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His depictions of sinful humanity and his conceptions of Heaven and Hell are now seen as consistent with those of late medieval didactic literature and sermons. Most writers attach a more profound significance to his paintings than had previously been supposed, and attempt to interpret them in terms of a late medieval morality.
Heaven: The saved are entering Heaven, with Jesus and the saints, at the gate of Heaven an Angel prevents a demon from ensnaring a woman. Saint Peter is shown as the gatekeeper. Judgment: Christ is shown in glory while angels awake the dead; Hell: demons torment sinners according to their sins.
The most usual depiction of the Trinity in Renaissance art depicts God the Father as an old man, usually with a long beard and patriarchal in appearance, sometimes with a triangular halo (as a reference to the Trinity), or with a papal tiara, specially in Northern Renaissance painting. In these depictions The Father may hold a globe or book.
The Sun and Moon allegory is used to depict a medieval political theory of hierocracy which submits the secular power to the spiritual power, stating that the Bishop of Rome is like the Sun, the only source of his own light, while the Emperor is like the Moon, which merely reflects lights and has no value without the Sun.
Erhard Reuwich's pictures for Bernhard von Breydenbach's 1486 Pilgrimages to the Holy Land were long thought to be the source for both the elephant and the giraffe, though more recent research indicates the mid-15th-century humanist scholar Cyriac of Ancona's travelogues served as Bosch's exposure to these exotic animals. [22]
Late medieval images of Ecclesia and Synagoga represented the Christian doctrine of supersessionism, whereby the Christian New Covenant had replaced the Jewish Mosaic covenant [49] Sara Lipton has argued that some portrayals, such as depictions of Jewish blindness in the presence of Jesus, were meant to serve as a form of self-reflection rather ...
Directly opposite the Devil is a full page depiction of the Kingdom of Heaven, thus juxtaposing contrasting images of Good and Evil as Christian symbols. The Devil is shown frontally, crouching with arms uplifted in a dynamic posture. He is clothed in a white loincloth with small comma-shaped red dashes.
The hand is regularly seen in depictions of certain scenes, though it may occur on occasion in a much wider range. [15] In many scenes one or more angels, acting as the messengers of God, may appear instead of the hand. A virtually unique mosaic depiction of the Ark of the Covenant (806) at Germigny-des-Prés, also features the hand of God.