Last Judgment

[SLO] Zaključna seminarska naloga se ukvarja z motivom Poslednje sodbe v staronizozemskem slikarstvu, osredotoča pa se na naročnike in najrazličnejše povode, ki so botrovali njihovi izbiri umetnikov in ikonografskega programa. Motiv Poslednje sodbe snov za upodabljanje jemlje predvsem iz Razodetja evangelista Janeza, način upodabljanja pa se je tekom časa spreminjal. Čeprav je Poslednja sodba kot ikonografski motiv v krščanski sakralni umetnosti v bolj ali manj kompleksni obliki prisotna že od vsega začetka, je zanimanje zanjo v 15. stoletju znova vzniknilo. Naročanje je bilo vezano na novonastali družbeni sloj meščanstva, predvsem trgovcev in dvornih birokratov, ki sta jih v naročanje med drugim vodila tudi za izbrano obdobje specifično doživljanje človeškega življenja, greha, krivde in poslednjih stvari ter vpliv zasebne pobožnosti in nadnaravnih vizij.

[ENG] The present BA thesis focuses on the motif of the Last Judgement in Early Netherlandish painting, with special attention paid to patrons and the possible reasons for their choosing of a particular artist and iconographic program. The Last Judgement motif is based on the Apocalypse of John the Evangelist; however, its representations have changed significantly over the course of time. Even though the Last Judgement as a motif has been present in Christian sacred art since the very beginning, it saw a remarkable spike of interest in 15th century. Commissions were tied to the newly established social class of early bourgeoisie, especially merchants and court bureaucrats, who were as patrons heavily influenced by the contemporary experience of the human life, sin, guilt and the last things, as well as private devotion and otherworldly visions.

[English version below] Der Ausstellungskatalog in der Reihe "Korrespondenzen" der Gemäldegalerie der Akademie der bildenden Künste Wien zeigt Bezüge zwischen Hieronymus Boschs Jüngstem Gerichtstriptychon, dem Herzstück der Sammlung, und zeitgenössischen Künstlern auf. Die Malerin Susanne Kühn (geb. 1969 in Leipzig), die auch als Professorin an der Nürnberger Akademie der bildenden Künste tätig ist, hat für ihre Gegenüberstellung mit Boschs "Jüngstem Gericht" zwei großformatige Werke geschaffen: "Beastville" und "Robota II". Der Katalog enthält Abbildungen weiterer Werke von Susanne Kühn, die im Kontext der Arbeit an diesen beiden Gemälden entstanden sind. Barbara O'Brien ordnet die Bilder in den Kontext von Kühns Werk ein, Didem Yazici befasst sich eingehend mit "Beastville". Die Publikation erscheint in deutscher und englischer Sprache.
The exhibition catalogue in the series "Correspondences" of the Gemäldegalerie der Akademie der bildenden Künste Wien highlights references between Hieronymus Bosch's Last Judgment triptych, the centerpiece of the collection, and contemporary artists. The painter Susanne Kühn (born 1969 in Leipzig), who is also a professor at the Nuremberg Academy of Fine Arts, has created two large-format works for her juxtaposition with Bosch's "Last Judgment": "Beastville" and "Robota II". The catalog contains illustrations of other works by Susanne Kühn that were created in the context of the work on these two paintings. Barbara O'Brien places the paintings in the context of Kühn's work, Didem Yazici deals with "Beastville" in depth.
The publication is in German and English.

Pornind mai ales de la date culese pe teren, care au fost puse în paralel cu informaţii extrase dintr-o vastă bibliografie, cercetarea de faţă, desfăşurată de-a lungul multor ani, şi-a propus o investigare a iconografiei vrăjitoriei în cultura română, aşa cum se configurează ea în legătură cu o temă fundamentală a artei religioase: Judecata de Apoi. Prezentul studiu se doreşte a fi o contribuţie la antropologia vizuală, dat fiind că are în vedere modul în care imaginarul a modelat reprezentările iconografice, dar şi măsura în care acestea au devenit purtătoarele unor semnificaţii sociale, creând vectori de sens în comunităţile care aveau acces la ele. Analizele din această carte au fost foarte sensibile la chestiuni de diacronie (istoria artei, istoria limbii române, cronologia generală a vrăjitoriei româneşti şi europene), precum şi la principiile riguroase ale analizei iconografice şi iconologice. Nădăjduim că punerea în relaţie a imaginilor care arată chinurile vrăjitoarelor în Iad cu diverse categorii de texte şi cu credinţe populare dintre cele mai variate va trezi interesul unui public cât mai larg, stimulându-l să se implice activ în conservarea şi valorificarea patrimoniului artistic românesc.

