculpture labeled as Nicodemus. Some sources identify it as Joseph of Arithamea, who shouldered the responsibility of burying Christ.

What makes this grouping of sculptures so important is not just its religious significance, but also its artistic value as a “… unique work, with immense expressive power and great realism, one of the most important masterpieces of Italian art.” Indeed, the most important work of the Italian Renaissance, some say.

One might be surprised that I did not mention the sculpture of Christ. It is after all, the centerpiece of the grouping. To me, lying in peaceful repose — emaciated, to be sure, but emotionless amidst the exaggerated emotions of the others — this sculpture actually felt secondary. Almost like a supporting actor, if you will.

Our next stop at the complex was the 15th century oratory.

First, we viewed the exhibit of paintings entitled the Capolavori Masterpieces … from the collections of the Fondazione Cassa di Risparmio di Bologna. I’d been thinking that the setting being an oratory, the paintings would be religious in nature. But they weren’t. They ranged from a painting showing commoners going about everyday business while the female personifications of the liberal arts watch over them; to a depiction of the suicide of Cleopatra; to several portraits of everyday people … my favorites were of the blind beggar and the old woman.

The oratory — officially the Oratory of the Flagellants — was first built in the 15th century by the same confraternity that commissioned the church complex. It was entirely rebuilt in the 17th century. Considered an example of the early Bolognese Baroque style, it is said to be the only sacred building in the city that has a Venetian ceiling … which is heavily gilded and frescoed.
At the time of the rebuilding, two pieces of art were maintained … one of which is a terracotta sculpture grouping by Alfonso Lombard, “Transit of the Virgin.” The other one is the altarpiece, “Madonna with Child and Saints.”

The sculpture grouping is situated in a high niche at the far end of the oratory … facing the altar. There are 15 sculptures in this group … all men except for the Virgin Mary and an avenging angel. That the men surrounding the body of Mary are lamenting her passing is obvious. But a second, careful look makes the story clear … as explained in the signage, an under-represented episode in Western Art: “During the Virgin’s funeral procession, the high priest sought to overturn the coffin in contempt of Maria. An avenging angel swooped down from heaven with drawn sword and hurled him to the ground, threatening to cut off his hands in punishment for his sin. …”

It was after 12:30p when we left the church/oratory. What to do now? We decided to meander to a café/pasticceria we’d spotted at the top of Via Ugo Bassi that came highly recommended. So, we made our way there.

Gamberini, which has been serving the Bolognese people and visitors to the city since 1907, proved not to be as good as we expected. Nonetheless, this break from walking gave us a chance to rest our weary feet, so I guess I won’t complain too much.Read more