Essay on a religious leader - Abu Hanifa Annotated Bibliography

Essay on a religious leader - Abu Hanifa - Annotated Bibliography Example When Hanifa was growing up, the people around him were being oppressed by the rule of Abdul Malik bin Marwan. At this time also, Al-Hajjaa ibn Yusuf was the governor of Iraq. Yusuf was a staunch follower of Abdul. Amazingly, these issues did not affect Hanifa in any way. He never pursued any elementary education, instead choosing to be a businessman just like his ancestors. . His earliest business was a silk waving shop. Here, his fairness and honesty were exhibited. Hajjaj and Abdul died in 95AH and AH respectively, and this marked the start of fair rule in the area (. Good administration and justice prevailed in the land unlike in previous regimes. The new ruler, Umar encouraged and promoted education all over the land. He was so passionate about education such that every homestead was a Madrassah. As a result of this, Abu Hanifa started taking an interest in education (Khan 67). His quest for education was boosted by the advice of as-Sha’bi, a respected scholar in Kufa. His keen interest in education would later have a profound effect on Islam. Madrassahs were Hanifa’s earliest source of education. Through this, Hanifa was able to learn about the Quran and Hadith. A jurist in kufa called Hammad assisted Hanifa greatly in his quest for Islamic studies (Umar-ali-qadri 42). Hanifa performed very well in his studies. Abu Hanifa declined a post in 763 by al-Mansur to be the Chief Judge. Hanifa wanted to remain independent. However, his students benefitted from his tutelage. One of them, Abu Yusuf was instead appointed the Chief Judge of the State instead of him. When declining the post, he asserted that he was not fit for the post, a fact that illustrates his humility. Mansur was incensed by his decision to refuse his appointment (Sachedina & Esposito 176). He branded him a liar, but Hanifa responded to this by asking him that if he was indeed a liar,

Article Reviews Essay Example | Topics and Well Written Essays - 500 words - 3

Article Reviews - Essay Example Tablets, smart-phones, notebooks and other accessories will experience significant growth in the U.S. market over the next year. The global market for consumer electronics is predicted to rise close to $210 billion and experience 3 percent growth. This sharp economic growth bucks the trend against a sluggish economy; however, this consumer demand for mobile devices will continue to grow for years to come. Only 16 percent of U.S. households have a tablet, so there is plenty of room to grow. In terms of the product life cycle, consumer electronics can be said to still be in the growth stage because sales are still climbing. The maturity stage looks a long way off at present because the rate of sales growth for mobile devices does not look like slowing down anytime soon. The largest Italian insurance company, Assicurazioni Generali, has bought a 49 percent stake in a joint venture known as GPH. Generali, which brokered the deal with the help of the European equity firm PPF Group, will pay 2 and a half billion Euros for the deal to go through. The deal will happen gradually, with Generali paying 1.29 billion Euros by March for a 25 percent stake in the joint venture, and then Generali will pay the remaining balance to acquire another 24 percent by the end of next year. With economic uncertainty still present in Central and Eastern Europe, this deal will reduce the risk of Generali entering those markets. As a result of the deal being announced, Generalis share price rose by 1.25 percent, as investors look to shore up their investment in the company. Marketers need to be open to a range of ideas so that a firm does not miss out on market opportunities. Marketing strategies need to be linked with the objectives of an organization so that marketing campaigns can be well-perceived by the target market. In order to make a brand stand out from a saturated market, a brand needs to be able to offer some form of differentiation that makes a customer

Everyday Use by Alice Walker Essay Example for Free

Everyday Use by Alice Walker Essay Everyday Use by Alice Walker takes into account a central conflict between two women. This conflict is symbolized by two main characters; Mrs. Johnson and Dee. Both have certain characteristics are similar but mostly Alice juxtaposes these characters with each other to bring out the main theme of the play. Dee is an epitome of shallow materialism and an adherent of prevailing concept of heritage where heritage is revered only for trendiness and aesthetic attraction whereas Mrs. Johnson admires heritage for its practical utility and personal importance. Both Mrs. Johnson and Dee are from the same socio-cultural backgrounds but both are brought up in different cultural milieu. Both admire heritage but their motives are different. Mrs Johnson is ‘In real life I am a large, big- boned woman with rough, man-working hands’ (273) whereas Dee is soft-skinned and of delicate nature. Piedmont-Mortob is of the view that central conflict is between Maggie and Dee and â€Å"is about whether heritage exists in things or in spirit, or process. † Dee’s longing for heritage is for ostentatious reasons. For example she says, â€Å"I can use the chute top as a