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Sculptor of expressive and dramatic terracotta sculptures of early Renaissance by Niccolo dell.Arca (c1435-94). Eclectic sculptor of south Italian origin, active in Bologna from 1462 as a carver in marble and a modeller in terracotta. His ‘surname’ is derived from the tomb – arca – of St Dominic by Nicola Pisano, Bologna, San Domenica Maggiore, for which Niccolo carved a lid decorated with marble statuettes. His style here, as in his large Madonna di Piazza (1478, Bologna) demonstrates knowledge of both Burgundian and Tuscan sculpture. Niccolo’s masterpiece is universally acknowledged to be his dramatically expressive terracotta group of Lamentation, originally polychrome, anticipating the more placid terracotta groups of Guido Mazzoni. “ The Yale Dictionary of Art & Artists p495.
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NiccoloDell’Arca Lament Over the Dead Christ Mary Magdalene First created 27 May 2018. Version 1.0 - 3 Jun 2018. Daperro. London.
Chiesa di Santa Maria della Vita The church of Santa Maria della Vita is situated on one of streets leading into the main square of the city, Bologna. It houses one of the greatest group of sculptures in early Italian Renaissance of the 15th Century. In the church, there is an Early Renaissance sculpture masterpiece called the Lamentation over the Dead Christ by Niccolodell’Arca (c 1435/1440 - 1494).
The Lament Over the Dead Christ – The Complete Group An exciting group of terracotta sculpture in the Early Renaissance masterpiece. It was years ahead of its time, between 10 to 40 years before Michelangelo masterpieces.
Group on the Right This group of sculptures was started some 30 years before Michelangelo’s David but left unfinished till the 1490s. There were much more movements in his sculptures than the normal static statues of his times.
The Lament Over the Dead Christ – Christ The artist was Niccolodell’Arca (c1435-1440 – 1494), who came probably from Apulia in south Italy. Some say he was from Dalmatia, modern day Croatia. He worked with terracotta and in stone.
The Lament Over the Dead Christ – Joseph of Arimathea Joseph of Arimathea is normally shown kneeling down.
The Lament Over the Dead Christ – Joseph of Arimathea Joseph was the owner of the grave. He gave up his grave for the dead Christ.
The Lament Over the Dead Christ – Joseph and Mary of Arimathea Joseph and Mary were shown together here. Joseph had a huge pincer on his belt which he used to remove the nails that pinned Jesus to the cross.
The Lament Over the Dead Christ – Mary of Joseph For a long time dramatic religious theatre, as opposed to the polished marbles of humanism, was looked on as popular art of minor important, simply because it was expressive. Nevertheless it was produced by cultivated artists, accepted by contemporaries on the level as the great altarpiece.
The Lament Over the Dead Christ – Mary of Joseph Mary of Joseph, with her hands grasping her legs for support. She had an overall head dress but plain garment.
The Lament Over the Dead Christ – Mary of Joseph and Madonna The sculpture group is characterised by the intense emotions of the figures.
The Lament Over the Dead Christ – Madonna The originally the figures were covered with pigments as you can still see on the sculpture.
The Lament Over the Dead Christ – Madonna The painful heart breaking pose of Madonna, with her grasping hands in pray. Note the head dress was part of the overall garment. Some art commentators detected contradictory influences from Burgundy, Naples, Ferrara and Florence.
The Lament Over the Dead Christ – Madonna Madonna was portrayed as an older woman, with painful grief of a mother. “Son, why won’t you answer?” echoes the words of Jacopone da Todi (1233-1306) in ‘Donna de Paradiso’.
The Lament Over the Dead Christ – John the Apostle John the Apostle was depicted in silent grief, trying to fight back the tears, as if he was questioning ‘why?’.
The Lament Over the Dead Christ – John the Apostle John the Apostle was in normal disciple’s robe. It was said that he was modelled on the donor of the work.
The Lament Over the Dead Christ – Clopas and Magdalene The extreme emotions of the two young women, between desperation and hysteria, with widely open mouths.
The Lament Over the Dead Christ – Mary Clopas One important feature of the sculpture was the use of costume to convey movements.
The Lament Over the Dead Christ – Mary Clopas He was first mention in 1462 as Maestro of terracotta figures”. He was regarded as stubborn and not prepared to teach students.
The Lament Over the Dead Christ – Mary Clopas Mary Clopas rushed toward Christ with her head dress fluttering in the air. She was crying. As she approached, she used her hands to block the view of the dead Christ, as a gesture of disbelief. The sculpture is full of movements.
John the Apostle, Mary Clopas and Mary Magdalene Mary Magdalene was running so fast that her garments were flying in the air, in a state of hysteria.
The Lament Over the Dead Christ – Mary Magdalene Mary Magdalene horrified in hysteria. The statue clearly demonstrated Niccolodell’Arca’s skills of a Maestro Nicolo da Puglia (Master of terracotta figures).
The Lament Over the Dead Christ – Mary Magdalene The flying garments and head scarf, depicted the speed of her approach.
The Lament Over the Dead Christ – Mary Magdalene Highly expressive sculptures rivalled anything produced in Florence of the time. NicoloDell’Arca is now recognised as an important sculptor of Early Renaissance.
Kinds of Sadness It is difficult to find any other examples of artists who had skills to depict such a wide range of intense emotions, as he had over some 500 years ago.
The Lament Over the Dead Christ by Guido Mazzoni. By comparing, a closely related work by Guido Mazzoni (c1445-1518) in San Giovanni Battista, Modena, a near by town to Bologna, of the same period. One can see the different approaches taken by the two artists. It was also made in terracotta.
San Domenic Basilica. In Bologna there is an important church called San Domenico Basilica. It is the burial place of Saint Dominic, founder of the Order Dominicans of the Catholic church.
San Domenic Basilica – Arca di San Domenico. This is the Arca di San Domenico, the tomb of the saint Dominic. It was made by Nicola Pisano, the well-known Renaissance artist. Later additions (1469) was made by Niccolodell’Arca or Niccolo of the Ark (Chest). This was how he got his name. Even the young Michelangelo worked on a small statue on the Ark.
San Domenic Basilica – Arca di San Domenico. Details of carvings and statues on the Ark. Niccollo worked on the row of standing statues and the lid on the Ark.
San Domenic Basilica – Arca di San Domenico. The corner statue at the centre of the photo was the work of NiccoloDell’Arca. So he can work on stone as well as terracotta sculptures.
San Domenic Basilica – Arca di San Domenico. This corner statue of an angel holding a candle is the work of the young Michelangelo.
Interior of Santa Maria della Vita Upstairs to see the Oratory To see the Lament of the Dead Christ.
The End Music – Ave Maria from the film Fantasia All rights reserved. Rights belong to their respective owners. Available free for non-commercial and personal use.
