This article examines the iconographic programme of the Last Judgement scene depicted in Christ III. A notable feature of the poem’s detailed visual programme is the way in which it provides the audience with a single, panoramic vision that encompasses the divergent perspectives of the blessed and the damned. It is on account of this dual perspective that the poem, through its precise use of language and imagery, presents the audience with a bifocal vision of Christ as King of Kings and Judge of the World, in keeping with the words of Revelation 19:16. A detailed analysis of the poem’s imagery, however, suggests that its portrait of Christ as Judge is not only informed by scripture and exegetical sources, but is also indebted to contemporary visual imagery, particularly the depiction of Christ as Majestas Domini, or Christ in Majesty. As a result, and by approaching the poem’s imagery from an iconological perspective, it is argued that the poet of Christ III had a detailed knowledge of contemporary Christological motifs. Furthermore, a careful analysis of the language used to describe the Judgement scene, and particularly the depiction of Christ as Judge, suggests that the poet intentionally seeks to evoke a range of specific visual images in the mind of his audience in order to amplify the poem’s instructive and penitential aims.

本文考察了基督三世中描绘的《最后审判》场景的图像程序。这首诗详细的视觉程序的一个显着特点是，它为观众提供了一个单一的全景视野，其中包含了有福者和受诅咒者的不同观点。正是基于这种双重视角，这首诗通过对语言和意象的精确运用，向观众展现了基督作为万王之王和世界法官的双焦点观点，与启示录19:16的话一致。 。然而，对这首诗的意象进行的详细分析表明，这首诗作为法官的肖像不仅有经文和训ege学的信息，而且还欠缺当代视觉意象，特别是对基督形象的描写。Majestas Domini或Christ下的基督。结果是，从肖像学的角度看这首诗的意象，有人认为基督三世的诗人对当代基督教的主题有详尽的认识。此外，仔细分析用于描述审判场景的语言，尤其是对基督作为法官的描绘，表明诗人有意寻求在听众心中唤起一系列特定的视觉图像，以扩大诗意。具有指导性和pen悔性的目标。