Michelangelo's Last Judgment

Between finishing the Sistine Chapel ceiling in 1512 and starting the Last Judgment in 1536, Michelangelo did not produce any paintings. Commissioned by Pope Paul III, the Last Judgment (1536-41) showcased a shift in the artist's approach, with a more subdued color palette and figures that appeared bulkier and more intimidating. The artwork, filled with nudity and raw intensity, faced criticism for its explicit depiction of massive, twisted figures behind the Chapel's altar, deemed inappropriate for their stark nakedness.

 Michelangelo Image Gallery

Initially, a more mature and reflective Michelangelo took on the commission for this pivotal painting under Pope Clement VII. The mural was originally intended to depict the resurrection, but after the Pope's passing, his successor, Pope Paul III, believed the Last Judgment was a more suitable theme for 1530s Rome, aligning with the Counter-Reformation's moral fervor.

Unlike traditional medieval depictions of the last judgment, where figures were clothed according to their social status, Michelangelo redefined the concept. His innovative approach presented figures in their natural state, devoid of any social hierarchy. The saved are depicted rising on the left, while the damned are shown falling on the right, illustrating the division between the blessed and the condemned. The fresco, more subdued in color compared to the ceiling works, primarily features flesh and sky tones. However, recent cleaning and restoration efforts have unveiled a richer color palette, with splashes of orange, green, yellow, and blue adding vibrancy and cohesion to the intricate composition.

Explore the links below to discover and understand some of the most impactful and significant scenes from Michelangelo's powerful masterpiece, the Last Judgment.

On the following page, witness how Michelangelo depicted Christ on the final day.

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Christ Within the Last Judgment

In Michelangelo's Last Judgment (1536-41), Christ is portrayed with a robust and commanding presence, bathed in a luminous divine light. Positioned in the part of the fresco illuminated by the Chapel's windows, Christ is depicted bare-legged, draped only with a mantle over his lower body, revealing the wounds from his crucifixion and evoking imagery of his resurrection.

Proceed to the next page to discover the figure seated near Christ's left foot, St. Bartholomew.

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St. Bartholomew Within the Last Judgment

This detail from the Last Judgment (1536-41) focuses on St. Bartholomew, the martyr who endured being flayed alive. In this figure, Michelangelo crafted a deeply personal and sorrowful self-portrait, embedding his own visage within the hollowed skin held by the saint, symbolizing the artist's inner turmoil and suffering.

In response to the Counter-Reformation's conservative ethos, St. Bartholomew's genitalia, along with other nude elements in the fresco, were later concealed with a loincloth. This alteration occurred in January 1564, just a month before Michelangelo's death, following a decree by the Council of Trent. The task of adding drapery to cover the nudity was entrusted to Michelangelo's pupil, Daniele da Volterra.

The following detail from the Last Judgment focuses on the lower section of the fresco, depicting hell. Proceed to the next page to view Minos.

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Minos Within the Last Judgment

In the lower right corner of the Last Judgment (1536-41), Michelangelo depicts Minos, the ruler of hell, entwined by a serpent, symbolizing the specific circle of hell destined for each condemned soul. Michelangelo crafted Minos as a biting caricature of his adversary, Biagio da Cesena, a Vatican official who condemned the Last Judgment as inappropriate for sacred spaces. The figure is adorned with donkey ears and a serpent attacking his groin. This gruesome depiction of damnation not only reflects the artist's retaliation against criticism from the papal chamberlain but also underscores Michelangelo's profound belief in a supreme, unyielding Creator who delivers a final, severe judgment.

The following page delves into another detail from the entrance to hell. Discover the portrayal of Charon and its link to Dante Alighieri's Inferno.

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Charon Within the Last Judgment

In his Last Judgment (1536-41), Michelangelo drew inspiration from Dante by incorporating Charon, the guardian of the river Styx, into his vision of hell. This grotesque figure, a symbol of malevolence, drives the emaciated and tormented souls onto the shores of hell. Michelangelo's portrayal vividly captures Dante's description of "Charon, the demon, with eyes like embers."

Charon ferries the damned souls to Hell's Mouth. Continue to the next page to explore Michelangelo's depiction of hell in greater detail.

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Hell's Mouth Within the Last Judgment

In his Last Judgment (1536-41), Michelangelo allocated the area above the altar for his chilling portrayal of Hell's Mouth. Given his critical stance on the papacy's corruption, it is plausible that he intended to remind church leaders of their shared accountability for sin. However, Michelangelo's depiction of damnation is subtle, emphasizing an eerie glow rather than flames, and focusing on the internal torment of the damned. Their anguished movements, juxtaposed with the liberated figures of the saved, create a hauntingly compelling scene.

From the terrors of hell to the celestial beauty of Michelangelo's divine imagery: his angels. Proceed to the next page to explore the details of the angels in the Last Judgment.

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More Painting Details Within the Last Judgment

As seen in this detail from Michelangelo's Last Judgment (1536-41), angels are set apart from humans solely by their radiant, otherworldly facial expressions, which shine with divine beauty throughout the fresco.

Amid the chaotic depiction of damnation in the Last Judgment, Michelangelo highlights a select few individuals, caught in a tense battle between eternal torment and everlasting salvation.

These scenes were undoubtedly designed as metaphors for the eternal battle between divine grace and evil over human souls, serving as stark reminders to worshippers of their potential destinies.

As described in the Book of Revelation, seven angels will sound their trumpets to herald the end of creation. Michelangelo adopted a literal interpretation of this prophecy, relying on the human form to communicate his vision. Reflecting the challenge of achieving salvation, the Book of the Select on the left is notably smaller than the Book of the Damned on the right. Damage to this portion of the fresco resulted from the papal throne's canopy, positioned directly below and used during special ceremonies.

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ABOUT THE AUTHOR:

Lauren Mitchell Ruehring is a freelance writer known for her promotional contributions to the works of renowned artists like Erté and Thomas McKnight. Her writing has also appeared in publications such as Kerry Hallam: Artistic Visions and Liudmila Kondakova: World of Enchantment. Additionally, she has been honored by the National Society of Arts and Letters for her contributions.