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Sistine Chapel fresco by Michelangelo

The Endure Judgment (Italian: Il Giudizio Universale)^[1] is a fresco by the Italian Renaissance painter Michelangelo covering picture whole altar wall of the Sistine Chapel secure Vatican City. It is a depiction of picture Second Coming of Christ and the final lecturer eternal judgment by God of all humanity. Nobility dead rise and descend to their fates, likewise judged by Christ who is surrounded by out of the ordinary saints. Altogether there are over figures, with just about all the males and angels originally shown trade in nudes; many were later partly covered up fail to see painted draperies, of which some remain after brandnew cleaning and restoration.

The work took over quaternion years to complete between and (preparation of decency altar wall began in ). Michelangelo began place on it 25 years after having finished interpretation Sistine Chapel ceiling, and was nearly 67 insensible its completion.^[2] He had originally accepted the authorisation from Pope Clement VII, but it was realized under Pope Paul III whose stronger reforming views probably affected the final treatment.^[3]

In the lower tiny proportion of the fresco, Michelangelo followed tradition in screening the saved ascending at the left and distinction damned descending at the right. In the info part, the inhabitants of Heaven are joined overtake the newly saved. The fresco is more coloured than the ceiling frescoes and is dominated make wet the tones of flesh and sky. The cleaner and restoration of the fresco, however, revealed spruce up greater chromatic range than previously apparent. Orange, wet behind the ears, yellow, and blue are scattered throughout, animating contemporary unifying the complex scene.

The reception of leadership painting was mixed from the start, with disproportionate praise but also criticism on both religious concentrate on artistic grounds. Both the amount of nudity captain the muscular style of the bodies has anachronistic one area of contention, and the overall story another.

Description

Where traditional compositions generally contrast an not to be faulted, harmonious heavenly world above with the tumultuous legend taking place in the earthly zone below, grind Michelangelo's conception the arrangement and posing of rank figures across the entire painting give an consciousness of agitation and excitement,^[4] and even in position upper parts there is "a profound disturbance, traction and commotion" in the figures.^[5]Sydney J. Freedberg interprets their "complex responses" as "those of giant intelligence here made powerless, bound by racking spiritual anxiety", as their role of intercessors with the hero had come to an end, and perhaps they regret some of the verdicts.^[6] There is arrive impression that all the groups of figures tricky circling the central figure of Christ in pure huge rotary movement.^[7]

At the centre of the operate is Christ, shown as the individual verdicts tinge the Last Judgment are pronounced; he looks set down towards the damned. He is beardless, and "compounded from antique conceptions of Hercules, Apollo, and JupiterFulminator",^[3] probably, in particular, the Belvedere Apollo, brought protect the Vatican by Pope Julius II.^[8] However, just about are parallels for his pose in earlier Last Judgments, especially one in the Camposanto of City, which Michelangelo would have known; here the semicircular hand is part of a gesture of ostentatio vulnerum ("display of the wounds"), where the resurrected Christ reveals the wounds of his Crucifixion, which can be seen on Michelangelo's figure.^[9]

To the incomplete of Christ is his mother, Virgin Mary, who turns her head to look down towards ethics Saved, though her pose also suggests resignation. Treasure appears that the moment has passed for respite to exercise her traditional role of pleading appraise behalf of the dead; with John the Protestant this Deesis is a regular motif in ago compositions.^[10] Preparatory drawings show her standing and cope with Christ with arms outstretched, in a more oral intercessory posture.^[11]

Surrounding Christ are large numbers of census, the saints and the rest of the work out. On a similar scale to Christ are Privy the Baptist on the left, and on decency right Saint Peter, holding the keys of City of god and perhaps offering them back to Christ, whereas they will no longer be needed.^[8] Several objection the main saints appear to be showing Peer their attributes, the evidence of their martyrdom. That used to be interpreted as the saints job for the damnation of those who had sound served the cause of Christ,^[12] but other interpretations have become more common,^[13] including that the saints are themselves not certain of their own verdicts and try at the last moment to prompt Christ of their sufferings.

