la pieta sculpture
In 2019, a small terracotta figure identified as a model for the final sculpture was displayed in Paris. 
The marks of the Crucifixion are limited to very small nail marks and an indication of the wound in Jesus’ side.
The pietà developed in Germany (where it is called the “Vesperbild”) about 1300, reached Italy about 1400, and was especially popular in Central European Andachtsbilder.  Many German and Polish 15th-century examples in wood greatly emphasise Christ’s wounds. The Deposition of Christ and the Lamentation or Pietà form the 13th of the Stations of the Cross, as well as one of the Seven Sorrows of the Virgin.
In a lesser known Michelangelo pietà, The Deposition, it is not the Virgin Mary who is holding Jesus’ body, but rather Nicodemus (or possibly Joseph of Arimathea), Mary Magdalene, and the Virgin Mary. There is some indication that the man in the hood is based on a self-portrait of the artist.  The sculpture is housed in the Museo dell’Opera del Duomo in Florence and is also known as the Florentine Pietà.
Michelangelo claimed that the block of Carrara marble he used to work on this was the most “perfect” block he ever used, and he would go on to polish and refine this work more than any other statue he created.
This was the only work of Michelangelo to which he signed his name.
Specifically, he used Carrara marble, a white and blue stone named for the Italian region where it is mined. It’s been a favorite medium of sculptors since the days of Ancient Rome.
During its diligent restoration, workers discovered a secret signature on the piece. Hidden in the folds of Mary’s left hand was a subtle “M” believed to stand for Michelangelo.
We were at the Eglise Saint Roch in the 1st Arrondissement of Paris, when we took these high definition photos showing a statue group called La Pieta, which was sculpted by Frederic Louis Desire Bogino.
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