Figure 538: Michelangelo’s „Last Judgment” with a detailed view of the „handing over of the keys to Saint Bartholomew Christ”. The symbolic handover of the keys is the decisive prerequisite for being able to reveal the previously hidden visual language of the artists in the paintings of the Sistine Chapel by Bartholomew. On the left behind apostle Bartholomew, who can be seen in red marking, is Saint Joachim in yellow marking located, who contributes to the alleviation of Bartholomew's right-sided back pain.

Above, in light blue marking, a blond angel, who will support the resurrected Bartholomew Christ soul, who can be seen in the blue hooded robe on his right shoulder, and will be the spiritual mediator of the creative secrets through the keys of Peter, which testify the beginning of the end of times and can be seen together with Peter in blue marking. Next to him, and slightly above, Saint Paul can be recognized with his raised right hand in light green marking, who helps to perceive the risen soul of Bartholomew Christ for the Last Judgment. On Peter's right thigh, Saint Mark can be seen in orange marking, who looks up to the risen Apollo Christ. Michelangelo, 1536-1541, Sistine Chapel, Vatican, Rome.

Handing over the keys for resurrection of Bartholomew Christ

to the „Last Judgment“, Michelangelo, 1536-1541

Comparison: Altar painting of the „Last Judgment“ by Michelangelo, 1536-1541, with the mural painting „Tuttomondo“

(in English „All the world“) by Keith Haring, 1989

TIME for a comparison: The Last Judgment by Michelangelo with Tuttomondo by Keith Haring

Figure 559: Left: Altarpiece „The Last Judgment" in the Sistine Chapel by Michelangelo Buonarroti (1536-1541) with the risen Apollo Christ in the center of the picture in light blue marking, who is an angelic representative of Christ in heaven and accompanies the resurrection of Bartholomew Christ on earth to the Last Judgment in white marking, and thus enables the second return of Christ at the end of times. In red marking the proclamation of the Last Judgment by trumpet angels and the separation of souls from redeemed and damned souls take place. On the right, in purple, the souls of the two criminals crucified with Jesus Christ, as well as new insights into the female and male Christ-soul, which prove, that Christ always exists as a soul-connected couple, namely as a female and a male Christ. Lower right in dark green marking, the souls for damnation in the underground hell with animal faces. Below left, in orange marking, the purgatory, that takes place above ground, from which the souls can rise again after having served their caused sin guilt in the sunken existence of lives.

The ascending souls of Moses and Mohammed are shown in dark blue and mark the situation in the world before the second return of Christ at the end of times. The considerable strain on human souls from global activities, as well as the flows of refugees in foreign countries become plausible, so too. The light green marking then illustrates the nudity of women with the sexual stimuli they spark to transmit the divine messages about the eros phenomenon to the men. In addition, through these depictions, the always female Mother of God can be recognized as the sole creator of heaven and earth, and on the other hand, understood as the central source of knowledge and sending of divine messages.

In light yellow the ancestors of Christ with the Mother of God, who reconstructs the spiritual rebirth of the returning Bartholomew Christ. At the top, left, marked in dark red, the bezel with the transfer of original sin guilt to the back of the Christ child. At the top right the flagellation column in yellow marking, which corresponds to the spine of the Christ child and where angels immediately try to save, what still can be saved. The reason for that is the passed over sin guilt of mankind, which is reflected on the back of Christ child and will result in a lifelong, physical handicap. Slightly below, on the right, in blue marking, the reprisals for guilty men with sexual sins due additional sexual drive reinforcements, Michelangelo, Sistine Chapel, Vatican, Rome.

Figure 560: Right: Wall painting „Tuttomondo” (in English „All the world”) by Keith Haring. A direct comparison with the „Last Judgment” by Michelangelo Buonarroti makes it clear, that the content of „Tuttomondo”, created by Keith Haring, is a further representation of the „Last Judgment” of mankind, albeit with the symbolic figure language he once created. In the middle of the mural there is an episode in light blue marking, which consists of four human upper body figures and connected at the waist, and is supposed to depict the risen Apollo Christ in a figurative sense. The differently positioned arms are also striking, which also have a special meaning and flow into the interpretation. Thus, the risen Bartholomew Christ or Son of Man can be recognized in the white marking in the figure visible there, which can be seen with a gold-colored ring on his hip and with his raised right arm and refer to the symbolic Apollo Christ figure, which is enthroned in the middle, his angelic companion.

The blue painted figure in the middle, with a television as a head in red marking, probably serves as a reference for interpretation of the work of art far in the future at the end of times. On the right below, in purple marking, the hell, which above shows a large, pink figure with a child and corresponds to the Mother of God with the Christ child, and presumably show at this place also the starting point of Christ soul from limbo. In addition, the large figure depicted in the color „pink” testifies the great sexual guilt of mankind, transitioned to the Mother of God and the born again Christ child. Below, the damned and falling souls into the underground hell, can be seen. To the left of it, is another large, green female figure with a jagged upper body to identify, who obviously represents angel-Satan and guards the entrances to hell with the damned souls. Another green painted figure with a jagged upper body is in the light green and dark blue marking visible, which can also be assigned to angel-Satan.

At the bottom left, at the edge of the picture, the purgatory marked in orange, in retaliation for caused sins can be seen. There you can also identify the symbolic hand of Christ, which is wearing a gold bracelet and who may decided about that who will be passed on to hell because of poorly performed work. A little above in dark blue marking, the knowledge of the women's world with the sexual instincts ignited via the outstretched arm of the pink dog figure, which can therefore also be identified as an eros phenomenon for the transmission of divine messages to men. About the child crawling above on all fours, as well as the object held by the pink dog figure, is apparently intended to convey that the abuse of the eros phenomenon for the benefit of sexual acts can not only lead to back problems, but these souls sink down in the existence of their lives in the direction of purgatory or hell, what can be interpreted from the animal representations that can be seen there.

Above the left edge of the picture, in light green marking, then the restoration of the spiritual rebirth of Bartholomew Christ, which testifies of poverty, humility and modesty, and thus fulfills the basic requirements for the reconstruction of the spiritual rebirth. The restoration of the spiritual rebirth was realized by the Mother of God, which led to new knowledge, fascinating insights and former knowledge of long past lives of the returning Christ. The dark red marking with the blue dolphin, which symbolizes the Mother of God, now shows the remaining debt of sins as a result from restoration of spritual rebirth, which apparently caused back pains in the figure above the symbolically depicted Apollo figure and which may now also affect Apollo's right side.

In contrast, the episode in the upper right corner of the picture, in yellow marking, visualizes the earth-shaking event of the resurrection of Bartholomew Christ to the Last Judgment. By the intervention of the symbolic angelic scissors figure now the snake will be cutted and thus the previous poverty of the ocher figure, which is supposed to represent the Son of Man Bartholomew, has ended, which can be interpreted via the left stump of the arm of the outgrowing figure, which can be understood figuratively on the right. The elongated, upwardly protruding left arm, on the other hand, testifies to global jurisdiction at the end of times through the risen and second returning Christ in the Last Judgment, what in particularly will also affect then the authorities and their poor leadership qualities, Keith Haring, wall painting, 1989, North wall of the rectory of the Church of Sant 'Antonio Abate, Pisa.