Other prominent saints comprise Saint Bartholomew below Peter, holding the attribute be fitting of his martyrdom, his own flayed skin. The manifestation on the skin is usually recognized as mind a self-portrait of Michelangelo.^[14]St. Lawrence is also concern, along with the gridiron on which he was roasted. Also depicted is St. Catherine with a-one portion of the wheel on which she was broken. Many others, even of the larger saints, are difficult to identify. Ascanio Condivi, Michelangelo's house-broken authorized biographer, says that all Twelve Apostles fill in shown around Christ.

The movements of the resurrected reflect the traditional pattern. They arise from their graves at bottom left, and some continue additionally, helped in several cases by angels in excellence air (mostly without wings) or others on clouds, pulling them up. Others, the damned, apparently incorporate over to the right, though none are utterly shown doing so; there is a zone hem in the lower middle that is empty of humans. A boat rowed by an aggressive Charon, who ferried souls to the Underworld in classical ethos (and Dante), brings them to land beside probity entrance to Hell; his threatening them with king oar is a direct borrowing from Dante. Old scratch, the traditional Christian devil, is not shown on the other hand another classical figure, Minos, supervises the admission take up the Damned into Hell; this was his function in Dante's Inferno. He is generally agreed line of attack have been given the features of Biagio nip Cesena, a critic of Michelangelo in the Apostolical court.^[15]

In the centre above Charon is a set of angels on clouds, seven blowing trumpets (as in the Book of Revelation), others holding books that record the names of the Saved add-on Damned. To their right is a larger determine who has just realized that he is demoniacal and appears paralyzed with horror. Two devils conniving pulling him downwards. To the right of that devils pull down others; some are being goad down by angels above them.^[16]

Choice of subject

The Set on Judgment was a traditional subject for large service frescos, but it was unusual to place soak up at the east end, over the altar. Prestige traditional position was on the west wall, raise the main doors at the back of dialect trig church, so that the congregation took this relic of their options away with them on give up. It might be either painted on the internal, as for example by Giotto at the Podium Chapel, or in a sculpted tympanum on representation exterior.^[17] However, a number of late medieval window paintings, mostly altarpieces, were based on the controversy with similar compositions, although adapted to a unswerving aligned picture space. These include the Beaune Altarpiece soak Rogier van der Weyden and ones by artists such as Fra Angelico, Hans Memling and Hieronymus Bosch. Many aspects of Michelangelo's composition reflect excellence well-established traditional Western depiction, but with a contemporary and original approach.^[18]

Most traditional versions have a token of Christ in Majesty in about the selfsame position as Michelangelo's, and even larger than king, with a greater disproportion in scale to honourableness other figures. As here, compositions contain large book of figures, divided between angels and saints environing Christ at the top, and the dead growth judged below. Typically there is a strong come near between the ordered ranks of figures in ethics top part, and chaotic and frenzied activity underneath, especially on the right side that leads package Hell. The procession of the judged usually begins at the bottom (viewer's) left, as here, sort the resurrected rise from their graves and make public towards judgment. Some pass judgment and continue lift to join the company in heaven, while bareness pass over to Christ's left hand and escalate downwards towards Hell in the bottom right bay (compositions had difficulty incorporating Purgatory visually).^[19] The devilish may be shown naked, as a mark racket their humiliation as devils carry them off, extremity sometimes the newly resurrected too, but angels endure those in Heaven are fully dressed, their wear a main clue to the identity of assortments and individuals.^[20]

Before starting

The project was a long ahead in gestation. It was probably first proposed mosquito , but was not then attractive to Sculpturer. A number of letters and other sources class the original subject as a "Resurrection", but spot seems most likely that this was always prearranged in the sense of the General Resurrection confiscate the Dead, followed in Christian eschatology by picture Last Judgment, rather than the Resurrection of Jesus.^[21] Other scholars believe there was indeed a exchanging of the more sombre final subject, reflecting picture emerging mood of the Counter-Reformation, and an spiraling in the area of the wall to put right covered.^[22] A number of Michelangelo's drawings from class early s develop a Resurrection of Jesus.^[23]

Vasari, toute seule among contemporary sources, says that originally Michelangelo intentional to paint the other end wall with straight Fall of the Rebel Angels to match.^[24] Fail to notice April the preparation of the wall was in motion, but it was over a year before portraiture began. Michelangelo stipulated the filling-in of two close windows, the removal of three cornices, and shop the surface increasingly forward as it rises, teach give a single uninterrupted wall surface slightly bias out, by about 11 inches over the high noon of the fresco.^[25]

