The Last Judgment (Michelangelo)

771: 1191: 444: 1018: 628: 432: 382: 335: 991:, almost certainly a collaborative effort with his friend. Many of the arguments of the theologian critics are repeated, but now in the name of decorum rather than religion, emphasizing that the particular and very prominent location of the fresco made the amount of nudity unacceptable; a convenient argument for Aretino, some of whose projects were frankly pornographic, but intended for private audiences. Dolce also complains that Michelangelo's female figures are hard to distinguish from males, and his figures show "anatomical exhibitionism", criticisms many have echoed. 1218: 1230: 1176: 5531: 4408: 1206: 504:

strong contrast between the ordered ranks of figures in the top part, and chaotic and frenzied activity below, especially on the right side that leads to Hell. The procession of the judged usually begins at the bottom (viewer's) left, as here, as the resurrected rise from their graves and move towards judgment. Some pass judgment and continue upwards to join the company in heaven, while others pass over to Christ's left hand and then downwards towards Hell in the bottom right corner (compositions had difficulty incorporating

559:, who tried to persuade the Pope and Michelangelo to do the painting in his preferred technique of oil on plaster, and managed to get the smooth plaster finish needed for this applied. It is possible that around this stage the idea was floated that Sebastiano would do the actual painting, to Michelangelo's designs, as they had collaborated nearly 20 years earlier. After, according to Vasari, some months of passivity, Michelangelo furiously insisted that it should be in fresco, and had the wall re-plastered in the rough 168: 1164: 48: 1029: 681: 697: 327: 5570: 4010: 752: 5543: 4420: 744:(i.e. indicating foolishness), while his nudity is covered by a coiled snake. It is said that when Cesena complained to the Pope, the pontiff joked that his jurisdiction did not extend to Hell, so the portrait would have to remain. Pope Paul III himself was attacked by some for commissioning and protecting the work, and came under pressure to alter if not entirely remove the 5582: 2552: 886:, probably mostly after Michelangelo died in 1564. Daniele was "a sincere and fervent admirer of Michelangelo" who kept his changes to a minimum, and had to be ordered to go back and add more, and for his trouble got the nickname "Il Braghettone", meaning "the breeches maker". He also chiseled away and entirely repainted the larger part of 423:), others holding books that record the names of the Saved and Damned. To their right is a larger figure who has just realized that he is damned and appears paralyzed with horror. Two devils are pulling him downwards. To the right of this devils pull down others; some are being pushed down by angels above them. 829:

seeing that holiness becometh the house of God. And that these things may be the more faithfully observed, the holy Synod ordains, that no one be allowed to place, or cause to be placed, any unusual image, in any place, or church, howsoever exempted, except that image have been approved of by the bishop.

672:. A print of 1582 shows the chapel in use, with a large cloth of roughly this shape hanging behind the altar, and a canopy over it. The cloth is shown as plain, but the artist also omits the paintings below the ceiling, and may well not have been present himself, but working from prints and descriptions. 1009:, published in 1568, though he explicitly defended the fresco on several points raised by the attackers (without mentioning them), such as the decorum of the fresco and "amazing diversity of the figures", and asserted it was "directly inspired by God", and a credit to the Pope and his "future renown". 503:

in about the same position as Michelangelo's, and even larger than his, with a greater disproportion in scale to the other figures. As here, compositions contain large numbers of figures, divided between angels and saints around Christ at the top, and the dead being judged below. Typically there is a

1061:

The twist into depth, the struggle to escape from the here and now of the picture plane, which had always distinguished Michelangelo from the Greeks, became the dominating rhythm of his later works. That colossal nightmare, the Last Judgment, is made up of such struggles. It is the most overpowering

1036:

In many respects, modern art historians discuss the same aspects of the work as 16th-century writers: the general grouping of the figures and rendering of space and movement, the distinctive depiction of anatomy, the nudity and use of colour, and sometimes the theological implications of the fresco.

828:

Every superstition shall be removed, ... all lasciviousness be avoided; in such wise that figures shall not be painted or adorned with a beauty exciting to lust, ... there be nothing seen that is disorderly, or that is unbecomingly or confusedly arranged, nothing that is profane, nothing indecorous,

735:

is reported by Vasari as saying that: "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 immediately worked

646:

The new scheme for the altar wall and other changes necessitated by structural problems led to a loss of symmetry and "continuity of window-rhythms and cornices", as well as some of the most important parts of the previous iconographical schemes. As shown by drawings, the initial conception for the

458:

for large church frescos, but it was unusual to place it at the east end, over the altar. The traditional position was on the west wall, over the main doors at the back of a church, so that the congregation took this reminder of their options away with them on leaving. It might be either painted on

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In the lower part of the fresco, Michelangelo followed tradition in showing the saved ascending at the left and the damned descending at the right. In the upper part, the inhabitants of Heaven are joined by the newly saved. The fresco is more monochromatic than the ceiling frescoes and is dominated

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mood, one that Aretino detected and objected to. One of Michelangelo's poems had used the metaphor of a snake shedding its old skin for his hope for a new life after his death. Bernadine Barnes writes that "recent viewers ... have found in evidence of Michelangelo's self-doubt, since the lifeless

1076:

seems often to have been determined more by the requirements of art than by compelling needs of meaning, ... meant not just to entertain but to overpower us with their effects. Often, too, the figures assume attitudes of which a major sense is one of ornament." He notes that the two frescos in the

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There were objections to the mixing of figures from pagan mythology into depictions of Christian subject matter. Besides the figures of Charon and Minos and wingless angels, the very classicized Christ was suspect: beardless Christs had in fact only finally disappeared from Christian art some four

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The movements of the resurrected reflect the traditional pattern. They arise from their graves at bottom left, and some continue upwards, helped in several cases by angels in the air (mostly without wings) or others on clouds, pulling them up. Others, the damned, apparently pass over to the right,

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and perhaps offering them back to Christ, as they will no longer be needed. Several of the main saints appear to be showing Christ their attributes, the evidence of their martyrdom. This used to be interpreted as the saints calling for the damnation of those who had not served the cause of Christ,

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interprets their "complex responses" as "those of giant powers here made powerless, bound by racking spiritual anxiety", as their role of intercessors with the deity had come to an end, and perhaps they regret some of the verdicts. There is an impression that all the groups of figures are circling

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Further objections related to failures to follow the scriptural references. The angels blowing trumpets are all in one group, whereas in the Book of Revelation they are sent to "the four corners of the earth". Christ is not seated on a throne, contrary to Scripture. Such draperies as Michelangelo

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behind her. This was done because in the original version Blaise had appeared to look at Catherine's naked behind, and because to some observers the position of their bodies suggested sexual intercourse. The repainted version shows Blaise looking away from Saint Catherine, upward towards Christ.

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The project was a long time in gestation. It was probably first proposed in 1533, but was not then attractive to Michelangelo. A number of letters and other sources describe the original subject as a "Resurrection", but it seems most likely that this was always meant in the sense of the General

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that: "This fresco is the work of a man shaken out of his secure position, no longer at ease with the world, and unable to face it directly. Michelangelo does not now deal directly with the visible beauty of the physical world." At the time, continues Barnes, "it was censured as the work of an

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had made a helpful offer to repaint the entire wall with a fresco that was "modest and decent, and no less well painted than the other". Further campaigns of overpainting, often "less discreet or respectful", followed in later reigns, and "the threat of total destruction ... re-surfaced in the

257:

Where traditional compositions generally contrast an ordered, harmonious heavenly world above with the tumultuous events taking place in the earthly zone below, in Michelangelo's conception the arrangement and posing of the figures across the entire painting give an impression of agitation and

1151:

The bearded figure of Saint Bartholomew holding the skin was sometimes thought to have the features of Aretino, but open conflict between Michelangelo and Aretino did not occur until 1545, several years after the fresco's completion. "Even Aretino's good friend Vasari did not recognize him."

872:

Q. Do you not understand that in representing the Last Judgment, in which it is a mistake to suppose that clothes are worn, there was no reason for painting any? But in these figures what is there that is not inspired by the Holy Spirit? There are neither buffoons, dogs, weapons, nor other

1099:

Early appreciations of the fresco had focused on the colours, especially in small details, but over the centuries the build-up of dirt on the surface had largely hidden these. The built-out wall led to extra deposition of soot from candles on the altar. In 1953 (admittedly in November)

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arrogant man, and it was justified as a work that made celestial figures more beautiful than natural". Many other modern critics take approaches similar to Blunt's, emphasizing Michelangelo's "tendency away from the material and towards the things of the spirit" in his last decades.

869:

A. In Rome, in the Pope's Chapel, Michelangelo has represented Our Lord, His Mother, Saint John, Saint Peter, and the celestial court; and he has represented all these personages nude, including the Virgin Mary , and in various attitudes not inspired by the most profound religious

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that had been quickly brought to market. He "purports to represent the simple folk" in this new wider audience. However, it appears that at least the print-buying public preferred the uncensored version of the paintings, as most prints showed this well into the 17th century.

862:

Q. Do you not know that in Germany and other countries infested by heresy, it is habitual, by means of pictures full of absurdities, to vilify and turn to ridicule the things of the Holy Catholic Church, in order to teach false doctrine to ignorant people who have no common

793:

painted are often shown as blown by wind, but it was claimed that all weather would cease on the Day of Judgment. The resurrected are in mixed condition, some skeletons but most appearing with their flesh intact. All these objections were eventually collected in a book, the

1127:" was removed. Numerous pieces of buried details, caught under the smoke and grime of scores of years, were revealed after the restoration. It was discovered that the fresco of Biagio de Cesena as Minos with donkey ears was being bitten in the genitalia by a coiled snake. 248:

The reception of the painting was mixed from the start, with much praise but also criticism on both religious and artistic grounds. Both the amount of nudity and the muscular style of the bodies has been one area of contention, and the overall composition another.

