Guido Dettoni, present in Assisi since 2000 with his exhibition MARIA, felt compelled at the end of 2004, to give body to this two-dimensional sign, freeing it from its aesthetic condition of letter of the alphabet to discover the corporeity of Christ in a moment of elevation, almost of flight.

In his studio in Assisi, Guido discovers his TAU by shaping the wax in his hands, alternating between sight and blindness, letting the corpus emerge into reality. Later he reproduces it in wood to the original height of 17 cm, and in 2005 he enlarges it to a height of two meters, sculpting it from linden wood to exhibit it on April 30 of the same year in the Upper Basilica of Saint Francis in Assisi during the concert “Embracing the TAU” composed by Giuseppe Magrino o.f.m. 

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In 2006 this TAU was transferred to the MARIA permanent exhibition at the Church of Santa Maria delle Rose in Assisi.

The light shade of ochre, similar to the colour of the linden tree, recalled Giotto’s frescoes of the Basilica; in the new location, Dettoni wanted to make the colour darker to match one of the Franciscan habits.

In 2008, the Franciscan Sisters of the Regens-Wagner Foundation of Dillingen  installed in their meditation room at the Convent of St. Damian in Augsburg, Germany a 50-cm-tall replica of the TAU, carved from linden wood.

In 2019, the Franciscan Sisters of the Convent of Bonlanden in Germany  commissioned the artist to create a copy of the 2-m-tall TAU, also carved from linden wood.
A chapel has been set up for it in the monastery at Faustin-Mennel House, and for the Verona red marble enlargement of the artwork MARIA.

In 2022 it takes place the installation of the sculptures TAU and MARIA at the Praying Chapel of the Franciscan Convent of Bonlanden in Germany.

Installation of the sculptures TAU and MARIA by Guido Dettoni at the Praying Chapel of the Franciscan Convent of Bonlanden in Germany

Making and installing these two works of art has been a long process. It began short before the COVID-19 crisis and, now, the Chapel awaits the termination of the renovation of the Faustin-Mennel House, which is part of the Convent, to open its doors to everyone.
With these images, we invite you to enter within yourself and into a space of prayer and peace.
The TAU Sculpture, 2 meters high is carved in lime wood. The one of MARIA, with the same height, is carved in red Verona marble.
Initially, the Franciscan Sisters had requested the TAU sculpture, but their vision of the dialogue between the Tau and Mary led them to conceive an installation in which both look at each other. They thus create between them a dialogue and a space that involves those who stand in between, looking and internalizing them one after the other.

TAU by Guido Dettoni della Grazia
TAU by Guido Dettoni della Grazia

Ezekiel 9:4  (Wycliffe Bible)

And the Lord said to him, Pass thou by the midst of the city, in the midst of Jerusalem, and mark thou Tau on the foreheads of men wailing and sorrowing on all [the] abominations that be done in the midst thereof.

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The Thaw () is the last letter of the Hebrew alphabet, the Tau ( T ) is the nineteenth letter of the Greek one.
The TAU is the symbol of redemption, associated with the sign on the forehead of the redeemed in the vision of Ezekiel (Ez 9:4) and with the “seal of the living God” that the angel pressed on the foreheads of the redeemed at the final judgment, as described in Revelation (Rev 7:2-3).
During his secular life, St. Francis was associated with the religious community of St. Anthony the Great (founded in 1095), which helped lepers. They hung a TAU cross, the symbol of St. Anthony. (born 251, died 356 A.D. – Being the first adopting the TAU).
The symbolism of the TAU acquired an even deeper meaning for St. Francis when Innocent III promoted a major reform of the Catholic Church in 1215, and he was able to hear the Pope’s homily at the opening of the Fourth Lateran Council, which contained the same exhortation as the prophet Ezekiel in the Old Testament (Innocent III, Sermo VI, PL 217, 673- 678). This symbolic vision, used by the same Pope who had approved Francis’ new community only five years earlier, was immediately accepted as an invitation to conversion. Because of its symbolic and spiritual depth, Francis also used the TAU for his community (founded in 1209). Great was his love and faith in this sign, as St. Bonaventure of Bagnoregio writes in the Life of St. Francis of Assisi (Legenda maior, chap. IV, 9).