Question: What person did Michelangelo represent in "The Last Judgement"?
About the article "The Last Judgment (Michelangelo)", section "Self-portrait".

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Some have hypothesized that Michelangelo depicted himself in the flayed skin of St. Bartholomew (see below) based on feelings of contempt Michelangelo may have had for being commissioned to paint "The Last Judgment."
Michelangelo often drew himself in a way where he had lost all his power and might.
He questioned over thoughts of dying and the Day of Judgement, which is seen as a reference to this work.
Michelangelo was in his late sixties when he finished this painting, and it has been argued that the peeling of Bartholomew signifies the peeling of the flesh awaiting a new rebirth.
The bearded figure of St. Bartholomew holding the skin was theorized to depict the satirist and erotic writer Pietro Aretino, who had tried to extort a valuable drawing from Michelangelo; this theory has been conclusively refuted because the conflict between Michelangelo and zed Aretino did not occur until 1545, seven years after the fresco's completion.
The Last Judgment, or The Last Judgement (), is a fresco by the Italian Renaissance master Michelangelo executed on the altar wall of the Sistine Chapel in Vatican City.
It is a depiction of the Second Coming of Christ and the final and eternal judgment by God of all humanity.
The souls of humans rise and descend to their fates, as judged by Christ surrounded by prominent saints including Saints Catherine of Alexandria, Peter, Lawrence, Bartholomew, Paul, Sebastian, John the Baptist, and others.
The work took four years to complete and was done between 1536 and 1541 (preparation of the altar wall began in 1535.)
Michelangelo began working on it twenty five years after having finished the Sistine Chapel ceiling. 
In his personal life, Michelangelo was abstemious.
He told his apprentice, Ascanio Condivi: "However rich I may have been, I have always lived like a poor man."
Condivi said he was indifferent to food and drink, eating "more out of necessity than of pleasure" and that he "often slept in his clothes and ...
boots."
His biographer Paolo Giovio says, "His nature was so rough and uncouth that his domestic habits were incredibly squalid, and deprived posterity of any pupils who might have followed him."
He may not have minded, since he was by nature a solitary and melancholy person, "bizzarro e fantastico," a man who "withdrew himself from the company of men.
"It is impossible to know for certain whether Michelangelo had physical relationships (Condivi ascribed to him a "monk-like chastity"), but the nature of his sexuality is made apparent in his poetry.
He wrote over three hundred sonnets and madrigals.
The longest sequence was written to Tommaso dei Cavalieri (c. 1509–1587), who was 23 years old when Michelangelo met him in 1532, at the age of 57.
These make up the first large sequence of poems in any modern tongue addressed by one man to another, predating Shakespeare's sonnets to the fair youth by fifty years:Cavalieri replied: "I swear to return your love.
Never have I loved a man more than I love you, never have I wished for a friendship more than I wish for yours."
Cavalieri remained devoted to Michelangelo until his death.
In 1542 Michelangelo met Cecchino dei Bracci who died only a year later, inspiring Michelangelo to write forty-eight funeral epigrams.
Some of the objects of Michelangelo's affections, and subjects of his poetry, took advantage of him: the model Febo di Poggio asked for money in response to a love-poem, and a second model, Gherardo Perini, stole from him shamelessly.
The openly homoerotic nature of the poetry was a source of discomfort to later generations.
Michelangelo's grandnephew, Michelangelo the Younger, published the poems in 1623 with the gender of pronouns changed, and it was not until John Addington Symonds translated them into English in 1893 that the original genders were restored.
Even in modern times some scholars continue to insist that, despite the restoration of the pronouns, they represent "an emotionless and elegant re-imagining of Platonic dialogue, whereby erotic poetry was seen as an expression of refined sensibilities".
Late in life, Michelangelo nurtured a great love for the poet and noble widow Vittoria Colonna, whom he met in Rome in 1536 or 1538 and who was in her late forties at the time.
They wrote sonnets for each other and were in regular contact until she died.
Condivi recalls Michelangelo's saying that his sole regret in life was that he did not kiss the widow's face in the same manner that he had her hand. 
  Michelangelo completes his fresco "The Last Judgment" on the altar wall of the Sistine Chapel in Vatican City.
Cardinal Alexander writes to Bishop Marco Vigerio discussing frescoes to be done by Michelangelo for the Cappella Paolina  
A Doom is a traditional English term for a painting or other image of the Last Judgment in Christian eschatology when Christ judges souls to sends them to either Heaven or Hell.
The subject was very commonly painted on a large scale on the western wall of churches, so it was viewed as people left the church, and the term is typically used of these, rather than depictions of the "Last Judgement" in other locations or media.
Many examples survive as wall-paintings in medieval churches, most dating from around the 12th to 13th centuries, although the subject was common from the 1st millennium until (in countries remaining Catholic) the Counter-Reformation.
The most famous of all doom paintings, "The Last Judgment" by Michelangelo in the Sistine Chapel, painted in 1537 to 1541, comes at the end of the tradition, and is unusually sited on the east wall behind the altar.
Doom or "the Doom" was a specific term for the Last Judgement, first cited to c. 1200 by the OED ("Doom", 6), a sense surviving in this artistic meaning and in phrases such as the "crack of doom" and the word "doomsday", the latter going back to Old English.
The original OED in the late 19th century already described this sense of "doom" as "archaic", but it remains in use in descriptions of (mostly) British medieval churches.
Most dooms in English churches were destroyed by government authority during the English Reformation.
Dooms were encouraged by the early medieval Church as an instrument to highlight the contrasts between the reward of Heaven and the agony of Hell so as to guide Christians away from misbehaviour and sin.
A Doom was usually positioned either on the rear (liturgical Western) wall, if that space was available, or at the front (Chancel end) of a church, often on the Chancel arch itself so that it would be constantly visible to worshipers as they faced the altar during services.
Although there are many different versions, the composition stays broadly the same.
On the left side of a Doom painting (that is, on Christ's right hand) is Heaven, whilst on the right (Christ's left) is Hell.
At the top of the image Jesus Christ sits in glory with his (proper - i.e.
on the left to the viewer) right hand encouraging the saved up and his left hand pointing down to Hell for the damned.
Typically flanking him is the Virgin Mary on his right and John the Apostle on his left, sometimes with the twenty-four elders mentioned in the Book of Revelation encircling the three of them.
The angels blow trumpets to raise the dead for judgment.
Commonly the Archangel Michael is in the centre, with the scales he will use to weigh the souls of humanity to see if individually they are fit for Heaven: one person is on one side of the scale while demonic creatures that represent the sins committed by the person are on the other side of the scale.
The creatures try to tip the scales in their favour while, in some versions of the painting, The Virgin Mary places a rosary next to the person she wishes to protect, or puts her hand on the scale to counterbalance the demons.
In some other versions, while one of the saved enters Heaven, a demon tries to pull them in with the damned, while an angel fights the demon for the soul.
Those who are worthy are brought to the gates of Heaven, frequently represented by a castle with large walls built to keep out sinful impurities.
This is most commonly depicted on the left hand side of Doom paintings.
Groups of angels adorn the walls of Heaven celebrating the saved as they approach Heaven's gates, where Saint Peter waits with his keys.
Those on the other side are deemed unworthy of Heaven, usually seized by demons and brought into the Hellmouth, beyond which, mostly out of sight, lie the bowels of Hell.