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The article offers information on the Pietà which is a work of Renaissance sculpture by Michelangelo Buonarroti, housed in St. Peter's Basilica, Vatican City. It discusses that the statue was commissioned for the French Cardinal Jean de Bilhères, who was a representative in Rome; and mentions that to convey the lifelessness of Jesus Christ, Michelangelo added details observed from an actual lifeless body.

The article focuses on art historian Leo Steinberg, whose essays are being published posthumously. It talks about the first set of essays published in 2018, "Michelangelo's Sculpture: Selected Essays" which are being edited by his associate Sheila Schwartz. It talks about the essay "The Florentina Pietà: The Missing Leg 20 Years After" which was initially published in "The Art Bulletin" in September 1989.

The article reflects on the title of Mary as Our Lady of Mount Carmel. According to the author, for the members of the Carmelite order, Mary is not just a Mistress of Mount Carmel but also a mother and a sister in faith. Topics discussed include "Magnificat" or Mary's song of praise for God's gift, the Annunciation and Mary's response, and "Pieta."

The article offers information about artist Michelangelo's famous work "The Pieta," that he made for a French cardinal who wanted a statue for his chapel in St. Peter's Basilica.

The article informs that the Pietà of Italian sculptor Buonarroti Michelangelo, thought by many to be the most nearly perfect sculpture in Christendom, is due to sail from Naples aboard the liner Cristoforo Colombo. A massive group in white marble, the Pietà will be the most important of the art treasures in the Vatican Pavilion at the New York World's Fair. The masterpiece will be making its first trip outside the walls of St. Peter's Basilica since it was completed seven years after the discovery of America. It will arrive in New York almost exactly 400 years after the death of Michelangelo and it probably will be seen by almost as many people as lived in the whole of Europe in his lifetime.

The article features the Pieta, a masterpiece of Michelangelo Buonarroti that will have a sea voyage to the New York World's Fair. It notes that the packing and shipping of the statue faces problems as minor shocks or shifts could easily damage fragile parts and crack the repairs of earlier damage. Moreover, the committee of packing and shipping experts finally decided to use closed-cell expandable polystyrene for the packing material of the statue.

The article presents the author's views on sculptor Michelangelo Buonarroti, highlighting his Florentine Pietà sculpture. The Pietà was reportedly made of Carrara marble that depict the body of Jesus Christ on the lap of His mother Mary after he was crucified. Topics include the challenges that Buonarroti faced in carving the sculpture, his failure to complete it, and his mutilation of the Pietà.

The article features Pietà Rondanini, Michaelangelo's unfinished sculpture of the dead Christ and Virgin Mary. It notes that Michaelangelo was working on the sculpture when he died in 1564. In October 1952, Pietà Rondanini, which was previously owned by the Sanseverino family of Italy was sent to Borghese Gallery in Rome for an exhibit, and then it will be handed over to its new owners, Milan's city fathers. The city fathers are planning to show the sculpture in a special room at Castello Sforzesco museum.

The article profiles artist Michelangelo Buonarroti from Florence, Italy with topics including becoming of apprentice student of Italian artist and painter Domenico Ghirlandaio at 13, carving of sculptures including Pietá and David, and painting ceiling of the Sistine Chapel in Vatican City.

The article presents the author's view regarding the essence of motherhood. It cites how the author was reminded of Michelangelo's masterpiece "The Pieta" when she realized how developing countries who had disproportionally experienced more than its share of effects of the climate change. It points out how the author expresses her fears for her children and the effects of the climate change and suggest that people should do their responsibility of protecting the mother earth.

Presents information on two paintings. Pietá by Moretto da Brescia; Madonna and Child with Lilies by Luca della Robbia.

The article provides trivia concerning the 1964 New York World's Fair including General Motor's (GM) Futurama as the most popular exhibit, the exhibition of a scale model of the World Trade Center planned for lower Manhattan, and the presence of Michelangelo's Pietà in the Vatican Pavilion.

Several letters to the editor are presented in response to articles in previous issues and related topics including "El Greco's Pieta," by Jacob Getlar Smith in the previous issue, reference of few art experts and curators to abstract art and modern design as "modern," and the goal of the Elizabeth T. Greenshields Memorial Foundation to help serious young artists whose work are too conservative.

A personal narrative is presented which explores the author's experience of watching image of pieta in Philippines.

An image is presented of the artwork "Lorena Bobbitt Pietà: The Castration of Christ," by artist Mary Beth Edelson.

The article reports on key art works being sold at the European Fine Art Fair (Tefaf) held in Maastricht, the Netherlands, from March 12 to 21, 2010, which include the A Court Festival painting, a George Washington painting and the Pieta painting.

The article presents an interview with Molly Shi Boren, a judge and president of the Oklahoma Arts Institute. She claims that her friends would describe her as loyal, down-to-earth and unpretentious. She thinks that Henry Zarrow is the most compassionate, generous and kindest Oklahoman. Her favorite work of art is Michaelangelo's Pietà.

The article highlights the masterpiece of Michaelangelo, the Pieta, to be one of the most famous sculptures located at the Basilica of Saint Peter in Rome. It depicts the agony felt by mother Mary upon the crucifixion of Jesus Christ, her son. Ena Heller, executive director of the Museum of Biblical Art in New York pointed out that the scene is a medieval masterpiece implicating Jesus Christ's suffering.

Several letters to the editor are presented in response to articles in previous issues including the article on Anthony Antonios by Joan Mitchell Blumenthal, "Watercolor Page," by Mildred Kratz in the September 1973 issue and one on the restoration of Michelangelo's "Pieta" in the July 1974 issue.