A diplomatic edition, and translation, with introduction and brief analysis, of the only previously-unpublished copy of "The Apocalypse of Thomas," an influential apocryphon outlining the signs which will precede the Last Judgment, and the travails of the last eight days of this world. This unique copy, preserved solely in MS Vat. Pal. lat. 220, exhibits close connections with Anglo-Saxon adaptations of the "Apocalypse," and may be the only copy which transmits the conclusion of the original text.

Accompanying the exhibition at the Isabella Stewart Gardner Museum, Boston, this catalog, edited by Nathaniel Silver, explores one of the most important artists of the Renaissance. Fra Angelico (c. 1395–1455) transformed painting in Florence with pioneering images, rethinking popular compositions and investing traditional Christian subjects with new meaning. His altarpieces and frescoes set new standards for quality and ingenuity, contributing to Angelico’s unparalleled fame on the Italian peninsula. With the intellect of a Dominican theologian, the technical facility of Florence’s finest craftsmen and the business acumen of its shrewdest merchants, he shaped the future of painting in Italy and beyond.

The exhibition reunites for the first time Fra Angelico’s four reliquaries for Santa Maria Novella (1424-34; Isabella Stewart Gardner Museum and Museo di San Marco, Florence). Together they cover key episodes in the life of the Virgin Mary and capture in miniature some of his most important compositional innovations. Assembled at the Gardner with exceptional examples of Angelico’s narrative paintings from collections in Europe and the United States, this exhibition explores his celebrated talents as a storyteller and the artistic contributions that shaped a new ideal of painting in Florence.

The article is investigating the history of appearance of purgatory in the iconographic model of the Last Judgment. Until the 18th century, representations of the afterlife exclusively included hell and heaven, and there was no purgatory. Starting from the second half of the 14th century, once the Divine Comedy of Dante was published, certain elements of purgatory started to appear, in particular, on frescoes of Nardo di Cione in the Florence Basilica of Santa Maria Novella. Some Last Judgement representations, dated back to the middle of the 15th century, began to suggest a certain structural accentuation of purgatory. The article analyses the influence of Dante's Divine Comedy on the afterlife iconography and offers conclusions about its special contribution into the development of iconographic concept of the Last Judgement.

The text concerns early modern sacral art in the space of St. Mary's Church in Gdansk. It discusses Protestant, mainly Lutheran, painted epitaphs founded in the sixteenth and seventeenth century, but also such works as the Alms Table of Anton Möller. The text concentrates on the works created for the main town of Gdansk and currently available in this temple. Shortly discussed are also paintings from the organ and pulpit, coming from St. John's Church, but exposed for a long time in St. Mary's Church.

Tekst dotyczy nowożytnej sztuki sakralnej w przestrzeni kościoła Mariackiego w Gdańsku. Omówione zostały w nim przede wszystkim protestanckie, przede wszystkim luterańskie, malarskie epitafia fundowane w XVI i XVII wieku, ale także takie dzieła jak Tablica Jałmużnicza Antona Möllera. Tekst koncentruje się na dziełach tworzonych dla fary Głównego Miasta Gdańska i obecnie w tej świątyni dostępnych. Krótko omówione zostały także malowidła z organów i ambony, pochodzących z kościoła św. Jana, ale eksponowanych od dłuższego czasu w kościele Mariackim.

This book provides a fresh reading of the sculptural programs of the Last Judgment at the Cathedrals of Chartres, Paris, Reims, and Amiens, demonstrating how their increasingly elaborate iconographies were informed by tenets of moral theology. Novel iconographic elements and visual-exegetical strategies are connected to clergymen who were educated in the schools of Paris and to the texts of pastoralia that they produced and spread throughout northern France between the Third and Fourth Lateran Councils (1170-1215). Through individual case studies, each program is shown to be a site-specific visual exegesis informed by contemporary methods of biblical exegesis. The book concludes that, although there are similarities among some Judgment programs, there was not one sculptural prototype in the thirteenth century. Rather, local hagiographic traditions, politics, urban and architectural context, and considerations of audience played a major role in the development of these programs. Perhaps of greatest significance, the book opens up a new way for thinking about sculptural programs as works of visual exegesis, which highlights the importance of intellectual history and manuscript studies for the understanding of portal sculpture—and vice versa.

