MONSTRANCE
Fall of the Damned — Hieronymus Bosch
fall of the damned  ·  Fall of the Damned
Hell — Hieronymus Bosch
hell  ·  Hell
Terrestrial Paradise — Hieronymus Bosch
terrestrial paradise  ·  Terrestrial Paradise
Ascent of the Blessed — Hieronymus Bosch
ascent of the blessed  ·  Ascent of the Blessed
4 sheets, one edition

Visions of the Hereafter

Hieronymus Bosch ('s-Hertogenbosch, c. 1450–1516)
Held by Gallerie dell'Accademia, Venice, Cat. 182; 184
Medium Olio su tavola
Credit Provenienti dalla collezione veneziana del cardinal Domenico Grimani (1461-1523)

Sizes

Wall   fall of the damned 16×32 in + hell 16×32 in + terrestrial paradise 16×32 in + ascent of the blessed 16×32 in   $510 · $600 bought separately · the painted images hang level
Grand   fall of the damned 30×60 in + hell 30×60 in + terrestrial paradise 30×60 in + ascent of the blessed 30×60 in   $1290 · $1520 bought separately · the painted images hang level

One object, one catalogue entry: the Gallerie dell'Accademia holds the four panels as Cat. 182; 184 and they are sold whole. Four sheets, one edition - $510 on 16x32 sheets, $1,290 on 30x60 - and the printed images hang level within 0%.

Four tall panels from Cardinal Domenico Grimani's Venetian collection, which stayed in the city under Austrian rule and have hung at the Gallerie dell'Accademia since 2010. The Gallery reads them as four gradations of the hereafter: a lush garden Paradise peopled by the sinless elect, painted naked; a sulphurous marsh of a Hell where monsters torment sinners struggling to stay afloat; and between them two passages, a tunnel of light where angels guide the blessed and a cliff from which the damned are hurled. Most critics take them for wings of a lost Last Judgment.

The four panels are within 2% of one aspect (0.434–0.442), so on any one sheet all four are height-limited and hang level to a fraction of a percent. Order is the plate's and the Gallery's 2011 hang as reported: Fall of the Damned, Hell, then Terrestrial Paradise, Ascent of the Blessed.

Printed on demand as one edition. The whole image is printed on every sheet — never cropped to fit — so each panel carries an archival margin.