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<div style="text-align:center;">[[File:Bagnai_No_euro.jpg|200px|thumb|left|Copertina]]</div>
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= Contemplating the Rondanini Pietà =
  
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<div style="text-align:center;">Alberto Bagnai</div>
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'''''Maria Angela Padoa Schioppa''''' -- Sunday, June 11th 2006
  
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<div style="text-align:center;">'''Il tramonto dell'euro</br>Come e perché la fine della moneta unica salverebbe democrazia e benessere in europa'''</div>
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Today I went to visit the Pietà Rondanini at the Castello Sforzesco. I've tried to write down the thoughts and feelings it aroused in me.
  
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Imprimatur Editore - ISBN 978-88-9794928-2 - 2012 - Libro 18€, Ebook 11€
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If you observe the whole statue from various perspectives, you are led in a movement that from the curve of Christ's feet to the right continues climbing with a curve to the left up to Mary's head, and then descends along Mary's entire back until it rejoins the feet of the Son.
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Seen from the right side, a curved line stands out that runs through the whole statue as in a single large well-characterized movement: as if to express, in my opinion, the mental attitude of someone who - in the face of severe pain experienced - does not stiffen in a straight position and petrified, but instead "moves" with a multiplicity of inner attitudes (concentration, gentleness, strength, acceptance...) surrounded and supported by a large curved gesture of protection that contains them all in itself.
  
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http://www.imprimatureditore.it/index.php/2016/06/16/il-tramonto-delleuro/
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I was particularly struck by the deep curve of Mary's back, which can be observed from the rear: it is imposing and seems to physically express how strong the experience of total commitment and dedication to support the other can be at certain moments, when at the moment of loss of vital forces and exhaustion.
  
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''Alberto Bagnai'' è un economista, politico e divulgatore scientifico italiano, nonché musicista, saggista e opinionista de il Fatto Quotidiano e il Giornale. Si è laureato in economia e commercio e ha poi discusso una tesi di dottorato di ricerca in Scienze economiche nel 1994 con una dissertazione sulla "Sostenibilità e percorsi dinamici del debito pubblico in Italia". Dal 2005 è professore associato di politica economica presso la facoltà di economia dell'Università degli Studi "Gabriele d'Annunzio" di Chieti e Pescara. Dal 2012 è ricercatore associato al CREAM presso l'Università di Rouen in Francia e dal 2013 è membro del direttivo dell'International Network for Economic Research. Si presenta con la Lega alle elezioni politiche italiane del 2018 ed è risultato eletto. Il 21 giugno 2018 viene eletto Presidente della 6ª Commissione permanente Finanze del Senato.  
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It makes one think of the ability in man to take charge of the other, or to the strength of com-passion.
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If you look at the statue from the front, it can almost seem that it is the Son who is supporting Mary, while seen from the back it is seen that it is Mary who is holding the lifeless Christ in her arms.
  
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'''Il volume sostiene la necessità per l'Italia di uscire dall'euro per poter così riacquisire la sovranità monetaria e per poter gestire meglio la propria economia. Il volume si dilunga sui problemi creati dall'adesione alla moneta unica, approfondendo poco le responsabilità dell'Italia nella crisi. E minimizza lo shock economico e sociale di un'uscita brusca dall'euro.'''
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This made me think that of a "therapeutic" experience of participation and support; for example, of a doctor towards a patient or a parent towards a child in difficulty, or in many other cases, the inner enrichment that arises is always reciprocal and, at least potentially, it's never in just one direction.
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The two faces of Christ and Mary, in some respects very similar but also very different, seem to express a multiplicity of feelings and moods: concentration, commitment, seriousness, pain but not despair, calm? serenity... and they almost seem to lead those contemplating them to see how the human being can transform himself on his journey of disembodiment towards the spiritual world, when he approaches the threshold of death. Death on earth and birth to the spirit world.
  
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<div style="text-align:center;">'''Se avesse funzionato'''</div>
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The two figures express a profound union between them that almost borders on the fusion of the two bodies, so much so that in some parts it is not easy to distinguish the body of Christ from that of Mary. But on the other hand, the two individualities clearly stand out.
  
