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By Camille Flammarion

Si le texte évangélique de l’Apocalypse est une des thématiques les plus représentées en histoire de l’art, ce n’est pas tant pour faire allégeance au texte sacré que pour sa représentation : celle de l’humanité en tant que telle. Véritable mise à nu (selon l’étymologie grecque), l’Apocalypse ouvre au peintre les portes d’un miroir psychologique infini. Et de poser l. a. véritable query de sens, intrinsèque à toute humaine, celle de l’existence. C’est pourquoi des églises romanes jusqu’aux artistes contemporains tels que Bacon ou Cattelan, non sans oublier les Expressionnistes, ce livre revisite l’esthétique de l. a. souffrance à travers les plus beaux chefs-d’oeuvre.

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Five cm Russian nationwide Library, St Petersburg ninety six were no longer content material to rebuild approximately all of the Episcopal church buildings, but additionally decorated the monasteries devoted to many of the saints, or even the chapels within the smaller villages. The sombre 12 months one thousand had the vanished centuries into the prior, yet via what Altarpiece of the Hermits Hieronymus Bosch, c. 1490-1499 Oil on panel, 86. five x 60 cm (central panel) 86. five x 29 cm (side panels) Palazzo Ducale, Venice ninety eight 99 troubled instances the Church had handed! The popes have been the puppets of the rival Saxon emperors and the princes of Latium. All Christendom used to be in an indescribable mess. The hindrance had handed, however the challenge of the top of the realm remained, and credence of this dreadful occasion, notwithstanding doubtful and obscure, was once fostered via that profound trust Purgatory: Canto XXX Sandro Botticelli, early 1490s representation for Dante’s Divine Comedy initial cartoon with silverpoint on parchment, retraced in ink, 32 x forty seven cm Staatliche Museen zu Berlin, Kupferstichkabinett, Berlin a hundred 101 in the satan and in miracles which used to be but to suffer for hundreds of years within the foundations of renowned superstitions. the ultimate scene of the perfect Judgement used to be sculpted over the portals of each cathedral, and on getting into the sanctuary of the church, one handed below the stability of the archangel, which, at the left, confirmed photos of Purgatory: Canto XXXIII Sandro Botticelli, early 1490s representation for Dante’s Divine Comedy initial comic strip with silverpoint on parchment, retraced in ink, 32 x forty seven cm Staatliche Museen zu Berlin, Kupferstichkabinett, Berlin 102 103 the devils and the damned writhing in unusual and marvelous convulsions, being thrown into the everlasting flames of hell. however the concept that the area used to be to finish used to be no longer restricted to the Church. within the twelfth century, astrologers terrified Europe with the declaration of a conjunction of the entire planets within the Inferno: Canto X representation for Dante’s Divine Comedy, c. 1480-1490 initial cartoon with silverpoint on parchment, retraced in ink, 32 x forty seven cm Biblioteca Apostolica Vaticana, Vatican urban 104 105 constellation of the scales. This conjunction truly happened, for on 15 September the entire planets have been chanced on among the a hundred and eightieth and a hundred and ninetieth levels of longitude. yet, unfortunately, the tip of the area didn't come. The celebrated alchemist, Arnauld de Villeneuve, expected it back for the 12 months 1335. Inferno: Canto XV representation for Dante’s Divine Comedy, c. 1480-1490 initial cartoon with silverpoint on parchment, retraced in ink, 32 x forty seven cm Biblioteca Apostolica Vaticana, Vatican urban 106 107 In 1406, lower than Charles VI, an eclipse of the solar, taking place on sixteen June, produced a basic panic, which used to be chronicled by way of Juvenal of the Ursuline Order: “It is a pitiable sight,” he says, “to see humans taking shelter within the church buildings as though the area have been approximately to perish. ” In 1491, St Vincent Ferrier wrote a treatise entitled “De l. a. Fin du The Abyss of Hell representation for Dante’s Divine Comedy, c.

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