The Pietà Sculpture
On the south side of the Chapel of the Nine Altars, facing toward the South Quire Aisle, is a sculpture of the Pietà, carved from a beech tree with brass details.
It was made between 1974 and 1981 by the internationally renowned sculptor, Fenwick Lawson, who lives locally.
Did you know?
- The Pietà (Latin pietas, meaning pity) usually shows the dead Jesus draped over the knee of his mother, the Virgin Mary.
- Influenced by Michelangelo’s Rondinini Pietà, Lawson wanted to incorporate the dual notion, of death and life, through resurrection. It took him seven years, between 1971 and 1984, to find the answer.
- The Pietà was exhibited in the Cloister here at Durham Cathedral for a short time. It was then exhibited in York Minster and Brinkburn Priory.
- It returned to Durham Cathedral in 2004 and was purchased by the Friends of Durham Cathedral in 2013.
Things to look for
Mary
The carving of Mary is powerful. She sits firmly, with inner composure and acceptance. Her right hand reaches down to receive her son’s hand, her left hand is turned outwards in a gesture of handing on new life to the viewer. The polished brass reflects the light, representing life.
Mary’s grief is shown by the natural splitting of the wood. Each split echoes her anguish, her suffering, her trauma.
Jesus
Jesus is lying on the ground. His right arm is deliberately unfinished. The left arm is fully carved, rising up to his mother, reflecting the story in the Bible when Jesus handed her on to his disciple John. By doing so, Jesus is handing his mother on to mankind.
Jesus also features brass but, in contrast to Mary, it is a dark colour, depicting death. However, the brass can be polished, altering the meaning to life.
Interesting facts
Saved from the flames
In 1984, the sculpture was exhibited in the South Transept of York Minster. The roof of the Minster caught fire directly above the carving. As the roof burned, molten lead fell on Mary's brow and splashed her knees. The heat of the fire caused the wood of her head to split further. Fortunately a wrought iron screen protected her by deflecting the roof beams away as they fell. Jesus, however, was not so well protected. He was singed, burnt and splattered with lead. Although the sculpture was damaged, Lawson felt that it was enhanced by the effects of the fire.
"The 'Pietà' taught me that there are language systems other than my own which can reinforce the content” - Fenwick Lawson
The theme of the Pietà is iconic. The carving, however, must also be seen as an object itself within the context of the art of sculpture.
Follow the guided tour
You’re in: The Chapel of the Nine Altars You’re at: The Pietà Sculpture Next stop: Christ in the Tomb Sculpture
- Look behind the Pietà Sculpture
- You will see another wooden sculpture on the raised stone platform
- This is Christ in the Tomb