Pieter Aertsen 1507/08 – 1575
The Seven Acts of Mercy
oil on panel (112 × 144 cm) — 1575
This work is linked to Matthew 25:35
| (마 25:35) | 내가 주릴 때에 너희가 먹을 것을 주었고 목마를 때에 마시게 하였고 나그네 되었을 때에 영접하였고 |
The gospel of Matthew names a series of acts that can make the difference at the time of the Last Judgement. The Last Judgement is when the righteous are separated from the ones that suffer for ever. Matthew names six such works of mercy. The seventh, to bury the dead, was added in 1207 by pope Innocent III. He referred to Tobit 1:17, where one of my nation" is buried.
The seven acts are:
- feed the hungry
- give drink to the thirsty
- give shelter to strangers
- clothe the naked
- visit the sick
- visit the imprisoned
- bury the dead
On the gate to the left is the date 29 May 1575. If that is the date the work was completed, Pieter Aertsen must have made it just before his death in June. The gate on the right has the text Mat XXV, which refers to Matthew 25 where the acts are listed.
In Aertsen's days it was common practice to depict the burying of the dead by referring to the Last Judgement. In this painting Aersten keeps them separate. The burying is in the center in the background. The Judgement is shown as a relief on the gate to the right.
Jheronimus Bosch ca. 1450 – 1516
Garden of Earthly Delights - Hell (detail)
oil on panel — ca. 1500
This work is linked to Revelation 19:21
| (계 19:21) | 그 나머지는 말 탄 자의 입으로부터 나오는 검에 죽으매 모든 새가 그들의 살로 배불리더라  계19:15, 계19:18 |
Detail of the right wing of the triptych. The monster in the chair is the Prince of Hell.
The woman under the chair is staring into a mirror. Bosch probably found her guilty of the deadly sin of vanity. The toad on her chest symbolizes death or lust.
Jheronimus Bosch ca. 1450 – 1516
The Last Judgement
oil on panel (164 × 247 cm) — c. 1482 or later
Gemäldegalerie of the Academy of Fine Arts, Vienna
This work is linked to Revelation 14:8
| (계 14:8) | ○또 다른 천사 곧 둘째가 그 뒤를 따라 말하되 무너졌도다 무너졌도다 큰 성 바벨론이여 모든 나라에게 그의 음행으로 말미암아 진노의 포도주를 먹이던 자로다 하더라 계18:2, 계16:19, 렘51:7 |
Triptych by Hieronymus Bosch. The left wing tells the story of Adam and Eve: the creation of man, the eating of the apple and the expulsion from Paradise.
The center panel shows the Last Judgment, a popular medieval subject. Seated in heaven, Jesus decides who will go to Hell and who will enter Heaven. The earth is on fire and strange creatures capture the remaining sinners.
The right wing shows Hell, destination of the doomed.
Caravaggio 1573 – 1610
The Seven Works of Mercy
oil on canvas (390 × 260 cm) — 1607
Pio Monte della Misericordia, Naples
This work is linked to Matthew 25:35
| (마 25:35) | 내가 주릴 때에 너희가 먹을 것을 주었고 목마를 때에 마시게 하였고 나그네 되었을 때에 영접하였고 |
Caravaggio made this altarpiece during his stay in Naples. He managed to put the seven works into one busy Naples street. The painting is still in the church for which it was made.
To the right is a woman breastfeeding a man. This represents two acts in one scene: feeding the hungry (1) and visiting prisoners (2). The scene refers to an ancient Roman story, Carità Romana, in which a woman helps her father who has been sentenced to life imprisonment without any food.
Behind the woman is a man carrying a dead person: burying the dead (3).
The naked man in the foreground is a beggar who has received a part of St Martin's cloth, symbolizing dressing the naked (4). Next to St Martin St James of Compostella is talking to an innkeeper: sheltering strangers (5). Behind them Samson is drinking: relieving the thirsty (6).
Visiting the sick (7) is not very clear in this painting. Probably the boy next to the beggar represents that act of mercy.
Fra Angelico 1387 – 1455
The Last Judgement
tempera on panel — c. 1435 - 1440
Gemäldegalerie der Staatlichen Museen, Berlin
This work is linked to Revelation 20:4
| (계 20:4) | ○또 내가 보좌들을 보니 거기에 앉은 자들이 있어 심판하는 권세를 받았더라 또 내가 보니 예수를 증언함과 하나님의 말씀 때문에 목 베임을 당한 자들의 영혼들과 또 짐승과 그의 우상에게 경배하지 아니하고 그들의 이마와 손에 그의 표를 받지 아니한 자들이 살아서 그리스도와 더불어 천 년 동안 왕 노릇 하니 고전6:2, 계6:9, 계13:15 |
This is a relatively unknown triptych by Fra Angelico. on the left: Heaven; center: the Last Judgment; on the right: Hell. Another version can be seen in the Museo San Marco in Florence.