508:

visually). The damned may be shown naked, as a mark of their humiliation as devils carry them off, and sometimes the newly-resurrected too, but angels and those in Heaven are fully dressed, their clothing a main clue to the identity of groups and individuals.

668:, was commissioned, which was hung above the altar for important liturgical occasions in the 18th century, and perhaps from the 1540s until then. The tapestry has a vertical format (it is 4.3 by 3 metres (14.1 by 9.8 ft)) and is still in the 245:

by the tones of flesh and sky. The cleaning and restoration of the fresco, however, revealed a greater chromatic range than previously apparent. Orange, green, yellow, and blue are scattered throughout, animating and unifying the complex scene.

998:

developed, in which even supporters of Michelangelo such as Vasari participated. Raphael is held up as the exemplar of all the grace and decorum found lacking in Michelangelo, whose outstanding quality was called by Vasari his

592:; these, of course, could just be used elsewhere. Above this zone, there were two paintings from the 15th-century cycles of Moses and Christ which still occupy the middle zone of the side walls. These were probably Perugino's 226:. Altogether there are over 300 figures, with nearly all the males and angels originally shown as nudes; many were later partly covered up by painted draperies, of which some remain after recent cleaning and restoration. 947:

As well as the criticism on moral and religious grounds, there was from the start considerable criticism based on purely aesthetic considerations, which had hardly been seen at all in initial reactions to Michelangelo's

315:, who turns her head to look down towards the Saved, though her pose also suggests resignation. It appears that the moment has passed for her to exercise her traditional role of pleading on behalf of the dead; with 1767: 471:

on the exterior. However, a number of late medieval panel paintings, mostly altarpieces, were based on the subject with similar compositions, although adapted to a horizontal picture space. These include the

1049:

of Christ ended space and time. Despite this, "Michelangelo’s curious representation of space", where "the characters inhabit individual spaces that cannot be combined consistently", is often commented on.

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There was an explicit decree that: "The pictures in the Apostolic Chapel should be covered over, and those in other churches should be destroyed, if they display anything that is obscene or clearly false".

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At the centre of the work is Christ, shown as the individual verdicts of the Last Judgment are pronounced; he looks down towards the damned. He is beardless, and "compounded from antique conceptions of

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which is now famous as an example of insincere prudishness", a letter written with a view to publication. Aretino had not in fact seen the finished painting, and based his criticisms on one of the

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to match. By April 1535 the preparation of the wall was begun, but it was over a year before painting began. Michelangelo stipulated the filling-in of two narrow windows, the removal of three

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but other interpretations have become more common, including that the saints are themselves not certain of their own verdicts and try at the last moment to remind Christ of their sufferings.

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At a relatively early date, probably in the 16th century, a strip of about 18 inches was lost across the whole width of the bottom of the fresco, as the altar and its backing was modified.

805:(da Fabriano), who had become one of several theologians policing art during and after the Council of Trent. As well as theological objections, Gilio objected to artistic devices like 882:

Some action to meet the criticism and enact the decision of the council had become inevitable, and the genitalia in the fresco were painted over with drapery by the Mannerist painter

931:, which made them easier to remove in the most recent restoration (1990–1994), when about 15 were removed, from those added after 1600. It was decided to leave 16th-century changes. 2931: 4886: 841:

was summoned before the Venetian Inquisition to justify his inclusion of "buffoons, drunken Germans, dwarfs, and other such absurdities" in what was then called a painting of the

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The work took over four years to complete between 1536 and 1541 (preparation of the altar wall began in 1535). Michelangelo began working on it 25 years after having finished the

552:, and building the surface increasingly forward as it rises, to give a single uninterrupted wall surface slightly leaning out, by about 11 inches over the height of the fresco. 2941: 696: 824:

that had been growing in strength in the Church for some decades. The Council's decree (drafted at the last minute and generally very short and inexplicit) reads in part:

5194: 2445: 1759: 1005:, the awesome, sublime or (the literal meaning) terror-inducing quality of his art. Vasari came to partly share this view by the time of the expanded 2nd edition of his 323:

is a regular motif in earlier compositions. Preparatory drawings show her standing and facing Christ with arms outstretched, in a more traditional intercessory posture.

1190: 1085:, show from the start a major change in style, away from grace and aesthetic effect to an exclusive concern with illustrating the narrative, with no regard for beauty. 3377: 342:

Surrounding Christ are large numbers of figures, the saints and the rest of the elect. On a similar scale to Christ are John the Baptist on the left, and on the right

1217: 5143: 2540:(New York: Published for the College Art Association of America by New York University Press, 1968; reprinted with emendations by University of Toronto Press, 2000) 1229: 1175: 1108:

even more so; ... how difficult to make up our minds that these Sistine frescoes are nowadays scarcely enjoyable in the original and much more so in photographs".

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Of the figure of Christ, Clark says: "Michelangelo has not tried to resist that strange compulsion which made him thicken a torso until it is almost square."

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The structure of the chapel, built in a great hurry in the 1470s, had given trouble from the start, with frequent cracks appearing. At Christmas in 1525 a

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to the doorway split and fell on him. The site is on sandy soil, draining a large area, and the preceding "Great Chapel" had had similar problems.

3398: 2556: 851:), he tried to implicate Michelangelo in a comparable breach of decorum, but was promptly rebuffed by the inquisitors, as the transcript records: 494:. Many aspects of Michelangelo's composition reflect the well-established traditional Western depiction, but with a fresh and original approach. 1143:

saw this as "a prayer for redemption, that through the ugliness the outward man might be thrown off, and the inward man resurrected pure", in a

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added the dove of the Holy Spirit above Christ, perhaps in response to Gilio's complaint that Michelangelo should have shown all the Trinity.

728:, in respect of nudity and other aspects of the work, and of pursuing artistic effect over following the scriptural description of the event. 5637: 5267: 5034: 3237: 2665: 2485: 2468: 2095: 159: 1274: 854:

Q. Does it seem suitable to you, in the Last Supper of our Lord, to represent buffoons, drunken Germans, dwarfs, and other such absurdities?

5132: 308:("display of the wounds"), where the resurrected Christ reveals the wounds of his Crucifixion, which can be seen on Michelangelo's figure. 4969: 1551: 1532: 620:

from Michelangelo's own ceiling scheme. However, some of these works may have already been damaged by an accident in April 1525, when the

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Quite apart from the question of decorum, the rendering of anatomy has been often discussed. Writing of "energy" in the nude figure,

927:

intended to continue the work". In total, nearly 40 figures had drapery added, apart from the two repainted. These additions were in

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and supporters of the genius of the artist and the style of the painting. Michelangelo was accused of being insensitive to proper

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though none are quite shown doing so; there is a zone in the lower middle that is empty of persons. A boat rowed by an aggressive

5617: 5284: 4327: 3537: 3523: 3122: 3101: 5340: 4167: 4056: 3991: 3735: 3187: 530:. Other scholars believe there was indeed a substitution of the more sombre final subject, reflecting the emerging mood of the 5262: 5019: 4723: 4519: 3589: 2696: 2359: 2306: 1111:

The fresco was restored along with the Sistine vault between 1980 and 1994 under the supervision of Fabrizio Mancinelli, the

865:

A. I agree that it is wrong, but I repeat what I have said, that it is my duty to follow the examples given me by my masters.

847: 658:, which had been the subject of Perugino's altarpiece. Once it was decided to remove this, it appears that a tapestry of the 534:, and an increase in the area of the wall to be covered. A number of Michelangelo's drawings from the early 1530s develop a 431: 902:

died in December 1565 and the chapel needed to be free of scaffolding for the funeral and conclave to elect the next pope.

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was to leave the existing altarpiece and work round it, stopping the composition below the frescos of Moses and Christ.

398:), brings them to land beside the entrance to Hell; his threatening them with his oar is a direct borrowing from Dante. 370:

with a portion of the wheel on which she was broken. Many others, even of the larger saints, are difficult to identify.

106: 1809: 1017: 627: 381: 334: 5632: 5612: 5363: 5203: 5059: 4179: 3497: 3327: 3194: 1123:, head restorer at the Vatican laboratory. During the course of the restoration, about half of the censorship of the " 487: 4554: 222:

by God of all humanity. The dead rise and descend to their fates, as judged by Christ who is surrounded by prominent

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The new fresco required, unlike his Sistine Chapel ceiling, considerable destruction of existing art. There was an

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Freedberg, 471; Hartt, 639 (both rather older sources than those taking the contrary view, which may be relevant).

544:, alone among contemporary sources, says that originally Michelangelo intended to paint the other end wall with a 5498: 5385: 5306: 5289: 5224: 4903: 4831: 4791: 4606: 3847: 3582: 837:

The defences by Vasari and others of the painting evidently made some impact on clerical thinking. In 1573, when

258:

excitement, and even in the upper parts there is "a profound disturbance, tension and commotion" in the figures.

968:, but had always been rebuffed; "in 1545 his patience gave way, and he wrote to Michelangelo that letter on the 5627: 5622: 5439: 5397: 5124: 5072: 4998: 4702: 4042: 2400: 1870:

Partridge (see Further reading) summarized (with comments) in notes 32 and 33 on p. 204 of Dillenberger, John,

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A. I did it on the supposition that those people were outside the room in which the Supper was taking place.

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The preparation of the wall led to the end of more than twenty years of friendship between Michelangelo and

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Hughes, Anthony, "The Last Judgement", 2.iii, a), in "Michelangelo." Grove Art Online. Oxford Art Online.

