Scabar Tomb

On a high plinth sits an Angel of the Resurrection, caught in a moment of deep reflection: legs crossed, chin resting on right fist, left hand holding a torch. The angel's expression is pensive and haughty, the gaze seems distant and immersed in inscrutable thoughts. The wings are very imposing, measuring no less than two metres in width and sculpted with great precision.
The plinth consists of several sections: the lower part is decorated with irises in relief and has three bronze plates - on the front face are portraits of Antonia and Antonio Scabar, while on the right side one is the effigy of Giovanni Scabar.
In front of the plinth, on the ground, is a plaque on which a bronze laurel wreath has been placed.
At the front, on the left, is a bronze vase in which female figures appear in relief.
Giovanni Marin, in devising the thoughtful pose of the angel with a distant and downward gaze, was thinking of Rodin’s famous sculpture The Thinker, a work destined to revolutionise 20th century sculpture through the anatomical precision of the body, the power and textural nature of the shape, the dynamic figure and fluid, almost serpentine, pose (FERGONZI 1998).
His philosophy of the unfinished largely influenced the interpretation of sculpture and its relationship with matter, as it is the technique considered best suited to representing the human condition of ceaseless participation in universal life.