Adoration of the Magi, closed wings – Mass of Saint Gregory with donors from the Scheyfve family Hieronymus Bosch (1450-1516)

This intricate painting depicts the Mass of Saint Gregory, a scene from Christian iconography where Pope Gregory I is said to have witnessed Christ on the altar during Mass. The painting is presented as an altarpiece with closed wings, indicating its the exterior view.

What I see:

The central focus of the painting is an altar of white marble, behind which a figure of Christ, wounded and bleeding, is depicted emerging from a tomb. This is a Man of Sorrows motif. The background behind Christ is a luminous niche, possibly representing the celestial realm, adorned with sculpted reliefs. Above this central scene, the artwork extends upwards into a vaulted, architectural space that tapers to a point. This upper area is filled with a complex narrative of biblical scenes, depicted in a somewhat frenetic and crowded manner, suggesting the entirety of salvation history. We see elements of both the Old and New Testaments, including figures being saved and others being cast into damnation, with flying demons actively tormenting some. The overall atmosphere is one of great solemnity and divine judgment.

In the foreground, flanking the altar, are smaller, more individualized figures. On the left, a man in dark robes and a cap, possibly the donor or a cleric, stands observing. Further to the left, a kneeling figure in a white robe is depicted in prayer, facing the altar. On the right side of the altar, another kneeling figure, wearing a red hat and dark robes, also prays. To the right of this, another figure in a white robe kneels. These kneeling figures likely represent the donors, the Scheyfve family, as indicated by the artworks title, and are portrayed in a posture of devotion before the sacred event. The presence of religious paraphernalia like candlesticks and a chalice on the altar reinforces the context of Mass.

Subtexts:

• Theological Significance: The Mass of Saint Gregory is a powerful depiction of transubstantiation and the sacrifice of Christ. The bleeding Christ on the altar emphasizes his suffering for humanity. The surrounding biblical scenes, both heavenly and infernal, serve as a reminder of divine judgment and the ultimate fate of souls, underscoring the importance of faith and devotion.
• Salvation History: The crowded frieze of biblical events above the central scene communicates the overarching narrative of Gods plan for salvation, from creation to the Last Judgment. This aims to provide a comprehensive theological framework for the viewer.
• Veneration and Intercession: The presence of the kneeling donors, the Scheyfve family, highlights their piety and their desire to seek divine favor and intercession through their patronage of this artwork and their participation in the Mass. It suggests a personal connection to the divine sacrifice.
• The Power of Art in Devotion: As an altarpiece, the painting served a devotional purpose. It was meant to inspire awe, contemplation, and prayer in those who viewed it, bringing the sacred history and the sacrifice of Christ to life in a tangible way. The detailed depiction of suffering and divine power would have been intended to provoke a strong emotional and spiritual response.
• Social and Religious Status: The inclusion of the donors, particularly those in rich attire or with symbols of their status (like the red hat, potentially indicating a cardinal or high-ranking ecclesiastic), signifies their wealth and their devout commitment to the Church. This was also a way for wealthy families to ensure their remembrance and spiritual welfare.