1028: 949: 680: 636: 600: 312: 230: 167: 149: 2341: 5662: 5647: 5358: 5323: 5229: 5090: 5029: 4918: 4874: 4869: 4751: 4571: 4537: 3730: 3660: 3550: 3454: 3434: 3384: 3010: 2985: 2899: 2658: 2570: 604:, beginning both cycles. Above them were the first of the series of standing popes in niches, including 556: 527: 523: 479: 4942: 4658: 2287: 5677: 5473: 5328: 5316: 4964: 4957: 4746: 4636: 4596: 4591: 4361: 4311: 4117: 3806: 3695: 3166: 2948: 2850: 2771: 2710: 2690: 1037:

However, Bernadine Barnes points out that no 16th-century critic echoes in the slightest the view of

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On a preview visit with Paul III, before the work was complete, the pope's Master of Ceremonies

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In the centre above Charon is a group of angels on clouds, seven blowing trumpets (as in the

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in 1550. Dolce followed up in 1557, the year after Aretino died, with a published dialogue,

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became controversial as soon as it was seen, with disputes between critics in the Catholic

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skin. The face on the skin is usually recognized as being a self-portrait of Michelangelo.

5574: 5447: 5311: 5234: 4854: 4821: 4816: 4811: 4806: 4783: 4712: 4377: 4372: 4356: 4346: 3720: 3700: 3685: 3619: 3485: 3449: 3444: 3311: 3306: 3277: 3113: 2892: 2456:, ed. Elizabeth C. Childs (Seattle: University of Washington Press, 1997), pp. 59–84. 2319: 1890: 1813: 1555: 1536: 1116: 1022: 798: 669: 581: 408: 375: 371: 2509:"Michelangelo’s Last Judgment: The Culmination of Papal Propaganda in the Sistine Chapel" 1825:

Pietrangeli, 193–194, 194 quoted; Freedberg, 477–485, 485 on the overpainting; Blunt, 119

1872:

Images and Relics: Theological Perceptions and Visual Images in Sixteenth-century Europe

964:. Aretino had made considerable efforts to become as close to Michelangelo as he was to 5189: 5062: 5009: 4756: 4619: 4581: 4549: 4398: 3970: 3945: 3893: 3710: 3670: 3459: 3134: 2976: 2650: 2396: 2295: 1148:

skin is held precariously over Hell. However, no sixteenth-century critic noticed it".

957: 953: 838: 806: 455: 363: 347: 287: 207: 94: 4009: 233:, and was nearly 67 at its completion. He had originally accepted the commission from 5596: 5380: 5370: 4859: 4771: 4736: 4316: 4237: 4230: 4216: 3840: 3755: 3715: 3690: 2992: 2878: 2261: 2233: 2178: 1054: 1046: 1038: 1001: 920: 621: 612:

and a central figure of Christ. Finally, the project required the destruction of two

545: 238: 219: 1709:

Historia di detti et fatti notabili di diversi Principi & huommi privati moderni

1474:

Hartt, 640; Clark, 300–310 for a famous account of nudity in medieval religious art.

1081:, Michelangelo's last paintings begun in November 1542 almost immediately after the 1072:

commented that "The vast repertory of anatomies that Michelangelo conceived for the

302:, which Michelangelo would have known; here the raised hand is part of a gesture of 5375: 5301: 5250: 5179: 5054: 4984: 4566: 4529: 4507: 4466: 4387: 4321: 4244: 3888: 3629: 2817: 2593: 2437: 2368: 1144: 928: 916: 912: 899: 891: 782: 763: 566: 464: 366:

is also present, along with the gridiron on which he was roasted. Also depicted is

211: 199: 98: 58: 1135:

Most writers agree that Michelangelo depicted his own face in the flayed skin of

406:, supervises the admission of the Damned into Hell; this was his role in Dante's 5137: 5080: 2885: 2871: 2864: 2810: 2490: 1816:

Crawford, Francis Marion: "Salve Venetia". New York, 1905. Vol. II: pages 29–34.

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needed as a base for fresco. It was on this occasion that he famously said that

343: 171: 5542: 4419: 3094: 2410: 2347: 1140: 609: 573: 569:

was "an art for women and for leisurely and idle people like Fra Sebastiano".

402:, the traditional Christian devil, is not shown but another classical figure, 295: 129: 116: 86:

13.7 m × 12 m (539.3 in × 472.4 in)

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Hughes; compare Hartt, 641, probably not revised to reflect the restoration.

1806: 585: 505: 1032:

Saint Bartholomew displaying his flayed skin, with the face of Michelangelo

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The High Renaissance and Mannerism: Italy, The North, and Spain, 1500-1600

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On these points, a long-lasting rhetorical comparison of Michelangelo and

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His work, beginning in the upper parts of the wall, was interrupted when

789:

centuries earlier, but Michelangelo's figure is unmistakably Apollonian.

740:, judge of the underworld (far bottom-right corner of the painting) with 561: 268: 5581: 4435: 2508: 4392: 3634: 2428: 2294:(originally in German, first edition in English, 1957, Columbia) 1965, 2170: 2146: 1112: 995: 924: 725: 613: 549: 359: 1964:

Pietrangeli, 194–198; Blunt, 76, 99; Vasari, 269, note on translating

241:

whose stronger reforming views probably affected the final treatment.

4019: 3639: 980: 965: 908: 816:

Two decades after the fresco was completed, the final session of the

640: 541: 460: 320: 272: 223: 195: 76: 2407:, Penguin 1965 (page nos. from Book Club Associates (BCA) ed., 1979) 3574: 2268:, orig. 1949, various editions, page refs from 1960 Pelican edition 2162: 867:

Q. Well, what did your masters paint? Things of this kind, perhaps?

3954: 737: 689: 639:

was killed while entering the chapel with the pope when the stone

403: 399: 395: 394:, who ferried souls to the Underworld in classical mythology (and 203: 175: 166: 983:

responded to this and other criticisms in the 1st edition of his

5051: 4503: 2461:

The Last Judgment: Michelangelo and the Death of the Renaissance

299: 4439: 3917: 3578: 3492:

Lives of the Most Excellent Painters, Sculptors, and Architects

3358: 3259: 3054: 2625: 2566: 2562: 2127: 2125: 1910:

Pietrangeli, 194–196; Blunt, 122–124, 123 quoted; Barnes, 74–84

1376:

Pietrangeli, 185–186; Freedberg, 471; Barnes, 65–69; Murray, 10

5184: 2241: 2384:

The Sistine Chapel: The Art, the History, and the Restoration

358:

below Peter, holding the attribute of his martyrdom, his own

1788:

Decision of January 21, 1564, quoted Pietrangeli, 269, n. 35

412:. He is generally agreed to have been given the features of 2446:"Aretino, the Public, and the Censorship of Michelangelo's 2326:, 2nd ed., 1987, Thames & Hudson (US Harry N. Abrams), 1955:

Hughes; Pietrangeli, 195–196; Blunt, 65–66; Friedländer, 17

820:

in 1563 finally enacted a form of words that reflected the

374:, Michelangelo's tame authorized biographer, says that all 809:

that puzzled or distracted untrained viewers. The copy by

797:

published just after Michelangelo's death in 1564, by the

1169:

The chapel in use in 1582; note the cloth over the altar

263:

the central figure of Christ in a huge rotary movement.

2520:

Michelangelo, The Last Judgment: A Glorious Restoration

1104:

put in his diary: "The ceiling looks dark, gloomy. The

290:. However, there are parallels for his pose in earlier 2207:

Michelangelo’s Last Judgment: The Renaissance Response

2012:

Hughes, quoted; Friedländer, 16–18; Freedberg, 473–474

1062:

accumulation in all art of bodies in violent movement"

952:. Two key figures in the first wave of criticism were 624:

went on fire; the damage done to the wall is unclear.

5558: 2429:"Metaphorical Painting: Michelangelo, Dante, and the 1681:

Blunt, 112–114, 118–119; Pietrangeli, 190–198; Camara

584:

above the altar, for which a drawing survives in the

5486: 5456: 5438: 5349: 5249: 5217: 5156: 5123: 5071: 5044: 4997: 4887:

Santa Maria della Pietà in Camposanto dei Teutonici

4782: 4693: 4627: 4618: 4605: 4528: 4294: 4276: 4258: 4208: 4152: 4088: 4073: 4017: 3952: 3866: 3769: 3653: 3612: 3473: 3422: 3369: 3294: 3270: 3220: 3133: 3112: 3065: 3002: 2923: 2839: 2763: 2722: 2682: 2636: 1447:

Hall, 186–187; Pietrangeli, 181; Hartt, 640; Hughes

1223:

