Ideas up for Interpretation - Steinberg on the Last Judgment

It fascinates me all the thought that is put into composing the Last Judgment. In such a massive and extraordinary painting, it makes sense that diagonals and line work need to be considered if Christ is to be the focus without distraction – “Two diagonals converging in Christ… Without this symmetrical order, it would have been impossible to give emphasis to the chief figure” (Steinberg pg1). It is difficult to decide whether Christ is sitting, or rising, standing, or springing into action. But all interpretations of his gestures carry equal value and weight, in my opinion.

However, at times (after reading further) I was a bit skeptical of some of the ideas mentioned towards the creation of the Last Judgment. Did Michelangelo really consider all those things before and while painting the frescoes? At least Steinberg continues to question Michelangelo’s intentions and leaves some of the ideas for interpretation. For example in #15, Steinberg says, “Nor can one resist the impression that Christ’s hands together sustain the motion of the entire system. Like those of a conductor,  raising a crescendo on his right side while muting the other, the lifted hand causing that universal updraft by which the resurrected are drawn” (pg 12). I can see the visual, and I am glad the word impression was used, but Michelangelo probably did not intend for that visual. Too him, it may have just been a dynamic pose. Again, in #8, discussing the ‘fictional demons for dramatic effect’ in hell and poetic sources, “one cannot be certain about his intention but it seems to me that he [Michelangelo] introduced his Underworld between quotation marks, as it were” (pg 6). In general, most of the interpretations and meanings/ideas are skeptical, and I finish feeling unconvinced.

I don’t understand what Steinberg means when he uses the word “sink” to describe the position of the figures. Perhaps someone can comment and explain. Or do I just need to take it literally?