centerpiece for the alcove table†¦and I’ll think of something artistic to do with the dasher†. (277) Contemporary periodical necessities make her cherish and celebrate her Afro-American heritage. â€Å"Dee views her heritage as an artifact which she can possess and appreciate from a distance instead of as a process in which she is always intimately involved. † (Piedmont-Marton) But Mrs. Johnson and Maggie have learnt to live with their heritage. Dee is captivated by the beauty of â€Å"churn top† and wanted to have it to be used as centerpiece for her alcove table whereas Mrs. Johnson has used it practically for churn butter hitherto. Walker utilizes the butter churn to demonstrate Mrs. Johnson’s intrinsic understanding of heritage. When [Dee] finished wrapping the dasher the handle stuck out. I took it for a moment in my hands. You didn’t even have to look close to see where hands pushing the dasher up and down to make butter had left a kind of sink in the wood. In fact, there were a lot of small sinks; you could see where thumbs and fingers had sunk into the wood. It was a beautiful light yellow wood, from a tree that grew in the yard where Big Dee and Stash had lived. (277) About quilts Dee says: â€Å"Maggie can’t appreciate these quilts†¦ She’d probably be backward enough to put them to everyday use† (278) that shows her shallow reason to love her heritage. Mrs. Johnson says, â€Å"I am the way my daughter would want me to be†. (273) This is manifestation of her adoption to the changing circumstances. Same is the case with Dee as her pretensions about her culture are directly related to the changing social environment where heritage is celebrated and is not understood. The development of Dee into Wangero shows various facets and phases through which black identity passed during late 1960s and 1970s. Predilection for appearance as compared with spirit remained hallmark of this era and this trend is manifested through Dee’s transformation into Wangero. â€Å"Dee’s new name, her costume, and her new boyfriend (or husband) are all indicative of her frivolous attitude toward her newly adopted African culture. † (White) Above-mentioned arguments and supported evidence show that there exist similarities as well difference between the character of Mrs. Johnson and Dee. They love the same thing for different reason. Works cited Piedmont-Marton, Elisabeth. An Overview of Everyday Use. Short Stories for Students. Gale Research, 1997. Literature Resource Center. Thomson Gale. Valencia Community College East Campus Lib. , Orlando. 18 Jan. 2002 https://www. linccweb. org/eresources. asp. White, David. â€Å"Everyday Use: Defining African-American Heritage. 2001. Anniinas Alice Walker Page. 19 Sept. 2002. Walker, Alice.

Influences of Organisational Culture on Social Care

Influences of Organisational Culture on Social Care Explain How Different Aspects of Organisational Culture, Including Communication and Leadership, Influence Service Provision in Social Care Organisational culture, a theoretical model of business practice, may also used to understand the systems and behaviour of other organisations, in particular the application of organisational culture theory to the understanding of social work practice. This model of business attempts to understand the positive and negative development of an organisation, through conscious and unconscious processes, and how these elements assist or limit the people within the organisation. Applying the principles of organisational culture theory to an environment which is essentially client-focussed is not straightforward, but provides social care theorists with both a way to understand barriers and limitations within the system, and the way that the principles of the organisation is applied to service provision; it may also offer a key to implementing practice reforms and changing the structure of social service organisation from within. By interpreting the social care system through this business mo del, it is possible to avoid the limitations which hinder better practice within social work. As this essay is based upon the terminology of Organisational Culture Theory, it is necessary to begin with a brief introduction to the theory, highlighting its concerns, and considering how this term relates to current understanding of organisational models. After this explanation, the essay will then consider each of the most important terms within organisational culture theory, including leadership, communication, and motivation. These terms will then be used to describe the aspects of organisational culture as they affect the provision of services within social care. A conclusion will discuss the relevance of organisational culture theory to social work, finishing with the consideration of how this business model is being used to alter the way in which social services are practiced, and the values which are utilised by social care. Organisational culture, the â€Å"set of beliefs, values and meanings that are shared by members of an organization† (Austin and Claassen, 2008, 349), is most often understood to refer to the practices and behaviours of a business organization. The term â€Å"Organisational culture† is not easily defined, despite its frequent usage, and theorists have therefore tended to outline the term according to their own