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In 1864, at age 32, Lenz outlined the Pieta; twelve years later he wanted to paint it as a mural in the Italian Benedictine shrine Torreto on Monte Cassino, but his views were beyond the traditional concept of the day, and Lenz did not receive permission from his superior Abbot Wolter. Nevertheless Lenz was convinced that this was his best work. It wasn't until 1895-1896 that the Pieta finally found its home on the west wall of St. Gabriel's. The Abbess Adelgundis Lenzi, Mother Superior of the Benedictine nuns who had been cloistered at the monastery since 1889 gave her full support to Lenz in decorating the church and monastery. Collectively, the nuns considered the Pieta as the cleanest of all the Beuron creations. But Church disapproval and politics eventually caused Lenz to have to cover the entire west wall. Perhaps a schematic of the Pieta can explain why the Virgin Mary was compared to the Egyptian goddess Isis. Lenz developed his code based on the secrets of geometry and aesthetics, with three basic shapes: circles, triangles, squares. a) Four dotted circles depict beads that decorate the neck of the Virgin Mary, back down to her ankles and depicts the body of Christ lying and seated figure of the Virgin Mary. The center circle is the place where the body of Jesus intersects the horizontal with the vertical body of Mary. In the lower parts are dotted white circles at the top in yellow. b) Two sides of an equilateral triangle converge over a circle, which is outside the frame of the head of the Virgin Mary. The ring finger of God is hidden. The third side of the triangle is unseen and would pass deep beneath the body of the Virgin Mary and her throne. c) The square appears on the back and seat of the throne to his sides and on both sides. For more about Isis, please follow this link |
