Question: Who's figure is at the center of Michelangelo's "The Last Judgement"?
About the article "The Last Judgment (Michelangelo)", section "Description".

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The cover artwork features the band jumping in front of Michelangelo's 'The Last Judgment'. 
Michelangelo was the artistic heir to the great 15th-century sculptors and painters of Florence.
He learnt his trade first under the direction of a masterly fresco painter, Domenico Ghirlandaio, known for two great fresco cycles in the Sassetti Chapel and Tornabuoni Chapel, and for his contribution to the cycle of paintings on the walls of the Sistine Chapel.
As a student Michelangelo studied and drew from the works of the two most renowned Florentine fresco painters of the early Renaissance, Giotto and Masaccio.
Masaccio's figures of Adam and Eve being expelled from the Garden of Eden had a profound effect on the depiction of the nude in general, and in particular on the use of the nude figure to convey human emotion.
Helen Gardner says that in the hands of Michelangelo "the body is simply the manifestation of the soul, or of a state of mind and character".
Michelangelo was also almost certainly influenced by the paintings of Luca Signorelli whose paintings, particularly the "Death and Resurrection Cycle" in Orvieto Cathedral contain a great number of nudes and inventive figurative compositions.
In Bologna, Michelangelo saw the relief sculptures of Jacopo della Quercia around the doors of the cathedral.
In Michelangelo's depiction of the "Creation of Eve" the whole composition, the form of the figures and the relatively conservative concept of the relationship between Eve and her Creator adheres closely to Jacopo's design.
Other panels on the ceiling, most particularly the iconic "Creation of Adam" show "...unprecedented invention".
The ceiling of the Sistine Chapel was to have a profound effect upon other artists, even before it was completed.
Vasari, in his Life of Raphael, tells us that Bramante, who had the keys to the chapel, let Raphael in to examine the paintings in Michelangelo's absence.
On seeing Michelangelo's prophets, Raphael went back to the picture of the Prophet Isaiah that he was painting on a column in the Church of Sant'Agostino and, according to Vasari, although it was finished, he scraped it off the wall and repainted it in a much more powerful manner, in imitation of Michelangelo.
John O'Malley points out that even earlier than the Isaiah is Raphael's inclusion of the figure of Heraclitus in the "School of Athens", a brooding figure similar to Michelangelo's Jeremiah, but with the countenace of Michelangelo himself, and leaning on a block of marble.
There was hardly a design element on the ceiling that was not subsequently imitated: the fictive architecture, the muscular anatomy, the foreshortening, the dynamic motion, the luminous colouration, the haunting expressions of the figures in the lunettes, the abundance of putti.
Gabriele Bartz and Eberhard König have said of the "Ignudi", "There is no image that has had a more lasting effect on following generations than this.
Henceforth similar figures disported themselves in innumerable decorative works, be they painted, formed in stucco or even sculpted.
"Within Michelangelo's own work, the chapel ceiling led to the later and more Mannerist painting of the Last Judgement in which the crowded compositions gave full rein to his inventiveness in painting contorted and foreshortened figures expressing despair or jubilation.
Among the artists in whose work can be seen the direct influence of Michelangelo are Pontormo, Andrea del Sarto, Correggio, Tintoretto, Annibale Carracci, Paolo Veronese and El Greco.
In January 2007, it was claimed that as many as 10,000 visitors passed through the Vatican Museums in a day and that the ceiling of the Sistine Chapel is the biggest attraction.
The Vatican, anxious at the possibility that the newly restored frescoes will suffer damage, announced plans to reduce visiting hours and raise the price in an attempt to discourage visitors.
Five hundred years earlier Vasari had said "The whole world came running when the vault was revealed, and the sight of it was enough to reduce them to stunned silence."
The film begins by showing Antonio López García as a very meticulous painter.
He drives in pegs to mark his stance, hangs a weight and uses strings to determine the symmetry and center of his painting.
His first attempt starts out peacefully but he soon encounters problems due to the weather and the size of his canvas.
As García and a friend discuss Michelangelo's The Last Judgement, painted when Michelangleo was in his 60s, which García is fast approaching, the film's subject takes shape as the relationship between the artist's work and his own mortality.
García's future attempts are much more rushed and frantic as he struggles to compete with the weather, the fleeting sun and the rotting and weighed down fruit in maintaining his vision. 
Michelangelo's relief of the "Battle of the Centaurs", created while he was still a youth associated with the Medici Academy, is an unusually complex relief in that it shows a great number of figures involved in a vigorous struggle.
Such a complex disarray of figures was rare in Florentine art, where it would usually only be found in images showing either the Massacre of the Innocents or the Torments of Hell.
The relief treatment, in which some of the figures are boldly projecting, may indicate Michelangelo's familiarity with Roman sarcophagus reliefs from the collection of Lorenzo Medici, and similar marble panels created by Nicola and Giovanni Pisano, and with the figurative compositions on Ghiberti's Baptistry Doors.