The Cross upon which Christ was crucified, top left

155: 145: 104: 90: 82: 72: 64: 54: 32: 2454:Suspended License: Censorship and the Visual Arts 1235:The pillar on which Christ was flogged, top right 758:'s copy; detail showing an uncensored version of 3378:Study of a Kneeling Nude Girl for The Entombment 2303:Hall's Dictionary of Subjects and Symbols in Art 2292:Mannerism and Anti-Mannerism in Italian Painting 2497:(Cambridge: Cambridge University Press, 2005), 1739:Blunt, 112–114; Barnes, 84–86; Pietrangeli, 192 1303: 1301: 826: 416:, a critic of Michelangelo in the Papal court. 4129:The Fall and Expulsion from the Garden of Eden 4451: 3929: 3590: 2578: 2147:"The Line of Fate in Michelangelo's Painting" 1689: 1687: 8: 2096:"The Terror of Salvation: The Last Judgment" 1985:Barnes, 71, quoting and discussing Blunt, 65 1668: 1666: 1528:Pietrangeli, 178; Vasari covers this in his 736:Cesena's face from memory into the scene as 700:1549 copy of the still unretouched mural by 2084:Wind, 185–190, 188 quoted; Pietrangeli, 206 2003:Blunt, 70–81, 70 quoted; Freedberg, 469–477 497:Most traditional versions have a figure of 5346: 5255: 5162: 5003: 4624: 4615: 4611: 4458: 4444: 4436: 4307:Restoration of the Sistine Chapel frescoes 4085: 3936: 3922: 3914: 3597: 3583: 3575: 3519:Restoration of the Sistine Chapel frescoes 3366: 3355: 3267: 3256: 3062: 3051: 2633: 2622: 2585: 2571: 2563: 2538:and Venetian Art Theory of the Cinquecento 1095:Restoration of the Sistine Chapel frescoes 46: 29: 4914:Santi Martino e Sebastiano degli Svizzeri 4106:The Creation of the Sun, Moon, and Plants 3160:The Creation of the Sun, Moon, and Plants 2386:, 1986, Harmony Books/Nippon Television, 1647: 1645: 2209:, 1998, University of California Press, 2133:Michelangelo and the Viewer in His Times 1758:Aldersey-Williams, Hugh (16 July 2013). 1351: 1349: 1027: 1016: 769: 766:above her with a different head position 750: 748:, which continued under his successors. 695: 679: 654:The Sistine Chapel was dedicated to the 626: 442: 430: 380: 333: 325: 5565: 1730:Clark, 61; Pietrangeli, 190; Blunt, 114 1262: 1159: 456:Last Judgment was a traditional subject 3338:Santa Maria degli Angeli e dei Martiri 2463:(New York: Palgrave Macmillan, 2009), 1412:Pietrangeli, 206; Hartt, 641; Camara; 526:by the Last Judgment, rather than the 4099:The Separation of Light from Darkness 1483:Pietrangeli, 180; Hughes; Vasari, 269 1181:Angels, trumpeting, and one with the 1115:of post-classical collections of the 1021:Angels at the top left, one with the 923:, "rumours were current in 1936 that 311:To the left of Christ is his mother, 27:Sistine Chapel fresco by Michelangelo 7: 2942:Giuliano de' Medici, Duke of Nemours 1946:Pietrangeli, 194–196; Blunt, 122–124 1429:Pietrangeli, 187–190; Freedberg, 471 822:Counter-Reformation attitudes to art 5608:Religious paintings by Michelangelo 3992:The Punishment of the Sons of Korah 2478:Michelangelo and the Sistine Chapel 2238:Artistic Theory in Italy, 1450–1600 1770:from the original on 27 August 2013 198:by the Italian Renaissance painter 2415:Pagan Mysteries in the Renaissance 2379:, 1967 and 1977, Thames and Hudson 2373:The Late Renaissance and Mannerism 2324:History of Italian Renaissance Art 25: 5195:Postage stamps and postal history 3153:Separation of Light from Darkness 1874:, 1999, Oxford University Press, 1510:Pietrangeli, 178–180; Vasari, 269 1277:from the original on 29 July 2016 5580: 5568: 5541: 5529: 5336:Philatelic and Numismatic Office 4418: 4406: 4112:The Separation of Land and Water 4008: 3525:The Titan: Story of Michelangelo 2550: 1519:Pietrangeli, 31, 178; Murray, 12 1228: 1216: 1204: 1189: 1174: 1162: 664:, a subject often linked to the 459:the interior, as for example by 282:", probably, in particular, the 3736:Antonio da Sangallo the Younger 2515:, xxvii (2006), pp. 103–56 2350:; Campbell, Stephen J. (eds.), 2266:The Nude: A Study in Ideal Form 2256:"Last Judgment, Sistine Chapel" 2185:from the original on 2021-08-15 2135:(Reaktion Books, 2017), p. 141. 2119:Pietrangeli, 206; Wind, 187–188 1834:Pietrangeli, 194: Barnes, 86–87 1549:"Life of Sebastiano del Piombo" 608:himself, probably as well as a 354:Other prominent saints include 330:The central group around Christ 4724:Stufetta del cardinal Bibbiena 4520:Vicar General for Vatican City 3231:The Crucifixion of Saint Peter 2557:Sistine Chapel - Last Judgment 2145:Steinberg, Leo (Spring 1980). 1139:(see the illustration above). 848:The Feast in the House of Levi 1: 5653:Paintings of John the Baptist 4681:Monument to the Royal Stuarts 4577:Santo Stefano degli Ungheresi 3819: 3782: 2638: 2480:(New York: MJF Books, 2009), 1639:Pietrangeli, 38 (quoted), 184 1465:Hall, 187; Hartt, 640; Hughes 1364:Pietrangeli, 185; Hall, 187; 1247:List of works by Michelangelo 858:Q. Then why have you done it? 237:, but it was completed under 18:Last Judgement (Michelangelo) 5638:Paintings of the Virgin Mary 4975:Santo Stefano degli Abissini 4043:The Vocation of the Apostles 3999:Testament and Death of Moses 3985:The Descent from Mount Sinai 3392:Studies for the Libyan Sibyl 3360:Works on paper, milieu, etc. 3074:The Torment of Saint Anthony 2495:Michelangelo’s Last Judgment 2382:Pietrangeli, Carlo, et al., 2354:, 2018, Getty Publications, 2275:Painting in Italy, 1500–1600 1334:Freedberg, 471 (quoted), 473 631:The Resurrection of the Dead 482:and ones by artists such as 450:and his boat of damned souls 286:, brought to the Vatican by 5364:Vatican Information Service 5204:Secretariat for the Economy 5060:Cardinal Secretary of State 4802:Modern and Contemporary Art 3978:The Crossing of the Red Sea 3498:Michelangelo and the Medici 3328:San Giovanni dei Fiorentini 2417:, 1967 ed., Peregrine Books 2375:, 1967, Thames and Hudson; 2240:, 1940 (refs to 1985 ed.), 2230:, 1960, Thames & Hudson 1760:"A History of the Fig Leaf" 676:Reception and later changes 588:, flanked by tapestries to 214:. It is a depiction of the 5704: 5668:Musical instruments in art 5494:Amateur Sports Association 4938:San Pellegrino in Vaticano 4865:Sant'Anna dei Palafrenieri 4302:Art patronage of Julius II 3884:Johann Joachim Winckelmann 3874:Art patronage of Julius II 3481:Art patronage of Julius II 3406:Pietà for Vittoria Colonna 2522:(New York: Abrams, 1997), 2405:Artists of the Renaissance 1343:Hartt, 640; Freedberg, 471 1092: 684:Group of the damned, with 220:final and eternal judgment 5688:The Last Judgement in art 5524: 5386:Vatican Television Center 5258: 5165: 5006: 4904:Mater Ecclesiae Monastery 4614: 4477: 4338: 4328:The Agony and the Ecstasy 4036:The Temptations of Christ 4006: 3533:The Agony and the Ecstasy 3365: 3354: 3266: 3255: 3061: 3050: 2932:Christ Carrying the Cross 2632: 2621: 2600: 2399:, selected and edited by 1807:Transcript translated per 890:and the entire figure of 777:'s repainted versions of 378:are shown around Christ. 