Loading...
Heaven and Hell.
Stiff, Charles W.
Stiff, Charles W.
Title
Heaven and Hell.
Date
1868-01-01T00:00:00-0752:58
Subject
Objects
Peabody Museum
East India Marine Hall
Heaven and the Day of Judgement
Heaven and Hell
Peabody Museum
East India Marine Hall
Heaven and the Day of Judgement
Heaven and Hell
Material type
Collections
Files
Loading...
0-objects005b.tif
TIFF, 31.52 MB
Loading...
objects005.tif
TIFF, 23.64 MB
Abstract
SV372 — Nelson Dionne Collection. Partial view of the carving titled "Heaven and the Day of Judgement," also known simply as "Heaven and Hell," an object in the Peabody Academy of Science's museum collection at the East India Marine Hall. This view is focused on the lower hemisphere, a representation of Hell, and a detailed description of this section of the carving is provided on the back side: "The other [this] hemisphere represents Hell, and contains fifty-two figures. 'The Savior of the world, firmly seated upon an extended arch representing the vault of heaven, is here seen in the character of the judge of mankind. A stream of light descends upon him from above, and a glory encircles his head. The action of his hands indicates the awful duty he is fulfilling four angels in front, and contagious to him, support the symbols of his passion—the pillar, the cross, the spear, and the sponge: while two others behind him, and two near the circumference, are sounding his praises upon instruments of music.—These are all the winged figures in the lower hemisphere. "On the right of the Redeemer are five female figures kneeling in adoration; the most prominent of these is the Virgin, who is crowned as before . The same number of male figures (one of them is crowned) are observed kneeling, and occupying a corresponding place on the left hand. "The inferior portion of this hemisphere presents a most appalling scene. Here we behold the resurrection of the dead, and the punishments the wicked—and the terrific images of Dante are here embodied. "In the distance, numerous figures, and among them owned heads and bishops, are perceived rising from their graves—while in the foreground, the flames of purgatory envelop the damned, and the gates of hell are yawning for the reception of the victims. Death and Sin (the latter typified by the serpent) and placed just within the gates, and (by an incongruity not uncommon) a Dog, which is probably intended for Cerberus, guards the entrance of the dread abode; and grim-visaged demons are seen every here busily employed in dragging the impenitent to their places of torment. Some unhappy beings are already in the flames—while others are hurried along by their remorseless conductors, to be cast into the region of despair. The forked tongue of one of the demons has transfixed the body of a youthful victim; while another is observed seizing one of the condemned by the hair of his head, the flesh of which, notwithstanding the extreme minuteness of the figure, naturally seems to be in a state of tension. All here is, indeed, equally terrible, and all equally well imagined. "The following inscription is round the margin: "Rise ye dead, come to judgeement—come ye blessed and depart ye cursed." Photographed and published by Charles W. Stiff, Danvers, Mass., 1868. The object was donated in 1806 by General Elias Haskett Derby. According to the Peabody Museum in 1921: "This is undoubtedly the most widely known single object in the museum and for one hundred years the only object of this sort in any museum in the country; it has always been kept with the relics of the E. I. M. Society. These carvings were made in Flanders during the fifteenth or early sixteenth centuries and were intended for the terminal beads of rosaries for the wealthy Roman Catholic nobility. This one is an admirable example of these wonderul box-wood carvings. While it is but two inches in diameter, 109 full-length figures and heads are crowded into the two sections of the ball."