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The Critical Reception of Michelangelo's ‘The Last Judgement': The Theological Context

Abstract Considered here will be the question of how the hostility of the clerical elite in sixteenth-century Italy to Michelangelo's Sistine Chapel ‘Last Judgment’ may be explained. The problem arose from the many nude figures that the fresco contained. Why was nudity in Church so unpopular with the clerical elite in 1541 and for sixty years afterwards, bearing in mind that it had not raised an outcry in roughly similar circumstances earlier in the century? No real answers to these questions are to be found either in the Trent Decree on sacred images, or in the work of such sixteenth-century critics as Gilio da Fabriano. This study aims to shed more light on the matter. Some help is forthcoming from modern writers like Romeo de Maio and Bernardine Barnes. They emphasize the leading role of the ‘Theatine’ prelates, but without exposing the basic assumptions on which the ‘Theatine’ attitude depends. These basic assumptions can be probed to assess whether the objection was only to nudity in sacred spaces or to nudity tout court, and with particular reference to the argument of one theologian—Catharinus—who opted for comprehensive restrictions. In an argument directed against the Erasmian view of marriage, Catharinus identified Erasmus as a Pelagian and summarized the Augustinian argument against the Pelagians. His emphasis is on the fundamental depravity of all human beings after the Fall, a depravity that involved the stigmatization of the body and particularly of the sexual organs, since sin is a sexually transmitted disease. The upshot is that much of the human body is only presentable when veiled. In other words, nude art—'pagan art'—is not compatible with the Christian ethos.