by Madison McCaslin

In order to remain resonant with Bosch’s religious themes of sin and entry into Heaven, I wanted to create a collage that represented the relationship between Christ and the Devil. I found the perfect image for this in Ary Scheffer’s Christ Tempted by the Devil, painted around 1852. The painting illustrates Christ in conversation with the Devil, in which he points upwards as the Devil gestures downwards. I saw an opportunity here to create visual representations of Jesus’ ideals in contrast to that of the Devil, and thus searched for depictions of Heaven and Hell. The circular painting of Hell that the Devil points to is from Herri met de Bles’ Hell painting, completed between 1540-1550. This fiery imagery is in stark contrast to the peaceful depiction of Heaven that Christ gestures toward, which was actually painted by Bosch himself. 
This painting, entitled Table of the Seven Deadly Sins and Four Last Things, is a compilation of numerous religious symbols and scenes. Representations of all seven deadly sins are present, as are Death, The Last Judgment, Hell, and Glory (which is the image I’ve chosen to include here). This setup is meant to communicate Bosch’s idea that Hell is waiting for those who stray from God’s path. 
I chose to place this scene in the watery depths below the fountain so that it could be within the sights of the owl that sits watching from the hole above. As the owl is a symbol of the devil, it is fitting that he should be carefully watching the scene play out. Additionally, I wanted the scene to be underwater and in one of the darkest parts of the painting to symbolize its underlying significance. Meaning that according to religious narratives, everything you do in your life will impact where you end up – Heaven or Hell. Placing this scene of Christ being tempted by the Devil in both the watchful eye of the devil and in the murky depths below the fountain was intentional, and referential to the religious notion that God sees all. 
What’s more, in between Bosch’s depictions of Glory and Hell, there is a latin banderole that translates into the phrase, “I will hide my face from them, I will see what their end shall be.” This consistent watchfulness, unbeknownst to those being watched, is resonant with the devilish symbol of the owl that intently watches the scene I have created.