1762, under Clement XIII., by second-rate painters under direction of Gio. Battista Pozzi. Copy by M. Venusti in Naples Museum; by H. Levoyer (1570), formerly in collection of Marquis de Las Marismas; by Sigalon (1836), École des Beaux Arts, Paris. Engraved by Fr. Bartolozzi, in outline; do. in small for Duppa's Life of Michelangelo; Ch. Alberti, Studies of Figures and Groups; Nic. Beatrizet in 11 plates (1562), retouched and reprinted by Thomassin in 1620; Giulio Bonasone; Amb. Brambilla; Mario Cartari (1569); Niccolò della Casa; Gio. Battista Cavalieri (1567); Dom. Cunego (1780); Cl. Duchetti; Seb. Fulcaro; Giorgio Ghisi; Matteo Greuter; Ignoto (1556); Michele Lucchesi; Corrado Metz (1808); Giov. Mitterpok for Pistolesi's Vaticano illustrato, viii. Pl. 86; Niccoletto da Modena; C. Normand (1803); Martino Rota (1569, 1573, and 1576); Jacopo Vinio; Niccolò della Volpe; Pietro Woeiriot (1570).—Vasari, ed. Mil., vii. 204; Duppa, Dissertation on L. J. (London, 1801); Metz, Giudizio universale (Rome, 1808-16); Lenoir, Observations sur le Génie de M. A. (Paris, 1820); Guillemot, Jugement dernier (Paris, 1829); Revue des Deux Mondes (1837), 337; Blackwood's Mag. (1839), xlv. 257; Journal Speculative Philosophy (1869), iii. 73; Black, Michael Angelo (London, 1875), 202; Gaz. des B. Arts (1876), xiii. 168, 175, 284; Grimm (Bunnett), Life, ii. 210; Larousse; Gotti, Vita, i. 265; Réveil, xi. 787.
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Last Judgement, Michelangelo, Sistine Chapel, Vatican, Rome.
By Andrea Orcagna, Campo Santo, Pisa; fresco. Above, to left, Christ, enthroned in an almond-shaped glory, with one hand raised, the other pointing to the wound in his side; at his right, the Virgin, in a similar glory, looks down with pity on the condemned; above them, six angels bear the symbols of the Passion; below them, the apostles seated in a row in the clouds, six on each side; immediately beneath the Saviour and the Virgin are four heavenly messengers; further down, on the Saviour's right, the army of the blessed is grouped behind St. John Baptist; on the other side, angels drive the condemned towards hell, which occupies the whole right side of the picture, showing the damned undergoing torture in four stories, one above another, with Satan presiding in the middle. Restored in 1379 by Cecco di Pietro, who probably painted the second circle and ten figures by Lucifer's side. C. & C. attribute this fresco, as well as the Triumph of Death,