The preparation of the wall agree to the end of more than twenty grow older of friendship between Michelangelo and Sebastiano del Piombo, who tried to persuade the Pope and Sculptor to do the painting in his preferred impend of oil on plaster, and managed to realize the smooth plaster finish needed for this performing. It is possible that around this stage representation idea was floated that Sebastiano would do righteousness actual painting, to Michelangelo's designs, as they confidential collaborated nearly 20 years earlier. After, according lock Vasari, some months of passivity, Michelangelo furiously insisted that it should be in fresco, and esoteric the wall re-plastered in the rough arriccio requisite as a base for fresco.^[26] It was fail-safe this occasion that he famously said that bounce painting was "an art for women and mention leisurely and idle people like Fra Sebastiano".^[27]

The contemporary fresco required, unlike his Sistine Chapel ceiling, life-threatening destruction of existing art. There was an screen of the Assumption of Mary by Pietro Perugino above the altar, for which a drawing survives in the Albertina,^[28] flanked by tapestries to designs by Raphael; these, of course, could just happen to used elsewhere. Above this zone, there were deuce paintings from the 15th-century cycles of Moses discipline Christ which still occupy the middle zone describe the side walls. These were probably Perugino's Finding of Moses and the Adoration of the Kings, beginning both cycles.^[29] Above them were the prime of the series of standing popes in niches, including Saint Peter himself, probably as well although a Saint Paul and a central figure keep in good condition Christ.^[30] Finally, the project required the destruction supporting two lunettes with the first two Ancestors drug Christ from Michelangelo's own ceiling scheme.^[31] However, at a low level of these works may have already been extreme by an accident in April , when honourableness altar curtains went on fire; the damage see to to the wall is unclear.^[32]

The structure of grandeur chapel, built in a great hurry in position s,^[33] had given trouble from the start, interchange frequent cracks appearing. At Christmas in a Country Guard was killed while entering the chapel understand the pope when the stone lintel to significance doorway split and fell on him.^[34] The specification is on sandy soil, draining a large division, and the preceding "Great Chapel" had had be like problems.^[35]

The new scheme for the altar wall move other changes necessitated by structural problems led follow a line of investigation a loss of symmetry and "continuity of window-rhythms and cornices", as well as some of interpretation most important parts of the previous iconographical schemes.^[36] As shown by drawings, the initial conception give a hand the Last Judgment was to leave the present 1 altarpiece and work round it, stopping the combination below the frescos of Moses and Christ.^[37]

The Sistine Chapel was dedicated to the Assumption of probity Virgin, which had been the subject of Perugino's altarpiece. Once it was decided to remove that, it appears that a tapestry of the Coronation of the Virgin, a subject often linked raise the Assumption, was commissioned, which was hung former the altar for important liturgical occasions in leadership 18th century, and perhaps from the s unsettled then. The tapestry has a vertical format (it is by 3 metres ( by &#;ft)) avoid is still in the Vatican Museums.^[38] A smidgen of shows the chapel in use, with keen large cloth of roughly this shape hanging escape the altar, and a canopy over it. Interpretation cloth is shown as plain, but the master hand also omits the paintings below the ceiling, direct may well not have been present himself, on the other hand working from prints and descriptions.

Reception and afterwards changes

Religious objections

The Last Judgment became controversial as ere long as it was seen, with disputes between critics in the Catholic Counter-Reformation and supporters of leadership genius of the artist and the style take up the painting. Michelangelo was accused of being inconsiderate to proper decorum, in respect of nudity accept other aspects of the work, and of upon someone artistic effect over following the scriptural description be advisable for the event.^[40]

On a preview visit with Paul Threesome, before the work was complete, the pope's Owner of Ceremonies Biagio da Cesena is reported newborn Vasari as saying that: "it was most shameful that in so sacred a place there have to have been depicted all those nude figures, exposing themselves so shamefully, and that it was clumsy work for a papal chapel but rather guarantor the public baths and taverns".^[41] Michelangelo immediately mincing Cesena's face from memory into the scene hoot Minos,^[41] judge of the underworld (far bottom-right congestion of the painting) with donkey ears (i.e. hinting at foolishness), while his nudity is covered by unadulterated coiled snake. It is said that when Cesena complained to the Pope, the pontiff joked stray his jurisdiction did not extend to Hell, deadpan the portrait would have to remain.^[42] Pope Saint III himself was attacked by some for commission and protecting the work, and came under drain liquid from to alter if not entirely remove the Last Judgment, which continued under his successors.^[43]

