“Dolorous” or “anguished” are reasonable translations of the Italian addolorata. Friedrich Rehberg has inscribed his lithograph Madonna addolorata. The story of the Virgin encompasses a series of situations which go under the name of the Seven Sorrows. The Feast of Our Lady of Sorrows was established by the Cologne Synod in 1423. And as a motif for works of art, the Seven Sorrows was especially popular in the 16th century, particularly north of the Alps. In this lithograph, however, the Virgin’s head is taken out of context. The emotional aspect seems all the more urgent. Rehberg’s Madonna addolorata is a detail belonging to Raphael’s painting, in which Christ stumbles on His way to Calvary. It is a painting that was once commissioned for the Monastery of Santa Maria dello Spasimo in Palermo, but which is now in Madrid. The Virgin’s pain, which is a secondary motif in Raphael’s painting, is made into the principal motif by Rehberg. The same applies to the head of Simon, which Rehberg also etched (inv. no. E1172). It was Simon who was forced to carry Christ’s cross. A further examination reveals both heads in two prints in the Thorvaldsens Museum collections that reproduce the whole of Raphael’s Christ Falling on his Way to Calvary: one by Demenico Cunego (inv.no. E474) and the other by Paolo Toschi (inv.no.1065).
![[Endnu ikke betitlet EN], E1173](https://kataloget.thorvaldsensmuseum.dk/storage/representations/proxy/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaHBBM3BsQVE9PSIsImV4cCI6bnVsbCwicHVyIjoiYmxvYl9pZCJ9fQ==--9decdc402a76c639e81be1ad7b9a23e308d6b3f1/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaDdCem9MWm05eWJXRjBTU0lJYW5CbkJqb0dSVlE2RkhKbGMybDZaVjkwYjE5c2FXMXBkRnNIYVFJSUIya0NDQWM9IiwiZXhwIjpudWxsLCJwdXIiOiJ2YXJpYXRpb24ifX0=--e2ee5d7d07207a1b78d60b360c0eb858a53b04ff/E1173.jpg)
