Pride | Art for Proper 17C

Pride from The Seven Deadly Sins and the Four Last Things
Pride from The Seven Deadly Sins and the Four Last Things
Hieronymus Bosch
around 1500
Oil on wood
120 cm × 150 cm (47 in × 59 in)
Museo del Prado, Madrid
Click image to see entire work.

Commentary by Hovak Najarian

Pride (Detail from: “The Seven Deadly Sins and the Four Last Things”), oil on wood, c. 1500, Hieronymus Bosch, 1450-1516

The list of “Seven Deadly Sins” (pride, envy, wrath, sloth, greed, gluttony, and lust) is not biblical in source but instead was written by Evagrius Ponticus at a fourth century Egyptian monastery. It contained eight “sins” originally. “Vainglory” was one of the eight but its meaning overlapped with pride and it was dropped. Also, at one time, the list included “acedia.” meaning listlessness or torpor (a state of being found sometimes in people such as monks who lived a solitary life); it was changed to sloth. Although the term “deadly” seems grim and fatal, St. Gregory the Great noted the items on the list did not in themselves constitute sins. These were, however, behavioral characteristics or vices that could lead to sin. The “Seven Deadly Sins” also are called, “Capital Vices” and “Cardinal Sins.”

While the Renaissance was taking place in Italy, there were still Gothic elements remaining in Northern Europe. Classicism along with its gods and goddesses re-entered the art of Italy but painters in the North tended to be slower to leave themes that focused on morality. Hieronymus Bosch’s paintings included everyday people and often they were satirical and pessimistic; sin and punishment seemed to be his preoccupations. It has been speculated, “The Seven Deadly Sins and the Four Last Things,” could have been painted by one of Bosch’s pupils but scholars continue to support the belief that it is from the hand of the master.

The full painting of the “Deadly Sins” is rectangular in shape with a large circle dominating the center. The circle has been divided into seven sections (in the manner of a Lazy Susan) and a “sin” is depicted in each of the sections. The very center of the large circle is believed to represent the eye of God. Within its “pupil,” Christ is emerging from his tomb. Below it (in Latin) is written “Beware, Beware, God Sees” In the four corners are smaller circles where the “Four Last Things” are depicted; “Death of the Sinner,” “Judgment,” “Hell,” and “Glory.”

The scene, “Pride” (Latin: Suberbia), depicts a woman dressed in the typical Dutch fashion of her time. Just after entering a room she is shocked and immobilized when a mirror is thrust before her by a fierce looking demon that emerged abruptly from the shadow of the heavy wooden cupboard. The shock has forced her to look at her life and to become aware of pride.

Although to us it may seem like the woman in the painting is wearing a lampshade on her head, it is in fact a standard gauze headdress in the style of her day. Its back side is flat and does not reveal the interesting and often creative manner in which women’s headdresses were folded and pinned in front.

Hovak Najarian © 2013

St John the Baptist | Art for Advent 2C

Luke 3:2 during the high priesthood of Annas and Caiaphas, the word of God came to John son of Zechariah in the wilderness.

St John the Baptist in the Wilderness
St John the Baptist in the Wilderness
Oil on panel, 48 x 40 cm
Museo Lázaro Galdiano, Madrid
BOSCH, Hieronymus
(b. ca. 1450, ‘s-Hertogenbosch, d. 1516, ‘s-Hertogenbosch)
Click image for more information.

Commentary by Hovak Najarian

St. John the Baptist in the Wilderness, c. 1489-1505, Oil on Panel, Hieronymus Bosch, 1450-1516

Until recent times, artists were not preoccupied with styles. Their work gave form to thoughts concerning their physical, emotional, and spiritual worlds; art was (and is) a product of its time and culture. When art became an area of academic study, codification was necessary and terms came into use to describe periods and styles. Today, when the work of an artist of the past is highly individualistic, they are recognized as part of their culture but often are regarded as a precursor of a category that was not yet named during their lifetime. The work of fifteenth century painter, Hieronymus Bosch, falls easily into a classification that today is known as “Fantasy.”

The word “fantasy” brings to mind make-believe and the imagination. In art, it includes a variety of types ranging from the playfulness and humor of Disney to the dream imagery of Surrealism (“beyond the real”). It may include science fiction, mystery, fear, naïve art, and various moods as well. A work of fantasy may seem unusual and we may think the artist is surely quite different from us. Many artists, writers, musicians, and actors, however, work routinely in areas of fantasy but remain anchored to reality. On the face of it, the paintings of Hieronymus Bosch might cause one to think he was at least a little strange, yet from all indications his life was quite normal.

Bosch lived in the Netherlands and his milieu was very different from that of an almost exact contemporary, Sandro Botticelli, who worked in Florence. In Italy, humanism and the work of the Greeks and Romans set the stage for the art of the Renaissance. The Netherlands was farther away from classical influences and in the fifteenth century, lingering aspects of a Gothic world were still present in parts of Northern Europe. While Botticelli was making paintings such as, “The Birth of Venus,” Bosch’s themes focused on morality. He painted everyday people in scenes that were sometimes satirical and pessimistic; punishment and sin seemed to be a preoccupation. His landscape settings include typically medieval-like imagery of imaginative oddities and beasties that interact with people or, at times, carry on in a world of their own. A lot of side action usually takes place in his paintings.

An oft-depicted version of John the Baptist is that of an intense person clothed in animal skins and a caveman-like appearance. In motion pictures he may be shown as a bellicose man preaching in a shouting manner. In contrast, Bosch’s depiction shows John as a quiet, gentle, and thoughtful person. John, the forerunner of Christ, exists in a fantasy landscape and seems to be at peace as he leans against a rock and points to a lamb. Viewers in his time would recognize the lamb as a symbol of Christ and understand the connection


Surrealists of the twentieth century looked upon Hieronymus Bosch as a kindred spirit. Unlike the Surrealists, however, Bosch’s paintings were not an outgrowth of dreams, chance occurrences, or interest in the paranormal. Bosch’s work seems unconventional to us today but in his time and place he was known as an imaginative moralist and a well regarded, artist.

Hovak Najarian © 2012

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