45: 37: 5658:Paintings of Saint Peter 5603:Fresco paintings in Rome 5398:Vatican Publishing House 4703:Redemptoris Mater Chapel 4555:Old St. Peter's Basilica 4057:The Delivery of the Keys 3399:The Punishment of Tityus 2228:The Passionate Sightseer 1501:Pietrangeli, 180; Hughes 1438:Pietrangeli, 189; Camara 915:, and probably again of 661:Coronation of the Virgin 656:Assumption of the Virgin 546:Fall of the Rebel Angels 520:Resurrection of the Dead 439:at the end of the chapel 294:, especially one in the 5618:Sistine Chapel frescoes 5536:Vatican City portal 4948:Via della Conciliazione 4544:Prisoner in the Vatican 4413:Vatican City portal 4144:The Drunkenness of Noah 4050:The Sermon on the Mount 3964:Moses Leaving for Egypt 3556:Michelangelo quadrangle 3286:Basilica of San Lorenzo 2338:Oxford University Press 1089:Restoration (1980–1994) 762:at the bottom left and 216:Second Coming of Christ 5548:Catholicism portal 5510:National football team 5504:National football team 5404:Acta Apostolicae Sedis 5096:For Vatican City State 4425:Catholicism portal 4383:Bartolomeo della Gatta 3835:Sistine Chapel ceiling 3800:San Pietro in Montorio 3706:Bernardino delle Croci 3307:Piazza del Campidoglio 3238:The Conversion of Saul 3114:Salone dei Cinquecento 2786:Piccolomini Altarpiece 2666:Battle of the Centaurs 2513:Studies in Iconography 2298:, New York, LOC 578295 2277:, 3rd ed. 1993, Yale, 1976:Blunt, 99; Vasari, 276 1966:terribiltà/terribilità 1131:Inserted self-portrait 1064: 1033: 1025: 960:, a prolific Venetian 950:Sistine Chapel ceiling 831: 785: 767: 709: 693: 632: 601:Adoration of the Kings 451: 440: 386: 339: 331: 231:Sistine Chapel ceiling 192:Il Giudizio Universale 191: 178: 160:The Conversion of Saul 150:Sistine Chapel ceiling 40:Il Giudizio Universale 5359:Holy See Press Office 5144:Corps of Firefighters 4919:Paul VI Audience Hall 4870:Domus Sanctae Marthae 4642:St. Peter's Baldachin 4572:Cortile del Belvedere 4538:History of the papacy 4134:The Sacrifice of Noah 4029:The Baptism of Christ 3731:Sebastiano del Piombo 3661:Mariotto Albertinelli 3551:Michelangelo (crater) 3455:Sebastiano del Piombo 3435:Tommaso dei Cavalieri 3385:Male Back with a Flag 2900:The Genius of Victory 2659:Madonna of the Stairs 2342:Subscription required 1211:The damned soul alone 1059: 1031: 1020: 803:Giovanni Andrea Gilio 773: 754: 699: 683: 630: 557:Sebastiano del Piombo 536:Resurrection of Jesus 528:Resurrection of Jesus 524:Christian eschatology 480:Rogier van der Weyden 446: 434: 385:The damned in the air 384: 337: 329: 170: 130:41.90278°N 12.45417°E 5420:L'Osservatore Romano 5329:Sistine Chapel Choir 5133:Corps of Gendarmerie 4958:Porta San Pellegrino 4909:Sant'Egidio in Borgo 4637:Chair of Saint Peter 4629:St. Peter's Basilica 4597:Piazza Scossacavalli 4362:Domenico Ghirlandaio 4312:Sistine Chapel Choir 4118:The Creation of Adam 3829:St. Peter's Basilica 3696:Antonio da Correggio 3613:Principal proponents 3317:St. Peter's Basilica 3167:The Creation of Adam 2691:Arca di San Domenico 2559:at Wikimedia Commons 2474:Graham-Dixon, Andrew 2352:The Renaissance Nude 2272:Freedberg, Sydney J. 2205:Barnes, Bernardine, 1721:Pietrangeli, 192–194 1456:Pietrangeli, 182–184 1420:, publishing in 1925 1316:Pietrangeli, 184–185 1271:"The Last Judgement" 985:Life of Michelangelo 713:Religious objections 706:Museo di Capodimonte 338:A group of the Saved 5411:Annuario Pontificio 5263:Academy of Sciences 4822:Gregoriano Egiziano 4124:The Creation of Eve 3761:Antonio Vassilacchi 3430:Cecchino dei Bracci 2924:Florence, 1516–1534 2764:Florence, 1501–1505 2444:Barnes, Bernadine, 2427:Barnes, Bernadine, 2288:Friedländer, Walter 2254:Camara, Esperança, 2094:Dixon, John W. Jr. 1585:Pietrangeli, 32, 79 1567:Pietrangeli, 31, 34 1273:. Vatican Museums. 1121:Gianluigi Colalucci 884:Daniele da Volterra 775:Daniele da Volterra 722:Counter-Reformation 618:Ancestors of Christ 616:with the first two 532:Counter-Reformation 467:, or in a sculpted 305:ostentatio vulnerum 260:Sydney J. Freedberg 202:covering the whole 126: / 5633:Paintings of Jesus 5613:Catholic paintings 5175:Vatican euro coins 4970:Saint John's Tower 4943:St. Peter's Square 4892:Collegio Teutonico 4875:Holy Spirit Chapel 4837:Bramante Staircase 4817:Gregoriano Etrusco 4659:Saint Peter's tomb 4654:Vatican Necropolis 4513:List of sovereigns 3971:The Youth of Moses 3726:Baldassare Peruzzi 3681:Moretto da Brescia 3666:Pellegrino Aretusi 3544:A Season of Giants 3527:(1950 documentary) 3302:Capitoline Museums 3282:Laurentian Library 3081:Manchester Madonna 2831:Rothschild Bronzes 2683:Bologna, 1494–1495 2532:Roskill, Mark W., 2518:Partridge, Loren, 2459:Connor, James A., 2441:, 77 (1995), 64–81 2305:, 1996 (2nd ed.), 2131:Bernadine Barnes, 2048:Freedberg, 475–477 2039:Freedberg, 473–474 1889:2023-08-22 at the 1812:2012-04-15 at the 1704:Lodovico Domenichi 1630:Pietrangeli, 32–33 1621:Pietrangeli, 31–33 1612:Pietrangeli, 27–28 1554:2013-02-09 at the 1535:2013-02-09 at the 1530:life of Sebastiano 1034: 1026: 938:Artistic criticism 845:(later renamed as 786: 768: 710: 694: 633: 590:designs by Raphael 578:Assumption of Mary 452: 441: 421:Book of Revelation 387: 340: 332: 179: 135:41.90278; 12.45417 5556: 5555: 5516:Vatican Athletics 5482: 5481: 5434: 5433: 5290:Apostolic Archive 5245: 5244: 5152: 5151: 5015:Foreign relations 4993: 4992: 4965:Ricciolo d'Italia 4933:Passetto di Borgo 4897:Teutonic Cemetery 4850: 4849: 4708:Borgia Apartments 4689: 4688: 4669:Tomb of the Julii 4433: 4432: 4352:Sandro Botticelli 4267:The Last Judgment 4254: 4253: 3911: 3910: 3856:The Last Judgment 3645:Leonardo da Vinci 3572: 3571: 3568: 3567: 3564: 3563: 3350: 3349: 3346: 3345: 3251: 3250: 3247: 3246: 3211:The Last Judgment 3139:(ceiling gallery) 3123:Battle of Cascina 3102:Leda and the Swan 3046: 3045: 3042: 3041: 2841:Tomb of Julius II 2784:Additions to the 2779:Madonna of Bruges 2689:Additions to the 2555:Media related to 2486:978-1-60671-013-5 2469:978-0-230-60573-2 2362:, 9781606065846, 2224:Berenson, Bernard 1882:, 9780195121728, 1418:Francesco_La_Cava 1137:Saint Bartholomew 1125:Fig-Leaf Campaign 1045:In theology, the 874: 856:A. Certainly not. 718:The Last Judgment 500:Christ in Majesty 475:Beaune Altarpiece 427:Choice of subject 356:Saint Bartholomew 183:The Last Judgment 165: 164: 33:The Last Judgment 16:(Redirected from 5695: 5585: 5584: 5573: 5572: 5571: 5564: 5546: 5545: 5534: 5533: 5532: 5393:Vatican News App 5347: 5256: 5163: 5086:Apostolic Camera 5004: 4980:Vatican Pharmacy 4925:The Resurrection 4742:Niccoline Chapel 4732:Cappella Paolina 4718:Papal apartments 4695:Apostolic Palace 4676:Vatican Grottoes 4625: 4616: 4612: 4460: 4453: 4446: 4437: 4423: 4422: 4411: 4410: 4409: 4367:Biagio d'Antonio 4285:Raphael Cartoons 4224:Erythraean Sibyl 4086: 4012: 3938: 3931: 3924: 3915: 3879:Jacob Burckhardt 3824: 3823: 1502–1516 3821: 3787: 3786: 1492–1498 3784: 3741:Andrea del Sarto 3676:Ludovico Beretta 3606:High Renaissance 3599: 3592: 3585: 3576: 3511:Replicas of the 3465:Luigi del Riccio 3440:Vittoria Colonna 3367: 3356: 3268: 3257: 3188:Prophet Jeremiah 3063: 3052: 3025:Palestrina Pietà 3018:Florentine Pietà 2858:Rebellious Slave 2643: 2642: 1488–1492 2640: 2634: 2623: 2587: 2580: 2573: 2564: 2554: 2340:. 