590. A PIETÀ.
Marco Zoppo (Bolognese; painted 1471-1498).
This unattractive painter was born in Bologna, and became a pupil in the school of Squarcione at Padua. His work shows also the influence of Cosimo Tura at Florence.
It is interesting to compare the various representations of the Dead Christ, or Pietà, which may be seen in the National Gallery. The subject, it may first be noted, was treated in very different ways. "Convention did not early harden down into fixity of composition or crystallise into rigid forms. A certain plasticity of imagination was permitted from the beginning; a certain indefiniteness of nomenclature and scope remained habitual to the end" (Grant Allen: see also Mrs. Jameson's History of our Lord, ii. 226). Sometimes the subject of the "Pietà" is the Mater Dolorosa, weeping over the body of the dead Saviour, and attended by saints (266, 1427) or angels (180). At other times the dead Saviour is supported by angels only (22, 219, 602), or, as in this picture, by saints. Sometimes the dead figure is represented lying at full length (22, 180); at other times it is a half-figure showing above a tomb or ledge (219, 266, 602, 590, 1427). Still more interesting is a comparison between these pictures for the illustration it gives of the different sentiment of different painters or schools. The picture before us is hard and dry; that of Crivelli (602) is full of tenderness. With some painters it is the physical horror, the bodily distortion that appeals to them in this subject. With others it is the pity and the sorrow (as, pre-eminently, in Francia's, 180).