should be commensurate with the natural age of her son, Jesus (aged 33). The marks of the Crucifixion are limited to very small nail marks and an indication of the wound in Jesus' side. Accordingly, Christ's face does not reveal signs of the Passion. According to another interpretation, when Michelangelo set out to create his Pietà, he wanted to create a work he described as "the heart's image". 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. The Pubescence of Mary Mary is represented as being very young for the mother of an approximately 33-year-old son, which is not uncommon in depictions of the Passion of Christ at the time. Various explanations have been suggested for this. One is that her youth symbolizes her incorruptible purity, as Michelangelo himself said to his biographer, the fellow compatriot and Roman sculptor Ascanio Condivi: Another theory suggests that Michelangelo's treatment of the subject was influenced by his passion for Dante's Divine Comedy: so well-acquainted was he with the work that when he went to Bologna, he paid for hospitality by reciting verses from it. In (Cantica # 33 of the poem), Saint Bernard of Clairvaux in a prayer for the Virgin Mary, says: ("Virgin mother, daughter of your son"). This is in accordance with the mystical doctrine of the Holy Trinity representing the following archetypes: Mary is the Daughter of Triune God the Father Mary is also his Mother as she bore the incarnated Christ in flesh Mary is also the designated wife and Spouse of the Holy Spirit. After completion Following completion, the Pietàs first home was the Chapel of Saint Petronilla, a Roman mausoleum near the south transept of Saint Peter's, which the Cardinal chose as his funerary chapel. The chapel was later demolished by Donato Bramante during his rebuilding of the basilica. According to Giorgio Vasari, shortly after the installation of his Pietà, Michelangelo overheard someone remark (or asked visitors about the sculptor) that it was the work of another sculptor, Cristoforo Solari, whereupon Michelangelo signed the sculpture. Michelangelo carved the words on the sash running across Mary's chest. (English: "Michelangelo Buonarroti, the Florentine was making this") The signature echoes one used by the ancient Greek artists Apelles and Polykleitos. It was the only work