In the spring of 1534, Michelangelo received a commission from Clement VII to paint "The Last Judgment" on the altar wall of the Sistine Chapel. He was also commissioned at this time to paint a "Fall of the Angels" on the entrance wall, but this second work was never executed. He had painted the ceiling of the Sistine Chapel some twenty eight years prior, but the style of his "The Last Judgment" would greatly differ from that of the ceiling.

Before Michelangelo could begin, there were many preparations to be made. A scaffold had to be built and the wall had to be prepared. Five paintings by Perugino and Michelangelo had to be removed. Two windows had to be walled up and Michelangelo "ordered it to be inclined f

Michelangelo's painting is also much more life-like than Cavallini's. All of the differences are quite understandable, considering that these two frescos were painted at completely separate times. (Croix, Tansey, and Kirkpatrick 567)

"The Last Judgment" is a beautiful painting by the master artist, Michelangelo. His painting gives a greater understanding of the Renaissance era as well as an insight into his own feelings. The fresco painting is skillfully planned out and uses the space extremely well. Michelangelo borrowed some of the ideas from his predecessors, but he also put his own twist on the painting, making it a masterpiece.

In comparison with "The Last Judgment" by Cavallini, one sees that Michelangelo's interpretation of the Last Judgment is far different than the interpretation that Cavallini had in 1291. Cavallini's "The Last Judgment," a fresco in the church of Santa Cecilia in Trastevere, Rome. Cavallini, who was perhaps influenced by some Roman paintings that we do not have today, abandoned the Byzantine style of linearism for a softer style. Although this painting may have seemed somewhat revolutionary, it is in no way as free flowing or emotional as Michelangelo's. Pietro Cavallini's fresco simply depicts three apostles sitting with Christ. They are all clothed and have halos above their heads. There are not any souls being judged as there are in Michelangelo's. Christ is not in the center of the picture, and He does not have the same amount of power that He has in Michelangelo's. The torment that is so overwhelming in Michelangelo's Renaissance version of "The Last Judgment" is not depicted at all in Cavallini's Proto-Renaissance painting. The Apostles, as well as Christ, are also seated in chairs in Cavillini's fresco, whereas they are standing in the clouds in the latter of the two paintings.

Michelangelo's "The Last Judgment" is a splendid masterpiece of the High Renaissance. It stresses the importance of the human body and the ways in which the body can move. The emotional content is also very characteristic of this time. The torment and horror is also quite indicative of the hardships which Michelangelo felt during this time in his life. He had grown rather bitter toward all men, which can quite easily be inferred from the lack of joy in "The Last Judgment." (Brandes 394)

orward by about half an ell toward the top, hoping in this fashio

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