The inscription states:
A PIETÀ DA CATEDRAL DE BRASÍLIA
Foi abençoada pelo Papa João Paulo II em junho de 1989. É a réplica da PIETÀ de Michelangelo exposta na Basílica de São Pedro em Roma. É a primeira cópia em 500 anos de existência micromilimetricamente igual a original. Chegou à Brasília em 21de dezembro de 1989. Foi produzida pelo museu do Vaticano autorizado pelo Papa. É feita de mármore em pó e resina. Pesa 600 quilos e tem 1,74m de altura. Levou 3 anos para ser concluída. É uma das maravilhas produzida pelo homem.
Venha rezar o terço diante da Pietà todo dia 21 do mês às 11 hs
Doada por Carmen e Paulo Xavier.
Translated in English:
THE PIETÀ OF THE CATHEDRAL OF BRASILIA
It was blessed by Pope John Paul II in June 1989. It is a replica of the Pietà of Michelangelo displayed in St. Peter's Basilica in Rome. It is the first copy in 500 years of existence that is to the micro millimeter equal as the original. Arrived in Brasilia on 21st of December 1989. It was produced by the Vatican museum authorized by the Pope. It is made of marble powder and resin. Weighs 600 kilos and is 1.74 m tall. It took three years to complete. It is one of the wonders produced by man.
Come pray the Rosary before the Pietà every 21st of the month at 11 am
Donated by Carmen and Paulo Xavier.
Pietà (Michelangelo)
The Pietà (1498–1499) is a work of Renaissance sculpture by Michelangelo Buonarroti, housed in St. Peter's Basilica, Vatican City. It is the first of a number of works of the same theme by the artist. The statue was commissioned for the French Cardinal Jean de Bilhères, who was a representative in Rome. The sculpture, in Carrara marble, was made for the cardinal's funeral monument, but was moved to its current location, the first chapel on the right as one enters the basilica, in the 18th century. It is the only piece Michelangelo ever signed.
This famous work of art depicts the body of Jesus on the lap of his mother Mary after the Crucifixion. The theme is of Northern origin, popular by that time in France but not yet in Italy. Michelangelo's interpretation of the Pietà is unprecedented in Italian sculpture. It is an important work as it balances the Renaissance ideals of classical beauty with naturalism.
Description
The structure is pyramidal, and the vertex coincides with Mary's head. The statue widens progressively down the drapery of Mary's dress, to the base, the rock of Golgotha. The figures are quite out of proportion, owing to the difficulty of depicting a fully-grown man cradled full-length in a woman's lap. Much of Mary's body is concealed by her monumental drapery, and the relationship of the figures appears quite natural. Michelangelo's interpretation of the Pietà was far different from those previously created by other artists, as he sculpted a young and beautiful Mary rather than an older woman around 50 years of age.
The marks of the Crucifixion are limited to very small nail marks and an indication of the wound in Jesus' side.
Christ's face does not reveal signs of The Passion. Michelangelo did not want his version of the Pietà to represent death, but rather to show the "religious vision of abandonment and a serene face of the Son", thus the representation of the communion between man and God by the sanctification through Christ.
Youthful Mary
The Madonna is represented as being very young for the mother of a 33-year-old son, which is not uncommon in depictions of her at the time of the Passion of Christ. Various explanations have been suggested for this. One is that her youth symbolizes her incorruptible purity, as Michelangelo himself said to his biographer and fellow sculptor Ascanio Condivi.
History after completion
Sculpting of the work took less than two years. Following completion, the Pietà's first home was the Chapel of Santa Petronilla, a Roman mausoleum near the south transept of St. Peter's, which the Cardinal chose as his funerary chapel. The chapel was later demolished by Bramante during his rebuilding of the basilica. According to Giorgio Vasari, shortly after the installation of his Pietà, Michelangelo overheard (or asked visitors about the sculptor) someone remarked that it was the work of another sculptor, Cristoforo Solari, whereupon Michelangelo signed the sculpture. Michelangelo carved MICHAELA[N]GELUS BONAROTUS FLORENTIN[US] FACIEBA[T] (Michelangelo Buonarroti, Florentine, was making this) on the sash running across Mary's chest. The signature echoes one used by the ancient Greek artists, Apelles and Polykleitos. It was the only work he ever signed. Vasari also reports the anecdote that Michelangelo later regretted his outburst of pride and swore never to sign another work of his hands.