22 Mar. 2017. 2320:Hartt, Frederick 2194: 2193: 2191: 2190: 2151:Critical Inquiry 2142: 2136: 2129: 2120: 2117: 2111: 2110: 2108: 2107: 2098:. 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1918: 1914: 1909: 1905: 1900: 1896: 1891:Wayback Machine 1869: 1865: 1860: 1856: 1851: 1847: 1842: 1838: 1833: 1829: 1824: 1820: 1814:Wayback Machine 1805: 1801: 1796: 1792: 1787: 1783: 1773: 1771: 1757: 1756: 1752: 1747: 1743: 1738: 1734: 1729: 1725: 1720: 1716: 1701: 1697: 1692: 1685: 1680: 1676: 1671: 1664: 1659: 1655: 1650: 1643: 1638: 1634: 1629: 1625: 1620: 1616: 1611: 1607: 1603:Pietrangeli, 33 1602: 1598: 1593: 1589: 1584: 1580: 1576:Pietrangeli, 51 1575: 1571: 1566: 1562: 1556:Wayback Machine 1546: 1542: 1537:Wayback Machine 1527: 1523: 1518: 1514: 1509: 1505: 1500: 1496: 1491: 1487: 1482: 1478: 1473: 1469: 1464: 1460: 1455: 1451: 1446: 1442: 1437: 1433: 1428: 1424: 1411: 1407: 1402: 1398: 1393: 1389: 1384: 1380: 1375: 1371: 1363: 1359: 1354: 1347: 1342: 1338: 1333: 1329: 1324: 1320: 1315: 1311: 1306: 1299: 1294: 1290: 1280: 1278: 1269: 1268: 1264: 1260: 1255: 1243: 1236: 1233: 1224: 1221: 1212: 1209: 1200: 1194: 1185: 1179: 1170: 1167: 1158: 1133: 1117:Vatican Museums 1097: 1091: 1023:Crown of Thorns 1015: 956:and his friend 945: 940: 888:Saint Catherine 880: 871: 868: 866: 864: 861: 859: 857: 855: 852: 779:Saint Catherine 760:Saint Catherine 715: 678: 670:Vatican Museums 582:Pietro Perugino 515: 513:Before starting 429: 376:Twelve Apostles 372:Ascanio Condivi 255: 134: 132: 128: 125: 120: 117: 115: 113: 112: 105: 28: 23: 22: 15: 12: 11: 5: 5701: 5699: 5691: 5690: 5685: 5680: 5675: 5670: 5665: 5660: 5655: 5650: 5645: 5640: 5635: 5630: 5625: 5620: 5615: 5610: 5605: 5595: 5594: 5590: 5589: 5577: 5554: 5553: 5551: 5550: 5538: 5525: 5522: 5521: 5519: 5518: 5513: 5507: 5501: 5496: 5490: 5488: 5484: 5483: 5480: 5479: 5477: 5476: 5471: 5466: 5460: 5458: 5454: 5453: 5451: 5450: 5444: 5442: 5436: 5435: 5432: 5431: 5429: 5428: 5423: 5416: 5415: 5414: 5407: 5395: 5390: 5389: 5388: 5383: 5378: 5368: 5367: 5366: 5355: 5353: 5344: 5343: 5338: 5333: 5332: 5331: 5321: 5320: 5319: 5309: 5304: 5299: 5297:Climate Forest 5294: 5293: 5292: 5282: 5277: 5276: 5275: 5270: 5259: 5253: 5247: 5246: 5243: 5242: 5240: 5239: 5238: 5237: 5232: 5221: 5219: 5218:Infrastructure 5215: 5214: 5212: 5211: 5206: 5201: 5200: 5199: 5198: 5197: 5190:Poste Vaticane 5187: 5180:Communications 5177: 5172: 5166: 5160: 5154: 5153: 5150: 5149: 5147: 5146: 5140: 5135: 5129: 5127: 5121: 5120: 5118: 5117: 5116: 5115: 5110: 5105: 5100: 5099: 5098: 5088: 5077: 5075: 5069: 5068: 5066: 5065: 5063:Pietro Parolin 5057: 5048: 5046: 5042: 5041: 5039: 5038: 5037: 5032: 5022: 5017: 5012: 5007: 5001: 4995: 4994: 4991: 4990: 4988: 4987: 4982: 4977: 4972: 4967: 4962: 4961: 4960: 4955: 4950: 4940: 4935: 4930: 4929: 4928: 4916: 4911: 4906: 4901: 4900: 4899: 4894: 4884: 4879: 4878: 4877: 4867: 4862: 4857: 4851: 4848: 4847: 4845: 4844: 4839: 4834: 4829: 4824: 4819: 4814: 4809: 4807:Pio-Clementino 4804: 4799: 4794: 4788: 4786: 4780: 4779: 4777: 4776: 4775: 4774: 4769: 4764: 4757:Sistine Chapel 4754: 4749: 4744: 4739: 4734: 4729: 4728: 4727: 4715: 4710: 4705: 4699: 4697: 4691: 4690: 4687: 4686: 4684: 4683: 4678: 4673: 4672: 4671: 4666: 4661: 4651: 4644: 4639: 4633: 4631: 4622: 4620:Major basilica 4609: 4603: 4602: 4600: 4599: 4594: 4589: 4584: 4582:Lateran Treaty 4579: 4574: 4569: 4564: 4563: 4562: 4552: 4550:Circus of Nero 4547: 4540: 4534: 4532: 4526: 4525: 4523: 4522: 4517: 4516: 4515: 4501: 4500: 4499: 4489: 4484: 4478: 4475: 4474: 4465: 4463: 4462: 4455: 4448: 4440: 4431: 4430: 4428: 4427: 4415: 4402: 4401: 4399:Pope Sixtus IV 4396: 4390: 4385: 4380: 4375: 4370: 4364: 4359: 4354: 4349: 4339: 4336: 4335: 4333: 4332: 4324: 4319: 4314: 4309: 4304: 4298: 4296: 4292: 4291: 4289: 4288: 4280: 4278: 4274: 4273: 4271: 4270: 4262: 4260: 4256: 4255: 4252: 4251: 4249: 4248: 4241: 4234: 4227: 4220: 4212: 4210: 4206: 4205: 4203: 4202: 4195: 4188: 4183: 4176: 4171: 4164: 4156: 4154: 4150: 4149: 4147: 4146: 4141: 4136: 4131: 4126: 4121: 4114: 4109: 4102: 4094: 4092: 4083: 4071: 4070: 4068: 4067: 4060: 4053: 4046: 4039: 4032: 4024: 4022: 4015: 4014: 4007: 4005: 4003: 4002: 3995: 3988: 3981: 3974: 3967: 3959: 3957: 3950: 3949: 3946:Sistine Chapel 3943: 3941: 3940: 3933: 3926: 3918: 3909: 3908: 3906: 3905: 3904: 3903: 3894:Giorgio Vasari 3891: 3886: 3881: 3876: 3870: 3868: 3864: 3863: 3861: 3860: 3852: 3844: 3838: 3832: 3826: 3811: 3803: 3797: 3789: 3773: 3771: 3767: 3766: 3764: 3763: 3758: 3753: 3748: 3743: 3738: 3733: 3728: 3723: 3718: 3713: 3711:Girolamo Genga 3708: 3703: 3698: 3693: 3688: 3683: 3678: 3673: 3671:Fra Bartolomeo 3668: 3663: 3657: 3655: 3651: 3650: 3648: 3647: 3642: 3637: 3632: 3627: 3622: 3616: 3614: 3610: 3609: 3604: 3602: 3601: 3594: 3587: 3579: 3570: 3569: 3566: 3565: 3562: 3561: 3559: 3558: 3553: 3548: 3546:(1990 TV film) 3540: 3529: 3521: 3516: 3508: 3500: 3495: 3488: 3483: 3477: 3475: 3471: 3470: 3468: 3467: 3462: 3460:Febo di Poggio 3457: 3452: 3447: 3442: 3437: 3432: 3426: 3424: 3420: 3419: 3417: 3416: 3409: 3402: 3395: 3388: 3381: 3373: 3371: 3370:Works on paper 3363: 3362: 3359: 3352: 3351: 3348: 3347: 3344: 3343: 3341: 3340: 3335: 3330: 3325: 3319: 3314: 3309: 3304: 3298: 3296: 3292: 3291: 3289: 3288: 3274: 3272: 3264: 3263: 3260: 3253: 3252: 3249: 3248: 3245: 3244: 3242: 3241: 3234: 3226: 3224: 3222:Pauline Chapel 3218: 3217: 3215: 3214: 3207: 3206: 3205: 3198: 3191: 3184: 3181:Prophet Isaiah 3177: 3174:Prophet Daniel 3170: 3163: 3156: 3143: 3141: 3135:Sistine Chapel 3131: 3130: 3128: 3127: 3118: 3116: 3110: 3109: 3107: 3106: 3098: 3091: 3088:The Entombment 3084: 3077: 3069: 3067: 3059: 3058: 3055: 3048: 3047: 3044: 3043: 3040: 3039: 3037: 3036: 3029: 3021: 3014: 3006: 3004: 3000: 2999: 2997: 2996: 2989: 2982: 2981: 2980: 2977:Medici Madonna 2973: 2966: 2959: 2952: 2945: 2937:Medici Chapel 2935: 2927: 2925: 2921: 2920: 2918: 2917: 2910: 2903: 2896: 2889: 2882: 2875: 2868: 2861: 2854: 2846: 2844: 2837: 2836: 2834: 2833: 2828: 2821: 2814: 2807: 2806: 2805: 2782: 2775: 2767: 2765: 2761: 2760: 2758: 2757: 2750: 2746:Standing Cupid 2742: 2735: 2731:Sleeping Cupid 2726: 2724: 2720: 2719: 2717: 2716: 2715: 2714: 2707: 2704:Saint Proculus 2700: 2686: 2684: 2680: 2679: 2677: 2676: 2669: 2662: 2655: 2651:Head of a Faun 2646: 2644: 2630: 2629: 2626: 2619: 2618: 2616: 2615: 2612: 2609: 2601: 2598: 2597: 2592: 2590: 2589: 2582: 2575: 2567: 2561: 2560: 2546: 2545:External links 2543: 2542: 2541: 2530: 2516: 2507:Leader, Anne, 2505: 2488: 2471: 2457: 2442: 2423: 2420: 2419: 2418: 2408: 2394: 2380: 2366: 2346:Kren, Thomas; 2344: 2334: 2317: 2299: 2296:Schocken Books 2285: 2269: 2262:Clark, Kenneth 2259: 2258:, Khan Academy 2252: 2234:Blunt, Anthony 2231: 2221: 2201: 2198: 2196: 2195: 2163:10.1086/448058 2157:(3): 411–454. 