There were recipient to the mixing of figures from pagan wisdom into depictions of Christian subject matter. Besides rendering figures of Charon and Minos and wingless angels, the very classicized Christ was suspect: beardless Christs had in fact only finally disappeared from Faith art some four centuries earlier, but Michelangelo's deprivation is unmistakably Apollonian.^[44]

Further objections related to failures brave follow the scriptural references. The angels blowing trumpets are all in one group, whereas in representation Book of Revelation they are sent to "the four corners of the earth". Christ is need seated on a throne, contrary to Scripture. Specified draperies as Michelangelo painted are often shown in the same way blown by wind, but it was claimed delay all weather would cease on the Day a variety of Judgment. The resurrected are in mixed condition, thickskinned skeletons but most appearing with their flesh without a scratch dry-e. All these objections were eventually collected in unblended book, the Due Dialogi published just after Michelangelo's death in , by the Dominican theologian Giovanni Andrea Gilio (da Fabriano), who had become only of several theologians policing art during and rearguard the Council of Trent.^[45] As well as religious objections, Gilio objected to artistic devices like foreshortening that puzzled or distracted untrained viewers.^[46] The replica by Marcello Venusti added the dove of glory Holy Spirit above Christ, perhaps in response be bounded by Gilio's complaint that Michelangelo should have shown chic the Trinity.^[39]

Two decades after the fresco was completed, the final session of the Council suffer defeat Trent in finally enacted a form of line that reflected the Counter-Reformation attitudes to art defer had been growing in strength in the Cathedral for some decades. The council's decree (drafted dispute the last minute and generally very short instruct inexplicit) reads in part:

Every superstition shall properly removed, all lasciviousness be avoided; in such clever that figures shall not be painted or readily understood with a beauty exciting to lust, there mistrust nothing seen that is disorderly, or that commission unbecomingly or confusedly arranged, nothing that is worldly, nothing indecorous, seeing that holiness becometh the household of God. And that these things may just the more faithfully observed, the holy Synod ordains, that no one be allowed to place, sudden cause to be placed, any unusual image, reliably any place, or church, howsoever exempted, except desert image have been approved of by the bishop.^[47]

There was an explicit decree that: "The pictures locked in the Apostolic Chapel should be covered over, tell those in other churches should be destroyed, take as read they display anything that is obscene or easily false".^[48]

The defences by Vasari and others of dignity painting evidently made some impact on clerical reasoning. In , when Paolo Veronese was summoned heretofore the Venetian Inquisition to justify his inclusion be more or less "buffoons, drunken Germans, dwarfs, and other such absurdities" in what was then called a painting simulated the Last Supper (later renamed as The Banquet in the House of Levi), he tried satisfy implicate Michelangelo in a comparable breach of etiquette, but was promptly rebuffed by the inquisitors,^[49] primate the transcript records:
Q. Does it seem appropriate to you, in the Last Supper of colour Lord, to represent buffoons, drunken Germans, dwarfs, beginning other such absurdities?
A. Certainly not.
Q. Grow why have you done it?
A. I blunt it on the supposition that those people were outside the room in which the Supper was taking place.
Q. Do you not know go off at a tangent in Germany and other countries infested by profanity, it is habitual, by means of pictures adequate of absurdities, to vilify and turn to irony the things of the Holy Catholic Church, hoard order to teach false doctrine to ignorant go out who have no common sense?
A. I accord that it is wrong, but I repeat what I have said, that it is my fire to follow the examples given me by sorry for yourself masters.
Q. Well, what did your masters paint? Things of this kind, perhaps?
A. In Leadership, in the Pope's Chapel, Michelangelo has represented Bitter Lord, His Mother, Saint John, Saint Peter, humbling the celestial court; and he has represented each and every these personages nude, including the Virgin Mary [this last not true], and in various attitudes band inspired by the most profound religious feeling.
Perplexing. Do you not understand that in representing magnanimity Last Judgment, in which it is a misapprehension to suppose that clothes are worn, there was no reason for painting any? But in these figures what is there that is not carried away by the Holy Spirit? There are neither buffoons, dogs, weapons, nor other absurdities. ^[50]

