Imago pietatis - Northern Italy 15th century

This splendid marble bas-relief shows us the Imago pietatis, the moment when Christ is emerging from the tomb between life and death, supported by two angels.
Our bas-relief comes from the collection of Achille de Clemente, a collector in Florence at the end of the 19th century. We can see a photo of the work in the catalogue listing his collection. Our work is referenced there under number 50692. ‘Collezioni d'arte tra ottocento e novecento’, Jacquier fotografi a firenze 1870-1935.
In our work, we can see Christ emerging from his tomb, haloed, wearing the crown of thorns, and his eyes half-open as if he were unconscious. His facial features are hard, as shown by the stigmata visible on his hands and side. He is wearing a perizonium tied to his side. Everything seems to testify to the difficult ordeal he is facing through his resurrection.
Christ is accompanied by two angels. One is leaning towards him, one of his hands resting on his heart, while the other is looking outwards from the bas-relief, seemingly asking other celestial figures for help. Their very long wings and the heads of the figures protrude from the inner frame of the work. The angels' garments are separated into two parts; they are dressed in a toga, held in place by a fibula on the shoulder. Their faces of 3?4, revealing their tortured and passionate expression.
The details of the sculpture, particularly on the tomb, make this composition even more realistic. Indeed, the tomb from which Christ emerges, is composed of several panels, on the front , it is decorated with horns of plenty, symbol of prosperity of the world to come. On either side of it, other panels are sculpted, extending slightly in perspective towards the back. Each panel is decorated with a large flower. Each side of the work is framed by a Corinthian column, which closes off the scene, but also adds architectural decoration and a pictorial dimension to the bas-relief.
This bas-relief, depicting a typical 15th-century subject, is attributed to the entourage of Bartolomeo Bellano, a pupil of Donatello.
The imago pietatis is inspired by the image of the Byzantine epitaphios (Christ is depicted in his tomb surrounded by his loved ones), which was present in the 8th century and then exported to Europe, to be transformed in the 13th century into the image we can see in our work. This devotional image was later used in sculptures, paintings and illuminations. This theme is apocryphal, meaning that it does not appear in the Bible. Donatello made a marble version of it, which became an inspiration for many 15th-century artists.
Donatello was one of the artists of the early Renaissance, and was therefore one of the pioneers of those who dared to humanise the figures in their works, especially the divine figures. At that time, life wasn't easy, so it was customary to show that divine beings also shared in this suffering. It was quite innovative to think like this, and for artists like Donatello, it was a risk-taking move in view of the possible negative reaction of the clergy.
We know that he stopped off in Padua to work. After his visit, and with the works he left behind, his style remained permanent in this city. He left an indelible mark. As a result, Bartolomeo Bellano, who came from Padua, followed in Donatello's footsteps. In his work, we find works that we can link to our bas-relief.
We can compare Bartolomeo Bellano's style to our work through the similarities in the tortured expressions of the figures and the hardness of the joints. The rigid arms in particular.
It is likely that our bas-relief was part of an ensemble, such as the tabernacle reliquary in the Basilica of Santa Maria Gloriosa dei Frari.
Our in-depth research into this marble bas-relief representing the Imago Pietatis has enabled us to place it in an artistic tradition marked by great expressivity and attention to detail.
By comparing stylistic elements, in particular the features of the angels' faces, we were able to establish a significant resemblance with the works of Bartolomeo Bellano.
This comparison enriches our understanding of the work and sheds valuable light on the context in which it was created, confirming that it belonged to the entourage of Bartolomeo Bellano.