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The Last Judgment
1536–1541 · Fresco — in situ, altar wall of the Sistine Chapel · Musei Vaticani — Cappella Sistina
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image 8×8.8 in on a 8×10 in sheet
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Hahnemühle Photo Rag, 308 gsm cotton rag · pigment inks · printed to order
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All editionsAbout this painting
One arm goes up, and a whole wall begins to turn. The Vatican Museums describe a wide slow rotary movement in which all the figures are involved: on the left the risen climb, recovering their bodies; on the right angels and devils fight over the falling damned. Christ is caught in the moment before the verdict is spoken. Our Lady sits close beneath His raised arm with her face turned away; the Vatican says she can no longer intervene, and Steven Zucker and Beth Harris note that Michelangelo changed her from the open arms of a preparatory drawing. At His feet Saint Bartholomew holds up his own flayed skin, and the face on it, since Francesco La Cava in 1925, is usually taken for Michelangelo's, the one self-portrait Bernadine Barnes finds widely accepted. If it is his, the painter hangs empty in the saint's hand, and the wheel keeps turning.
Sources: the rotary movement; the risen on the left and the damned on the right; the moment preceding the verdict; the Virgin unable to intervene; Charon and Minos; 1536-1541 · Dr. Steven Zucker and Dr. Beth Harris, "Michelangelo, Last Judgment, Sistine Chapel," Smarthistory · Bernadine Barnes, "Skin, Bones, and Dust: Self-Portraits in Michelangelo's 'Last Judgment'," The Sixteenth Century Journal 35, no. 4 (2004) · Musei Vaticani, "Sistine Chapel" (history), Vatican Museums collections · Sharon Gregory, "Michelangelo, St Bartholomew, and northern Italy," Renaissance Studies 32, no. 5 (2018): 778–805
And all nations shall be gathered together before him: and he shall separate them one from another, as the shepherd separateth the sheep from the goats:
Matthew 25:32 · Douay-Rheims (Challoner)