Imagine starting with a block of stone and ending up with this.
The Pietà is widely considered one of the finest and most emotive works of art ever produced, cut from a single block of marble by a 24-year-old.
It's a remarkable dichotomy: an impossible achievement in artistic beauty that expresses the ultimate tragedy - the loss of a grieving parent.
The young Michelangelo was commissioned by a French cardinal to produce “the most beautiful work of marble in Rome, one that no living artist could better.” It was to capture the moment the Virgin Mary held Jesus in her arms after he was taken down from the cross.
Accepting the challenge, the relatively unknown 23-year-old got to work on a block of Carrara marble in 1498. Less than 2 years later, the work was installed at the cardinal's grave on the very same day he died.
When revealed, it was met with awe and skepticism. As Michelangelo was not yet the renowned artist he became, many questioned the work and attributed it to other masters. According to some accounts, this prompted Michelangelo to carve his name into the sash across Mary's chest - the Pietà is the only piece he ever signed.
Anyone who sees it is immediately aware that it's some of the finest stonework possible for human hands to create. But it's also unique for other reasons, departing radically from earlier depictions of the subject.
Michelangelo took creative liberties to capture the scene as powerfully as he did. Mary's body and clothing are unusually large relative to Jesus, allowing Mary to fully cradle her son, who appears 'childlike' in her embrace.
Mary also appears implausibly youthful compared to Jesus. Michelangelo himself explained: “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?”
The Pietà balanced the ideals of classical beauty and Naturalism in a unique way. The idealized forms of the figures and Mary's serene, youthful appearance are combined with astonishing anatomical detail and precision, alongside the genuine grief evident on Mary's face.
The piece is now housed in a setting of appropriate grandeur - it lives at St. Peter’s Basilica in the Vatican, where it has been for over 500 years.