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Storicamente, l’affermazione di una moneta come standard di riferimento internazionale è successiva all’affermazione economica e militare del Paese che la emette, ed è strumentale alla realizzazione di un’espansione di tipo imperiale della potenza egemone: è stato così della sterlina dopo le guerre napoleoniche, è stato così del dollaro dopo Bretton Woods. Ora, su un piano locale, europeo, anche l’euro ha rivestito un ruolo simile: di fatto, l’euro, indipendentemente da quali ne fossero le motivazioni iniziali, ha comunque rappresentato nell’ultimo decennio il tentativo della Germania di colonizzare il resto dell’Europa attraverso una “marchizzazione” dei Paesi finora mantenutisi all’esterno all’area del marco: l’estensione all’intera Eurozona dell’esperimento riuscito (per la Germania Ovest) di riunificazione con la Germania Est. La crisi, scatenata dall’incapacità del capitalismo tedesco di intuire i limiti del proprio modello di espansione mercantilista, ha però reso palese un dato che finora era rimasto nascosto, perché troppo evidente: l’euro è la moneta di nessuno Stato, e quindi non è una moneta. I tentativi di costruire affannosamente, a posteriori, un’identità e una struttura statuale dietro l’euro urtano, come abbiamo visto, contro una serie di aporie determinate dalle menzogne e dagli egoismi contrapposti di centro e periferia. “Più Europa” è un mantra privo di significato. L’euro è già stato giudicato dalla storia, in attesa del prossimo giudizio dei mercati. (pag. 294)
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This can be a symbol of those life experiences in which symbiosis and otherness are experienced at the same time.
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If you look at the statue from the left side, you can see the broad and strong gesture with which Mary supports the inert body of Christ: it seems that she is resting him on her lap, between her legs, to better support him with all her strength.
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This position of Mary reminded me of the gesture of giving birth.
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A circle closes for Mary between the birth and death of her Son, in two similar and polar gestures: "giving birth" and "supporting in dying out", the alpha and omega of a journey.
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The statue evidently bears the contrast and the coexistence in the same work between the perfectly smooth, completed parts and the chiseled and scratched, incomplete parts, between harmonious and plastic bodily forms, and other only sketched, almost disembodied forms.
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It seems to me that the sketched part makes this Pietà particularly special and evocative, almost as if Michelangelo wanted to offer anyone who contemplates it the possibility of "continuing the work" - with his own thought and heart - finding within himself so many possible messages and impulses, aroused precisely by the fact that the work is only sketched and not completed.
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Versione attuale delle 19:51, 20 giu 2023

Contemplating the Rondanini Pietà[modifica]

Maria Angela Padoa Schioppa -- Sunday, June 11th 2006

Today I went to visit the Pietà Rondanini at the Castello Sforzesco. I've tried to write down the thoughts and feelings it aroused in me.

If you observe the whole statue from various perspectives, you are led in a movement that from the curve of Christ's feet to the right continues climbing with a curve to the left up to Mary's head, and then descends along Mary's entire back until it rejoins the feet of the Son.

Seen from the right side, a curved line stands out that runs through the whole statue as in a single large well-characterized movement: as if to express, in my opinion, the mental attitude of someone who - in the face of severe pain experienced - does not stiffen in a straight position and petrified, but instead "moves" with a multiplicity of inner attitudes (concentration, gentleness, strength, acceptance...) surrounded and supported by a large curved gesture of protection that contains them all in itself.

I was particularly struck by the deep curve of Mary's back, which can be observed from the rear: it is imposing and seems to physically express how strong the experience of total commitment and dedication to support the other can be at certain moments, when at the moment of loss of vital forces and exhaustion.

It makes one think of the ability in man to take charge of the other, or to the strength of com-passion.

Pieta-rondanini 1b.jpg

If you look at the statue from the front, it can almost seem that it is the Son who is supporting Mary, while seen from the back it is seen that it is Mary who is holding the lifeless Christ in her arms.

This made me think that of a "therapeutic" experience of participation and support; for example, of a doctor towards a patient or a parent towards a child in difficulty, or in many other cases, the inner enrichment that arises is always reciprocal and, at least potentially, it's never in just one direction.

Pieta-rondanini 2b.jpg

The two faces of Christ and Mary, in some respects very similar but also very different, seem to express a multiplicity of feelings and moods: concentration, commitment, seriousness, pain but not despair, calm? serenity... and they almost seem to lead those contemplating them to see how the human being can transform himself on his journey of disembodiment towards the spiritual world, when he approaches the threshold of death. Death on earth and birth to the spirit world.

The two figures express a profound union between them that almost borders on the fusion of the two bodies, so much so that in some parts it is not easy to distinguish the body of Christ from that of Mary. But on the other hand, the two individualities clearly stand out.

This can be a symbol of those life experiences in which symbiosis and otherness are experienced at the same time.

Pieta-rondanini 3b.jpg

If you look at the statue from the left side, you can see the broad and strong gesture with which Mary supports the inert body of Christ: it seems that she is resting him on her lap, between her legs, to better support him with all her strength.

This position of Mary reminded me of the gesture of giving birth.

A circle closes for Mary between the birth and death of her Son, in two similar and polar gestures: "giving birth" and "supporting in dying out", the alpha and omega of a journey.

The statue evidently bears the contrast and the coexistence in the same work between the perfectly smooth, completed parts and the chiseled and scratched, incomplete parts, between harmonious and plastic bodily forms, and other only sketched, almost disembodied forms.

Pieta-rondanini 4b.jpg

It seems to me that the sketched part makes this Pietà particularly special and evocative, almost as if Michelangelo wanted to offer anyone who contemplates it the possibility of "continuing the work" - with his own thought and heart - finding within himself so many possible messages and impulses, aroused precisely by the fact that the work is only sketched and not completed.

Pieta-rondanini 5b.jpg
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