manu/mldr-zoomed-100char-total-queries-documents

chunk_id stringlengths 3 9	chunk stringlengths 1 100
120_2	of four panels entitled Visions of the Hereafter. The others are Terrestrial Paradise, Fall of the
120_3	Damned into Hell and Hell.
120_4	Formal analysis
120_5	The most intriguing element of this painting is the large tunnel at the top of the panel. It
120_6	appears from the perspective of looking through a straw and into the heavenly beyond. As Stephen
120_7	Hitchens writes, it could also be described as a “funnel of goodness and light [as] a source of
120_8	variety and surprise capturing the visionary and ecstatic union with God.” The three dimensional
120_9	tunnel gives the viewer a peek of the “white light” from Heaven with three figures waiting at the
120_10	end for the blessed. The near side of the tunnel has one angel carrying a human soul towards the
120_11	pearly gates. The viewer can differentiate the two figures because one has a white robe with wings
120_12	and the other is naked, thus a soul and an angel. Both have their hands in prayer formation.
120_13	Right beneath the tunnel, there is an array of angels helping blessed human souls towards
120_14	salvation. In the lower parts of the panel there are two angels per one soul, suggesting that some
120_15	humans need more help than others. As it gets closer to the top of the panel, there is a one to one
120_16	ratio of angel and soul. This might symbolize that the human souls that are pulled from Earth's
120_17	gravity and towards the tunnel become lighter in weight. The angels have their hands either on the
120_18	human body carrying it upwards or near the body simply guiding it where to go. All the figures in
120_19	the painting are looking upwards towards the tunnel.
120_20	All the characters have similar facial features because the physical aspect of the humans and
120_21	angels are more idealized and not individualized. The figures are not meant to look like specific
120_22	individual people. The style of the hair is also quite idealized; the angels have long wavy hair
120_23	and the souls have short hair. None of the human souls have organs to help differentiate whether
120_24	they are male or female. This could be a form of symbolism which shows that there are no genders in
120_25	Heaven. This could be implying that all human souls are no longer differentiated by sexual organs
120_26	and everyone is the same. The angels have a multitude of different colored robes and wings, such as
120_27	subtle reds, blues, and greens.
120_28	The painting as a whole is very dimly lit which contrasts with the white brightness at the end of
120_29	the tunnel. The light at the end of the tunnel is not the light that lights up the bottom of the
120_30	painting, which is most likely the earthly realm. The extreme darkness directly around the tunnel
120_31	indicates that the heavenly light has nothing to do with the light coming from below. The areas
120_32	outside the tunnel are dark and gray. The light actually becomes darker as it moves upwards then
120_33	when it reaches the tunnel there is a sudden eruption of light. Coincidentally, this painting of
120_34	the funnel has been known to look very similar to people who have had near-death experiences.
120_35	During the fifteenth-century, the entrance to paradise was depicted as a funnel which appeared in
120_36	many miniatures. The shape of the radiant funnel actually has some resemblance to contemporary
120_37	zodiac diagrams but Bosch transforms it into a shining corridor through which the blessed approach
120_38	God.
120_39	Historical context
120_40	Bosch's paintings reflect the religious themes that dominated art and society in the Netherlands
120_41	during the sixteenth century, especially the Catholic religion. Almost everyone's duty was to
120_42	behave and act like a good Catholic so that they could ascend into heaven. The consequences of sin
120_43	were made so awful to frighten the faithful obedience into people with the ultimate punishments of
120_44	weakening in purgatory and being sent to Hell. According to Reuterswärd, the limited number of
120_45	people being admitted into Heaven “illustrates the remarkable specification contained in a treatise
120_46	entitled Van der Vorsieningkeit Godes, which circulated in the Netherlands in Bosch’s time, that
120_47	out of 30,000 souls only two were likely to reach Heaven.” Whether Bosch read this treatise will
120_48	never be known for sure, however it is known that there was a high number of monks and nuns that
120_49	lived in his home city. It was even called “a pious city” because of its high quantity of
120_50	confraternities and religious houses.
120_51	Arrangement of polyptych
120_52	Bosch scholars have other interpretations about the meaning behind these paintings, especially
120_53	Ascent of the Blessed. The panels may come off straight forward and simple but there is a lot of
120_54	dispute about the order of the panels and how they should be positioned in a museum. When hung in
120_55	Venice in 2011, the order of the panels was Fall of the Damned into Hell, Hell, space, Terrestrial
120_56	Paradise, and Ascent of the Blessed. The Terrestrial Paradise was placed on the left because it
120_57	resembles other Eden panels by Bosch, especially with its landscape, fountain, and following
120_58	biblical convention. There is also confusion on whether the Terrestrial Paradise is even
120_59	“paradise” because it might also be Purgatory. Another possible arrangement is Ascent, Paradise,
120_60	Hell and the Fall which takes inspiration from Matthew 25: 32–3 in the Bible. The idea is that
120_61	traditionally; God directs the damned to Hell on his left side. The Bosch scholar, Ludwig von
120_62	Baldass, does not mention any other possible arrangements and feels that “the wings are divided
120_63	into two portions, one above the other, representing on the left the figures of the saved being
120_64	escorted by angels into Paradise and on the right the fall of the damned into Hell. Some scholars
120_65	believe that Visions of the Hereafter are the wings to a missing middle panel which would
120_66	presumably be the Last Judgement.
120_67	Critics are not unanimous in attributing these panels to Bosch, however it would be difficult to
120_68	ascribe their compositions to anyone else. There is also speculation about how these designs came
120_69	to surface through Bosch, whether they are simply just from his mind or dreams. During the
120_70	sixteenth-century many people would attempt to stimulate themselves into spiritual awakening to get
120_71	as close to God as possible. Thus, these might have been some of the visions people saw when
120_72	attempting to jump into the unconscious depth and mystery of the spiritual visions.
120_73	References Baldass, Ludwig von. Hieronymus Bosch. New York: Harry N. Abrams, 1960.
120_74	Gibson, Walter S. Hieronymus Bosch. London: Thames and Hudson, 1973.
120_75	Hitchins, Stephen Graham. Art as History, History as Art. Belgium: Brepols Publishers, 2014.
120_76	Reuterswärd, Patrik. “Hieronymus Bosch’s Four “Afterlife” Panels in Venice.” Artibus et Historiae
120_77	12, no. 24 (November 24, 1991): 29–35.
120_78	Notes Angels in art Paintings by Hieronymus Bosch Paintings in Venice 1500s paintings
121_0	Falkenberg (Elster) station is one of the biggest stations in the German state of Brandenburg. It is
121_1	located in the town of Falkenberg/Elster in the south of the state. It is classified by Deutsche
121_2	Bahn as a category 3 station. Railways run in seven directions from the station. It is a two-level
121_3	interchange station (, literally a “tower station”), built where several routes interconnect. There
121_4	is a large marshalling yard connecting to both the upper and the lower parts of the station. At
121_5	times Falkenberg was the fifth largest marshalling yard in East Germany (GDR). Only part of these
121_6	tracks have been in use since the 1990s.
121_7	A large station building, which had been built in 1882, was destroyed in the Second World War. A
121_8	restaurant complex built in GDR times was substantially rebuilt after 2010 and now serves as the
121_9	entrance building. A number of buildings of the station and its surrounds are heritage-listed.
121_10	Location and name
121_11	The station is situated mostly in the town of Falkenberg/Elster in the Elbe-Elster district not far
121_12	from the state borders of Saxony and Saxony-Anhalt. Originally the station was called Falkenberg
121_13	(b. Torgau), but it received its present name in 1937. While the town is written Falkenberg/Elster
121_14	(with a slash), the station is written with parentheses.
121_15	The station building is located at km 111.9 of the Jüterbog–Röderau railway,which runs north–south,
121_16	at kilometer 148.2 of the Węgliniec–Roßlau railway, which runs from southeast to northwest, and at
121_17	kilometer 95.0 of the Halle–Cottbus railway, which runs west–east. The latter line runs through the
121_18	upper level of Falkenberg station, while the others run through the lower level. The Lower Lusatian
121_19	Railway (Niederlausitzer Eisenbahn), which runs to the northeast, also begins at the lower station.
121_20	The station has extensive marshalling yards, both connected to the lower and the upper stations and
121_21	extending over several kilometres. The eastern part of the upper station extends to the territory
121_22	of the town of Uebigau-Wahrenbrück.

