Filippo Rossi: 'The Catechism of the Flesh. Corporeality and Christian art ', by Timothy Verdon, ed. Cantagalli 2009, pp. 26-27 fig. 12.

... "Within this situation of mistrust, however, there are signs of recovery - or, rather, a new start. As in IV-VI centuries pagan art refusal led to a different way of conceiving the body - less sensual, more as a sign of spiritual reality - so now the abandonment of the "body granted" of the academic tradition is opening the way for solutions of considerable interest. Among these, the most extreme is perhaps the reduction of the body under the sign of the Christian sign language, in what the painter Filippo Rossi calls "abstract icon" fascinating example is performed by Rossi as spousal Crucifixion altarpiece for the new chapel of the maternity ward of a hospital in Florence (Fig. 12). Just across the Eucharistic table, the painting shows a large cross with two vertical elements before it, alluding to a man and a woman; article in the same gold color and a formal arrangement similar to the cross-shaped sign, these fragments seem to cross or extension of its logic - as in the letter to the Ephesians the life of the married couple is approached to the "great mystery" of the offer of his body for his bride the Church accomplished by Christ on Golgotha (cf. Eph 5,25-32).

The choice of non-figurative - unexpected in a chapel to accommodate mothers and fathers before and after the birth of children - must be understood in this key theological. Rossi wanted to conduct that is beyond any specific individualistic to a universal horizon by inviting parents to realize that with the coming of the Son to the world, their life becomes that of every human couple ever lived - a life in the effort shared respect of children make sense in relation to the cross of Christ. The absence of the body visible in the painting does not weaken the position of communication - or rather the power, since the image is viewed in relation to the altar of the Eucharist, where a body is not visible but really this notice and make communion. The visibility is not the only method of bodily presence - there is also the feel and the work of a wise processing Rossi alludes to the surface material of this embodiment lived. In our time, anesthetized to the visible body, the impact tactile raises perhaps better body awareness in which the painting and want to orient the chapel, much of the experience that lies ahead for new parents will be dealing not with a particular form body seen or met, but with the flesh of the child caressed and kissed, washed, dried, dressed, approached the heat of his flesh.

There is no catechism of meat more instructive, in fact, that the care of a newborn.

Indeed not only the traditional figure, but even this kind of abstract figure may accompany the inner journey of Christians. Christ himself, but in the concreteness of the body taken from Mary, did not hesitate to appear in every possible way from the figurative, identifying himself as "street" "truth" "Life" "Resurrection" and "light" of men. Thus art, which refers to Christ, the Incarnate Word of the Father, can play very well in shape and color even the most abstract words of the Savior, particularly to encourage prayer in which everyone is called to go beyond the sensory knowledge, and especially to accompany liturgical prayer, where the character of the rites of signs urge not to dwell on the appearance of things "...