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In the Bible heaven is described symbolically, using images from everyday Jewish life during biblical times. The Catechism of the Catholic Church indicates several images of heaven found in the Bible: This mystery of blessed communion with God and all who are in Christ is beyond all understanding and description.
As heaven is described in the Bible as a place of everlasting happiness, so hell is described as a place of endless torment, where the worm dieth not and the fire is not quenched. Matt. 25:41, 46; Mark 9:44-48; Luke 13:3; John 8:21, 23 —Evangelical Methodist Church Discipline (¶25) [ 92 ]
Hieronymus Bosch's 1500 painting The Seven Deadly Sins and the Four Last Things.The four outer discs depict (clockwise from top left) Death, Judgment, Heaven, and Hell. In Christian eschatology, the Four Last Things (Latin: quattuor novissima) [1] are Death, Judgment, Heaven, and Hell, the four last stages of the soul in life and the afterlife.
The paintings were accompanied by an explanatory pamphlet, a technique that Martin has used with his earlier Biblical pictures. The paintings went on an extensive tour of provincial cities, including Glasgow, Edinburgh, York, Hull, Leeds, Oxford, Birmingham, Liverpool, Huddersfield, Sheffield, Leicester, Bristol and Chester.
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.
His death freed from exclusion from Heaven the just who had gone before him: "It is precisely these holy souls who awaited their Savior in Abraham's bosom whom Christ the Lord delivered when he descended into Hell", the Catechism states (CCC 633), echoing the words of the Roman Catechism, 1, 6, 3. His death was of no avail to the damned.
In the Last Judgement the damned are placed in hell in the lower mid-ground while the saints and angels are positioned higher in the upper foreground. [6] Pächt writes of this panel that the scene is "assimilated into a single spatial cosmos", with the archangel acting as a divider in the pictorial space between heaven and hell. [10]
When hung in Venice in 2011, the order of the panels was Fall of the Damned into Hell, Hell, space, Terrestrial Paradise, and Ascent of the Blessed.The Terrestrial Paradise was placed on the left because it resembles other Eden panels by Bosch, especially with its landscape, fountain, and following biblical convention. [3]