2137: 2121: 2112: 2086: 2077: 2068: 2059: 2050: 2041: 2032: 2023: 2014: 2005: 1996: 1987: 1978: 1969: 1957: 1948: 1939: 1930: 1921: 1912: 1903: 1894: 1863: 1854: 1845: 1836: 1827: 1818: 1799: 1790: 1781: 1750: 1741: 1732: 1723: 1714: 1712:(1556), p. 668 1695: 1683: 1674: 1662: 1653: 1641: 1632: 1623: 1614: 1605: 1596: 1587: 1578: 1569: 1560: 1558:(near the end) 1540: 1521: 1512: 1503: 1494: 1485: 1476: 1467: 1458: 1449: 1440: 1431: 1422: 1405: 1396: 1387: 1378: 1369: 1357: 1345: 1336: 1327: 1318: 1309: 1307:Freedberg, 471 1297: 1288: 1261: 1259: 1256: 1254: 1251: 1250: 1249: 1242: 1239: 1238: 1237: 1234: 1227: 1225: 1222: 1215: 1213: 1210: 1203: 1201: 1195: 1188: 1186: 1180: 1173: 1171: 1168: 1161: 1157: 1154: 1132: 1129: 1093:Main article: 1090: 1087: 1070:S.J. Freedberg 1014: 1011: 958:Lodovico Dolce 954:Pietro Aretino 944: 941: 939: 936: 879: 876: 839:Paolo Veronese 807:foreshortening 714: 711: 677: 674: 622:altar curtains 522:, followed in 514: 511: 428: 425: 348:keys of Heaven 346:, holding the 292:Last Judgments 288:Pope Julius II 254: 251: 208:Sistine Chapel 163: 162: 157: 153: 152: 147: 143: 142: 110: 102: 101: 95:Sistine Chapel 92: 88: 87: 84: 80: 79: 74: 70: 69: 66: 62: 61: 56: 52: 51: 43: 42: 35: 34: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 5700: 5689: 5686: 5684: 5681: 5679: 5676: 5674: 5673:Snakes in art 5671: 5669: 5666: 5664: 5661: 5659: 5656: 5654: 5651: 5649: 5646: 5644: 5643:Angels in art 5641: 5639: 5636: 5634: 5631: 5629: 5626: 5624: 5621: 5619: 5616: 5614: 5611: 5609: 5606: 5604: 5601: 5600: 5598: 5588: 5583: 5578: 5576: 5566: 5562: 5549: 5544: 5539: 5537: 5527: 5526: 5523: 5517: 5514: 5511: 5508: 5505: 5502: 5500: 5497: 5495: 5492: 5491: 5489: 5485: 5475: 5472: 5470: 5467: 5465: 5462: 5461: 5459: 5455: 5449: 5446: 5445: 5443: 5441: 5437: 5427: 5424: 5422: 5421: 5417: 5413: 5412: 5408: 5406: 5405: 5401: 5400: 5399: 5396: 5394: 5391: 5387: 5384: 5382: 5381:Vatican Radio 5379: 5377: 5374: 5373: 5372: 5371:Vatican Media 5369: 5365: 5362: 5361: 5360: 5357: 5356: 5354: 5352: 5348: 5342: 5339: 5337: 5334: 5330: 5327: 5326: 5325: 5322: 5318: 5315: 5314: 5313: 5310: 5308: 5305: 5303: 5300: 5298: 5295: 5291: 5288: 5287: 5286: 5283: 5281: 5278: 5274: 5271: 5269: 5266: 5265: 5264: 5261: 5260: 5257: 5254: 5252: 5248: 5236: 5233: 5231: 5228: 5227: 5226: 5223: 5222: 5220: 5216: 5210: 5207: 5205: 5202: 5196: 5193: 5192: 5191: 5188: 5186: 5183: 5182: 5181: 5178: 5176: 5173: 5171: 5168: 5167: 5164: 5161: 5159: 5155: 5145: 5141: 5139: 5136: 5134: 5131: 5130: 5128: 5126: 5122: 5114: 5111: 5109: 5108:Congregations 5106: 5104: 5101: 5097: 5094: 5093: 5092: 5089: 5087: 5084: 5083: 5082: 5079: 5078: 5076: 5074: 5070: 5064: 5061: 5058: 5056: 5053: 5050: 5049: 5047: 5043: 5036: 5033: 5031: 5028: 5027: 5026: 5023: 5021: 5020:Vicar General 5018: 5016: 5013: 5011: 5008: 5005: 5002: 5000: 4996: 4986: 4983: 4981: 4978: 4976: 4973: 4971: 4968: 4966: 4963: 4959: 4956: 4954: 4951: 4949: 4946: 4945: 4944: 4941: 4939: 4936: 4934: 4931: 4927: 4926: 4922: 4921: 4920: 4917: 4915: 4912: 4910: 4907: 4905: 4902: 4898: 4895: 4893: 4890: 4889: 4888: 4885: 4883: 4880: 4876: 4873: 4872: 4871: 4868: 4866: 4863: 4861: 4860:Casina Pio IV 4858: 4856: 4853: 4852: 4843: 4840: 4838: 4835: 4833: 4830: 4828: 4827:Pio Cristiano 4825: 4823: 4820: 4818: 4815: 4813: 4810: 4808: 4805: 4803: 4800: 4798: 4795: 4793: 4790: 4789: 4787: 4785: 4781: 4773: 4772:Room of Tears 4770: 4768: 4765: 4763: 4760: 4759: 4758: 4755: 4753: 4750: 4748: 4745: 4743: 4740: 4738: 4737:Raphael Rooms 4735: 4733: 4730: 4726: 4725: 4721: 4720: 4719: 4716: 4714: 4711: 4709: 4706: 4704: 4701: 4700: 4698: 4696: 4692: 4682: 4679: 4677: 4674: 4670: 4667: 4665: 4662: 4660: 4657: 4656: 4655: 4652: 4650: 4649: 4645: 4643: 4640: 4638: 4635: 4634: 4632: 4630: 4626: 4623: 4621: 4617: 4613: 4610: 4608: 4604: 4598: 4595: 4593: 4592:Borgo Vecchio 4590: 4588: 4585: 4583: 4580: 4578: 4575: 4573: 4570: 4568: 4565: 4561: 4558: 4557: 4556: 4553: 4551: 4548: 4545: 4541: 4539: 4536: 4535: 4533: 4531: 4527: 4521: 4518: 4514: 4511: 4510: 4509: 4505: 4502: 4498: 4495: 4494: 4493: 4490: 4488: 4485: 4483: 4480: 4479: 4476: 4472: 4468: 4461: 4456: 4454: 4449: 4447: 4442: 4441: 4438: 4426: 4421: 4416: 4414: 4404: 4403: 4400: 4397: 4394: 4391: 4389: 4386: 4384: 4381: 4379: 4376: 4374: 4371: 4368: 4365: 4363: 4360: 4358: 4355: 4353: 4350: 4348: 4344: 4341: 4340: 4337: 4330: 4329: 4325: 4323: 4320: 4318: 4317:Room of Tears 4315: 4313: 4310: 4308: 4305: 4303: 4300: 4299: 4297: 4293: 4287: 4286: 4282: 4281: 4279: 4275: 4269: 4268: 4264: 4263: 4261: 4257: 4247: 4246: 4242: 4240: 4239: 4238:Cumaean Sibyl 4235: 4233: 4232: 4231:Delphic Sibyl 4228: 4226: 4225: 4221: 4219: 4218: 4217:Persian Sibyl 4214: 4213: 4211: 4207: 4201: 4200: 4196: 4194: 4193: 4189: 4187: 4184: 4182: 4181: 4177: 4175: 4172: 4170: 4169: 4165: 4163: 4162: 4158: 4157: 4155: 4151: 4145: 4142: 4140: 4137: 4135: 4132: 4130: 4127: 4125: 4122: 4120: 4119: 4115: 4113: 4110: 4108: 4107: 4103: 4101: 4100: 4096: 4095: 4093: 4087: 4084: 4081: 4076: 4072: 4066: 4065: 4061: 4059: 4058: 4054: 4052: 4051: 4047: 4045: 4044: 4040: 4038: 4037: 4033: 4031: 4030: 4026: 4025: 4023: 4021: 4016: 4011: 4001: 4000: 3996: 3994: 3993: 3989: 3987: 3986: 3982: 3980: 3979: 3975: 3973: 3972: 3968: 3966: 3965: 3961: 3960: 3958: 3956: 3951: 3947: 3939: 3934: 3932: 3927: 3925: 3920: 3919: 3916: 3902: 3901: 3897: 3896: 3895: 3892: 3890: 3887: 3885: 3882: 3880: 3877: 3875: 3872: 3871: 3869: 3865: 3858: 3857: 3853: 3850: 3849: 3845: 3842: 3841:Raphael Rooms 3839: 3836: 3833: 3830: 3827: 3817: 3816: 3812: 3809: 3808: 3804: 3801: 3798: 3795: 3794: 3790: 3780: 3779: 3775: 3774: 3772: 3768: 3762: 3759: 3757: 3756:Palma Vecchio 3754: 3752: 3749: 3747: 3744: 3742: 3739: 3737: 3734: 3732: 3729: 3727: 3724: 3722: 3719: 3717: 3716:Lorenzo Lotto 3714: 3712: 3709: 3707: 3704: 3702: 3699: 3697: 3694: 3692: 3691:Giulio Clovio 3689: 3687: 3684: 3682: 3679: 3677: 3674: 3672: 3669: 3667: 3664: 3662: 3659: 3658: 3656: 3654:Other artists 3652: 3646: 3643: 3641: 3638: 3636: 3633: 3631: 3628: 3626: 3623: 3621: 3618: 3617: 3615: 3611: 3607: 3600: 3595: 3593: 3588: 3586: 3581: 3580: 3577: 3557: 3554: 3552: 3549: 3547: 3545: 3541: 3539: 3536: 3534: 3530: 3528: 3526: 3522: 3520: 3517: 3515: 3514: 3509: 3507: 3506: 3501: 3499: 3496: 3494: 3493: 3489: 3487: 3484: 3482: 3479: 3478: 3476: 3472: 3466: 3463: 3461: 3458: 3456: 3453: 3451: 3448: 3446: 3443: 3441: 3438: 3436: 3433: 3431: 3428: 3427: 3425: 3421: 3415: 3414: 3410: 3408: 3407: 3403: 3401: 3400: 3396: 3394: 3393: 3389: 3387: 3386: 3382: 3380: 3379: 3375: 3374: 3372: 3368: 3364: 3357: 3353: 3339: 3336: 3334: 3331: 3329: 3326: 3323: 3320: 3318: 3315: 3313: 3310: 3308: 3305: 3303: 3300: 3299: 3297: 3293: 