This structure is often recognised as a symbol of the Holy Trinity. The stature widens progressively down the drapery of Mary’s dress, to the base of the sculpture, the rock of Golgotha. When placed under further scrutiny the two figures proportions are not clearly not natural in relation to one another. Although their heads are in proportion, the Virgin Mary’s body is much larger than her son’s. These disproportionate figures were necessary for Michelangelo to portray Mary’s graceful cradle-like hold of Christ, in a natural configuration. Michelangelo emphasised his enlargement of Mary, through an amassment of the garments on her lap into a sea of folded drapery. While this detail of the folds in the cloth served a practical purpose, it also allowed Michelangelo to display his skills when working with marble, for after his work was complete, the marble looked less like stone and more lie actual cloth due to its multiplicity of natural-looking folds, curves and deep
This structure is often recognised as a symbol of the Holy Trinity. The stature widens progressively down the drapery of Mary’s dress, to the base of the sculpture, the rock of Golgotha. When placed under further scrutiny the two figures proportions are not clearly not natural in relation to one another. Although their heads are in proportion, the Virgin Mary’s body is much larger than her son’s. These disproportionate figures were necessary for Michelangelo to portray Mary’s graceful cradle-like hold of Christ, in a natural configuration. Michelangelo emphasised his enlargement of Mary, through an amassment of the garments on her lap into a sea of folded drapery. While this detail of the folds in the cloth served a practical purpose, it also allowed Michelangelo to display his skills when working with marble, for after his work was complete, the marble looked less like stone and more lie actual cloth due to its multiplicity of natural-looking folds, curves and deep