In 1964, the Pietà was lent by the Vatican to the 1964–65 New York World's Fair to be installed in the Vatican pavilion. Francis Cardinal Spellman, who had requested the statue from Pope John XXIII, appointed Edward M. Kinney, Director of Purchasing and Shipping of Catholic Relief Services - USCC, to head up the Vatican Transport Teams. People stood in line for hours to catch a glimpse from a conveyor belt moving past the sculpture. It was returned to the Vatican after the fair.
Damage
In subsequent years the Pietà sustained much damage. Four fingers on Mary's left hand, broken during a move, were restored in 1736 by Giuseppe Lirioni, and scholars are divided as to whether the restorer took liberties to make the gesture more 'rhetorical'. The most substantial damage occurred on May 21, 1972 (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!" With fifteen blows he removed Mary's arm at the elbow, knocked off a chunk of her nose, and chipped one of her eyelids. 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 in St. Peter's, 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.
See: wikipedia
Cathedral of Brasília
The Catedral Metropolitana Nossa Senhora Aparecida (Metropolitan Cathedral of Our Lady of Aparecida) is the Roman Catholic cathedral serving Brasília, Brazil, and serves as the seat of the Archdiocese of Brasília. It was designed by Oscar Niemeyer, and was completed and dedicated on May 31, 1970. The cathedral is a hyperboloid structure constructed from 16 concrete columns, weighing 90 tons each.
A 20-meter tall bell tower containing four large bells, donated by Spanish residents of Brazil and cast in Miranda de Ebro, stands outside the cathedral.
Visitors enter into the cathedral through a dark tunnel and emerge into a bright space with a glass roof. The outer roof of the cathedral is composed of sixteen pieces of fiberglass, each 10 meters wide at the base and 30 meters long inserted between the concrete pillars. Under this is suspended a 2,000-square-meter stained glass work originally created in 1990 by Marianne Peretti, in shades of blue, green, white, and brown.
Inside the cathedral over the nave are sculptures of three angels, suspended by steel cables. The shortest is 2.22 meters long and weighs 100 kilograms, the middle one 3.4 meters long and weighs 200 kilograms, and the largest is 4.25 meters long and weighs 300 kilograms. The sculptures are by Alfredo Ceschiatti, with the collaboration of Dante Croce in 1970.
The altar was donated by Pope Paul VI. The image of the patron saint Our Lady of Aparecida is a replica of the original which is in Aparecida - São Paulo. The Way of the Cross is a work of Di Cavalcanti.
The Cathedral of Brasilia, officially the Metropolitan Cathedral of Our Lady of Aparecida (Catedral Metropolitana Nossa Senhora Aparecida), dedicated to the Blessed Virgin Mary under her title of Our Lady of Aparecida, proclaimed by the Church as Queen and Patroness of Brazil, was designed by the architect Oscar Niemeyer.
This concrete-framed hyperboloid structure, appears with its glass roof to be reaching up, open, to heaven. Most of the cathedral is below ground, with only the 70-meter diameter 42-meter roof of the cathedral, the ovoid roof of the baptistry, and the bell tower visible above ground. The shape of the roof is based in a hyperboloid of revolution with asymmetric sections. The hyperboloid structure consists of 16 identical concrete columns assembled on site. These columns, having hyperbolic section and weighing 90 tonnes, represent two hands moving upwards to heaven.
The cornerstone was laid on September 12, 1958, and the structure was finished on April 21, 1960, with only the roof structure visible above ground. The cathedral was consecrated on October 12, 1968 (still with no roof), and was officially opened by Cardinal D. Eugenio Salles on May 31, 1970. The ovoid baptistry was dedicated on October 5, 1977, and the cathedral was declared a national historic and artistic monument on July 15, 1990.
The cathedral receives 1,000,000 visitors each year.
See: wikipedia