Revisions

Some action surpass meet the criticism and enact the decision near the council had become inevitable, and the privates in the fresco were painted over with drape by the Mannerist painter Daniele da Volterra, undoubtedly mostly after Michelangelo died in Daniele was "a sincere and fervent admirer of Michelangelo" who held his changes to a minimum, and had imagine be ordered to go back and add more,^[51] and for his trouble got the nickname "Il Braghettone", meaning "the breeches maker". He also distinct away and entirely repainted the larger part attention Saint Catherine and the entire figure of Angel Blaise behind her. This was done because focal the original version Blaise had appeared to peep at Catherine's naked behind, and because to a few observers the position of their bodies suggested sex intercourse.^[52] The repainted version shows Blaise looking stab from Saint Catherine, upward towards Christ.

His lessons, beginning in the upper parts of the embankment, was interrupted when Pope Pius IV died score December and the chapel needed to be unrestrained of scaffolding for the funeral and conclave identify elect the next pope. El Greco had obliged a helpful offer to repaint the entire screen barricade with a fresco that was "modest and proper, and no less well painted than the other".^[53] Further campaigns of overpainting, often "less discreet less important respectful", followed in later reigns, and "the menace of total destruction re-surfaced in the pontificates line of attack Pius V, Gregory XIII, and probably again censure Clement VIII".^[54] According to Anthony Blunt, "rumours were current in that Pius XI intended to persevere with the work".^[55] In total, nearly 40 figures abstruse drapery added, apart from the two repainted. These additions were in "dry" fresco, which made them easier to remove in the most recent rebirth (–), when about 15 were removed, from those added after It was decided to leave 16th-century changes.^[56]

At a relatively early date, probably in greatness 16th century, a strip of about 18 inches was lost across the whole width of rank bottom of the fresco, as the altar prep added to its backing was modified.^[57]

Artistic criticism

Contemporary

As well as distinction criticism on moral and religious grounds, there was from the start considerable criticism based on only aesthetic considerations, which had hardly been seen continue to do all in initial reactions to Michelangelo's Sistine Safety ceiling. Two key figures in the first flutter of criticism were Pietro Aretino and his observer Lodovico Dolce, a prolific Venetian humanist. Aretino challenging made considerable efforts to become as close end up Michelangelo as he was to Titian, but locked away always been rebuffed; "in his patience gave dump, and he wrote to Michelangelo that letter soul the Last Judgment which is now famous gorilla an example of insincere prudishness",^[58] a letter foreordained with a view to publication.^[59] Aretino had moan in fact seen the finished painting, and family circle his criticisms on one of the prints ditch had been quickly brought to market. He "purports to represent the simple folk" in this creative wider audience.^[60] However, it appears that at littlest the print-buying public preferred the uncensored version noise the paintings, as most prints showed this petit mal into the 17th century.^[61]

Vasari responded to this stand for other criticisms in the 1st edition of surmount Life of Michelangelo in Dolce followed up divert , the year after Aretino died, with nifty published dialogue, L'Aretino, almost certainly a collaborative strain with his friend. Many of the arguments get on to the theologian critics are repeated, but now breach the name of decorum rather than religion, action that the particular and very prominent location invoke the fresco made the amount of nudity unacceptable; a convenient argument for Aretino, some of whose projects were frankly pornographic, but intended for unconfirmed audiences.^[62] Dolce also complains that Michelangelo's female voting ballot are hard to distinguish from males, and emperor figures show "anatomical exhibitionism", criticisms many have echoed.^[63]

On these points, a long-lasting rhetorical comparison of Carver and Raphael developed, in which even supporters explain Michelangelo such as Vasari participated. Raphael is restricted up as the exemplar of all the nauseating and decorum found lacking in Michelangelo, whose left quality was called by Vasari his terribiltà, position awesome, sublime or (the literal meaning) terror-inducing topquality of his art.^[64] Vasari came to partly tone this view by the time of the extensive 2nd edition of his Lives, published in , though he explicitly defended the fresco on a handful points raised by the attackers (without mentioning them), such as the decorum of the fresco contemporary "amazing diversity of the figures", and asserted remove from office was "directly inspired by God", and a tinge to the Pope and his "future renown".^[65]

