LLEI D'ART 10

El mensaje es claro: los vicios conducen al infierno, y las vir- tudes llevan a la salvación. Además de Jeronimus Bosco (1450-1516), predecesor y posiblemente precursor de otros que representaron series completas sobre los pecados capitales como Pieter Brueghel el Viejo (1525-1569), Jacob Matham (1571-1631) o Jacques Callot (1592-1635) que en fabulosos grabados nos recuerdan la gran influencia social del tema en la Europa renacentista y barroca. Muchas interpretaciones y versiones posteriores, especial- mente derivaciones conservadoras del protestantismo y del movimiento cristiano pentecostal, han postulado y adverti- do sobre temibles consecuencias para todos aquellos que cometan estos pecados, como un tormento eterno en el in- fierno, sin posibilidad de redención o absolución mediante confesión o penitencia en el purgatorio. Incluso hoy en día existe una gran diferencia entre pueblos cuya cultura se ha construido sobre unas u otras creencias. Los que crecieron en la convicción de que no hay perdón para los individuos que cometen pecado capital, adoptan conductas de perma- nente petición para evitar la condena eterna. Por el contrario, los que tenemos asegurado el perdón ante cualquier pecado, no tememos caer en el oscuro abismo del viaje sin retorno al infierno y, por ello, nuestra conducta es más permisiva. Quizás ahí resida la enorme diferencia cultural y, cómo no, artística, entre el norte y el sur de Europa. En el imaginario de una u otra tradición religiosa permanece la amenaza de una eterna condena infernal (el infierno de El Bosco) en unos, y la salvación espiritual final (incluso tras caer en los infiernos como Dante) en otros. Los pecados capitales también nos sirven como inicio estruc- tural del proceso de concienciación de la propia identidad. Todos y cada uno de ellos cuenta con su correspondiente antónimo virtuoso. Las virtudes principales son aquellas que se colocan al otro extremo de los vicios, su antítesis, existien- In addition to Hieronymus Bosch (1450-1516), the predecessor and possible precursor of other artists that depicted complete series of the deadly sins such as Pieter Brueghel The Elder (1525-1569), Jacob Matham (1571-1631) or Jacques Callor (1592-1635), who reminds us of the wide social influence of the topic in Renaissance and Baroque Europe in their wonderful engravings. Many interpretations and later versions have postu- lated and warned about the terrible consequences for those who commit these sins, especially in conserva- tive derivations of Protestantism and the Pentecostal movement. These included eternal torment in hell, with no possibility of redemption or absolution though confession or penitence in purgatory. Even today there is a big difference between peoples whose culture has been built on beliefs. Those that grew up with the conviction that there is no forgiveness for those who commit cardinal sins assume behaviours of permanent penitence to avoid eternal condemna- tion. On the other hand, those of us who will be surely pardoned whatever sin we commit are not afraid of falling into the black abyss of the one-way trip to hell, and so our behaviour is more permissive. Perhaps this is where the huge cultural, and indeed artistic, difference between Northern and Southern Europe comes from. In the imaginary of either tradition the threat of an eternal hellish condemnation (Bosch’s Hell ) appears, as well as the final spiritual salvation (even after falling into hell, like with Dante). The cardinal sins can also be used as a structural beginning of the process of becoming conscious of one’s own identity. Each and every one of them has its corresponding virtue. The virtues are those that appear at the other end of the scale of the sins, their antithesis, and there is a kind of link between both polar opposites that allows us to ‘calibrate’ the position we find ourselves in and also allows us to ‘imagine’ where we would like to be. If both posi- tions are close to each other, the level of self-belief and satisfaction grows. Art facilitates this process by demonstrating it visually. The representations of the cardinal sins and the prin- cipal virtues has contributed, and still contributes to the growth of a more dignified humanity that one can feel proud of. In times like now, when these aspects of life appear not to be taken into account compared to the dazzle of wealth and power, they could well seem to lack strength or utility. The great masters have represented the cardinal sins using ‘vanitas’ as a reminder of the levity of the being before the divine. Even if it does not practise any of the religious con- fessions contemplated by these, or other, cardinal sins, society has been constructed on the bases of the ruling religion in each case and as such out cul- ture, legal and moral framework, behaviour and any other personal or social condition is based on them. As much as an effort is made to change certain as- Hieronymus Bosch El Bosco. Mesa de los pecados capitales/ The Seven Deadly Sins and the Four Last Things , c. 1485. © Museo del Prado, Madrid. 114