The Seven Deadly Sins and the Four Last Things

The Seven Deadly Sins and the Four Last Things
Artist	Hieronymus Bosch (disputed)
Year	around 1500
Medium	Oil on wood
Dimensions	120 cm × 150 cm (47 in × 59 in)
Location	Museo del Prado, Madrid

The Seven Deadly Sins and the Four Last Things is a painting attributed to Hieronymus Bosch or to a follower of his, completed around 1500 or later. Since 1898 its authenticity has been questioned several times. In 2015 the Bosch Research Conservation Project claimed it to be by a follower, but the Prado's scholars dismissed this argument. The painting is oil on wooden panels and is presented in a series of circular images.

Four small circles, detailing the four last things — "Death of the Sinner", "Judgment", "Hell" and "Glory" — surround a larger circle in which the seven deadly sins are depicted: wrath at the bottom, then (proceeding clockwise) envy, greed, gluttony, sloth, extravagance (later replaced with lust), and pride, using scenes from life rather than allegorical representations of the sins.

At the centre of the large circle, which is said to represent the eye of God, is a "pupil" in which Christ can be seen emerging from his tomb. Below this image is the Latin inscription Cave Cave Deus Videt ("Beware, Beware, God Sees").

Above and below the central image are inscription in Latin of Deuteronomy 32:28–29, containing the lines "For they are a nation void of counsel, neither is there any understanding in them", above, and "O that they were wise, that they understood this, that they would consider their latter end!" below.

In 1560 Felipe de Guevara wrote about a pupil of Bosch, an unnamed discipulo (pupil), who was as good as his master and even signed his works with his master's name. Immediately after this, and without starting a new paragraph, Guevara refers to the painting of the Seven Deadly Sins as characteristic of his style. This led some scholars, as early as Dollmayr (1898) and most vocally Stechow (1966), to ascribe the work to this pupil. Most experts have argued since, however, that given the highly ambiguous nature of the passage, Guevara had probably returned to a description of the works of Bosch himself. Furthermore, the accuracy and authority of Guevara is suspect: when in 1570 Guevara's heirs sold a copy of the The Haywain Triptych to Phillip II of Spain, it was made clear that Guevara had regarded that work as the original painted by Bosch himself, whilst nowadays it is known that his was a copy (displayed in El Escorial), of the original hanging in Prado. Phillip II of Spain himself purchased the work (prior to 1560, probably from a monastery art sale) in the belief that the Seven Deadly Sins was a Bosch original, and he always regarded it as such. It was his favourite Bosch painting and it hanged in his own bedroom in El Escorial. When he donated the painting to El Escorial in 1574, it was cataloged as being a Bosch original; Silva Maroto argued that it is hard to belief that Guevara would question the authorship of Phillip's favourity Bosch in an ambiguous manuscript that remained unpublished until 1788.

...
Wikipedia