Elena Rossi
Michelangelo's Last Judgement is a fresco depicting the Second Coming of Christ and the final judgement of humanity. Covering the whole altar wall of the Sistine Chapel, it is a powerful and imaginative interpretation of the Biblical Last Judgement, incorporating scenes from mythology. The painting is characterised by its dynamic movement and all-encompassing scale, rising on the left and descending on the right, reflecting the scales used for weighing souls. The work is centred on Christ, surrounded by saints, with the elect looming large in the foreground and the damned being dragged down to hell by demons. Michelangelo's fresco is a radical departure from traditional depictions, with its dense composition, expressive force, and inclusion of nudes, which caused controversy and led to a censorship campaign.
| Characteristics | Values |
|---|---|
| Artist | Michelangelo |
| Date | 1536-1541 |
| Medium | Fresco |
| Location | Sistine Chapel, Vatican City |
| Subject | Second Coming of Christ and the final and eternal judgment by God of all humanity |
| Number of Figures | Over 300 |
| Nudity | Yes, many of the figures were originally nude, but were later covered up with drapery |
| Self-portrait | Yes, Michelangelo included himself as St. Bartholomew holding his own flayed skin |
| Other Figures | Charon, Minos, Mary, Saint John, Saint Peter, various saints |
| Inspiration | Dante's Inferno, the Bible, mythology |
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What You'll Learn
Michelangelo's imaginative vision
Michelangelo's vision is a radical departure from traditional depictions of the Last Judgement. The painting is not bound by a painted border, instead, it expands beyond the viewer's field of vision, implicating the viewer in the scene. The work is organised into tiers and quadrants, with meaningful pairings that facilitate the fresco's legibility. The realm of heaven dominates, with the elect encircling Christ, who is the central figure. The viewer's eye is drawn to Christ through the composition, recalling the scales used for the weighing of souls in many depictions of the Last Judgement.
Michelangelo chose to depict the saints holding the instruments of their martyrdom rather than the scenes of torture themselves. This decision, along with the inclusion of mythological figures such as Charon and Minos, demonstrates the artist's imaginative interpretation of the subject. The inclusion of Charon, the mythical boatman who ferried the damned to hell, was inspired by Dante's Inferno, a text Michelangelo greatly admired.
The artist also included self-portraits in the work, which was not unusual for the time. However, Michelangelo's depiction of himself in the flayed skin of St. Bartholomew carries a sense of tragedy and horror. This has intrigued art historians, who wonder what it reveals about the state of the artist's mind in the years leading up to the completion of the work.
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The Second Coming of Christ
Michelangelo's "The Last Judgment" is a Renaissance masterpiece that adorns the altar wall of the Sistine Chapel in Vatican City. Completed between 1536 and 1541, it is a depiction of the Second Coming of Christ, capturing the moment preceding the Last Judgement, when Christ will judge the living and the dead, deciding their eternal fate.
The painting is centred on Christ, with his mother, the Virgin Mary, at his side. Christ is shown in a youthful guise, referencing the Apollo Belvedere, an ancient Greek sculpture. This portrayal of Christ as the "Sun of Righteousness" is surrounded by prominent saints, many holding instruments of their martyrdom. The elect encircle Christ, with the heavenly realm dominating the composition. The saints are arranged in a slow rotary movement, with some identifiable, such as Saint Peter holding the Keys of Heaven, Saint Lawrence with a gridiron, and Saint Sebastian with arrows.
The bottom half of the painting depicts the chaotic journey to Hell, with the mythical boatman Charon ferrying the damned into the underworld. This scene is inspired by Dante's Inferno, a text Michelangelo admired. The damned are dragged and bitten by demons, their fate a stark contrast to the saved souls rising to Heaven.
Michelangelo's imaginative vision in "The Last Judgment" caused controversy due to his depiction of nudity, with many holy figures originally shown nude. This led to a censorship campaign, the "Fig-leaf campaign", and the genitalia were later covered by his pupil, Daniele da Volterra, with loincloths and draperies. Despite this, the painting remains a powerful work of art, with a dynamic movement and psychological depth that has intrigued viewers for centuries.
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Judgement and destiny
Michelangelo's Last Judgement is a fresco that covers the whole altar wall of the Sistine Chapel in Vatican City. It is a depiction of the Second Coming of Christ and the final and eternal judgement by God of all humanity. The painting is centred on Christ, who is captured in the moment preceding the pronouncement of the verdict of the Last Judgement. With a gesture of his arms, he damns part of humanity to hell, while others rise to heaven.
The painting is not bound by a painted border and expands beyond the viewer's field of vision. This implicates the viewer, who is meant to feel as though they are among those whose fate is yet to be determined. The work is designed to provoke terror in the viewer, but it is primarily about the triumph of Christ and the realm of heaven, which dominates. The elect encircle Christ, and some hold the instruments of their martyrdom.
Michelangelo was given artistic licence by Pope Paul III to paint scenes not only from the Bible but also from mythology. He included Charon and Minos, inspired by Dante's Inferno, a text he greatly admired. The inclusion of mythological figures and the depiction of holy persons in the nude caused controversy. The work was criticised by Biagio da Cesena, a papal master of ceremonies, who said it was disgraceful to include so many naked figures in a sacred place. Michelangelo responded by painting da Cesena into the scene as Minos, one of the judges of the underworld.