This digital resource provides interactive diagrams, images, and descriptions of hundreds of sculptures from the 13th-century Last Judgment portals of the Cathedrals of Chartres, Reims, Amiens, and Notre-Dame, Paris.

Click the link to view
http://www.jenniferfeltman.com/lastjudgment/

This project was made possible with the support of the National Endowment for the Humanities

All rights reserved © 2015 Jennifer M. Feltman
High resolution images are freely available for academic use or academic publications. Send request via Academia.edu

The Mystic Ark is a forty-two page description of the most complex work of art from the entire Middle Ages: a painting also known as The Mystic Ark.  The purpose of the painting was to serve as the basis of a series of brilliant lectures undertaken by Hugh--who was considered to be the leading theologian of Europe during his life--from around 1125 to 1130 at Saint Victor, a Parisian abbey of Augustinian canons, whose school, along with those of Notre-Dame and Ste-Geneviève, acted as the predecessor of the University of Paris.  The purpose of the text (which I have translated from the Latin) was to enable others outside of Saint Victor--teachers, advanced students, scholars, monks, canons--to undertake similar discussions themselves by providing the information necessary to produce the image.  Containing all time, all space, all matter, all human history, and all spiritual striving, this highly political image dealt with a series of crucial cultural issues in the education of society's elite during one of the great periods of intellectual change in Western history.  Essentially a visualization of Hugh's summa-like systematic theology, De sacramentis, the multiplication and systematization of imagery in The Mystic Ark bridged the gap between literature's potential for complex expression and such expression in large-scale public art, an achievement that led to the creation of the Gothic portal: the major means of public communication apart from the spoken word, and the most significant, fully indigenous expression of Northern European, public figural art of the Middle Ages.
    Hugh of Saint Victor's Mystic Ark: Illustrations: http://mysticark.ucr.edu.  This site presents a collection of images of The Mystic Ark that repeat in greater visual detail the same illustrations published in my study The Mystic Ark: Hugh of Saint Victor, Art, and Thought in the Twelfth Century for those who would like to study the image of The Mystic Ark more closely than is possible with the printed illustrations.

The Last Judgment. Studies on the Expectation of a Last Judgment from the Classical Prophets to Jesus.
Christian Stettler shows how the expectation of the last judgment developed from the classical prophets to Jesus. Deeply rooted in ancient royal ideology and world-order tradition, the various expectations of a last judgment are ultimately unified by the hope that YHWH would establish His kingdom by means of a universal judgment. While early Jewish movements and texts agree that only those who are ‘just’ according to the Torah will be part of this kingdom, the question of who the ‘just’ are and how a person becomes ‘just’ is answered in different
ways. From here E. P. Sanders’ influential ‘covenantal nomism’ theory is critically analyzed. – John the Baptist and Jesus are part of the apocalyptic movement. a new element in Jesus’ teaching is that he expects himself and his death to play a decisive part in the last judgment.

This paper shall discuss the development of the iconography of Heaven and Hell in association to depictions of the Last Judgement, relating this development especially to religious changes during the thirteenth and fourteenth centuries. Aiming at concision, this article shall consider especially Tuscan paintings, or made by Tuscan artists in other Italian areas, from the eleventh century until the end of the fourteenth century.

