Question: When did Michelangelo create Taddeo Tondo?
About the article "Michelangelo", section "Madonna and Child".

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Madonna and Child.
The "Madonna of the Steps" is Michelangelo's earliest known work.
It is carved in shallow relief, a technique often employed by the master-sculptor of the early 15th-century, Donatello and others such as Desiderio da Settignano.
While the Madonna is in profile, the easiest aspect for a shallow relief, the child displays a twisting motion that was to become characteristic of Michelangelo's work.
The "Taddeo Tondo" of 1502, shows the Christ Child frightened by a Bullfinch, a symbol of the Crucifixion.
The lively form of the child was later adapted by Raphael in the "Bridgewater Madonna".
The "Bruges Madonna" was, at the time of its creation, unlike other such statues which show the Virgin proudly presenting her son.
Here, the Christ Child, restrained by his mother's clasping hand, is about to step off into the world.
The "Doni Tondo", depicting the Holy Family, has elements of all three previous works: the frieze of figures in the background has the appearance of a low-relief, while the circular shape and dynamic forms echo the Taddeo Tondo.
The twisting motion present in the Bruges Madonna is accentuated in the painting.
The painting heralds the forms, movement and colour that Michelangelo was to employ on the ceiling of the Sistine Chapel.
Pitti Tondo is a marble bas-relief of the Virgin and Child by Michelangelo.
It was produced between 1503 and 1504 and is now in the Museo nazionale del Bargello in Florence. 
Michelangelo, at 17, was working under the patronage of Lorenzo de' Medici when he crafted the "Battle of the Centaurs", although the work was not commissioned but created for himself.
The work reflected a then current fashion for reproducing ancient themes.
Specifically, Michelangelo was inspired by a relief that had been produced for de' Medici by Bertoldo di Giovanni, a work in bronze that hung in the Medici palace.
Michelangelo chose to work in marble rather than the more expensive bronze to keep down costs.
Bertoldo's work, The "Equestrian Battle in the Ancient Manner"—also known as "Battle (with Hercules)"—was a recreation of a damaged Roman battle sarcophagus and required liberal imagination to fill in the gaps left by the damaged original.
Bertoldo took other liberties with his source material and seems to have himself been inspired by the Antonio del Pollaiolo engraving "Battle of the Nudes".
The young sculptor never finished the work.
While a number of biographies have attributed this to the loss of power of the Medici family, contemporary Michelangelo biographer Eric Scigliano argues that Michelangelo had plenty of time to finish the sculpture if he had chosen to and points out that this was only the first of several "non finito" sculptures, preceding the "Taddei Tondo" and "Pitti Tondo".
He also notes that Michelangelo expressed no dissatisfaction with the work.
Whether or not the sculpture was intentionally left incomplete, Michelangelo regarded this sculpture as the best of his early works.
He kept it, though he destroyed or abandoned many of his other pieces, and remarked to his biographer Ascanio Condivi later in his life that looking at it made him regret the time he'd spent in pursuits other than sculpture. 
Doni can refer to the following things: "Doni Tondo" or "Doni Madonna" a painting by Michelangelo.
"Portrait of Maddalena Doni" (Raphael), a painting by Raphael.
Alternative spelling of Dhoni, a Maldivian sailing boat.  
A tondo (plural "tondi" or "tondos") is a Renaissance term for a circular work of art, either a painting or a sculpture.
The word derives from the Italian "rotondo," "round."
The term is usually not used in English for small round paintings, but only those over about 60 cm (two feet) in diameter, thus excluding many round portrait miniatures – for sculpture the threshold is rather lower.
Artists have created tondi since Greek antiquity.
The circular paintings in the centre of painted vases of that period are known as tondi, and the inside of the broad low winecup called a "kylix" also lent itself to circular enframed compositions.
The style was revived in the fifteenth and sixteenth centuries, particularly in Italy.
Since then it has been less common.
In Ford Madox Brown's painting "The Last of England", the ship's wire railing curving round the figures helps enclose the composition within its tondo shape.
The background scene is consolidated or omitted, and to a large extent, unimportant.
While the background may be visible in tondo paintings, in tondo relief carvings the background is not seen.
Andrea della Robbia and other members of his family created glazed terracotta "tondi" that were often framed in a wreath of fruit and leaves and which were intended for immuring in a stuccoed wall.
In Brunelleschi's Hospital of the Innocents, Florence, 1421–24, Andrea della Robbia provided glazed terracotta babes in swaddling clothes in tondos with plain blue backgrounds to be set in the spandrels of the arches.
In the sixteenth century the painterly style of "istoriato" decoration for maiolica wares was applied to large circular dishes (see also charger).
The tondo has also been used as a design element in architecture since the Renaissance; it may serve centered in the gable-end of a pediment or under the round-headed arch that was revived in the fifteenth century.
Although the earliest true Renaissance, or late Gothic tondo is Burgundian, from Champmol (of a "Pietá" by Jean Malouel of 1400-15, now in the Louvre), the tondo became fashionable in 15th century Florence, with Botticelli painting many examples, both Madonnas and narrative scenes.
Michelangelo employed the circular tondo for several compositions, both painted and sculpted, including "The Holy Family with the infant St. John the Baptist", the "Doni Tondo" at the Uffizi, as did Raphael.
The infrequently-encountered synonym "rondo" much more usually refers to a musical form.