how old was michelangelo when he sculpted the pieta
6. The packaging created for the sculpture’s Atlantic crossing was designed to withstand a shipwreck. If the ship went down, the crate would float. If the statue partially sunk, a radio transmitter inside the crate would serve as a location device.
2. He may have signed “Pieta” twice. During a repair project in the early 1970s, restorers discovered the letter “M” engraved on the Virgin Mary’s left palm. Because it was cleverly worked into the lines of the sculpture’s skin, it had not been previously detected. The monogram may stand for Michelangelo, Mary or both.
In 2019, a small terracotta figure identified as a model for the final sculpture was displayed in Paris. 
This famous work of art depicts the body of Jesus on the lap of his mother Mary after the Crucifixion. The theme is of Northern origin. [ when defined as? ] Michelangelo’s interpretation of the Pietà is unprecedented in Italian sculpture.  It is an important work as it balances the Renaissance ideals of classical beauty with naturalism.
When it was unveiled a proud Michelangelo stood by and watched as people admired the beautiful Pieta. However, what was pride quickly turned into anger as he overheard a group of people attributing the work to other artists of his time. That anger caused Michelangelo to add one last thing to his sculpture. Going down the sash on the Virgin Mary, Michelangelo carved his name. He later regretted that his emotions got the best of him and vowed to never sign another one of his works again.
In less than two years Michelangelo carved from a single slab of marble, one of the most magnificent sculptures ever created. His interpretation of the Pieta was far different than ones previously created by other artists. Michelangelo decided to create a youthful, serene and celestial Virgin Mary instead of a broken hearted and somewhat older woman.
This was a special work of art even in the Renaissance because at the time, multi-figured sculptures were rare. These two figures are carved so as to appear in a unified composition which forms the shape of a pyramid, something that other Renaissance artists (e.g. Leonardo) also favored.
Here is perfect sweetness in the expression of the head, harmony in the joints and attachments of the arms, legs, and trunk, and the pulses and veins so wrought, that in truth Wonder herself must marvel that the hand of a craftsman should have been able to execute so divinely and so perfectly, in so short a time, a work so admirable; and it is certainly a miracle that a stone without any shape at the beginning should ever have been reduced to such perfection as Nature is scarcely able to create in the flesh. Such were Michelagnolo’s love and zeal together in this work, that he left his name a thing that he never did again in any other work written across a girdle that encircles the bosom of Our Lady. And the reason was that one day Michelagnolo, entering the place where it was set up, found there a great number of strangers from Lombardy, who were praising it highly, and one of them asked one of the others who had done it, and he answered, “Our Gobbo from Milan.” Michelagnolo stood silent, but thought it something strange that his labors should be attributed to another; and one night he shut himself in there, and, having brought a little light and his chisels, carved his name upon it.
Vasari’s Lives of the Artists
ATTACK AND RESTORATION
The official contract for the creation of the Pietà was signed in August 1498, and it stipulated that the sculpture would have been delivered in just one year’s time. From the receipts, it is not clear whether the sculptor respected the stipulated consignment date: he did receive a payment from Cardinal Bilhères’ Executrix, the Ghinucci Bank, in July 1500, which seems to be the most likely date of completion. However, there is an unusual payment, made by Michelangelo himself, to a certain “Sandro muratore” (Sandro the Brick layer), that appears only once in his records, on the 6 th of August 1499: he might have been paying this person to move the statue of the Pietà to its place in the Chapel of St. Petronilla. If this is the case then Michelangelo respected all the contractual deadlines. Curiously, on that very same day, the 6 th of August 1499, Jean Bilhères died.