The Last Judgment

Even if this painting has today the appearance of a triptych, it was originally a continuous panel. In fact, the most important separation in the image does not take place in the lateral parts of the painting but in its middle, where Jesus-Christ, surrounded by a tribunal of saints, blessed and angels, pronounces what every Christian awaited with hope and anguish, the Last Judgement. On that day, the graves of the dead will open, as seen in the lower part of the painting, and the souls of each one will be weighed. Those who are light enough will be able to go to Paradise, on the left side; souls heavy with sin will be pushed mercilessly to Hell, on the right, in order to suffer the worst punishments. Any hope of escaping this destiny is a vain thing: the woman in red who had tried to slip among the saved souls is pushed without gentleness by an angel on the side of the damned.Throughout his career, Fra Angelico has painted this theme of the Last Judgement with the greatest attention. As a Dominican observant friar, living in the convent of San Domenico in Fiesole, his life was only made of prayer and painting. This work can be seen as a direct criticism of the mores of his contemporaries: one distinguishes many important persons among the damned, whether kings, bishops, or religious. If Fra Angelico’s painting is symbolic, it does not abandon the pictorialinnovations introduced in Florence by Masaccio during the 1420s (fig. p. 297). The central path of the tombs follows the laws of perspective, and allows to build a convincing space. The upper part of the painting seems to deny this interest for space, making great use of gold leaf and intense colours. It is as if Fra Angelico had never wanted to choose between tradition and modernity, between Gothic and Renaissance.In the middle of the left fragment of the picture, two characters attract attention; one is viewed from behind, wearing the papal tiara, the second is in profile, dressed with a Dominican habit and bearing a cardinal’s hat. It is likely that these characters are contemporaries of the artist, Pope Eugene IV and Cardinal Juan de Torquemada. Eugene IV had indeed stayed in Florence in the late 1430s, and had been able to admire the fresco decoration made by Fra Angelico in the convent of San Marco. Once he settled in Rome, he would ask the painter to work for him in the Vatican. Cardinal Torquemada was also present in Florence with Eugenius IV; he may have known Fra Angelico at the time. He would later rule the Roman convent of Santa Maria sopra Minerva, where Fra Angelico spent the last decade of his life, and is likely to be the patron of the painting. Even if the work is documented for the first time in Rome, it is possible that it was painted in Florence, during the stay of the Pontifical Court. Its importance did not diminish with time: as late as 1570, the Dominican Pope Pius V asked the Flemish painter Bartholomeus Spranger to paint a modernised copy of it. Neville Rowley | 200 Masterpieces of European Painting - Gemäldegalerie Berlin, 2019