The Last Judgment
The original, as its museum records it
Every line above is reproduced from the holding institution’s own catalogue entry, which is linked. Where their title, date or attribution differs from ours, theirs is the one printed here.
The file this print is made from
Sizes
About this painting
Everything turns. The Vatican describes it as a wide slow rotary movement in which all the figures are involved — on the left the risen recovering their bodies as they climb, on the right angels and devils fighting over the falling damned, the whole wall wheeling around one raised arm.
Christ is caught in the moment before the verdict is spoken. The Virgin has turned her head away: she can no longer intervene.
Bartholomew holds his own flayed skin, and the face on it is usually taken for Michelangelo's.
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), from the project’s own corpus at data/bible_drc.js
Printed on demand. Public-domain masterwork, reproduced from a 4,395 px master of the original. The whole image is printed — never cropped to fit the sheet — so every sheet carries an archival margin, and the dimensions and resolution listed above are the ones you receive.