Résumé Une grande partie des objets produits par les orfèvres mosans étaient destinés à orner les autels et à magnifier ses différentes fonctions, à commencer par la célébration de l'eucharistie et le culte des reliques. Cet article tente de montrer comment les images développées sur les retables, les staurothèques et les châsses appartenant à ce corpus évoquent conjointement ces deux fonctions. La présence des reliques a été rappelée par plusieurs scènes de transitus, tandis que la destinée de l'âme détachée de son corps a fait l'objet d'une représentation foncièrement originale sur le retable de Stavelot où saint Remacle est accueilli dans un paradis céleste distinct du royaume des cieux. Et de manière tout aussi exceptionnelle, on a signifié que les reliques étaient destinées à se recomposer en représentant la résurrection des saints au moment du Jugement dernier sur le triptyque de Sainte-Croix de Liège et sur deux des quatre pignons qui flanquaient la châsse de saint Servais à Maastricht. Si ces thèmes demeurent exceptionnels, il en va tout autrement pour les représentations hiératiques du saint qui occupent systématique-ment un des deux pignons des châsses mosanes auxquelles s'ajoutent les exemples rhénans. La comparaison avec les statues-reliquaires suggère que ces images étaient destinées avant tout à servir de support à la dévotion. Ces thèmes hagiographiques cohabitent avec des images interprétables dans une perspective eucharistique, comme le Christ en buste et la croix ou la Crucifixion que combinent régulière-ment les staurothèques. L'examen des textes liturgiques, des livres de l'officiant et des décors d'autel montre que ces images évoquant le Christ glorieux et le Christ souffrant se réfèrent aux rôles de sacrificateur et de victime qu'il remplit simultanément au moment de la consécration. Sur les reliquaires mosans, cette signification est attestée par une remarquable série d'indices visuels : un autel orné de candélabres, des anges entonnant le Sanctus ou transférant les oblats [Recepción del artículo: 26/09/2016] [Aceptación del artículo revisado: 23/11/2016]

Sommario
Nella prima metà del XIV secolo, i benedettini della badia di San Leone Magno a Bitonto
decidono di affrescare il coro della chiesa con un complesso programma iconografico,
dispiegato su tre pareti, che prevedeva un monumentale Giudizio Universale sul muro di
fondo. Raro esempio di ‘Giudizio Universale’ legato alla tradizione occidentale nella regione,
lontanissimo dagli altri casi bizantineggianti pugliesi, l’affresco è frutto di programmatiche
scelte iconografiche e precise elaborazioni dottrinali e ascetiche dei monaci
bitontini, legate ai più aggiornati dibattiti culturali dell’epoca.
Abstract
In the first half of the 14th century, Benedictines of the San Leone Magno’s abbey in
Bitonto decided to fresco the choir of their church. The iconographic project chosen was
deployed on three walls and included a magnificent ‘Last Judgemet’, the only one linked
to the western tradition in the region. The style is so far from the multiple examples of
Bizantine ‘Judgments’ in Apulia. The work is the result of iconographic choices and the
desire of the monks of Bitonto, both linked to the cultural debate of the epoch.

Hieronymus Boschs Weltgerichts-Triptychon in seiner Zeit. Publikation zur gleichnamigen inter-nationalen Konferenz vom 21. bis 23. November 2019 in der Gemäldegalerie der Akademie der bildenden Künste Wien / Hieronymus Bosch’s Last Judgment Tripytch in the 1500s. Publication of the proceedings of the international conference held from 21–23 November 2019 in the Paintings Gallery of the Academy of Fine Arts Vienna
Im November 2019 widmete sich eine internationale und interdisziplinäre Konferenz erstmals allein dem zweitgrößten und zweitwichtigsten Werk von Hieronymus Bosch, dem Weltgerichts-Triptychon in der Gemäldegalerie der Akademie der bildenden Künste Wien.
Der zweisprachige Band beleuchtet eines der bedeutendsten Altarretabel aus der Zeit um 1500 aus ganz unterschiedlichen Perspektiven in 16 Beiträgen. Grundlage für die Konferenz bildeten im Sommer 2017 vom Bosch Research and Conservation Project angefertigte IR- und IRR-Aufnahmen sowie Macro-XRF-Scans des gesamten Altars. In den Band wurde auch ein ausführlicher Bericht über den konservatorisch-restauratorischen Zustand von Luuk Hoogstede aufgenommen. Zu allen Texten gibt es Abstracts auf Deutsch und Englisch.

The depictions of the Erythraean Sibyl at Sant’Angelo in Formis and in the pulpit at Sessa Aurunca have been connected to the performance of her chant during the Christmas liturgy. A new approach makes it possible to expand our view of the reception of the Sibyl in the Middle Ages. In Campania, the Sibyl was closely linked to the Virgilian tradition and a number of Sibylline sites in the region. The performance of her chant, which was centered on a frightful description of the Last Judgment, not only at Christmas but also on Holy Saturday, breaks new ground in the interpretation of the iconographic programs that involve the Sibyl.

