Looking at the detail

One of my favourite works of art, Mantegna’s extraordinary ‘Lamentation Over The Dead Christ’, is nearly too familiar. It would be easy to pan across the image and see much less than is there. Break it down to its detail and its brilliance is seen afresh.

It brings to mind the words of doubting Thomas “Unless I see the nail marks in his hands and put my finger where the nails were, and put my hand into his side, I will not believe.”

Look at the torn flesh in the feet, the open gashes in the back of the hands; you could put your finger into them.

And when the resurrected Jesus appears to the apostles and says to Thomas, “Put your finger here; see my hands. Reach out your hand and put it into my side. Stop doubting and believe”, he readily replies “My Lord and my God!”

This painting carries, magnificently, that strength to convince. 

A poem with a Mantegna painting

The Lamentation over the Dead Chris

Mantegna, in his lifetime, was criticised for imitating sculpture: the loss of warmth that could be achieved in painting from real life. In the case of the dead Christ, however,  it is the marble of  the dead body that makes it perfect. The perspective draws more of your attention; then the suffering, fixed  stone-like in the image, fixes it in a similar way in your mind, and  it remains there: indestructible marble.

I am fascinated by the cold solidness of corpses; always drawn to run my fingertips down the cheek of a dead friend or loved one. The memory stays in my fingertips, and, somehow, it helps to know that the person is now changed to stone.

  

The Viewing.

Dead: the colour of old cream,

his eyes shuttered shut;

so neat, besuited and slim,

weight he lost dying.

They made a basket of his fingers

with a rosary spilling down;

everyone said he looked lovely

but then I touched his face

and it wasn’t him at all.