michelangelo the pieta lineart
The marks of the Crucifixion are limited to very small nail marks and an indication of the wound in Jesus’ side.
Do you not know that chaste women stay fresh much more than those who are not chaste? How much more in the case of the Virgin, who had never experienced the least lascivious desire that might change her body? 
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.
8. In May 1972, a delusional Laszlo Toth damaged the “Pieta” with a hammer. After repair work was complete, the Vatican had the marble statue encased in a triple layer of bulletproof glass.
An examination of each figure reveals that their proportions are not entirely natural in relation to the other. Although their heads are proportional, the Virgin’s body is larger than Christ’s body. She appears so large that if she stood up, she would likely tower over her son. The reason Michelangelo did this was probably because it was necessary so that the Virgin could support her son on her lap; had her body been smaller, it might have been very difficult or awkward for her to have held an adult male as gracefully as she does. To assist in this matter, Michelangelo has amassed the garments on her lap into a sea of folded drapery to make her look larger. While this drapery serves this practical purpose, it also allowed Michelangelo to display his virtuosity and superb technique when using a drill to cut deeply into the marble. After his work on the marble was complete, the marble looked less like stone and more like actual cloth because of its multiplicity of natural-looking folds, curves, and deep recesses.
Another noteworthy incident after the carving was complete involves the inscription on the diagonal band running over the Virgin’s torso. Vasari tells us about the reason for this inscription in one of his passages about the life of Michelangelo:
Nevertheless, Dalí showed Freud his painting Metamorphosis of Narcissus, the first painting he made entirely using his paranoiac critical method, as well as an article he wrote on paranoia. The psychoanalyst later wrote to Stefan Zweig, who arranged the meeting, that Dalí was an “undoubtedly perfect technical master” who forced him to reconsider his opinion of Surrealists.
Master craftsmen picked through the 100 bits of marble broken off of the Pietà and puzzled them back together. In a makeshift lab built around the statue, these workers spent five months identifying pieces as small as fingernails. Next, they used an invisible glue and marble powder to affix the pieces back onto the Pietà and filled any gaps with replacement pieces. And once the integral restoration was completed, the final step was securing the restored work behind bulletproof glass.
The scene of the Pietà, in which Christ’s body is placed across his mourning mother’s knees, is not mentioned in the Bible, but during the Middle Ages as cited as one of the ‘Seven Sorrows of the Virgin’. The subject became widely known in northern European wooden sculpture which emphasized its tragic depths. During the Renaissance, Botticelli and other Florentine painters represented the Pietà, but Michelangelo was the first Italian sculptor in his century to attempt it.
by you, I have instructed the Abbé of Saint Martin de Troyes [i.e. the artist