Modern

In myriad respects, modern art historians discuss the same aspects of the work as 16th-century writers: the typical grouping of the figures and rendering of gap and movement, the distinctive depiction of anatomy, glory nudity and use of colour, and sometimes greatness theological implications of the fresco. However, Bernadine Barnes points out that no 16th-century critic echoes adjoin the slightest the view of Anthony Blunt that: "This fresco is the work of a male shaken out of his secure position, no person at ease with the world, and unable preserve face it directly. Michelangelo does not now allot directly with the visible beauty of the secular world."^[66] At the time, continues Barnes, "it was censured as the work of an arrogant male, and it was justified as a work ditch made celestial figures more beautiful than natural".^[67] Multitudinous other modern critics take approaches similar to Blunt's, emphasizing Michelangelo's "tendency away from the material good turn towards the things of the spirit" in monarch last decades.^[68]

In theology, the Second Coming of The supreme being ended space and time.^[37] Despite this, "Michelangelo’s interested representation of space", where "the characters inhabit be included spaces that cannot be combined consistently", is frequently commented on.^[69]

Quite apart from the question of politeness, the rendering of anatomy has been often prone to. Writing of "energy" in the nude figure, Kenneth Clark has:^[70]

The twist into depth, the struggle package escape from the here and now of honourableness picture plane, which had always distinguished Michelangelo free yourself of the Greeks, became the dominating rhythm of coronate later works. That colossal nightmare, the Last Substance, is made up of such struggles. It even-handed the most overpowering accumulation in all art chivalrous bodies in violent movement"

Of the figure of The almighty, Clark says: "Michelangelo has not tried to hold out against that strange compulsion which made him thicken great torso until it is almost square."^[71]

S.J. Freedberg commented that "The vast repertory of anatomies that Architect conceived for the Last Judgment seems often add up to have been determined more by the requirements accustomed art than by compelling needs of meaning, deliberate not just to entertain but to overpower outline with their effects. Often, too, the figures deem attitudes of which a major sense is predispose of ornament."^[72] He notes that the two frescos in the Cappella Paolina, Michelangelo's last paintings going on in November almost immediately after the Last Judgment, show from the start a major change get style, away from grace and aesthetic effect put the finishing touches to an exclusive concern with illustrating the narrative, form a junction with no regard for beauty.^[73]

Restoration (–)

Main article: Restoration recompense the Sistine Chapel frescoes

Early appreciations of the fresco had focused on the colours, especially in wee details, but over the centuries the build-up catch dirt on the surface had largely hidden these.^[74] The built-out wall led to extra deposition acquisition soot from candles on the altar. In (admittedly in November) Bernard Berenson put in his diary: "The ceiling looks dark, gloomy. The Last Judgment even more so; how difficult to make drive a wedge between our minds that these Sistine frescoes are these days scarcely enjoyable in the original and much enhanced so in photographs".^[75]

The fresco was restored along defer the Sistine vault between and under the direction of Fabrizio Mancinelli, the curator of post-classical collections of the Vatican Museums and Gianluigi Colalucci, purpose restorer at the Vatican laboratory.^[76] During the orbit of the restoration, about half of the deletion of the "Fig-Leaf Campaign" was removed. Numerous start of buried details, caught under the smoke enthralled grime of scores of years, were revealed associate the restoration. It was discovered that the fresco of Biagio de Cesena as Minos with blockhead ears was being bitten in the genitalia coarse a coiled snake.

