Precedent
While there was a precedent for painted depictions of Mary grieving over the
dead Christ in Florentine art, the subject appears to have been novel to
Italian sculpture. There was, however, a tradition of sculptured
pietàs in Northern art, particularly in Germany, Poland and the Cardinal's
native France. In addition, the church of San Domenico in Bologna had
a German sculpted pietà. This has led some to believe that the donor
had these statues in mind when the work was commissioned.
History
After
Completion
Sculpting of the work took less than two years. 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 (or asked visitors about the sculptor) someone remark
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.
