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The Madonna of humility by Domenico di Bartolo 1433 has been described as one of the most innovative devotional images from the early Renaissance [35]. Catholic Marian art has expressed a wide range of theological topics that relate to Mary, often in ways that are far from obvious, and whose meaning can only be recovered by detailed scholarly analysis.
Michelangelo Buonarotti's Pietà in Saint Peter's Basilica, 1498–1499.Crowned by the Pontifical decree of Pope Urban VIII in 1637.. The Pietà (Italian pronunciation:; meaning "pity", "compassion") is a subject in Christian art depicting the Blessed Virgin Mary cradling the mortal body of Jesus Christ after his Descent from the Cross.
The structure is pyramidal, and the vertex coincides with Mary's head. The statue widens progressively down the drapery of Mary's dress, to the base, the rock of Golgotha. The figures are quite out of proportion, owing to the difficulty of depicting a fully-grown man cradled full-length in a woman's lap.
The term Madonna in the sense of "picture or statue of the Virgin Mary" enters English usage in the 17th century, primarily in reference to works of the Italian Renaissance. In an Eastern Orthodox context, such images are typically known as Theotokos. "Madonna" may be generally used of representations of Mary, with or without the infant Jesus ...
Madonna and Child shares certain similarities with Michelangelo's Pietà, which was completed shortly before – mainly, Mary's flowing robe, and the movement of the drapery. The long, oval face of Mary is also reminiscent of the Pietà. The work is also notable in that it was the first sculpture by Michelangelo to leave Italy during his lifetime.
Atop the column is a bronze statue of the Virgin Mary, the work of Giuseppe Obici. The standard imagery of the immaculate conception is used: a virgin on a crescent, atop the world, stomping a serpent (a symbol of the original sin assigned to all humans since Adam and Eve; except the perfected sinless Virgin Mary).