O Julgamento Final – Hieronymous Bosch, 1450

Centro do Tripto Julgamento Final – Hieronimus Bosch, 1506

Julgamento Final – Hieronimus Bosch, 1506

Jheronimus Bosch nos adverte sobre as consequências de uma vida pecaminosa.
A queda dos anjos rebeldes no painel esquerdo marca o início do fim.

Em seguida, vemos alguns dos eleitos no céu, com a grande maioria embaixo,
que no último dia sofrerá as mais terríveis torturas. Nas portas fechadas
estão São Tiago de Compostela e o Santo Bavo.

Jheronimus bosch

CA 1450-1516

Het Laatste Oordeel

Jheronimus Bosch waarschuwt ons voor de gevolgen van een zondig leven. De
val van de opstandige engelen op het linkerpaneel luidt het begin van het
einde in. Vervolgens ziet men enkele uitverkorenen in de hemel, met onder
zich de grote rest, die op de jongste dag de meest vreselijke folteringen
moet ondergaan.

Op de gesloten luiken prijken Sint Jacob van Compostella en de Heilige
Bavo.

Le Jugement Dernier

Jérôme Bosch nous met en garde contre les conséquences d’une vie corrumpue.
La chute des anges rebelles sur le panneau de gauche marque le début de la
fin. On note ensuite quelques élus au paradis, avec en dessous tout le
reste, qui doit bientôt subir les tortures les plus cruelles. Saint Jaques
de Compostelle et le saint Bavo prêchent sur les volets clos.

The Last Judgement

Hieronimus Bosch warns us against the consequences of a life of sin. The
downfall of the rebellious angels on the left panel heralds the beginning
of the end. Further, one sees the chosen few in heaven, with below them the
vast remainder who will have to undergo the most horrendous tortures on
Judgement Day. Saint Jacob of Compostella and the “Holy Bavo” adorn the
closed panels.

O Julgamento Final – Hieronimus Bosch, 1506 – descrição detalhada

Ala externa esquerda: São Tiago 13.2

Ala externa direita: São Bavo 13.3

Ala interna esquerda: Queda dos Anjos Rebeldes, A Queda e a Expulsão do
Paraíso

Bonito é apoiado por vários detalhes, a figura de São Bavo na ala externa
direita é claramente um retrato de Filipe, cujas características estão
documentadas em inúmeras obras de arte contemporânea (Bax 1983, Onghena
1959).

A fisionomia típica dos Habsburgos é aqui combinada com as características
suaves e juvenis que valeram a Filipe o epíteto de “o Belo”: cabelos
longos, olhos grandes, nariz fino, lábio inferior carnudo e queixo redondo.

A combinação de santos padroeiros nas alas externas refere-se, sem dúvida,
a Filipe, o Belo. Enquanto São Bavo representa o ramo holandês da casa de
Habsburgo, São Tiago o santo nacional da Espanha representa o ramo
espanhol. Os dois países tornaram-se dinasticamente ligados através do
casamento de Filipe com Joana de Castela em 1496.

No final de 1504, o casal herdou o trono espanhol, mas por causa da guerra
contra os Gueldres, Filipe só conseguiu fazer a urgente viagem a Espanha um
ano depois.

Óleo e têmpera sobre painel (carvalho)

163 x 127,5 cm/ 64¼ x 504 pol. (painel central), 167 x 60 cm/ 65% x 23%
pol. (asas)

Viena, Akademie der bildenden Künste. Gemäldegalerie, inv. não. 579 581
13.1

The Last Judgement

Handsome is supported by several details, the figure of St Bavo on the
right outer wing is clearly a portrait of Philip, whose features are
documented in numerous contemporary works of art (Bax 1983, Onghena 1959).

The typical Habsburg physiognomy is here combined with the soft, youthful
characteristics that earned Philip his epithet of “the Handsome”: long
hair, large eyes, a slender nose, a full lower lip and a round chin. Saints
in several paintings from around 1500 bear Philip’s por trait: the figure
of St George appearing in a 1496 paint ing of the Malines Guild of Archers
is a case in point.

A representation of Philip with a falcon and a cap like hat both common
attributes of St Bavo has likewise come down to us (Master of the Legend of
St Mary Mag dalene, c. 1490, Paris, Louvre [Depot]) and was also used for
the young Duke Charles of Burgundy, the later Charles V (1500–1558), in a
drawing by Hans Holbein the Elder (c. 1465–1524). Philip, who was born in
Bruges and whose heart is buried there, and Charles, who grew up in Ghent,
evidently identified with the charitable, noble local saint of West
Flanders.

It is fairly certain that the triptych of the Last Judgement, today in the
Vienna Academy of Fine Arts, is the one named in a well known document
preserved in Lille. The document records that in September 1504 Hieronymus
van Aken, called Bosch, painter, residing in s Hertogenbosch, was granted
an advance of 36 livres, which was paid to him by the adviser and chief
receiver, Simon Longin.

The artist was to make a large panel painting nine feet high and eleven
feet long, which was to show the Last Judgement with Paradise and Hell and
was intended for Archduke Philip the Handsome’s own use.

The combination of patron saints on the outer wings undoubtedly relates to
Philip the Handsome. While St Bavo stands for the Netherlandish branch of
the house of Habsburg, St James Spain’s national saint represents the
Spanish branch.

The two coun tries had become dynastically linked through Philip’s marriage
to Joanna of Castile in 1496. In late 1504 the couple inherited the Spanish
throne, but because of the war against the Guelders Philip was only able to
make the pressing trip to Spain a year later.

The huge dimensions stipulated in the document, which exceed those even of
the Garden of Earthly De lights (Cat. 11), are clearly not the same,
however, as those of the Vienna triptych, which at roughly 5 ft 4 in.
high by 8 ft I in. wide measures not much more than half the size.
Perhaps, when ordering the new trip tych, Philip consciously wanted
something even bigger than the Garden of Earthly Delights commissioned in
1503 (Belting 2002, p. 74).