Già da qualche tempo si è ritenuto opportuno proporre per la scul-tura ad incrostazione di mastice, tecnica di decorazione basata su un consapevole e schietto approccio coloristico e polimaterico, l'adozione di un vocabolario che non faccia esplicito riferimento ad altri campi della produzione materiale di epoca medievale('). In questo percorso si sono seguite, in verità, le sollecitazioni presenti negli studi pionieristici della seconda metà dell'Ottocento e dei primissimi anni del Novecento di personalità quali Eugène Emmanuel Viollet-le-Duc(2) e Lucien Bégule(3), attente ., anche se solo in parte, a evitare delle sovrapposizioni, quantomeno semantiche, e ad individuare delle valenze chiaramente esemplificative di questa pratica scultorea. Così, fin da subito, è sembrato preferibile un lessico distinto rispetto a quello usualmente oscillante fràniello' e champlevé , mutuato da altri contesti a seguito di una supposta pratica esecutiva comune(). Di fatto, non basta una procedura similare per impostare dei nessi di corrispon-denza, iié per trovare la derivazione di una tecnica dall'altra, giacché l'ar-co temporale e l'ambiente geografico in cui si diffuse l'incrostazione di...

Works reviewed: Demetrios Bathrellos, “Love, Purification, and Forgiveness versus Justice, Punishment, and Satisfaction: The Debates on Purgatory and the Forgiveness of Sins at the Council of Ferrara-Florence,” Journal of Theological Studies, NS 65, 1 (2014), 78-121; Vasileios Marinis, Death and the Afterlife in Byzantium: The Fate of the Soul in Theology, Liturgy and Art (Cambridge: Cambridge University Press, 2017), 214 p.; Shawn McAvoy, Demonic Trials and Whispers: An Inquiry into the Origins of Logismoi and the Telōnia (Dewdney, BC: Synaxis Press, 2013), 198 p.; St. Anthony’s Greek Orthodox Monastery, The Departure of the Soul according to the Teaching of the Orthodox Church: A Patristic Anthology (Florence, AZ: St. Anthony’s Greek Orthodox Monastery, 2017), 1,111 p.; Denis F. Sullivan, Alice-Mary Talbot, and Stamatina McGrath, eds., The Life of St. Basil the Younger: Critical Edition and Annotated Translation of the Moscow Version (Washington, DC: Dumbarton Oaks, 2014), 842 p.

The Book of Daniel is one of the most significant Old Testament texts, on which were built the main eschatological views of Christian theology. Certain parts of its content were inspirations for some of the most popular iconographical themes in early Christian art, but the seventh chapter of the prophetic text visually was designed even at the beginning of the XIV century. The earliest representation of the Four Kingdoms appears in the second quarter of the XVI ct. as a segment of the composition of Last Judgment. Actualization of this artistic motive takes place in the period when the Christian vassals of the Ottoman Empire started to feel strongly the burden of their affiliation to the “second-class religion”. Manifestations of religious intolerance, increased converting to Islam and social isolation, raised again the eschatological hope in the end of history and the coming of the Kingdom of Heaven.

Le déploiement désordonné de la cruauté infernale semble rétif à toute mesure et à toute chronologie. Il s'agit pourtant, dans cet ouvrage, d'historiciser les conceptions et les représentations de l'enfer. A l'opposé des hypothèses d'un déclin des normes religieuses au profit des préoccupations séculières, on établit ici que l'importance des représentations infernales ne cesse de s'accentuer au cours de la période étudiée. Pour autant, on ne bascule pas dans le « christianisme de la peur », car l'enfer s'inscrit toujours dans une séquence et le faire peur n'est que le point de départ d'un faire agir. L'image de l'enfer invite à se libérer de la faute qu'elle fait voir, grâce aux moyens de salut offerts par l'Église. L'analyse de plusieurs centaines d'œuvres permet de situer au Camposanto de Pise, dans les fresques de Buonamico Buffalmacco, l'épicentre d'une mutation décisive. S'impose alors un compartimentage des lieux infernaux et une logique pénale prenant pour base principale le septénaire des péchés capitaux. C'est le signe d'une recherche accrue d'efficacité, en rapport étroit avec la pratique de la confession. Dès lors, la figuration de l'enfer est à la fois une incitation à avouer ses fautes et une préparation à l'examen de conscience dont elle anticipe la forme.

