L'Italo-Americano

THURSDAY, APRIL 14, 2016 www.italoamericano.org 14 L'Italo-Americano T wenty-two years separate the painting of the vault and the painting of the m u r a l e n t i t l e d t h e L a s t Judgement in the Sistine Chapel. Michelangelo was in Rome in 1533, already working on the sculptures for the tomb of Julius II, when he also received the c o m m i s s i o n f o r t h e L a s t Judgement fresco to be painted on a wall in the Sistine Chapel. Before starting this endeavor, the artist visited Florence for a f e w w e e k s , b u t r e t u r n e d i n September: he was to remain in Rome until the end of his life. In the meantime, Pope Clement VII died and Cardinal Alessandro Farnese was elected Pope, tak- ing the name of Pope Paul III. The Last Judgement fresco is on the wall at the altar end of the c h a p e l . T w o w i n d o w s w e r e walled up to form a suitable space for the large fresco. The w a l l w a s a l s o p r e p a r e d a t a slight incline, so that dust would not settle on the painting. This t i m e M i c h e l a n g e l o d i d n o t divide the space into compart- m e n t s , l i k e t h e v a u l t o f t h e chapel, but painted a unique, gigantic view of the afterlife. The fresco comprises a vast whirl of numerous figures with the monumental figure of Christ at the summit of the composi- tion. The Virgin Mary stands at his right side in an attitude of appeal. At the top, in the architectur- al lunettes, flights of angels c a r r y t h e i n s t r u m e n t s o f t h e Passion. At Christ's right, beside Mary, are the Patriarchs. In the corners stand the most signifi- c a n t H e b r e w w o m e n o f t h e B i b l e . A g a i n , M i c h e l a n g e l o included the pagan Sybils, on the right side; on the left are the Michelangelo's Sistine Chapel: The Last Judgement (part II) prophets, the confessors and the martyrs. The upper part of the painting is filled with the souls of those who have been already j u d g e d a n d d e s e r v e t o b e i n Heaven. A m o n g t h e m a r t y r s , r i g h t below the figure of Christ, are Saint Lawrence (carrying the gridiron of his martyrdom) and Saint Bartholomew. A detail not to be missed is Michelangelo's own self-portrait, painted on the f l a y e d s k i n o n S a i n t Bartholomew: one can see his twisted and tormented face. At the sides of the fresco there are vast throngs of souls rising to be judged on the right, while on the left the damned are plunged into Hell. W i t h D a n t e s q u e h u m o r , Michelangelo depicted Minos, the judge of Hell, with donkey's ears and with the features of V a t i c a n c o u r t i e r B i a g i o d i Cesena, who had strongly object- ed to his painting nudes. The figure of Christ is power- ful and awe-inspiring. This is no merciful Christ. His body is mas- sive, looming high, larger that human proportions. He lifts his right hand in a gesture so damn- ing that it is only mitigated by the figure of Mary at his right, appearing to pray and plead. The whole painting represents life after death in an emotional and tumultuous congregation of fig- ures. So awesome is this painting that when he first saw it, the Pope exclaimed: "Lord, charge me not with my sins when You shall come on Judgement Day!" Just five years after the com- pletion of the painting, with the Council of Trent, the Catholic Counter-Reformation was in full bloom, causing an increase in piety and what appears to us to be excessive morality. The Pope ordered that the nude figures be "dressed". The painter Daniele di Volterra was commissioned to paint loincloths or breeches on the nudes, and was thus nick- named "Il braghettone," the breeches-maker. The breeches have hence been removed. While the vault of the Sistine chapel fills the viewer with joy- f u l a d m i r a t i o n , t h e L a s t Judgement, though beautiful beyond description, can also cause a sense of fear and awe. One remains serious and perhaps fearful at the thought of what may await us all beyond death. W i t h h i s L a s t J u d g e m e n t , M i c h e l a n g e l o c h a n g e d t h e course of art in Italy and in all Europe. This huge fresco is the basis and the inspiration for what was to be called the Mannerist style, which in turn was to sup- ply the foundation of Baroque art. The restored Last Judgement was unveiled in 1993. LAURA STORTONI-HAGER The Last Judgment by Michelangelo in the Sistine Chapel, — Photo by savacoco ARTS MOVIES MUSIC BOOKS ARTWORK

• Cover