The Seven Deadly Sins and the Four Last Things – Lust (workshop or follower) Hieronymus Bosch (1450-1516)
Hieronymus Bosch – The Seven Deadly Sins and the Four Last Things - Lust (workshop or follower)
1510-20
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Painter: Hieronymus Bosch
Location: Prado, Madrid.
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DEMONS
1.
In a hundred voices they chatter and draw
To black achievements, subjugating will
And seducing the mind. The route leads
Through a wretched province.
Everywhere there is crookedness and dirt.
And people build fervent plans.
Striving to seize hellish victory,
They believe that with power, we shall be masters.
Kirillov goes to bed late, he
Explores himself at night.
But whoever breaks the moral law –
Its better to have a stone on your neck, I will not hide it.
Why listen to demons? Why?
As if there is no sunlight,
As if there are few light systems!
This used to be in the province.
Petrusha Verkhovensky and his friends,
The sum of their wild actions.
Then Russias path was derailed.
A warning sounded in vain.
Never obey demons,
Fight your bad illusions.
The mud splashes as if forever,
Nasty mud has reigned in Russia.
2.
Kirillov goes to bed late.
The city is crooked, ugly, and dark –
You will have to live with hope,
If the houses here are so crooked.
How much understanding can be found
With demons? No,
And dont try – its so unsettling,
When the light around is distorted.
Is Kirillov right then? Hardly,
One cannot give
To demons the life that
Contains the possibility of a vertical – but how to decipher it?
You cannot comment Why?
In the center, beneath a red tent, a man in a pink tunic reclines towards a woman, offering her a chalice. The woman, dressed in a dark gown and a white headdress, holds a flower, and appears to be accepting the offering. Behind them, two figures stand, perhaps witnessing or participating in the scene. To the right of the tent, a jester, dressed in white with a red collar, is being struck from behind by a man in a brown robe, who wields a wooden spoon or club. The jester is on his knees, with a contorted, expressive face.
In the foreground, scattered on the green grass, are various objects that allude to sensual pleasures and the sin of lust. A small table holds a pitcher, a bowl of cherries, and an orange, suggesting indulgence. A harp and a flute lie on the ground, representing music and potentially seduction. A flask with a coat of arms hangs by a chain, hinting at possessions or status that might be gained or lost through lustful pursuits. A small pillory-like object, possibly symbolizing punishment or confinement, is also visible.
The background shows a peaceful, rolling landscape with trees and distant buildings, a stark contrast to the chaotic and morally charged scene unfolding in the foreground. The overall composition, with its detailed symbolism, serves as a visual sermon, warning against the dangers of carnal desire and its corrupting influence. The figures, their interactions, and the surrounding objects are carefully chosen to convey the sinful nature of lust, its deceptive allure, and its potential for both earthly and spiritual downfall.