interests. Attempts to clarify the meaning of ‘organisational culture† began in 1954: â€Å"The culture of industrial groupsfrom class origins, occupational and technical sources, the atmosphere of the factory which forms their background and finally from the specific experiences of the small informal group† (J. Brown, quoted in Anderson-Wallace and Blantern, page 3). This term highlights the importance of social bonding in creation of an organisational culture, which serves to unite a company around a common world view. Andrew Brown is one of m any authors who have noted that the same organisation can have different organisational cultures in different countries, reflecting a difference in the social cultures of those companies: â€Å"These differences are most striking when they were detected in the subsidiary companies of the same multinational organisation, because they seemed to suggest that national cultural differences may help shape organisational design and behaviour at a local level† (Brown, 1995, page 2). Later, organisational culture would be more extensively defined by both Brown and Edgar Schein: these two works will be the basis of the remainder of this essay. It is important to note the essential elements of organisational culture theory: that this culture consists of social and localised beliefs about the operation of the business; these beliefs, or mythology, may bind a company together to the extent that it becomes isolated from outside ‘reality’: Brown uses the example of Philips Elec tronics: â€Å"Philips’ cultural inclination to define truth and reality according to its technological bias has led critics to charge that it is complacent, lethargic, inward-looking and risk adverse† (Brown, page 29). He also notes that critics considered the internal culture a definite factor in the economic failure of the business. Brown’s work is a general guide to organisational culture, and offers three main sources of culture within a business: â€Å"The societal or national culture within which an organisation is physically situated† – which might be one reason why multinationals operating in many countries often have a number of organisational cultures; â€Å"The vision, management style and personality of an organisation’s founder or other dominant leader† – leadership and the mythology of prominent leaders being an important influence on the culture of a business; and â€Å"the type of business an organisation conducts and the nature of its business environment† – one would not expect social care to develop the same organisational culture as a company such as Shell or Cadburys (two businesses mentioned by Brown). Schein’s work describes similar factors in a rather more abstract manner. He uses the terms ‘artifacts’, ‘expressed values’, and ‘basic assumptions’ to describe organisational culture. Schein sees artifacts as including all the tangible aspects of a culture – language, surroundings, technology and â€Å"The visible behavior of the group and the organizational processes into which such behavior is made routine† (Schein, 1992, page 17). These are the aspects most observable to outside researcher, although Schein notes that â€Å"It is especially dangerous to try to infer the deeper assumptions from artifacts alone because one’s interpretations will inevitably be projections of one’s own feelings and reactions† (Schein, page 18). Espoused values may help the researcher to better understand the culture; some of these values later become assumptions: â€Å"Only values that are susceptible to physical or soci al validation and that continue to work reliablywill become transferred into assumptions† (Schein, page 20). Consciously espoused values may provide a clue to the basic assumptions of a group; alternatively, they may not: â€Å"One must discriminate carefully between those that are congruent with underlying assumptions and those that are, in effect, either rationalizations or only aspirations† (Schein, page 21). Basic Assumptions are, in essence, what lies beneath; these assumptions are those held subconsciously by an organisation: â€Å"If a basic assumption is strongly held in a group, members will find behavior based on any other premise inconceivable[they] actually guide behaviortell group members how to perceive, think about, and feel about things† (Schein, page 22). With this understanding of basic organisational culture theory, it is now possible to consider in greater detail a number of subjects which are influenced by this culture: motivation, leadership, and communication. Motivation: Business theory is greatly concerned with the motivation of employees, and a strong organisational culture is considered essential to this. â€Å"Most organisations make strenuous attempts to motivate their employeesan appropriate and cohesive culture can offer employees a focus of identification and loyalty† (Brown, page 90). A positive organisational culture has a beneficial effect upon the motivation of the workforce, encouraging staff retention, high performance, and the intake of recent graduates; employees may also experience a better quality of life, or at least working life, avoiding stress-related illness. By contrast, a negative culture may result in loss of motivation, high staff turnaround, workers entering employment with fewer skills or qualifications, and