The composition of the "Battle of Cascina", is known in its entirety only from copies, as the original cartoon, according to Vasari, was so admired that it deteriorated and was eventually in pieces.
It reflects the earlier relief in the energy and diversity of the figures, with many different postures, and many being viewed from the back, as they turn toward the approaching enemy and prepare for battle.
In "The Last Judgement" it is said that Michelangelo drew inspiration from a fresco by Melozzo da Forli in the Church of the Holy Apostles, Rome.
While the work is very different in character to Michelangelo's, Melozzo had depicting figures from different angles, as if they were floating in the Heaven and seen from below.
Melozzo's majestic figure of Christ, with windblown cloak, demonstrates a degree of foreshortening of the figure that had also been employed by Andrea Mantegna, but was not usual in the frescos of Florentine painters.
In "The Last Judgement" Michelangelo had the opportunity to depict, on an unprecedented scale, figures in the action of either rising heavenward or falling and being dragged down.
In the two frescos of the Pauline Chapel, the "Crucifixion of Peter" and the "Conversion of Paul", Michelangelo has used the various groups of figures to convey a complex narrative.
In the "Crucifixion of Peter" soldiers busy themselves about their assigned duty of digging a post hole and raising the cross while various people look on and discuss the events.
A group of horrified women cluster in the foreground, while another group of Christians is led by a tall man to witness the events.
In the right foreground, Michelangelo walks out of the painting with an expression of disillusionment. 
Christian attitudes cast doubt on the value of the human body, and the Christian emphasis on chastity and celibacy further discouraged depictions of nakedness, even in the few surviving Early Medieval survivals of secular art.
Completely unclothed figures are rare in medieval art, the notable exceptions being Adam and Eve and the damned in "Last Judgement" scenes, and the ideal forms of Greco-Roman nudes are completely lost, transformed into symbols of shame and sin, weakness and defenselessness.
This was true not only in Western Europe, but also in Byzantine art.
Increasingly, Christ was shown largely naked in scenes of his Passion, especially the Crucifixion, and even when glorified in heaven, to allow him to display the wounds his sufferings had involved.
The Nursing Madonna and naked "Penitent Mary Magdalene", well as the infant Jesus, whose penis was sometimes emphasized for theological reasons, are other exceptions with elements of nudity in medieval religious art.
By the late medieval period female nudes intended to be attractive edged back into art, especially in the relatively private medium of the illuminated manuscript, and in classical contexts such as the Signs of the Zodiac and illustrations to Ovid.
The shape of the female "Gothic nude" was very different from the classical ideal, with a long body shaped by gentle curves, a narrow chest and high waist, small round breasts, and a prominent bulge at the stomach (as in the Hugo van der Goes at left).
Male nudes tended to be slim and slight in figure, probably drawing on apprentices used as models, but were increasingly accurately observed.
The rediscovery of classical culture in the Renaissance restored the nude to art.
Donatello made two statues of the Biblical hero David, a symbol for the Republic of Florence: his first (in marble, 1408–1409) shows a clothed figure, but his second, probably of the 1440s, is the first freestanding statue of a nude since antiquity, several decades before Michelangelo's massive "David" (1501–04).
Nudes in Michelangelo's Sistine Chapel ceiling reestablished a tradition of male nudes in depictions of Biblical stories; the subject of the martyrdom of the near-naked Saint Sebastian had already become highly popular.
The monumental female nude returned to Western art in 1486 with "The Birth of Venus" by Sandro Botticelli for the Medici family, who also owned the classical Venus de' Medici, whose pose Botticelli adapted.
The "Dresden Venus" of Giorgione (c. 1510), also drawing on classical models, showed a reclining female nude in a landscape, beginning a long line of famous paintings including the "Venus of Urbino" (Titian, 1538), the "Rokeby Venus" (Diego Velázquez, c. 1650), Goya's "Nude Maja" (c. 1798) and Manet's "Olympia" (1863).
Although they reflect the proportions of ancient statuary, such figures as Titian's "Venus and the Lute Player" and "Venus of Urbino" highlight the sexuality of the female body rather than its ideal geometry.
In addition to adult male and female figures, the classical depiction of Eros became the model for the naked Christ child.
Raphael in his later years is usually credited as the first artist to consistently use female models for the drawings of female figures, rather than studio apprentices or other boys with breasts added, who were previously used.
Michelangelo's suspiciously boyish "Study of a Kneeling Nude Girl for The Entombment" (Louvre, c. 1500), which is usually said to be the first nude female figure study, predates this and is an example of how even figures who would be shown clothed in the final work were often worked out in nude studies, so that the form under the clothing was understood.
The nude figure drawing or figure study of a live model rapidly became an important part of artistic practice and training, and remained so until the 20th century.