A detailed 16th-century engraving by Giorgio Ghisi, reproducing Michelangelo's Last Judgment with technical precision and dramatic flair.

This engraving by Giorgio Ghisi represents a technical achievement in the reproduction of large-scale fresco works. Based on the monumental Last Judgment by Michelangelo in the Sistine Chapel, Ghisi translated the complex, muscular forms of the original painting into the medium of copperplate engraving. The composition maintains the chaotic energy of the original, featuring Christ at the centre surrounded by saints and martyrs, with the saved ascending on the left and the damned descending on the right.

Ghisi employed a sophisticated system of hatching and cross-hatching to replicate the volume and weight of Michelangelo's figures. The print is notable for its scale, as it was produced from ten separate plates to capture the sheer size of the original fresco. At the top, a portrait medallion of Michelangelo serves as a tribute to the master, framed by architectural elements that anchor the swirling mass of bodies below. The work demonstrates the Mannerist interest in anatomical distortion and dramatic movement, pushing the boundaries of what could be achieved in printmaking during the mid-sixteenth century.

As a printmaker, Ghisi was known for his ability to capture the spirit of Italian Renaissance painting while adapting it to the linear constraints of the burin. The density of the figures and the varied textures of the clouds, water, and human skin show a high level of control. This print allowed audiences far from Rome to study the composition of the Sistine Chapel in detail. It remains a primary example of how reproductive prints functioned as a bridge between the monumental arts and the wider public, preserving the visual information of frescoes that were otherwise inaccessible to many.