low performance. Leadership: Leadership, particularly charismatic leaders and company founders, have a profound impact upon the organisational culture of a business. Founders, of course, by creating the business, â€Å"usually have a major impact on how the group initially defines and solves its external adaptation and internal integration problemsFounderstypically have strong assumptions about the nature of the world, the role that organizations play in that world, the nature of human nature and relationships [and] how truth is arrived at† (Schein, page 213). The creation of the company is usually the beginning of its organisational culture and basic assumptions; and while the espoused values may change, the unconscious basic assumptions may extend back to the foundation of the business. Founders and later leaders are often charismatic, and their decisions may not be challenged directly: â€Å"The emerging culture will then reflect not only the leader’s assumptions but the complex int ernal accommodations created by subordinates† (Schein, 230). The charismatic leader’s personal style will also lead to the development of a mythology. These stories are vitally important in the maintenance of an organisational culture. Communication: The effective communication of ideas is essential in organisations, and often progress can be hampered through poor communication; Schein describes the development of production engineering: â€Å"Without it, engineering often designs things that cannot be built or are too expensiveEngineering is likely to perceive production as lazy and unimaginative, while production perceives engineering to be unrealistic† (Schein, 258). Organisational culture can affect communication, for example in hospitals, where â€Å"Most were discovered to suffer from a dearth of worthwhile formal communication channels† (Brown, 281). An organisational culture which avoids communicating new ideas will undoubtedly make profound mistakes and fail to co-operate. It is possible to see these aspects in the influence of organisational culture upon social care, and particularly how the provision of care is directly affected by leadership, communication, and motivational ideas. As Anderson-Wallace and Blantern explain, the perception of the recipient of care has a basic assumption (unchallenged), as its base: â€Å"One cultural artefact is an emphasis on an assessment of the individual client within their wider social environment. This is underpinned by the espoused value of the importance of a dialogue between practitioner and client. The underlying assumption is of the independent nature of the client in active negotiation with the practitioner.† (Anderson-Wallace and Blantern, page 8.) The basic assumption also reveals that the emphasis is upon the client, rather than upon the care worker. In such circumstances, it would not be surprising to see care workers being de-motivated; active participation is limited to the client, lessening th e need for effective communication, and also the possibility of blaming the client for errors; against this latter lays the practice of holding social services responsible for all errors in service provision. Motivation is a major problem in social service, revealed through high turnover, poor quality of working life, and work-related illnesses such as stress: â€Å"stress is more common amongst social workers than either the general population or health care workers, due to the sensitivity and responsiveness to the difficult problems presented by clients which their work requires† (Ramon and Morris, 2004, page 7). As noted above, lack of motivation provision within organisational culture not only results in all the complications described here, but is also connected to low job performance. Here, the organisational culture influences service provision in a negative manner, by creating a culture of de-motivation, where the care worker feels impotent: â€Å"The statements indicate the relationships between experiencing stress, level of control, autonomy and flexibility within their job or role† (Ramon and Morris, page 8). There are also conflicting social cultures within the w ider environment which contribute to this absence of motivation: the western world generally emphasises self-help and chastises those who are dependent upon government assistance: â€Å"A further layer was poor morale, associated with an inquiry on child protection (a feature shared with a number of similar departments), and the experience of a culture which tended to view stress as reflecting individual weakness† (Ramon and Morris, 7, but also visible in the wider media). There is in fact very little evidence for leadership as part of organisational culture within the social services, although some research has suggested that leadership culture within social care may be negative: â€Å"This vindication of the pessimistic view of the team leaders group highlights the defensiveness of some senior managers of social services departments who view constructive criticism as an affront† (Ramon and Morris, 19). The account of leadership culture within the social care department suggests an organisation that emphasises leadership above productivity and worker satisfaction – other parts of the essay note staff complaining about impolite and inconsiderate leadership