c. understanding of theology and the Bible
Explanation:
The Last Judgment, the fresco that occupies the altar wall of the Sistine Chapel, is made up of religious and mythological scenes, and everything revolves around the figure of Christ, standing, as if rising, with his right knee still bent. His right hand rises in a gesture of condemnation while his left calls the elect.
For many critics, Michelangelo placed in The Last Judgment everything he was feeling about the cultural, political, and religious chaos that descended upon Europe - and the Church in particular - in this period of history.
The beginning of the Protestant Reformation led to the division of the Church and the rise of the evangelical churches, with Calvinism and Lutheranism, with Jehan Cauvin (Calvin) and Martin Luther.
This spiritual crisis displeased the artist, who expressed all his concern in The Last Judgment. Those who were turning away and criticizing the church would pay with eternity in hell, he faithfully portrayed.
The judgment of the fresco at the Last Judgment was even before the work was finished. It was the terrible time of the Counter Reformation. The presence of naked bodies provided ammunition for intolerance to accuse the artist of immorality, claiming that the naked were antidogmatic. George Vasari comments that the pope's master of ceremonies, Biagio da Cesena, said that “it was a very dishonest thing in such an honorable place, to have made so many figures with no clothes who dishonestly show their shame, and that it was not a chapel work. pope, but spa and taverns ”. And to get revenge on the sanctuary, Michelangelo portrayed him with the appearance of the demon Minos, with a coiled serpent on his body, and biting his genitals. The poet Pietro Aretino suggested that a bonfire be built with the work.
The Last Judgment, which shows a cosmic whirlwind triggered by the great Judge's gesture, was also highly praised. But the falseness of the supposed vestalines eventually gained ground, so that sometime later, the "shame" of the fresco figures with no clothes were covered by Daniele Volterra, one of the artist's assistants, at the behest of Pope Paul IV. And over the years Michelangelo's figures continued to receive clothing. But to the power of art, in 1980, when the doomsday paintings were restored, all the added clothing was removed, leaving the fresco as it was originally painted. This painting, which took five years to complete due to its immense proportions, and which did not require any architectural element to frame the scenes, confronting only figures and space, covers the entire wall just behind the altar, and shows the end of the race. with the redemption of some and the condemnation of others to eternal darkness. That is, the blessed are on the left, rising, and the doomed to plunge into hell on the right, all in circular motion, revolving around the great figure of the returned Messiah.