The painting took over four years to complete, between 1536 and 1541. It was unveiled in 1541, to the marvel of Giorgio Vasari, who wrote:
> [H]e…threw it open to view in the year of 1541, I believe on Christmas day, to the marvel of all of Rome, nay, of the whole world; and I, who was that year in Venice, and went to Rome to see it, was struck dumb by its beauty.
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Nudity and censorship
Michelangelo's Last Judgement, a fresco in the Sistine Chapel, depicts the second coming of Christ and God's final judgement of humanity. It is said to have been inspired by the Bible and other texts like Dante's Inferno, which Michelangelo admired. The painting features over 300 figures, with nearly all the males and angels originally shown nude.
The Last Judgement faced criticism and controversy from the outset, with disputes arising between critics in the Catholic Counter-Reformation and supporters of Michelangelo's artistic genius. The artist was accused of being insensitive to decorum, particularly regarding the nudity of the figures and his pursuit of artistic effect over scriptural description.
Biagio de Cesena, the papal master of ceremonies, was a vocal critic of the painting, stating:
> "it was most disgraceful that in so sacred a place there should have been depicted all those nude figures, exposing themselves so shamefully, and that it was no work for a papal chapel but rather for the public baths and taverns."
Michelangelo responded by including Cesena's face in the painting as Minos, judge of the underworld, with donkey ears and a snake biting his genitals.
As a result of the criticism and the Church's concern, Pope Pius V decided to salvage the painting through disguise and drapery. In 1564, Daniele da Volterra, a pupil of Michelangelo, was commissioned to cover the nude figures with loincloths and veils, earning him the nickname "Il Braghetonne" or "the breeches-maker". Da Volterra also repainted the figures of Saint Catherine and Saint Blaise, whose positions were considered unseemly. Further coverings were added in the 17th and 18th centuries.
During the restoration of the Sistine Chapel in the 1980s and 1990s, many of the additions and alterations made over the centuries were removed, revealing Michelangelo's original work. This restoration brought to light the buried details and colours of the fresco, which had been hidden under smoke and grime for centuries.
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The viewer's role
The Last Judgement by Michelangelo is a fresco that covers the entire altar wall of the Sistine Chapel in Vatican City. The painting depicts the Second Coming of Christ and the final and eternal judgement of humanity by God. The dead rise and descend to their fates, as judged by Christ, who is surrounded by saints.
Secondly, the dynamic movement, larger-than-life scale, and overall meaning of the fresco come together to evoke a range of emotions in the viewer. The contrast between the ordered ranks of figures in the top part and the chaotic activity in the lower sections, especially on the right side leading to Hell, creates a sense of drama and tension. The viewer is meant to be provoked by the terror and despair of the damned, while also witnessing the triumph of Christ and the elect in Heaven. This interplay of emotions and themes within the painting invites the viewer to contemplate their own mortality, judgment, and potential redemption.
Michelangelo's inclusion of himself in the fresco as St. Bartholomew, carrying his own flayed skin, adds another layer of intrigue for the viewer. This self-portrait, with its sense of tragedy and horror, invites speculation about the artist's state of mind during the creation of the work. Viewers are prompted to consider the personal motivations and experiences that may have influenced Michelangelo's interpretation of the Last Judgement.
Additionally, the intended audience for The Last Judgement was a specific, elite, and erudite group, including the Pope and the College of Cardinals. This audience would have understood the religious themes and iconographic innovations in the painting. They would have recognised references to texts such as Dante's Inferno and would have been familiar with the artistic and philosophical context of the time. As such, the viewer's role also involves interpreting the various symbolic elements and understanding Michelangelo's unique vision and interpretation of the Second Coming of Christ.
Lastly, the viewer's role in The Last Judgement has evolved over time due to the painting's historical context and the controversies surrounding it. The depiction of holy figures in the nude led to accusations of immorality and obscenity, resulting in a censorship campaign known as the "Fig-leaf campaign". The genitalia in the fresco were eventually covered by Daniele da Volterra, who added drapery to the figures. This aspect of the painting's history invites viewers to consider the societal norms, religious beliefs, and artistic expression of the time, as well as the ongoing dialogue between art and censorship.
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Frequently asked questions
The painting depicts the second coming of Christ and the final and eternal judgement of humanity by God.
The painting is composed of over 300 figures, with nearly all the males and angels originally shown as nudes. The work is divided into tiers and quadrants, with subgroups and meaningful pairings that improve the fresco's legibility.
The central figure in the painting is Christ, who is captured in the moment preceding the pronouncement of the verdict of the Last Judgement.
The dead rise and descend to their fates, as judged by Christ. The resurrected souls rise from their graves and move towards judgement, with some ascending to heaven and others descending to hell.
Michelangelo's inclusion of nude figures in the painting was criticised by some, who felt it was inappropriate for a sacred place. However, others have interpreted the nudity of the damned souls as a mark of their humiliation.