Giotto ca. 1267 – 1337
The Last Judgement
fresco (10 × 8,40 m) — 1304-1305
Cappella degli Scrovegni (Arena Chapel), Padua
This work is linked to Revelation 20:4
| (계 20:4) |
○또 내가 보좌들을 보니 거기에 앉은 자들이 있어 심판하는 권세를 받았더라 또 내가 보니 예수를 증언함과 하나님의 말씀 때문에 목 베임을 당한 자들의 영혼들과 또 짐승과 그의 우상에게 경배하지 아니하고 그들의 이마와 손에 그의 표를 받지 아니한 자들이 살아서 그리스도와 더불어 천 년 동안 왕 노릇 하니
|
Please scroll down to read more information about this work.
This is Giotto's largest work in the Arena Chapel.
The top part shows Heaven, with Jesus in the middle and the apostles at both sides. Jesus is casting the Last Judgment. The lower part shows the chosen, who will be escorted to Heaven, and the doomed, who will be cast into Hell. The archangels Michael and Raphael are holding the cross in the middle.
A curious addition is found at the bottom of the fresco: the commissioner of the Arena Chapel, Enrico Scrovegni, is portrayed as presenting a model of the chapel to the Virgin Mary.
It is possible that Dante, the great Renaissance poet and an acquaintance of Giotto's, was inspired by this depiction of Hell when he wrote Inferno.
Giotto ca. 1267 – 1337
The Last Judgement - detail of hell [1]
fresco — 1304-05
Cappella degli Scrovegni (Arena Chapel), Padua
Detail of Giotto's depiction of Hell in his Last Judgment in the Arena Chapel in Padua.
Giotto ca. 1267 – 1337
The Last Judgement - detail of hell [2]
fresco — 1304-05
Cappella degli Scrovegni (Arena Chapel), Padua
Detail of Giotto's depiction of Hell in his Last Judgment, the fresco he made in the Arena Chapel in Padua.
Giotto ca. 1267 – 1337
The Last Judgement - detail of hell [3]
fresco — 1304-05
Cappella degli Scrovegni (Arena Chapel), Padua
Detail of Giotto's depiction of Hell in his Last Judgment in the Arena Chapel in Padua. Sinners are thrown into hell, where demons await them.
Lucas van Leyden 1494 – 1533
The Last Judgment
oil on panel (301 × 435 cm) — 1527
Stedelijk Museum De Lakenhal, Leiden
This work is linked to Revelation 20:11
| (계 20:11) | ○또 내가 크고 흰 보좌와 그 위에 앉으신 이를 보니 땅과 하늘이 그 앞에서 피하여 간 데 없더라 단2:35 |
A large triptych by Lucas van Leyden. He made it for the Pieterskerk in his native city Leiden. It is one of few altarpieces that survived the 1566 iconoclast.
To the left is heaven, to the right hell. In the centre panel Jesus sits on his throne, accompanied by the apostles. Below them the Day of Judgment is happening.
On the back of the panels are depictions of Saints Peter and Paul, the patrons of the Pieterskerk.
Hans Memling ca. 1433 – 1494
The Last Judgement
oil on panel (306 × 222 cm) — 1467-71
This work is linked to Revelation 20:4
| (계 20:4) | ○또 내가 보좌들을 보니 거기에 앉은 자들이 있어 심판하는 권세를 받았더라 또 내가 보니 예수를 증언함과 하나님의 말씀 때문에 목 베임을 당한 자들의 영혼들과 또 짐승과 그의 우상에게 경배하지 아니하고 그들의 이마와 손에 그의 표를 받지 아니한 자들이 살아서 그리스도와 더불어 천 년 동안 왕 노릇 하니 고전6:2, 계6:9, 계13:15 |
Memling's depiction of the Last Judgment, a popular medieval subject.
The dead arise from their graves. Archangel Michael weighs them with his scales. Some end up in Hell (on the right), others are welcomed to heaven by St. Peter. Jesus descends from heaven to administer justice.
Angelo Tani, an Italian trader living in Bruges, commissioned the triptych. He then had it shipped home to Italy, but a warship of the Hanseatic League captured the ship. At the time, the Hanze were hindering all traffic to England due to a trade conflict. As a result, Memling's triptych ended up in Danzig, present day Gdansk.
Michelangelo Buonarroti 1475 – 1564
The Last Judgement
fresco (13,7 × 12,2 m) — 1534-1541
Michelangelo Buonarroti biography
This work is linked to Revelation 15:6
| (계 15:6) | 일곱 재앙을 가진 일곱 천사가 성전으로부터 나와 맑고 빛난 3)세마포 옷을 입고 가슴에 금 띠를 띠고 |
The angels in the middle blow their horns to raise the dead. one of them holds the Book in which all has been written down and upon which Jesus will base his judgment.
To the left, the chosen are escorted to Heaven by angels. To the right, the damned are going to Hell. Michelangelo was inspired by Dante's Inferno. Charon (with oar) and his devils are leading the damned to judge Minos (with snake).
Jesus is seated in the middle with his mother Mary at his side. The two large figures are Paul (left) and Peter (right, with keys in hand). The figure underneath and to the right of Jesus is St. Bartholomew - a self-portrait by Michelangelo. In his hand, his mortal skin.
Above in the lunettes are symbols of the Passion - the cross, the crown of thorns, the pillar of flagellation, the spear, and the sponge dipped in vinegar.
