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This article considers the vitality of the left hand of Christ in a monumental Pietà panel painting by the Italian Renaissance artist Sebastiano del Piombo (born Sebastiano Luciani, ca. 1485-1547) and a vital link between this hand and the left hand of Adam in the Creation scene on the Sistine Chapel ceiling by Michelangelo (1475-1564). Sebastiano's work was made in the central Italian city of Viterbo around 1512 to 1516, and shows a seated Virgin Mary grieving the death of Christ, her son, whose body lies on the ground in front of her. The article focuses on the representation of Christ's body, identifies a gap between the fingers of Christ's hand and his thigh underneath, and explores this gap's significance as a sign of life. It first reveals a close and as yet not remarked upon connection between the hands in the Pietà and the Sistine Chapel. Through consideration of a series of sketches and drawings that highlight the close working relationship between Sebastiano andMichelangelo during and around the years of the Pietà's production, the likelihood that the left hand of Christ in Viterbo was designed by Michelangelo is confirmed. The hand was probably sent to Sebastiano as a drawing from which he worked a cartoon. By examining the iconography of the painting and its associations to Adam's spirited hand in Michelangelo's Creation alongside biblical passages and a popular religious text, the Meditations, the article argues that the restless left hand of Christ in Sebastiano's Viterbo Pietà is a symbol of Christ's Resurrection. [ABSTRACT FROM AUTHOR]

The article discusses different approaches to the problems of restoration of marble sculpture in terms of the philosophical justifications taken towards the artworks. One of the aims of the paper is to contrast the approach taken towards the subject of restoration by Western philosophers and to compare that with the field of conservation. A few brief paragraphs frame the discussion of restoration. The nature of the fragment in its historical and aesthetic duality is then discussed, taking a brief incursion into the topic of supervenience. Michelangelo's Pietà and its restoration, following from extensive damage caused in 1974 by a museum visitor, results in a series of disputations between writers who favour a purist restoration and those who prefer an aesthetic reintegration of the work. The work of several philosophers who have written about sculpture and restoration is reviewed. The Pietà case study is contrasted with the restoration of the Lansdowne Heracles in the Getty Museum. It is essential to also consider here marble sculpture in terms of works that have been re-restored, de-restored, and deceptively partially restored, taking as a seminal example of the latter, the Adam by Lombardo in the Metropolitan Museum of Art. The conclusion attempts to bring together some of the issues raised in the paper, including a discussion of the extent to which information is displayed in the museum for the benefit of the observer, and the importance of the role of the conservator in all aspects of the de-restoration and re-restoration of marble sculpture. [ABSTRACT FROM AUTHOR]

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A personal narrative of the author being a hospice worker, is presented who discusses her experience of carrying an analytic patient in her arms like a cradled baby and thinking about Pieta sculpture by artist Michelangelo, featuring Mary holding her grown dead son, Jesus.

The article presents views of various philosophers on the concepts of Pietaà and pity. It praises the work of pieta, which depicts the Mother of Christ showing profound pity for the dead Christ, by painter Michelangelo Buonarroti. Philosopher Eamonn Callan mentions that pity is an emotion which is intimately connected with virtue, while Martha Nussbaum considers it a positive emotion on par with compassion. It examines how the term pity is used in many senses and usages.

Analyzes Italian Renaissance painter Buonarroti Michelangelo's relationship with his sculpture `Pieta.' Mysteries surrounding Michelangelo's plan to destroy the sculpture; Doubts and inhibitions experienced by the artist during the process of sculpting `Pieta'; Modeling of the figure of Nicodemus as a self-portrait of Michelangelo.

Examines the reasons underlying the mutilation in the sculpture 'Pietà' by Michelangelo Buonarroti. Role of the meaning of the missing left leg of Christ in the mutilation; Issues on the time of the mutilation; Role of the nagging made by Urbino, Michelangelo's servant, in the mutilation.

Corporeally, conceptually and chronologically, Michelangelo's marble at St. Peter's in Rome is not a true Pietà—the dead Christ on the lap of his grieving mother—but a Madonna and Child. The Christ represented in this marble is alive, showing the characteristics of a living child slumbering in his mother's lap. This work dates from Michelangelo's 'Madonna period' during which he was resolving deep-seated feelings resulting from the loss of maternal love at an early age. His first true Pietas were not executed until some 40 years later. [ABSTRACT FROM AUTHOR]

This essay compares Michelangelo's first Pietà with its medieval predecessors from the southern Low Countries. The purpose is to suggest that in reacting to Flemish models Michelangelo remained consistent in his views on Flemish art. In the particular ways he departed from those Pietàs Michelangelo radically redefined the enterprise of making Pietà sculptures and, hence, redefined the nature of the "art" itself. He did so by contrast with the Flemish works: Michelangelo's core figures are inviolable (due to the change of material from wood to marble) and resistant to the physical transformations the Flemish works have undergone due to changing ritual and devotional agendas across time. Seeing these changes can shed light on the question of whether there was "art" before the Renaissance because they point up the greater object quality of Michelangelo's sculpture, with its emphasis on material and authorship, in contrast with the devotion-bound and transformable physical nature of the Low Country examples. [ABSTRACT FROM AUTHOR]