Description: Animate marble sculpture depicting the Madonna weeping over the deceased Christ. Inspired by Michelangelo's sculpture of the same name, Tondino's piece diverges from the original by posing the Madonna knelt over her prone son. The figures are non-sentient and unresponsive to stimuli.

The Madonna shakes her son and pantomimes sobs, but produces no sound. The deceased Christ is not independently animate and makes no movements other than those instigated by the Madonna's physical interactions. Both figures feature realistic anatomy, visually emulating the elasticity and malleability comparable to soft tissue within the context of the piece's internal action; however, physical contact from external sources will interact with the figures as solid marble.

Several historical records pertaining to the piece describe an incident wherein a child's fingers were severed after playfully inserting them into the Madonna's mouth. These accounts are supported by recent internal imaging of the Madonna's stomach, which has revealed the presence of 14 digits from no fewer than 3 different parties, as well as a large amount of coinage in various denominations.

Description: Bronze door with sculpted relief panels depicting various scenes in Hell as described in Dante Alighieri's 14th-century epic poem Divine Comedy. Anomalous phenomena occer when viewed by subjects who have committed actions deemed sinful by 15th century Catholic doctrine and have not yet performed the sacrament of penance.

Subjects who meet the above criteria will experience a cognitohazard-induced hallucination wherein they are surrounded by indistinct, red-hooded figures. These figures are often observed holding and consuming the severed heads of cephalophoric saints. Effects subside entirely within twenty to thirty minutes.

Description: Oil on panel. The painting features an anomalous chiaroscuro effect which causes the lighting of scene to change over a 24 hour period, with the movement of the sun, moon, and stars progressing in real time.

The rest of the scene (which is otherwise static) features Paul the Apostle standing before a crowd in what is presumably the artist's interpretation of a Jewish synagogue. All figures are dressed in Italian formal wear common to the period.

Paul is posed as though preaching to the assembly, albeit with a thick stream of honey pouring from his mouth. The heads of doves protrude from where his eyes would normally be found, and his fingers appear to expel a milky substance which pools beneath him. Several bystanders are gathered around the puddle, using their hands to drink.⁴

Description: An oil painting depicting the body of Innocenzo Cybo in an advanced state of decomposition. It is one of the earliest known attempts at crafting a fully animate and intelligent reproduction of an existing human with a two-dimensional space.

The piece was commissioned by Cybo himself, who was allegedly drawn to the artist's offers of immortality. The artist—whose identity remains unknown—succeeded in creating a painted likeness of Cybo that could hold conversations with viewers and move within the confines of its 126 cm × 104 cm surface as if it were a three-dimensional space.

However, the depiction of Cybo proved to be more lifelike than intended, and perished due to starvation several weeks after the painting was completed. Before its death, it reportedly subsisted on a bowl of fruit the artist had painted in the foreground, as well as an animate bird painted on a windowsill.

Description: Animate bronze sculpture created under the patronage of Pope Leo X. The piece was originally envisioned as a living idealization of Saint Peter that could interact with the public and educate them on matters of Biblical history and Catholic ideology.

Though the project was initially successful, the piece began to question its own existence and subsequently developed a sense of individuality, eventually culminating in a public renunciation of Christian belief. The Church quickly removed the statue from public display. Records indicate the piece was scheduled to be destroyed, but for unknown reasons, was instead gagged and put in storage for a number of decades.

No other anomalous artworks were commissioned by the Catholic church after this incident until 1573 (see SCP-MMMM-0114). The figure has since been taken into Foundation care and received extensive treatment and counseling, though it still displays severe mental instability as a consequence of its prolonged isolation.⁵ The figure can be violent, but poses no immediate threat to viewers as it cannot leave its 0.7m x 0.7m base.

Description: A plain gold basin set into an ivory stand with various scenes from the crucifixion of Jesus carved along its circumference. Any liquid poured into the basin gradually transmutes into blood over the course of ten to twelve minutes.

Originally created to hold Holy Water, the piece showed no anomalous properties until the artist's death in 1546. It was acquired from an unknown vendor in 1961 by the Horizon Initiative for its apparent eucharistic properties, and later presented as a gift to the Foundation in 1992 after a scientific examination revealed the transmuted blood to be from a male Lipizzan horse.

Description: An unfinished oil painting on wood depicting Bartholomew in process of being flayed from the heels up. The piece emits constant vocalizations of pain which intensify in the presence of physical or auditory stimuli, but no other animate characteristics have been observed.

A notable degree of attention has been paid to the details in Bartholomew's exposed musculature, possibly influenced by anatomical drawings created by Andreas Vesalius in the years prior. The figures carrying out Bartholomew's flaying are dark and indistinct; it is unknown if this was a creative decision or merely a consequence of the painting's incomplete state. A child-sized figure can be seen pulling the skin from Bartholomew's legs, fashioned into a noose, toward Bartholomew's head.