styles. Despite an espoused value of worker importance, the basic assumption appears to be that leadership is most valued, and criticism by lower staff members is not acceptable. Poor communication culture lies at the heart of social care training. Ramon and Morris note â€Å"Improved communication between management and staff† as one of the goals of their research (Ramon and Morris, page 10), suggesting at the very least that the organisation culture of the social services is one of negligence towards communications, other sections of their essay suggest that communication is exceedingly poor â€Å"Poor communication and consultation within the organisational culture was identified as the major cause for stress,. As noted above, this can seriously affect performance, in this instance service provision† (Ramon and Morris, 19). In the following example, the necessary NVQ was preceded by a questionnaire upon the values of the workers involved; these reveal quite different values from those of the NVQ modules – an emphasis upon personal quality of life offered by the workers is altered to education on health care and understanding of residen t’s social issues. â€Å"Almost without exception, role development was identified as impor ­tant; most viewed this to be within the care sector at a higher grade or entering nurse training. Significantly, male staff perceived their role pro ­gression to be to that of care home manager or owner† (Winter and Meehan, 2004, page 6) While most of the workers described personal lives as more important or as important as work, and valued honesty and equal opportunities for staff, instead, emphasis was placed upon NVQs with modules such as â€Å"Fostering people’s equality, diversity and rights†, where the focus was upon the residents’ needs rather than staff equality. Training within the NVQ did not cater for male staff’s ambitions, or for personal quality of life. Here we can see Social Care with a series Espoused Values (care and motivation of staff; better staff retention; valuing employees) which contradict the actions of the area, with it s emphasis upon residential equality and the gaining of IT skills, suggesting that the Basic Assumptions do not match – the basic assumptions might be â€Å"care of the residents is more important than staff satisfaction† and â€Å"IT training will improve motivation and help retention†, or even â€Å"training will improve the care given†. It is worth noting that, while 92% of staff thought the NVQ training would improve motivation, only 50% thought it would improve staff retention – one of the stated aims of the training. Emphasis upon training therefore appears to bear little correlation to workers’ performance; it also does not appear to have improved the motivation or turnover of care staff. The purpose of this essay has been to consider how organisational culture influences the provision of services within social care. One thing that has become clear from this research is that the organisational culture of social services relies heavily upon charismatic leadership to develop the stated values of the department. However, the culture also places limitations upon staff criticisms of leaders, meaning that desirable change may be limited or even prevented: for instance, Michelle Johnson and Michael Austin have suggested that the organization culture of local social services contained barriers to the creation of evidence-based practice, including the fact that there was â€Å"Little history, culture or expectation that evidence is routinely and systematically used to underpin practice† (Austin and Johnson, 87). This problem is undoubtedly one of leadership culture preventing better evidence-based practice from being developed. A secondary problem is that of communicati ons – as Ramon and Morris noted, official communication was resented, being seen as an imposition from above (page 19), and there was limited value placed within the culture for cross-company consultation. These details may seem to relate only to staff members, but clearly they have a role in the outcome of service provision to clients or residents. The lack of motivation experienced by staff members, including stress and feelings of impotence, impact the service they offer to clients, particularly when the unconscious assumption is that these clients are both ‘independent’ of the care provider, and under the control of that same provider. Leadership issues prevent the adequate solving of problems – the basic assumptions of the group meaning that challenges to senior management are dismissed, or regarded as an affront to the leadership. This assumption has prevented the adoption of beneficial policies within the workplace, and has probably limited schemes which would also have aided service provision. Communication between departments within the social services has been justly criticised in the past, and it is clear that a problematic relationship with senior manage ment is also indicative of problems in communication, data being rejected by staff members if it appears to come from management. All of these actions reveal the unconscious assumptions of social workers, both towards colleagues and towards their clients. The application of organisational culture theory to social care offers an opportunity to better understand the role that basic