In scale, technique and drama The Last Judgment is an absolute highlight of Renaissance painting. The work, a fresco, was painted against the wall of the Sistine Chapel, the Pope's private chapel.
Please scroll down to read more information about this work.
Michelangelo Buonarroti 1475 – 1564
The Last Judgement (detail 1)
fresco — 1534-1541
Michelangelo Buonarroti biography
This work is linked to Revelation 18:2
| (계 18:2) | 힘찬 음성으로 외쳐 이르되 무너졌도다 무너졌도다 큰 성 바벨론이여 귀신의 처소와 각종 더러운 영이 모이는 1)곳과 각종 더럽고 가증한 새들이 모이는 1)곳이 되었도다 |
A detail of Michelangelo's Last Judgment, showing the underworld. Charon chases the damned from his boat into Hell, where Minos (with snake) is waiting, ready to judge them.
According to the author Vasari the head of Minos is a portrait of the papal master of ceremonies. While the work was still in progress, this man complained about the amount of nudity in it. Michelangelo may have cast him as King of the Underworld for spite.
This picture was taken before the latest cleaning operation.
Michelangelo Buonarroti 1475 – 1564
The Last Judgement (detail 2)
fresco — 1534-1541
Michelangelo Buonarroti biography
This work is linked to Revelation 16:14
| (계 16:14) | 그들은 귀신의 영이라 이적을 행하여 온 천하 왕들에게 가서 하나님 곧 전능하신 이의 큰 날에 있을 전쟁을 위하여 그들을 모으더라 계3:10, 계17:14, 계19:19 |
A detail of Michelangelo's Last Judgment, showing Charon, the ferryman who escorts the damned to Hell.
Rogier van der Weyden 1399/1400 – 1464
The Last Judgment
oil on panel (215 × 560 cm) — 1443-1451
Rogier van der Weyden biography
This work is linked to Revelation 20:11
| (계 20:11) | ○또 내가 크고 흰 보좌와 그 위에 앉으신 이를 보니 땅과 하늘이 그 앞에서 피하여 간 데 없더라 단2:35 |
This is the front side of the polyptych Van der Weyden made for a hospital in Beaune. (Reverse side) The huge work is still in the same building.
It was commissioned by Nicolas Rolin, the rich and powerful chancellor to the duke of Burgundy. In 1443 Rolin and his third wife Guigone de Salins founded the Hospices de Beaune, a hospital for the poor. In those days it was thought that in order to recover from illness it was necessary to be of pure spirit. The painting of the Last Judgement that the couple put up in the hospital ward shows what happens to those who are not in a state of spiritual grace.
In the lower part the dead rise from their graves. Their souls are weighed by the archangel Michael. Above the earth hangs heaven, with a golden background.
In the centre panel are Christ and the archangel Michael, who holds a scale. Next to them are Mary (on the left) and John the Baptist (right).
On the second row are the twelve apostles. Behind them are a pope, a king, a monk, and to the right three women.
The outer panels show the final destinations: paradise and hell.
The angels in the upper side panels hold symbols from Christ's Passion: the cross, the crown of thorns, the stick with the spunge with vinager, the lance that was used to prick into his side, and the pillar against which he was flagellated.
Rogier van der Weyden 1399/1400 – 1464
The Last Judgment - centre panel
oil on panel (215 × 101 cm) — 1443-1451
Rogier van der Weyden biography
This work is linked to Revelation 20:11
| (계 20:11) | ○또 내가 크고 흰 보좌와 그 위에 앉으신 이를 보니 땅과 하늘이 그 앞에서 피하여 간 데 없더라 단2:35 |
This is the centre panel of Van der Weyden's Beaune polyptych with the Last Judgment.
In the upper half Christ sits on his throne. Below him archangel Michael stands on Earth. In the scales he holds are two tiny figures, representing one man's good and bad sides.
Above the left figure's head is the text virtutes, virtues. Above the other figure's head it says peccata, sins. The figure on the right looks down and is horrified by the hell he sees. The other one, closer to heaven, prays in gratitude.
Jan van Eyck 1390 – 1441
Crucifixion and Last Jugdment
oil on panel (56 × 20 cm each) — c. 1426
Metropolitan Museum of Art, New York
Please scroll down to read more information about this work.
The two panels may have been the wings of a triptych, but there is no certainty about that. In the 19th century the paintings were transfered from panel to canvas.
Three parts can be distinguished in the Crucifixion. The foreground shows weeping women. Under the crosses Van Eyck created a vivid scene with soldiers and others. In the top part the three crucified men are shown.
Perhaps the most remarkable part of the Crucifixion is the astonishing depth of the landscape behind the crosses. Van Eyck applied a splendid spatial perspective.
A vertical axis is the key to the composition of the Last Judgment: Christ as judge at the top, and archangel Michael controlling the underworld.
Next to Jesus are the virgin Mary and John the Baptist. They seem to float above the chosen, the dead that were allowed into Heaven.
No daylight enters the underworld where the doomed dwell for ever. It looks as if the dead enter Hell through the skeleton of Death.
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