Transition to the Afterlife

            In this part of the exhibit, we focus primarily upon the transition into the afterlife.  The paintings herein differ greatly, but all make use of symbolism relating to death. The Renaissance pieces on display here all bring to mind different viewpoints of death, ranging from outright fear to an accepted inevitability. Regardless of these apparent differences, all demonstrate just how short life is, and how difficult passage out of this life can be.

Often, more subtle things can bring similar ideas to the mind. The genius of Renaissance painters such as Holbein, Dürer and Michelino lies in part in their ability to expand these symbols even further. Their work also emphasized the fleeting nature of the mundane, temporal things. Not only must man die, but so must all that man makes and does. This thought was also portrayed in The Divine Comedy, where Dante penned, “Worldly renown is naught but a breath of wind, which now comes this way and now comes that, and changes name because it changes quarter” (Purgatory XI. 100-102). According to Dante, the repercussions of men’s actions in the living world are relatively unimportant when considered from the perspective of the deceased. To some extent, the memento mori prevalent in some of these paintings also serves as a reminder to avoid the vain things of the world, as they too must perish.

It is notable that the men depicted in this room of the exhibit were all prominent, important figures. The focus on death serves as yet another reminder that no one can avoid death. These men all succumbed to the tomb, despite any amount of abilities, wealth or prestige. They were not exempt from death, and the powerful symbolism in these masterpieces remains to remind all who see them that death awaits, and that all must pass into the afterlife someday.

Jean de Dinteville and Georges de Selve (The Ambassadors) 
Hans Holbein the Younger
1533
Oil Painting on Oak
207 x 209 cm
Located in the National Gallery of London

In Hans Holbein the Younger’s ‘The Ambassadors’, there is a plethora of allusions to death and its importance. Prominently, the skull across the bottom of this painting was painted so as to only be seen properly from an acute angle. This serves as a potent reminder that death, while inevitable, may easily be misunderstood due to an inadequate perspective. Often overlooked, there is a small crucifix in the upper corner. Christ’s vantage point is thus shown to differ from both of the perspectives presented to the beholder. This is appropriate as Christ has a view of death, both literally and figuratively.

Another aspect of the memento mori in this painting is found in the progression of objects down the center. Each detailed aspect of this painting is arranged such that as the eyes descend, they fall upon increasingly mundane objects, ending with the skull. The celestial globe and its companion items may symbolize a heavenly existence, whereas the next level down represents a mortal life. The skull unequivocally represents the ubiquitous nature of death. This development in the painting is a poignant reminder that the afterlife is still coming. 


Dante and the Three Kingdoms
Domenico di Michelino
1465
Oil on Canvas
Museo dell'Opera del Duomo

In Domenico Di Michelino’s ‘Dante and the Three Kingdoms’, the symbolism is more subtle than in the other paintings in the exhibit. In The Divine Comedy, Dante wrote of his imagined journey through the afterlife. He openly conversed with those who had already died, and provided many warnings to his readers about what could happen to them after death. In this painting, the three kingdoms—Inferno, Purgatory and Paradise—are portrayed left-to-right.  Dante is facing towards Paradise with his arm extended as if in invitation. Through allusions to Dante’s work, this painting reminds the beholder that all will die someday, and invites them to heed Dante’s warnings.

Saint Jerome
Albrecht Durer
1521
Oil on Panel
60 x 48 cm
Located in the Museo Nacional de Arte Antiga
Lisbon, Portugal

In Albrecht Dürer’s ‘Saint Jerome’, the memento mori is readily visible. Saint Jerome, already well advanced in age, is depicted as pointing at the skull, which resides between his open scriptures and an inkwell. This serves as a reminder that death is both unpredictable and certain, and that one should live in preparation of that day. Dante wrote, “Consider your origin: you were not born to live like brutes, but to follow virtue and knowledge” (Inferno XXVI. 118-120).  Saint Jerome did not eschew the skull, but instead chose to leave it on his table. His virtue and knowledge prepared him to accept death, not fear it. Likewise, his displaying a crucifix further demonstrates his understanding that he must one day die, and his acceptance of that fact.