120_2

of four panels entitled Visions of the Hereafter. The others are Terrestrial Paradise, Fall of the

120_3

Damned into Hell and Hell.

120_4

Formal analysis

120_5

The most intriguing element of this painting is the large tunnel at the top of the panel. It

120_6

appears from the perspective of looking through a straw and into the heavenly beyond. As Stephen

120_7

Hitchens writes, it could also be described as a “funnel of goodness and light [as] a source of

120_8

variety and surprise capturing the visionary and ecstatic union with God.” The three dimensional

120_9

tunnel gives the viewer a peek of the “white light” from Heaven with three figures waiting at the

120_10

end for the blessed. The near side of the tunnel has one angel carrying a human soul towards the

120_11

pearly gates. The viewer can differentiate the two figures because one has a white robe with wings

120_12

and the other is naked, thus a soul and an angel. Both have their hands in prayer formation.

120_13

Right beneath the tunnel, there is an array of angels helping blessed human souls towards

120_14

salvation. In the lower parts of the panel there are two angels per one soul, suggesting that some

120_15

humans need more help than others. As it gets closer to the top of the panel, there is a one to one

120_16

ratio of angel and soul. This might symbolize that the human souls that are pulled from Earth's

120_17

gravity and towards the tunnel become lighter in weight. The angels have their hands either on the

120_18

human body carrying it upwards or near the body simply guiding it where to go. All the figures in

120_19

the painting are looking upwards towards the tunnel.

120_20

All the characters have similar facial features because the physical aspect of the humans and

120_21

angels are more idealized and not individualized. The figures are not meant to look like specific

120_22

individual people. The style of the hair is also quite idealized; the angels have long wavy hair

120_23

and the souls have short hair. None of the human souls have organs to help differentiate whether

120_24

they are male or female. This could be a form of symbolism which shows that there are no genders in

120_25

Heaven. This could be implying that all human souls are no longer differentiated by sexual organs

120_26

and everyone is the same. The angels have a multitude of different colored robes and wings, such as

120_27

subtle reds, blues, and greens.

