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It is a key work of Italian Renaissance sculpture and often taken as the start of the High Renaissance. The statue received a decree of Pontifical coronation in 14 August by the Vatican Chapter. It was professionally restored both in and when it was publicly vandalized. Today, it is heavily guarded and protected by a bulletproof glass screen. The sculpture was intended to be an altarpiece for his funeral chapel within Old Saint Peter's Basilica.

This chapel of Saint Petronilla was later demolished and the image was later moved to its current location, the first chapel on the north side after the entrance of the new basilica, in the 18th century. The sculpture captures the moment when Jesus, taken down from the cross, is given to his mother Mary. As is common in art, she looks younger than the mother of a man in his thirties; indeed, this Mary arguably looks younger than her son Jesus; art historians believe Michelangelo was inspired by a passage in the Divine Comedy by the Italian composer Dante Alighieri :.

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.

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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. Much of Mary's body is concealed by her monumental drapery, and the relationship of the figures appears quite natural. The marks of the Crucifixion are limited to very small nail marks and an indication of the wound in Jesus' side.

Accordingly, the face of Christ itself is expressionless and does not reveal signs of the Passion of Jesus Christ. Two drilled holes are located at the top head of the Virgin Mary, which once supported the bar holding two levitating angels, while another hole is located at the tophead of the Christ image. Accordingly, the Blessed Virgin Mary is represented as being very young for the mother aged 45 of an approximately year-old son, which is not uncommon in depictions of the Passion of Christ at the time.

It is purported that her youth symbolizes her incorruptible purity, as Michelangelo himself said to his biographer, the compatriot and Roman sculptor Ascanio Condivi :.