assumptions and values take in the provision of services to clients. Attempts to create a more evidence-based practice have emphasised the importance of a corresponding change in the culture of social work, offering an alternative to the problematic assumptions which can be found in the current organisation’s culture and practice. Works Cited Anderson-Wallace, Murray, and Chris Blantern (2005) â€Å"Working with Culture† in Organisational Development in Healthcare Peck, Edward (ed) Radcliffe Publishing, 2005. Austin, Michael J, and Jennette Claassen (2008) â€Å"Impact of organizational culture: implications for introducing evidence-based practice† Journal of Evidence-Based Social Work Volume 5 no 1-2 (2008) pp. 321-359 Austin, Michael J, and Michelle Johnson (2006) â€Å"Evidence-based practice in the Social Services: Implications for Organizational Change† Administration in Social Work Volume 30, no 3 (2006) pp 75-104 Brown, Andrew (1998) Organisational Culture Essex, Pearson Education Ltd Schein, Edgar H (1992) Organisational Culture and Leadership San Francisco, Jossey-Bass Publishers. Ramon, Shulamit and Lana Morris (2004) â€Å"Responding to perceived stress in a social services department: applying a participative strategy† retrieved 13/09/2008 from http://www.britsoc.co.uk/user_doc/Morris.pdf Winter, Jane, and Lyn Meehan (2004) â€Å"The value of integrated workforce planning across the local health and social care economy: a case study† Clinical Governance Bulletin Volume 5, no. 2 Jul 2004 pp 6-8

My Desire to be an Early Childhood Special Education Teacher Essay

My Desire to be an Early Childhood Special Education Teacher Imagine yourself to be a young child sitting in a classroom. The teacher has given instructions, and everyone is working, except you. You want to raise your hand, but are hesitant due to the fear of being laughed at. The teacher scolds you for not being on task, and for having to perhaps stay afterwards to catch up on your work. You feel ashamed and want to give up altogether. The teacher glares at you waiting for you to start your work. This example is one that I do not want to have my students experience in the classroom. I have the desire to become an Early Childhood Special Education teacher. I want to assist the child that feels lost, or does not catch on as quickly as the other children. I want the nature of the students to be relaxed, and energetic. I want the children to be curious and involved in every aspect of the learning process. I hope that the students will learn through hands on activities, as well as group and visual lessons. The students in my class should feel that the classroom...

The Great Gatsby As A Tragedy Essay example -- English Literature

The Great Gatsby As A Tragedy A hurried read of F. Scott Fitzgerald's The Great Gatsby can generate a tragic impression. The deaths of three of the main characters and the failure of Gatsby and Daisy's romance can be viewed as tragic. However, a deeper analysis of the book reveals a much deeper tragedy. The relentless struggles of Gatsby himself parallel Fitzgerald's apparent ideas of the struggles of all Americans. The American dream romanticized by the majority of the population is really unattainable because it is, in fact, nonexistent. Every character has an unfortunate role and could be called a tragic character. However, the main tragedy is that of the title character. Gatsby experiences nothing but tragedy in his life. He begins miserable and ends miserable. He begins his life in a poor family where he feels he truly does not belong. His parents were unsuccessful and "his imaginationà ¢Ã¢â€š ¬Ã‚ ¦never really accepted them as his parents at all"(104). Always envisioning a better life for himself and a bigger purpose for his life, he has an amazing ability to make his dreams come true. As a child he dreams of being wealthy and living in luxury, and he attains this. When he is older he dreams of having Daisy, and for a time he achieves this dream as well. He reaches out for the green light at Daisy's dock symbolizing the embracing of his dream. Once the distance between him and this dream is removed, he has exactly what he thinks he wants. However, it is this belief in the dream that leads to his eventual downfall. Nick reflects on Gatsby's aspirations saying, "Gatsby believed in the green light, the orgastic future that year by year recedes before us" (189). Gatsby has an unusual quality of persistent hope... ...is family, education, and the way he fell into his money. His name is not actually Gatsby either. Like the "Great Houdini", Gatsby can make unreal things seem real. His entire life is an illusion to everyone but Nick. It is heartbreaking that in order to be happy Gatsby feels that he must put up these false fronts and skew reality in the eyes of others to make him into something that he is not. Gatsby's struggles are very similar to those of the American society in this particular era. In one case, the contender is reaching for an unworthy dream and in the other it is the contender that is unworthy of the dream. Fitzgerald combines the two struggles to produce an overall tragic comment on society in the 1920s. The lack of heart in the old aristocracy, the death of the American dream and the falsehood of the dreams unite to form the tragedy in the novel.

