Lamentation of Sant’Anna dei Lombardi

Seven figures around Christ.

A masterpiece of Renaissance sculpture in polychrome terracotta, the Lamentation over the Dead Christ by Guido Mazzoni (1492) is one of the most intense and evocative works preserved in Naples. The sculptural group is housed in the church of Sant’Anna dei Lombardi, a place of extraordinary historical and artistic value today managed by the social cooperative ParteNeapolis, committed to the enhancement of cultural heritage through visits, outreach and promotion.

Created at the end of the fifteenth century, the Lamentation depicts the moment following the death of Christ: seven life-size figures surround the body of the Saviour laid on the ground, giving life to a scene of profound emotional intensity. Among the figures represented is also Alfonso II of Aragon, portrayed in the guise of Joseph of Arimathea, a choice linked to the patronage of the Aragonese court.

A masterpiece of the Neapolitan Renaissance

Commissioned by Alfonso II of Aragon himself, the Lamentation destined for the church of Santa Maria di Monteoliveto, today Sant’Anna dei Lombardi, is the sixth and last work realised by Guido Mazzoni on the theme of the Deposition and of grief for the death of Christ. Its importance was recognised even in its own time, so much so that it was also recorded by Giorgio Vasari, who celebrated its artistic value.

At the centre of the composition lies the dead Christ, represented with extraordinary realism. Kneeling at his sides are Joseph of Arimathea and Nicodemus; behind him the Virgin Mary, overcome with grief, is supported by Mary Salome. The scene is completed by Mary of Clopas, Mary Magdalene and Saint John the Evangelist, each characterised by strong expressiveness and intense emotional involvement.

Expressiveness, colour and precious details

The power of the work lies not only in the drama of the faces and gestures, but also in its extraordinary quality of execution. The figures offer a cross-section of fifteenth-century culture and fashion through their attention to detail: from garments to accessories, from footwear to buttons, every element bears witness to the refinement of Mazzoni’s workshop.

The recent cleaning intervention has restored new luminosity to the original polychromy, bringing to light precious chromatic details, in particular in the figure of Saint John, with the recovery of the turquoise of the garments, the red of the stoles and some gilded decorations.

The restoration: conserving a unique heritage

The restoration intervention aims to ensure the conservation of the sculptural group and its protection over time.

The polychrome terracotta showed surface fragility and material discontinuities due both to the characteristics of the material and to the stresses undergone over the centuries. A targeted consolidation intervention was therefore carried out, aimed at re-establishing the cohesion of the surface and reinforcing the most vulnerable parts.

The most delicate elements, in particular the extremities of the limbs, were reinforced through the precise insertion of carbon fibres, an innovative solution that improves structural stability without altering the original appearance of the work. The intervention was completed with the installation of new anti-seismic bases, designed to increase the safety and protection of the sculptural group.

A restoration made possible by participation

The recovery of the Lamentation over the Dead Christ has also been supported by the contribution of several patrons through the “Adopt a statue” initiative, a project that has allowed citizens, organisations and supporters of the arts to take a concrete part in the protection of a shared heritage.