Frank attempts to account for the relative neglect of the Pietà Rondandini by the Church and art public. Considerations of the postures of the figures in the sculpture and of Michelangelo's life history lead to the conclusion that this pietà portrays the return of the son, at his death, to his mother's womb. It is understandable the Church would tend to ignore a work which presents a heretical version of Christ's ultimate fate. The public too would tend to shun a sculpture which portrays death as oblivion without hope of resurrection.