Last Judgment

The Last Judgment Michelangelo was one of the greatest artists of all time. He excelled in architecture, sculpture, painting, poetry, and engineering. He was a true Renaissance man who lived a long emotional life. In painting â€Å"The Last Judgment,† Michelangelo was able to incorporate all that he had learned about the human body. He was able to show the way the body moved, as well as its displays of unrestrained passion, overwhelming grief, or endless torment. This is what makes â€Å"The Last Judgment† such a unique and exceptional work of art. The Last Judgment is a canonical fresco by the Italian Renaissance master Michelangelo executed on the altar wall of the Sistine Chapel in Vatican City, Rome, Italy. It is forty-eight feet by forty-four feet masterpiece. 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 some twenty years after having finished the Sistine Chapel ceiling. Michelangelo returned to the Sistine Chapel as a sixty year old man in 1535 when he was commissioned by Pope Paul III (pontificate 1534 – 1549) to paint the Altar Wall. If his ceiling celebrates the creation of man, his Last Judgement, depicts the end of the world and the judgment that is said to follow. Michelangelo having been commissioned the wall looked for a long time at the big wall he was supposed to paint. He wanted to be sure to avoid some of the problems the ceiling frescoes had given him twenty-five years earlier. The wall had two windows. He had them blocked up so he would have a nice, empty surface. Next he worried about dampness seeping through from outside. That might spoil his painting. He decided not to paint the actual chapel wall but to build a second one of dried bricks in front of it and to leave a space between the two walls for ventilation. And to keep the dust from collecting on it he gave the new wall a slant. It slopes inward as it rises and overhangs at the top about a foot. At first Michelangelo planned to paint with oil paints and he had his helper Sebastiano del Piombo give the whole wall a coat of mortar with resin to seal it. But later he changed his mind and ordered him to chip his primer away. Michelangelo was an experienced fresco painter now and who knows what disagreeable surprises oils might give him. He would stick to fresco and would apply his own layer of sand and lime each day as he went. These preparations took a year. Meanwhile he worked on his characters . He began to paint in June 1536. It is said that Michelangelo fell off the scaffolding once when he was alone in the chapel. Though he was badly hurt he dragged himself home and crawled into bed in great pain. He refused to let anyone see him and wouldn’t open the door when they knocked. Finally, one of his friends, a doctor made his way up by a secret way from room to room until he found Buonarroti, who was in a desperate condition. Then his friend refused to go away or leave his side until he was better. The wall was unveiled on Halloween, 1541. He was 66 years old. It was twenty-nine years since the unveiling of the ceiling frescoes. The great painting scared people. Pope Paul III, who commissioned it, is supposed to have exclaimed when he saw it the first time: â€Å"Lord, please don’t charge me with my sins when you come on Judgment Day! This depiction of the second coming of Christ and the final judgment of humanity is not only a fresco but a beautiful piece of poetry. This painting is a grim reminder to the parishioners as well as the clergy (including the pope) that ultimately they too would be judged at the end of time. This painting depicts Christ surrounded by the saints and angels, judging all the souls of the human race as they rise or descend to heaven and hell where they will stay for all eternity. Most of the saints surrounding Jesus were martyrs and Michelangelo depicted them each holding the weapon or instrument of their martyrdom. The figures seem to swirl around Christ, this was a new way of depicting this scene because the other versions from earlier periods show it in neat horizontal layers. The central figure of Christ is literally judging and determining the fates of all of the human race with his hand raised gesturing to his decision. The emotion coming from the figure of Christ is so powerful that it almost seems like the figure of his mother, Mary, next o him is cower in fear of the whole scene. To the right you see the Archangel Michel reading form the book of souls assisting in the judgment process. Seen all over is figures of the saved rejoicing but you can also see the damned suffering or fearful of their fate like the figure below Christ on the right covering one eye terrified of his terrible fate. There are many elements to this artwork that tell the viewer th at not only Christians will be judged and sent to heaven but people of other religious back grounds will as well, as long as they have lived a moral life. The inclusion of Greek and Roman mythology is the biggest hint to this. Christ in the center surrounded by light shown as beardless and very muscular this is not just an expression of humanism but can be compared to the Greek god Apollo who was the god of the sun. What could be viewed as the reason for this is that Pope Clement VII studied Heliocentric Cosmology by Copernicus. This work stated that the sun was the center of the universe, so by placing Christ in the center