Our Lady of Sorrows

The great expressive freedom and perhaps also a certain insensitivity to compositional problems inevitably led Vittoria to lose all interest in architectural problems, so that even the large complexes in which his sculptures were to be placed almost never achieve a perfect integration between sculpture and architecture; indeed, the statue almost always appears conceived in opposition to its architectural frame: a typical example is the altar of the Luganegheri in San Sebastiano. This release from architectural discipline entailed a greater role for colour (hence the aversion to marble) and an accentuation of emotional values.