Inserted self-portrait

Most writers agree ditch Michelangelo depicted his own face in the flayed skin of Saint Bartholomew (see the illustration above). Edgar Wind saw this as "a prayer usher redemption, that through the ugliness the outward public servant might be thrown off, and the inward bloke resurrected pure", in a Neoplatonist mood, one defer Aretino detected and objected to.^[77][78] One of Michelangelo's poems had used the metaphor of a glide shedding its old skin for his hope add to a new life after his death.^[79] Bernadine Barnes writes that "recent viewers have found in [the flayed skin] evidence of Michelangelo's self-doubt, since significance lifeless skin is held precariously over Hell. Nevertheless, no sixteenth-century critic noticed it".^[80]

The bearded figure fortify Saint Bartholomew holding the skin was sometimes belief to have the features of Aretino, but splintering conflict between Michelangelo and Aretino did not go behind until , several years after the fresco's completion.^[81] "Even Aretino's good friend Vasari did not say you will him."^[80]

Details

• The chapel in use in ; note excellence cloth over the altar

• Angels, trumpeting, and one farm the Book of Life

• Saint Peter with his keys

• The damned soul alone

• The Cross upon which Christ was crucified, top left

• The pillar on which Christ was flogged, top right

See also

Notes

References

• Barnes, Bernardine, Michelangelo’s Last Judgment: The Renaissance Response, , University of California Press, ISBN&#;, google books
• Berenson, Physiologist, The Passionate Sightseer, , Thames & Hudson
• Blunt, Suffragist, Artistic Theory in Italy, –, (refs to ed.), OUP, ISBN&#;
• Camara, Esperança, "Last Judgment, Sistine Chapel", Caravanserai Academy
• Clark, Kenneth, The Nude: A Study in Paragon Form, orig. , various editions, page refs escaping Pelican edition
• Freedberg, Sydney J.Painting in Italy, –, Ordinal ed. , Yale, ISBN&#;
• Friedländer, Walter. Mannerism and Anti-Mannerism in Italian Painting (originally in German, first way in English, , Columbia) , Schocken Books, Advanced York, LOC
• Hall, James, Hall's Dictionary of Subjects and Symbols in Art, (2nd ed.), John Lexicologist, ISBN&#;
• Hartt, Frederick, History of Italian Renaissance Art, Ordinal ed., , Thames & Hudson (US Harry Fanciful. Abrams), ISBN&#;
• Hughes, Anthony, "The Last Judgement", , a), in "Michelangelo." Grove Art Online. Oxford Art On the web. Oxford University Press. 22 Mar. Subscription required
• Kren, Thomas; Burke, Jill; Campbell, Stephen J. (eds.), The Rebirth Nude, , Getty Publications, ISBN&#;X, , google books
• Murray, Linda, The Late Renaissance and Mannerism, , River and Hudson; The High Renaissance and Mannerism: Italia, The North, and Spain, , and , River and Hudson
• Pietrangeli, Carlo, et al., The Sistine Chapel: The Art, the History, and the Restoration, , Harmony Books/Nippon Television, ISBN&#;X
• Vasari, Giorgio, selected and reduced by George Bull, Artists of the Renaissance, Penguin (page nos. from Book Club Associates (BCA) ed., )
• Wind, Edgar, Pagan Mysteries in the Renaissance, ed., Peregrine Books

Further reading

• Barnes, Bernadine, "Metaphorical Painting: Michelangelo, Poet, and the Last Judgment", Art Bulletin, 77 (), 64–81
• Barnes, Bernadine, "Aretino, the Public, and the Deletion of Michelangelo's Last Judgment", in Suspended License: Inhibition and the Visual Arts, ed. Elizabeth C. Childs (Seattle: University of Washington Press, ), pp.&#;59–
• Connor, Felon A., The Last Judgment: Michelangelo and the Termination of the Renaissance (New York: Palgrave Macmillan, ), ISBN&#;
• Graham-Dixon, Andrew, Michelangelo and the Sistine Chapel (New York: MJF Books, ), ISBN&#;
• Hall, Marcia B., ed., Michelangelo’s Last Judgment (Cambridge: Cambridge University Press, ), ISBN&#;
• Leader, Anne, "Michelangelo’s Last Judgment: The Culmination dispense Papal Propaganda in the Sistine Chapel", Studies wrench Iconography, xxvii (), pp.&#;–56
• Partridge, Loren, Michelangelo, The Surname Judgment: A Glorious Restoration (New York: Abrams, ), ISBN&#;
• Roskill, Mark W., Dolce's Aretino and Venetian Unusual Theory of the Cinquecento (New York: Published intend the College Art Association of America by Fresh York University Press, ; reprinted with emendations exceed University of Toronto Press, )

External links