of the fresco and mimicking the features of Apollo, Michelangelo places Jesus at the center of our spiritual universe. The boatman Charon from Greek and Roman mythology is also featured in this work at the bottom ferrying the damned souls to hell. Also, Minos from Greek mythology who was son of Zeus and Europa and king of Crete became one of the three judges of the underworld. Minos is seen in the bottom left corner of the work with a serpent coiled around him and this would determine which circle of hell the damned souls would be sent. It is also said that a Cardinal had judged Michelangelo’s work so as a sort of revenge he painted the portrait of the Cardinal as Minos. This could have been his way of poetically stating that only God and Christ can judge this world and if someone attempts to do what only God or Christ can do that there will be a special place in hell for that individual regardless of status within the church, as well as venting is frustration for the Cardinal. Michelangelo did not only provide portraits of individuals who upset him but other central figures of the church as was as himself. The figure on the right holding the a silver key and a gold key is St. Peter with the keys to heaven, this is actually a portrait of Pope Paul III. Also, the flayed skin of St. Bartholomew being held by him is a distorted self portrait of the artist. This continues to send the message that no one is exempt from the last judgment. By including Greek and Roman mythology as well as portraits of current people from the time of the frescos creation really drives the point home that no matter religious background or political status you will be judged fairly. The Last Judgment was a very controversial piece at the time because, unlike other artists, Michelangelo portrayed those in his painting as naked thereby demonstrating the lack of importance that riches would have at the end of the world when humanity stands before judgment. Unlike his earlier work, including the rest of the Chapel which he painted, his depiction of the Last Judgment was much more monochrome as well as gruesome with the souls of the damned cowering in fear as they are dragged down by demons. Pope Paul III, who commissioned Michelangelo to paint the Last Judgment, demonstrated a great deal of faith in the artist's abilities and gave him vast amounts of artistic license. While others criticized Michelangelo's use of nude figures, the Pope offered up no complaint. In addition to the lack of clothes on his subjects, Michelangelo was critiqued for not only using the Bible as an inspiration for his fresco but also mythological creatures such as Charon who is seen ferrying the damned as well as Minos who is shown as one of the judges located in the underworld. The Last Judgment was an object of a heavy dispute between critics within the Catholic Reformation and those who understood the genius of the artist and the mannerist style of the painting. Michelangelo was accused of being insensitive to proper decorum, and of flaunting personal style over appropriate depictions of content. The Council of Trent issued decrees that such representations in sacred art were not allowed, and all objectionable art was to be changed or destroyed. In response to certain accusers, when the Pope's own Master of Ceremonies Biagio da Cesena said of the painting â€Å"it was mostly disgraceful that in so sacred a place there should have been depicted all those nude figures, exposing themselves so shamefully,† and that it was no work for a papal chapel but rather â€Å"for the public baths and taverns,† The worst criticism came from the poet and blackmailer Pietro Aretino, who at first wrote flattering things to Michelangelo from Venice and made suggestions for the painting. Michelangelo answered that though his suggestions were very interesting the fresco was too far along then to be changed. Eight years later Aretino published an open letter to Michelangelo in which he accused him of being irreverent. â€Å"Such things might be painted in a voluptuous bathroom,† he wrote, â€Å"but not in the choir of the highest chapel†¦Our souls are benefitted little by art, but by piety. † Some thought the nudes were out of place. The papal Master of Ceremonies, Biagio da Cesena, said the painting made the chapel look like a stufa d’ ignudi’ (a bathing house). For that remark, which he heard Cesena say, Michelangelo supposedly put his face on Minos, the great judge of Hell, and gave him donkey ears while his nudity is covered by a coiled snake. It is said that when Cesena complained to the Pope, the pontiff joked that his jurisdiction did not extend to hell, so the portrait would have to remain. Although the references to mythology were allowed to remain, the genitalia in the fresco, referred to as ‘objections,' were covered after Michelangelo died by a student of his, Daniele da Volterra. As years followed fresco came very close to being destroyed. More and more clothes were added. In 1574 El Greco himself offered to chip it away and paint a new fresco that would â€Å"be decent and pious and no less well-painted than Michelangelo’s. †Three more times (1625, 1712, and 1762) artists were ordered to â€Å"do something about those nudes†. The critic Thode thought the fresco had been altered so much that it was no longer even possible to judge the artistic qualities of Michelangelo’s work.