Avaliable on Kindle from Amazon.                            Anthony MacPherson. “Theodicy and Contrasting Eschatological Visions:  The Investigative Judgment and the Problem of Evil.” In Eschatology from an Adventist Perspective: Proceedings of the Fourth International Bible Conference, Rome, June 11-20, 2018. Edited by Elias Brasil de Souza, A Rahel Wells, Laszlo Gallusz, and Denis Kaiser, 457-476. Silver Springs, MD: Biblical Research Institute, 2021.

Τhe theme of the Last Judgement has played a significant role in the Renaissance art. Examining the early renaissance frescoes by Giotto in the Scrovegni Chapel (1304-13), by Pietro Cavallini in Santa Cecilia in Rome (1294), the two triptychs by Fra Angelico (1425/ 1431 and 1435-40), the roof painting by Luca Signorelli in Capella Nuova in Orvieto (1499), the fresco of utmost importance by Michelangelo in Capella Sistina (1536-41), the mature work of Jacopo Tintoretto in Madonna del’ Orto in Venice (1562-65) and finally the decoration of the dome in Duomo in Florence by Giorgio Vasari (1572-74) we observe that the Last Judgement has served both the strongly religious or even political purposes of the patrons, as well as the needs of the individual artists to express their own quests on philosophy and society. Meanwhile the depiction of hot and dark hells as described in Dante’s Divine Comedy seemed to please the -voyeuristic- need of the audience for monsters, demons and dragons, "the renaissance science-fiction” in a manner of speaking.

The essay, contained in a publication edited by the author, wants to investigate the iconography of the Particular Judgment of the souls in the lower register of the late Romanesque counter-façade of the church of San Vittore in Tonadico (Trentino, Italian Dolomites). The Judgment put in place by the frescoes presents, within a consolidated figurative system and populated by some traditional elements, some interesting original developments: first of all, the presence of a procession of souls in the flames, directed towards the Paradise symbolized by the Breast of Abraham. The essay discusses the possibility of considering this iconography as a very early form of visualization of Purgatory.

Come ben sapevano i predicatori medievali, delle due grandi leve del comportamento umano - la paura del castigo e la speranza del premio - la più efficace era la prima. Di qui, allora, lo sviluppo di immagini dell'Inferno che fra Tre e Quattrocento sono sempre più complesse e crude, così da turbare gli animi e smuovere le coscienze. Ma in che direzione? E a quale scopo? La domanda è assai meno scontata di quanto non possa apparire. Dal momento, infatti, che gli exempla negativi avevano senso solo in funzione di quelli positivi, il grande teatro dei reprobi si prestava anche ad una lettura al contrario, in cui le figure dei peccatori, lungi dal costituire solo un terribile ammonimento, indirizzavano il fedele verso atteggiamenti speculari e opposti a quelli puniti. La critica si faceva insomma proposta, complici le scelte iconografiche di artisti e committenti (comunità, privati, confraternite, ordini religiosi, ecc.), che attraverso il tema dell'Inferno potevano esprimere i propri ideali di convivenza civile

This article seeks to shed new light on Paul's teaching on the Torah. It does so by analyzing Paul's different statements about the criteria of judgement by works. The result of this study is that it is the same criterion that applies to Jews and Gentiles, believers and unbelievers, namely the Torah as interpreted and fulfilled by the Messiah Jesus, practised by believers in the power of the Holy Spirit, and summarised in the double commandment of love. Thus the whole Torah is still valid in the time of the new covenant, but in a wholly transformed way.

