The Hours of Catherine of Cleves 1440 Hellmouth is the entrance to Hell envisaged as the gaping mouth of a huge monster, an image which first appears in Anglo-Saxon art, and then spread all over Europe, remaining very common in depictions of the Last Judgment and Harrowing of Hell until the end of the Middle Ages, and still sometimes used during the Renaissance and after. It enjoyed something of a revival in polemical popular prints after the Protestant Reformation, when figures from the opposite side would be shown disappearing into the mouth. A notable late appearance is in the two versions of a painting by El Greco of about 1578. Political cartoons still showed Napoleon leading his troops into one. Medieval theatre often had a hellmouth prop or mechanical device which was used to attempt to scare the audience by vividly dramatizing an entrance to Hell. The Hours of Catherine of Cleves 1440 The Hours of Catherine of Cleves 1440 Taddeo di Bartolo (1396) St. Augustine's manuscript De civitate Dei libri XXII (The city of God), 412-426 14th century Bolognese painting The oldest example of an animal Hellmouth known to Meyer Schapiro was an ivory carving of c. 800 in the Victoria and Albert Museum, and he says most examples before the 12th century are English. Many show the Harrowing of Hell, which appealed to Anglo-Saxon taste, as a successful military raid by Christ. Schapiro speculates that the image may have drawn from the pagan myth of the Crack of Doom, with the mouth that of the wolf-monster Fenrir, slain by Vidar, who is used as a symbol of Christ on the Gosforth Cross and other pieces of Anglo-Scandinavian art. In the assimilation of Christianised Viking populations in northern England, the Church was surprisingly ready to allow the association of pagan mythological images with Christian ones, in hogback grave markers for example. In the Anglo-Saxon Vercelli Homilies (4:46-8) Satan is likened to a dragon swallowing the damned Fra Angelico 1435-1440 Fra Angelico 1431 The whale-monster Leviathan has been equated with this description, although this is hard to confirm in the earliest appearances. However in The Whale, an Old English poem from the Exeter Book, the mouth of Hell is compared to a whale's mouth, though somewhat indirectly: The whale has another trick: when he is hungry, he opens his mouth and a sweet smell comes out. The fish are tricked by the smell and they enter into his mouth. Suddenly the whale’s jaws close. Likewise, any man who lets himself be tricked by a sweet smell and led to sin will go into hell, opened by the devil — if he has followed the pleasures of the body and not those of the spirit. When the devil has brought them to hell, he clashes together the jaws, the gates of hell. No one can get out from them, just as no fish can escape from the mouth of the whale. Codex Gigas 13th cent Master of the Parlament de Paris, , France Giovanni da Modena (ca. 1410) Book of Revelation 1430-1440 Satan himself is often shown sitting in Hell eating the damned, but according to G.D. Schmidt this is a separate image, and the Hellmouth should not be considered to be the mouth of Satan, although Hofmann is inclined to disagree with this. Equally the Hellmouth never bites the damned, remaining wide open, ready for more. icon in Gelati monastery
Оригинал взят у marinni в Адовы Уста (Hell Mouth) 11-17 век. Часть 1 Адовы Уста (Hell Mouth) -графика, миниатюры, скульптура. Leyden,Lucas van The maw of hell devouring the damned. Right wing of the triptych The Last Judgement. (1526-1527) After Pieter Bruegel the Elder 1561 Уста адовы (Hell…
Open wide and say ahhhhhhh! In medieval Europe, Hellmouths were commonly depicted in illuminated Apocalypse manuscripts as hideous beasts, swallowing the souls of the damned, while the souls of the saved watched smugly from Heaven. The British Library has posted some of the most memorable images in their collection.
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Medieval scribes protected their work by threatening death—or worse.
Released in 2020, on CD and on label Unique Leader Records (none). Distant — Dawn Of Corruption. Genre: Rock. Style: Deathcore
A Gripping, Snappy Creature Feature From The Master Of Horror Noir About Two Detectives--One Dead, One Living--Hired By An Embittered Old Landowner To Banish A Bloody Cosmic Monster From His Ancestral Home, Perfect For Fans Of Cassandra Khaw, Charles Stross And Lucy A. Snyder. Ford And Neuland Are Paranormal Mercenaries--One Living, One Undead; One Of Them Kills The Undead, The Other Kills The Living. When A Job Goes Bad In New York, They Head West To Wait For The Heat To Cool Down. There, A Young Woman Named Tilda Rosenbloom Hires Them On Behalf Of Wealthy Landowner, Shepherd Mansfield, To Track And Kill A Demon Haunting A Mansion In Remote Northern California. As Ford An
The Mouth of Hell. 13th C. MS Tanner 184
Vatican, Biblioteca Apostolica Vaticana, Pal. lat. 537, detail of f. 139v. Book of Hours, use of Sarum. London (?), second half of the 14th century.
Explore the British Museum collection and journey through two million years of human history.
Liber precum, 1405 ~ Bibliothèque nationale France Bibliothèque Infernale
Doom paintings were a popular way of scaring normal medieval folk into churches. They look pretty amazing and would have filled medieval peasant's hearts with genuine fear. Here, we take a look at the history and content of medieval doom paintings. Repent, sinners of the world.
Часослов Екатерины Клевской - голландская иллюминированная рукопись. Он был заказан Екатериной (1417-1476), герцогиней Гельдерской и матерью шестерых детей. В 1440 году, она, необычная для тех времен личность - ей было всего 23 года, когда она осмелилась оставить своего правящего мужа и успешно…