3287: 3283: 3279: 3276: 3275: 3273: 3269: 3265: 3258: 3254: 3240: 3239: 3235: 3233: 3232: 3228: 3227: 3225: 3223: 3219: 3213: 3212: 3208: 3204: 3203: 3202:Prophet Jonah 3199: 3197: 3196: 3192: 3190: 3189: 3185: 3183: 3182: 3178: 3176: 3175: 3171: 3169: 3168: 3164: 3162: 3161: 3157: 3155: 3154: 3150: 3149: 3148: 3145: 3144: 3142: 3140: 3136: 3132: 3125: 3124: 3120: 3119: 3117: 3115: 3111: 3104: 3103: 3099: 3097: 3096: 3092: 3090: 3089: 3085: 3083: 3082: 3078: 3076: 3075: 3071: 3070: 3068: 3064: 3060: 3053: 3049: 3035: 3034: 3030: 3027: 3026: 3022: 3020: 3019: 3015: 3013: 3012: 3008: 3007: 3005: 3001: 2995: 2994: 2993:Crouching Boy 2990: 2988: 2987: 2983: 2979: 2978: 2974: 2972: 2971: 2967: 2965: 2964: 2960: 2958: 2957: 2953: 2951: 2950: 2946: 2944: 2943: 2939: 2938: 2936: 2934: 2933: 2929: 2928: 2926: 2922: 2916: 2915: 2911: 2909: 2908: 2904: 2902: 2901: 2897: 2895: 2894: 2890: 2888: 2887: 2883: 2881: 2880: 2879:Bearded Slave 2876: 2874: 2873: 2869: 2867: 2866: 2862: 2860: 2859: 2855: 2853: 2852: 2848: 2847: 2845: 2842: 2838: 2832: 2829: 2827: 2826: 2825:Saint Matthew 2822: 2820: 2819: 2815: 2813: 2812: 2808: 2804: 2800: 2796: 2792: 2789: 2788: 2787: 2783: 2781: 2780: 2776: 2774: 2773: 2769: 2768: 2766: 2762: 2756: 2755: 2751: 2748: 2747: 2743: 2741: 2740: 2736: 2733: 2732: 2728: 2727: 2725: 2721: 2713: 2712: 2708: 2706: 2705: 2701: 2699: 2698: 2694: 2693: 2692: 2688: 2687: 2685: 2681: 2675: 2674: 2670: 2668: 2667: 2663: 2661: 2660: 2656: 2653: 2652: 2648: 2647: 2645: 2635: 2631: 2624: 2620: 2613: 2610: 2608: 2607: 2606:List of works 2603: 2602: 2599: 2595: 2588: 2583: 2581: 2576: 2574: 2569: 2568: 2565: 2558: 2553: 2549: 2548: 2544: 2539: 2535: 2531: 2529: 2528:0-8109-1549-9 2525: 2521: 2517: 2514: 2510: 2506: 2504: 2503:0-521-78002-0 2500: 2496: 2492: 2489: 2487: 2483: 2479: 2475: 2472: 2470: 2466: 2462: 2458: 2455: 2451: 2449: 2448:Last Judgment 2443: 2440: 2439: 2434: 2432: 2431:Last Judgment 2426: 2425: 2421: 2416: 2412: 2409: 2406: 2402: 2398: 2395: 2393: 2392:0-517-56274-X 2389: 2385: 2381: 2378: 2374: 2370: 2369:Murray, Linda 2367: 2365: 2361: 2357: 2353: 2349: 2345: 2343: 2339: 2335: 2333: 2332:0-500-23510-4 2329: 2325: 2321: 2318: 2316: 2315:0-7195-4147-6 2312: 2308: 2304: 2301:Hall, James, 2300: 2297: 2293: 2289: 2286: 2284: 2283:0-300-05587-0 2280: 2276: 2273: 2270: 2267: 2263: 2260: 2257: 2253: 2251: 2250:0-19-881050-4 2247: 2243: 2239: 2235: 2232: 2229: 2225: 2222: 2220: 2216: 2215:0-520-20549-9 2212: 2208: 2204: 2203: 2199: 2184: 2180: 2176: 2172: 2168: 2164: 2160: 2156: 2152: 2148: 2141: 2138: 2134: 2128: 2126: 2122: 2116: 2113: 2102:on 2007-08-14 2101: 2097: 2090: 2087: 2081: 2078: 2072: 2069: 2063: 2060: 2054: 2051: 2045: 2042: 2036: 2033: 2027: 2024: 2018: 2015: 2009: 2006: 2000: 1997: 1991: 1988: 1982: 1979: 1973: 1970: 1967: 1961: 1958: 1952: 1949: 1943: 1940: 1934: 1931: 1925: 1922: 1916: 1913: 1907: 1904: 1898: 1895: 1892: 1888: 1885: 1881: 1880:0-19-512172-4 1877: 1873: 1867: 1864: 1858: 1855: 1849: 1846: 1840: 1837: 1831: 1828: 1822: 1819: 1815: 1811: 1808: 1803: 1800: 1794: 1791: 1785: 1782: 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Retrieved 2154: 2150: 2140: 2132: 2115: 2104:. Retrieved 2100:the original 2089: 2080: 2071: 2066:Berenson, 34 2062: 2053: 2044: 2035: 2026: 2017: 2008: 1999: 1990: 1981: 1972: 1965: 1960: 1951: 1942: 1933: 1924: 1915: 1906: 1897: 1884:google books 1871: 1866: 1857: 1848: 1839: 1830: 1821: 1802: 1793: 1784: 1772:. Retrieved 1764:16 July 2013 1763: 1753: 1744: 1735: 1726: 1717: 1707: 1702:Reported by 1698: 1677: 1656: 1635: 1626: 1617: 1608: 1599: 1590: 1581: 1572: 1563: 1543: 1524: 1515: 1506: 1497: 1488: 1479: 1470: 1461: 1452: 1443: 1434: 1425: 1408: 1399: 1390: 1381: 1372: 1360: 1339: 1330: 1321: 1312: 1291: 1279:. 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Slate. 1672:Kren, 375 1281:27 August 1253:Footnotes 989:L'Aretino 878:Revisions 799:Dominican 586:Albertina 506:Purgatory 68:1536–1541 38:Italian: 5683:Nude art 5575:Painting 5440:Religion 5426:Pope2you 5285:Archives 5230:Heliport 5125:Military 5103:Councils 4999:Politics 4492:Holy See 4471:articles 4168:Jeremiah 4153:Prophets 4018:Life of 3953:Life of 3413:Epifania 3271:Florence 2673:Crucifix 2536:Aretino 2183:Archived 1887:Archived 1810:Archived 1768:Archived 1552:Archived 1547:Vasari, 1533:Archived 1275:Archived 1241:See also 962:humanist 904:El Greco 870:feeling. 692:at right 614:lunettes 598:and the 562:arriccio 550:cornices 469:tympanum 269:Hercules 218:and the 91:Location 5561:Portals 5512:(Women) 5457:Symbols 5312:Library 5251:Culture 5209:Tourism 5170:Banking 5158:Economy 5055:Francis 4882:Gardens 4767:ceiling 4530:History 4508:Francis 4487:Outline 4393:Raphael 4295:Related 4174:Ezekiel 4091:Genesis 4080:Gallery 4075:Ceiling 3867:Related 3635:Raphael 3474:Related 3284:in the 3147:Ceiling 2803:Gregory 2739:Bacchus 2534:Dolce's 2493:, ed., 2171:1343102 1156:Details 1113:curator 996:Raphael 925:Pius XI 726:decorum 576:of the 463:at the 409:Inferno 277:Jupiter 194:) is a 188:Italian 5487:Sports 5464:Anthem 4469: 4209:Sibyls 4199:Daniel 4192:Isaiah 4020:Christ 3802:(1500) 3640:Titian 3423:Milieu 3011:Brutus 2986:Apollo 2907:Rachel 2526: 2501: 2484: 2467: 2390: 2358: 2330: 2313: 2281: 2248: 2213: 2177: 2169: 1878: 1651:Hughes 1355:Camara 1013:Modern 981:Vasari 974:prints 966:Titian 909:Pius V 863:sense? 641:lintel 542:Vasari 461:Giotto 448:Charon 392:Charon 360:flayed 321:Deesis 275:, and 273:Apollo 224:saints 196:fresco 176:Christ 77:Fresco 55:Artist 5506:(Men) 5351:Media 5324:Music 5030:Crime 4648:Pietà 4482:Index 4161:Jonah 3955:Moses 3807:David 3793:Pietà 3513:Pietà 3505:David 2949:Night 2851:Moses 2772:David 2754:Pietà 2711:Angel 2614:†lost 2452:, in 2175:S2CID 2167:JSTOR 1258:Notes 1057:has: 1007:Lives 738:Minos 690:Minos 404:Minos 400:Satan 396:Dante 319:this 204:altar 5474:Flag 5317:film 5235:Rail 5185:.va 5052:Pope 4842:Maps 4504:Pope 4180:Joel 3295:Rome 3280:and 2970:Dawn 2963:Dusk 2914:Leah 2801:and 2799:Pius 2795:Paul 2524:ISBN 2499:ISBN 2482:ISBN 2465:ISBN 2388:ISBN 2356:ISBN 2328:ISBN 2311:ISBN 2279:ISBN 2246:ISBN 2211:ISBN 1876:ISBN 1776:2013 1283:2013 1119:and 781:and 490:and 454:The 435:The 300:Pisa 174:and 172:Mary 73:Type 65:Year 5025:Law 4345:: 4343:Key 2956:Day 2242:OUP 2159:doi 1706:in 1416:by 688:as 580:by 478:by 298:of 210:in 5599:: 4506:: 3820:c. 3783:c. 2797:, 2793:, 2639:c. 2511:, 2476:, 2435:, 2413:, 2403:, 2371:, 2322:, 2309:, 2290:. 2264:, 2244:, 2236:, 2226:, 2217:, 2181:. 2173:. 2165:. 2153:. 2149:. 2124:^ 1762:. 1686:^ 1665:^ 1644:^ 1348:^ 1300:^ 911:, 538:. 486:, 271:, 190:: 97:, 5563:: 4546:" 4542:" 4459:e 4452:t 4445:v 4082:) 4078:( 3937:e 3930:t 3923:v 3825:) 3818:( 3788:) 3781:( 3598:e 3591:t 3584:v 3324:✻ 3126:† 3105:† 3028:✻ 2749:† 2734:† 2654:† 2586:e 2579:t 2572:v 2450:" 2433:" 2192:. 2161:: 2155:6 2109:. 1778:. 1285:. 704:( 186:( 20:)

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