The first part of this paper is an iconographic analysis of the central panel of the triptych by Fra Angelico in  Palazzo  Corsini,  Rome.  It  represents  the  Last  Judgement  and  is  a  somewhat  reduced  version  of  a  composition first seen in the panel from the monastic church of Santa Maria degli Angeli in Florence. The saints  represented  to  the  left  of  Christ  are  Peter  and  his  brother  Andrew,  and  those  to  the  right  Paul  and  John  the  Evangelist.  Behind  the  latter  are  represented  Sts.  Benedict  and  Francis,  and  a  holy  pope,  often  identified  as  Sixtus  on  the  basis  of  a  similar  pope  represented  on  the  wing  of  a  triptych  painted  by  Fra  Angelico for the Dominican cardinal Juan de Torquemada. The pope in the Corsini Triptych does not carry
an  attribute,  and  may  also  represent  another  saintly  pope  such  as  Gregory  the  Great.  The  saints  in  the  second and third rows to the left of Christ are Stephen, Dominic, and a mitred monk identified in a previous contribution to this journal as Basil the Great. The presence of the latter among the heavenly host has an interesting parallel in a passage in the Chronicon of St Antoninus, in which he explains that the founders of  the  religious  orders  such  as  Basil,  Augustine,  Benedict,  Dominic,  and  Francis  (all  of  whom,  with  the  exception of Augustine, are depicted in the panel) are surely present in the seraphic order of the heavens.
There  is  some  technical  and  documentary  evidence  to  suggest  that  the  three  panels  of  the  Corsini  Triptych  did  belong  together  originally.  However,  the  two  wings,  representing  the  Ascension  and  the  Descent  of  the  Holy  Spirit,  present  some  slight  anomalies:  the  number  of  apostles  is  reduced,  and  the  figural  types  of  Sts.  Peter,  Andrew,  and  John  do  not  correspond  to  those  in  the  central  panel.  Although  these inconsistencies remain difficult to explain, they do not constitute decisive arguments for the hypothesis that the triptych in its current form is an assemblage of two different works. The combination
of  the  three  subjects  is  unique  for  a  triptych,  but  not  anomalous:  the  Ascension  and  the  subsequent  Descent of the Holy Spirit signal the beginning of the Church, the Last Judgement its fulfilment.
In the final part the issue of cryptoportraits is addressed. It has been proposed that St Sixtus and the similar pope  in  the  Corsini  Triptych  are  in  fact  portraits  of  Eugene  IV,  the  pope  who  had  created  Torquemada  cardinal-priest of San Sisto, the implication being that the cardinal also ordered the Corsini Triptych from Fra  Angelico.  The  similarities  with  the  documented  portraits  of  the  pope  are  minimal,  however.  It  is  still  quite possible that the cardinal commissioned the triptych, but this cannot be demonstrated on the basis of iconography.

In the 1260s, a Last Judgement program was sculpted for the south porch of Lincoln Cathedral. Located to the east of the cathedral’s double-transept, the Judgement Porch was designed as an entry to the new Angel Choir (c.1256-1280), which was to provide cathedral clergy and pilgrims alike with direct access to the shrine of the local bishop saint, Hugh of Lincoln. In the fifteenth and sixteenth centuries, two chantry chapels were added to either side of this porch, augmenting the Last Judgement sculptures with spaces associated with Purgatory. On the west side, a chantry chapel was constructed was for Bishop John Russell (1480-95), then in the sixteenth century, a chantry chapel for Bishop John Longland (1521-47) was added on the east side of the porch. This chapter considers how adaptation to the fabric of the cathedral at Lincoln can suggest transformations of religious thought and practice in a specific location over a long period of time. Church portals that continue to be used over long periods are by nature diachronically dense and are often rich with material signs of interaction. If portals include sculpture, the subjects of their three-dimensional imagery can also play a role in these interactions. I examine the iconography of the Judgement porch, its spatial context, its interaction with pre-existing twelfth-century Judgement sculptures at Lincoln, and the ways in which its meaning was augmented by the addition of flanking chantry chapels in the fifteenth and sixteenth centuries. Through these, I trace transformations in religious thought concerning the afterlife from the thirteenth to sixteenth centuries at Lincoln. Over these periods, the function of Last Judgement iconography expanded as focus shifted towards the experience of souls in Purgatory. Changes in religious thought and practice at Lincoln can be inferred from the additions to the building and the ways in which such additions encourage continued interaction with the theme of the Judgement.

The Last Judgement in the narthex of the Church of St George in Banjani,near Skopje, was painted in 1846 by the famous painter Dičo Zograf. He created an impressive and complex composition enriched with numerous scenes, episodes and inscriptions. In it he incorporated many new themes with a moralizing-didactic character, motifs with Russian and Bulgarian provenance, and apocalyptic components. On this occasion, most strikingly, we distinguish the representations of the Fiery River, the Aerial Tollbooths and three scenes related to the prophet Elijah,the righteous Enoch and the Antichrist, which make the Last Judgment in Banjani exceptional.