the pieta michelangelo
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? 
Following completion, the Pietà’s first home was the Chapel of Santa Petronilla, a Roman mausoleum near the south transept of St. Peter’s, which the Cardinal chose as his funerary chapel. The chapel was later demolished by Bramante during his rebuilding of the basilica. According to Giorgio Vasari, shortly after the installation of his Pietà, Michelangelo overheard someone remark (or asked visitors about the sculptor) that it was the work of another sculptor, Cristoforo Solari, whereupon Michelangelo signed the sculpture.  Michelangelo carved MICHAELA[N]GELUS BONAROTUS FLORENTIN[US] FACIEBA[T] (Michelangelo Buonarroti, Florentine, made this) on the sash running across Mary’s chest. The signature echoes one used by the ancient Greek artists, Apelles and Polykleitos. It was the only work he ever signed. Vasari also reports the anecdote that Michelangelo later regretted his outburst of pride and swore never to sign another work of his hands.  
Pieta Michelangelo sculpture is a common religious scene and can be found in the careers of many other artists around this time.
Today, MichelangeloвЂ™s Pieta remains displayed in St. PeterвЂ™s Basilica in Rome, now protected by a bullet-proof glass panel. Michelangelo is considered to be one of the greatest artists of all time whose work as a sculptor, painter as well as poet of the Renaissance has influenced the development of Western art. The Pieta remains a testament and lasting legacy to MichelangeloвЂ™s masterful talents.
A statue was commissioned for the tomb in St. Peters of the French cardinal Jean de Billheres, who was a representative in Rome. According to the formal agreement, the Pieta` was to be “the most beautiful work of marble in Rome, one that no living artist could better.” Michelangelo was neither daunted nor intimated by such a request and upon its completion the world declared that MichelangeloвЂ™s Pieta вЂsurpassed not only the sculptures of his contemporaries but even those of the ancient Greeks and Romans themselves; the standards by which all art was judged.вЂ™
Michelangelo worked the piece in the round, using a drill for speed and achieving a highly polished sheen that made it fairly impossible to believe the sumptuously sculpted figures began as a block of cold stone. Michelangelo’s mastery of composition is evident in the unique triangular shape that conveys a stunning grandeur, and a profound knowledge of human anatomy served him well in his creation. According to Giorgio Vasari, shortly after the installation of the Pieta,
The Pietà was completed when Michelangelo was very young: there are different theories regarding the exact date of its completion, but he was either 25 or 26 years old.
It is one of the most important pieces the Florentine artist ever produced, possibly only matched in its significance by the statue of David, the Creation of Adam (the most famous fresco in the Sistine Chapel), by the Tondo Doni, and another Pietà, the Rondanini Pietà, which, unfinished, represents Michelangelo’s spiritual and creative testament.
Michelangelo carved a number of works in Florence during his time with the Medici, but in the 1490s he left Florence and briefly went to Venice, Bologna, and then to Rome, where he lived from 1496-1501. In 1497, a cardinal named Jean de Billheres commissioned Michelangelo to create a work of sculpture to go into a side chapel at Old St. Peter’s Basilica in Rome. The resulting work – the Pieta – would be so successful that it helped launch Michelangelo’s career unlike any previous work he had done.
In her utter sadness and devastation, she seems resigned to what has happened, and becomes enveloped in graceful acceptance. Michelangelo’s talent in carving drapery is matched by his handling of the human forms in the Christ and the Virgin, both of whom retain a sweet tenderness despite the very tragic nature of this scene. This is, of course, the moment when the Virgin is confronted with the reality of the death of her son. In her utter sadness and devastation, she seems resigned to what has happened, and becomes enveloped in graceful acceptance. Christ, too, is depicted almost as if he is in a peaceful slumber, and not one who has been bloodied and bruised after hours of torture and suffering. In supporting Christ, the Virgin’s right hand does not come into direct contact with his flesh, but instead it is covered with a cloth which then touches Christ’s side. This signifies the sacredness of Christ’s body. Overall, these two figures are beautiful and idealized, despite their suffering. This reflects the High Renaissance belief in Neo-Platonic ideals in that beauty on earth reflected God’s beauty, so these beautiful figures were echoing the beauty of the divine.