The Seven Deadly Sins and the Four Last Things (workshop or follower) Hieronymus Bosch (1450-1516)

This painting, The Seven Deadly Sins and the Four Last Things, is a didactic and allegorical work illustrating the consequences of sin and the ultimate fate of humanity. The central composition is a large circular disc, reminiscent of a target, divided into sections.

What I see:

• The Central Disc: The most prominent feature is the large circular diagram in the center, which is further divided into segments arranged around a central image. This central image appears to be a depiction of Christ or God, radiating light, with the inscription Cour cour mis (meaning roughly See, see me or Behold, behold me). Surrounding this central figure are depictions of the Seven Deadly Sins, each represented by a scene illustrating the sin and its consequences. For example, one segment shows figures engaged in gluttony, another in lust, greed, anger, pride, sloth, and envy. The scenes are miniaturized and detailed, often with grotesque or exaggerated figures and actions.
• The Inner Circle: Inside the main circular disc, there are further concentric circles. The innermost circle contains the divine figure radiating light, and text.
• The Four Last Things: Around the main circular disc, in smaller circular medallions, are scenes representing the Four Last Things: Death, Judgment, Heaven, and Hell.
  • One scene depicts a deathbed vigil, showing a person near death with clergy and family present, perhaps symbolizing the urgency of repentance.
  • Another medallion illustrates the Last Judgment, with Christ in a central position, surrounded by angels, saints, and the resurrected dead, some ascending to heaven and others being cast into hell.
  • The scene of Heaven depicts a joyful gathering of souls in a celestial setting, with music and heavenly figures.
  • The scene of Hell is rendered with flames, demons, and torment, depicting the gruesome punishments awaiting sinners.
• Episodic Scenes: Scattered throughout the composition are smaller individual scenes that seem to represent either specific sins or related moral lessons. For instance, one scene shows farming work and conflict, perhaps against the backdrop of earthly labor and its joys or struggles.
• Inscriptions: Banners with inscriptions are present at the top and bottom of the painting, providing textual context and moral pronouncements in Latin. The top banner reads Deus omnia que sunt sine ea finis principium que ipse uult omnia gubernatur which can be translated as God, the beginning and the end of all things, without whom nothing can be governed. The bottom banner reads Oblonda fuisse fuit et sibi ad solitudinis nouilior. This is harder to translate definitively but seems to imply a lament or warning.
• Color Palette and Style: The painting employs a rich and detailed style characteristic of Northern Renaissance art, with a focus on precise rendering of figures, architecture, and daily life, even when depicting moral or theological concepts. The colors are vibrant, with reds, blues, and golds being prominent.

Subtexts:

• Christian Morality and Salvation: The overarching subtext is a powerful warning against succumbing to the Seven Deadly Sins and a reminder of the ultimate accountability before God. It emphasizes the mortal peril of sin and the importance of living a virtuous life to attain salvation.
• The Cycle of Sin and Punishment: The circular composition itself suggests a cyclical nature of sin and its consequences, leading ultimately to the Last Judgment and eternal reward or damnation.
• Divine Providence and Judgment: The central image of Christ/God and the scenes of the Last Judgment highlight the themes of divine omniscience, justice, and the ultimate reckoning of all souls.
• The Fragility of Life and the Certainty of Death: The inclusion of the Four Last Things, particularly death, serves as a memento mori, reminding viewers of the transient nature of earthly life and the inevitability of death and judgment.
• The Absurdity and Danger of Sin: In typical Hieronymus Bosch school style, the depiction of sins is often exaggerated and even absurd, highlighting their foolishness and destructive nature. The fantastical elements and exaggerated punishments in hell serve to visually impress upon the viewer the horrors of eternal damnation.
• The Importance of Good Deeds: By contrasting the sins with the depictions of Heaven and Last Judgment, the painting implicitly advocates for a life of good deeds, piety, and adherence to religious doctrine as the path to paradise.
• The Interconnectedness of Life: The integration of everyday scenes with the spiritual and theological elements suggests that earthly actions have profound spiritual implications.

In essence, The Seven Deadly Sins and the Four Last Things functions as a visual sermon, aimed at instilling fear of sin and Gods judgment while offering the hope of salvation through a righteous life.