When it was sculpted Michelangelo set out to create “the most beautiful work of marble in Rome, one that no living artist could better” (New York: Abrams, Inc, 2001) 438.

Michelangelo’s, sculpture is one of realism. When an artist wants to move an audience, they first need to have a connection with the piece, and the best way through this is realism. In this piece you are meant to contemplate the central mystery of Christian faith- Jesus as god in human form who sacrificed himself to redeem our sins- with the same serenity as Mary herself. Thus seems to be the main focus of this sculpture, along with the facial expressions, the clothing on both the Virgin and Christ a

“We sense none of these struggles in the Pieta”. The subject, of Northern origin is rare, though not unknown, in Italy before this time. This was a time when the David flourished as a work of art. It is one of the seven sorrows of the virgin. The youthful and beautiful Madonna stands for the church and serves as the gateway into heaven (New York: Abrams, Inc, 2001) 437.

To begin with the right medium was used. The Pieta was done in marble. The face is smooth and delicate, you know by the expression on the Virgin Mary’s face that there is mourning present. Yet her grief is from the inside out. Her emotions come across vaguely on her face. This is not trying to represent the mourning of a savior, but a personal lost of a son to a mother. The face of Christ is majestic; he shows that he did not die in vain, but for a greater cause.

During the time of the High Renaissance when this work was sculpted, was considered to be the classical phase of Renaissance art. The Renaissance belonged to the era of Christian Grace. It was to have been the “gracious” personalities of Michelangelo, Leonardo and Raphael as a way to account for this talent. These artists had inspiration that was “divine”, “immortal” and “creative”. Unlike the Middle Ages you can account their inspiration for Michelangelo creating a beauty based on nature. Artist during this time where very grounded to nature and believed in absolute beauty. They were the creators of a new classicism (New York: Abrams, Inc, 2001) 430.

It seems to lack the suffering that is seen in the German version of this. This German Pieta was done during late Gothic. There is no realism shown in Roettgen Pieta. It does not present that of pain and grief. The sculpture, which is of wood, is dark and miserable. Yet the body of Christ is lean and “deflated”, the stigmata are present and he sc

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