why did michelangelo sculpt the mother figure in his pieta as a young woman
In 2019, a small terracotta figure identified as a model for the final sculpture was displayed in Paris. 
Christ’s face does not reveal signs of the Passion. Michelangelo did not want his version of the Pietà to represent death, but rather to show the “religious vision of abandonment and a serene face of the Son,”  [ better source needed ] thus the representation of the communion between man and God by the sanctification through Christ.
swear to god, i’m down if you’re down all you gotta say is right. girl anything i can do just to make you feel alright. oh, i just had to let you know you’re fine. running circles ’round my mind. even when it’s rainy all you ever do is shine. you on fire, you a star just like mariah. man this feel incredible, i’ll turn you into a bride, you’re mine
yeah, i just had a lil’ bit too much of hennessy. just gotta tell you how i feel. you so f& *kin’ precious when you smile. hit it from the back and drive you wild . girl, i lose myself up in those eyes, just had to let you know you’re mine
Michael am Zollfeld
Today Michelangelo’s Pieta can be found in one of the corners of St. Peter’s Basilica. It is often said to be one of his most finished works, having been highly polished after he sculpted it.
Dalí painted one of his earliest known works, Landscape of Figueres, in 1910, when was about 6 years old. The oil-on-postcard work depicts a scene in his Catalonia hometown, and now hangs in the Salvador Dalí Museum in St. Petersburg, Florida. He also found success relatively early; he created his most iconic work, The Persistence of Memory, when he was just 27.
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.
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