Search engine for discovering works of Art, research articles, and books related to Art and Culture
ShareThis
Javascript must be enabled to continue!

An angel leading a soul into hell. Oil painting by a follower of Hieronymus Bosch.

View through Europeana Collections
In this painting, a naked man arrives in hell escorted by a winged angel clad in white. The naked man is presumed to be a soul of the dead. Monsters inflict horrendous tortures on the damned who are already there. The angel who accompanies the soul of the deceased to the underworld is called the 'psychopomp'. In ancient Graeco-Roman religion the psychopomp is Hermes (Mercury), but Christian doctrines are more vague on how the soul actually reaches its post-mortem destination: in some versions the event itself happens immediately after the death of an individual, while in others it happens after Judgment Day. Paintings, poems and songs have contributed as much to the idea of hell as official doctrines. Hell is depicted in mediaeval and early modern churches and cemeteries (as at Pisa) as well as on Buddhist paintings of the realm of Yama. The torments of the damned reflect the tortures inflicted by torturers acting for political masters and judicial authorities in the secular dungeons of this world. One master painter who specialized in the genre of hell-scenes was Hieronymus Bosch (died 1516). His enormously popular pictures were emulated by many artists throughout the 16th century, in Italy as well as in the Low Countries. The present painting was at one time in Rome and may have been painted by an Italian painter. The rotunda in the right middle-ground is similar to Virgil's tomb at Piedigrotta, near Naples - appropriately, as Virgil described Aeneas' descent to the underworld in the "Aeneid", and acted as Dante's guide to the underworld in Dante's "Inferno".
Wellcome Collection
Title: An angel leading a soul into hell. Oil painting by a follower of Hieronymus Bosch.
Description:
In this painting, a naked man arrives in hell escorted by a winged angel clad in white.
The naked man is presumed to be a soul of the dead.
Monsters inflict horrendous tortures on the damned who are already there.
The angel who accompanies the soul of the deceased to the underworld is called the 'psychopomp'.
In ancient Graeco-Roman religion the psychopomp is Hermes (Mercury), but Christian doctrines are more vague on how the soul actually reaches its post-mortem destination: in some versions the event itself happens immediately after the death of an individual, while in others it happens after Judgment Day.
Paintings, poems and songs have contributed as much to the idea of hell as official doctrines.
Hell is depicted in mediaeval and early modern churches and cemeteries (as at Pisa) as well as on Buddhist paintings of the realm of Yama.
The torments of the damned reflect the tortures inflicted by torturers acting for political masters and judicial authorities in the secular dungeons of this world.
One master painter who specialized in the genre of hell-scenes was Hieronymus Bosch (died 1516).
His enormously popular pictures were emulated by many artists throughout the 16th century, in Italy as well as in the Low Countries.
The present painting was at one time in Rome and may have been painted by an Italian painter.
The rotunda in the right middle-ground is similar to Virgil's tomb at Piedigrotta, near Naples - appropriately, as Virgil described Aeneas' descent to the underworld in the "Aeneid", and acted as Dante's guide to the underworld in Dante's "Inferno".

Related Results

scroll painting
scroll painting
The depictions of hell on the scroll are as follows, from left to right and top to bottom: 1. A seated underworld official with bare chest and belly is drinking, while a man and a ...
[Takeover of Joaquim Nadal]
[Takeover of Joaquim Nadal]
Taken from Joaquim Nadal and Farreras as mayor of Girona at the Salon de Sessions of the City Council of Girona Group portrait of the members of the new municipal corporation In th...
Manuscript of the Tuhfat al-Ahrar (The Gift to the Noble) by Jami, with lacquer binding
Manuscript of the Tuhfat al-Ahrar (The Gift to the Noble) by Jami, with lacquer binding
The manuscript opens with a faded ink drawing of a seated bearded man holding prayer beads in a landscape. The drawing is water damaged, and the inscription attributing the work to...
Mauresque in white on black background (vom BeMauvergebener Titel)
Mauresque in white on black background (vom BeMauvergebener Titel)
The earlier attribution of the leaves (AI 2491-1 to 12) to Monogrammist IR is not convincing. Leaves of this master are always signed (letters I R) and mostly executed in copper en...

Recent Results

The Seleucids and the Greek Cities of Western Asia Minor
The Seleucids and the Greek Cities of Western Asia Minor
The most vivid general impression which results from reading the inscriptions of the Greek cities within this part of the Seleucid dominions—of the Koina into which these cities st...
„Nu știm decât foarte puțin ce este satul”
„Nu știm decât foarte puțin ce este satul”
In this article, I look at Mihai Pop as an agent of continuity, but also as an agent of theoretical refreshment in the social sciences in communist Romania. Through his research ac...
Karl Jaspers. Ein europäischer Denker
Karl Jaspers. Ein europäischer Denker
This article sets out to identify Karl Jaspers as a European thinker, one who understands 'Europeanness' as a cosmopolitan attitude. It recalls Jaspers bio- graphical convictions t...

Back to Top