Question: Who did Michelangelo depict himself as 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 great Italian painters of the Renaissance made comparatively few formal painted self-portraits, but often included themselves in larger works.
Most individual self-portraits they have left were straightforward depictions; Dürer's showmanship was rarely followed, although a controversially attributed "Self-portrait as David" by Giorgione would have something of the same spirit, if it is a self-portrait.
There is a portrait by Pietro Perugino of about 1500 (Collegio del Cambio of Perugia), and one by the young Parmigianino showing the view in a convex mirror.
There is also a drawing by Leonardo da Vinci (1512)., and self-portraits in larger works by Michelangelo, who gave his face to the skin of St. Bartholomew in the "Last Judgement" of the Sistine Chapel (1536–1541), and Raphael who is seen in the characters of "School of Athens" 1510, or with a friend who holds his shoulder (1518).
Also notable are two portraits of Titian as an old man in the 1560s.
Paolo Veronese appears as a violinist clothed in white in his "Marriage at Cana", accompanied by Titian on the bass viol (1562).
Northern artists continued to make more individual portraits, often looking very much like their other bourgeois sitters.
Johan Gregor van der Schardt produced a painted terracotta bust of himself (c.1573).
Titian's "Allegory of Prudence" (c. 1565–70) is thought to depict Titian, his son Orazio, and a young cousin, Marco Vecellio.
Titian also painted a late self-portrait in 1567; apparently his first.
Caravaggio painted himself in "Bacchus" at the beginning of his career, then appears in the staffage of some of his larger paintings.
Finally, the head of Goliath held by David (1605–10, Galleria Borghese) is Caravaggio's own. 
The Abbey contains ten 15th century misericords, situated 5 on each side of the choir.
These depict such things as the last judgement of Christ, and gurning. 
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. 
This period has been described as a 'natural extension' of the art of Andrea del Sarto, Michelangelo, and Raphael.
Michelangelo from early age has developed a style of his own, a deeply original style which was greatly admired first, then often copied and imitated by his fellow artists of his time.
One of the qualities most admired by his contemporaries was his "terribilità", a sense of awe-inspiring grandeur, and it was the attempts of subsequent artists to imitate.
Michelangelo's impassioned and highly personal style was thus learned by the other artists copying the works of the master, learning by copying was a standard way that students learn to paint and sculpt.
His Sistine Chapel ceiling provided examples for other artists to follow, in particular the figures of "ignudi" and of the Libyan Sibyl, his vestibule to the Laurentian Library, in the figures on his Medici tombs, and above all in his "Last Judgment".
The later Michelangelo was one of the great role model of Mannerism.
This was noticed by Michelangelo himself who might have been annoyed sometimes by this.
Young artist broke in into the house of Michelangelo and stole drawings from him.
In his book "Lives of the Most Eminent Painters, Sculptors, and Architects", Giorgio Vasari noted that Michelangelo stated once: "Those who are followers can never pass by whom they follow.