120_28

The painting as a whole is very dimly lit which contrasts with the white brightness at the end of

120_29

the tunnel. The light at the end of the tunnel is not the light that lights up the bottom of the

120_30

painting, which is most likely the earthly realm. The extreme darkness directly around the tunnel

120_31

indicates that the heavenly light has nothing to do with the light coming from below. The areas

120_32

outside the tunnel are dark and gray. The light actually becomes darker as it moves upwards then

120_33

when it reaches the tunnel there is a sudden eruption of light. Coincidentally, this painting of

120_34

the funnel has been known to look very similar to people who have had near-death experiences.

120_35

During the fifteenth-century, the entrance to paradise was depicted as a funnel which appeared in

120_36

many miniatures. The shape of the radiant funnel actually has some resemblance to contemporary

120_37

zodiac diagrams but Bosch transforms it into a shining corridor through which the blessed approach

120_38

God.

120_39

Historical context

120_40

Bosch's paintings reflect the religious themes that dominated art and society in the Netherlands

120_41

during the sixteenth century, especially the Catholic religion. Almost everyone's duty was to

120_42

behave and act like a good Catholic so that they could ascend into heaven. The consequences of sin

120_43

were made so awful to frighten the faithful obedience into people with the ultimate punishments of

120_44

weakening in purgatory and being sent to Hell. According to Reuterswärd, the limited number of

120_45

people being admitted into Heaven “illustrates the remarkable specification contained in a treatise

120_46

entitled Van der Vorsieningkeit Godes, which circulated in the Netherlands in Bosch’s time, that

120_47

out of 30,000 souls only two were likely to reach Heaven.” Whether Bosch read this treatise will

120_48

never be known for sure, however it is known that there was a high number of monks and nuns that

120_49

lived in his home city. It was even called “a pious city” because of its high quantity of

120_50

confraternities and religious houses.

120_51

Arrangement of polyptych

120_52

Bosch scholars have other interpretations about the meaning behind these paintings, especially

120_53

Ascent of the Blessed. The panels may come off straight forward and simple but there is a lot of

120_54

dispute about the order of the panels and how they should be positioned in a museum. When hung in

120_55

Venice in 2011, the order of the panels was Fall of the Damned into Hell, Hell, space, Terrestrial

120_56

Paradise, and Ascent of the Blessed. The Terrestrial Paradise was placed on the left because it

120_57

resembles other Eden panels by Bosch, especially with its landscape, fountain, and following

120_58

biblical convention. There is also confusion on whether the Terrestrial Paradise is even

120_59

“paradise” because it might also be Purgatory. Another possible arrangement is Ascent, Paradise,

120_60

Hell and the Fall which takes inspiration from Matthew 25: 32–3 in the Bible. The idea is that

120_61

traditionally; God directs the damned to Hell on his left side. The Bosch scholar, Ludwig von

120_62

Baldass, does not mention any other possible arrangements and feels that “the wings are divided

120_63

into two portions, one above the other, representing on the left the figures of the saved being

120_64

escorted by angels into Paradise and on the right the fall of the damned into Hell. Some scholars

120_65

believe that Visions of the Hereafter are the wings to a missing middle panel which would

120_66

presumably be the Last Judgement.

120_67

Critics are not unanimous in attributing these panels to Bosch, however it would be difficult to

120_68

ascribe their compositions to anyone else. There is also speculation about how these designs came

120_69

to surface through Bosch, whether they are simply just from his mind or dreams. During the

120_70

sixteenth-century many people would attempt to stimulate themselves into spiritual awakening to get

120_71

as close to God as possible. Thus, these might have been some of the visions people saw when

120_72

attempting to jump into the unconscious depth and mystery of the spiritual visions.

120_73

References Baldass, Ludwig von. Hieronymus Bosch. New York: Harry N. Abrams, 1960.

120_74

Gibson, Walter S. Hieronymus Bosch. London: Thames and Hudson, 1973.

120_75

Hitchins, Stephen Graham. Art as History, History as Art. Belgium: Brepols Publishers, 2014.

120_76

Reuterswärd, Patrik. “Hieronymus Bosch’s Four “Afterlife” Panels in Venice.” Artibus et Historiae

120_77

12, no. 24 (November 24, 1991): 29–35.

120_78

Notes Angels in art Paintings by Hieronymus Bosch Paintings in Venice 1500s paintings

121_0

Falkenberg (Elster) station is one of the biggest stations in the German state of Brandenburg. It is

121_1

located in the town of Falkenberg/Elster in the south of the state. It is classified by Deutsche

121_2

Bahn as a category 3 station. Railways run in seven directions from the station. It is a two-level

121_3

interchange station (, literally a “tower station”), built where several routes interconnect. There

121_4

is a large marshalling yard connecting to both the upper and the lower parts of the station. At

121_5

times Falkenberg was the fifth largest marshalling yard in East Germany (GDR). Only part of these

121_6

tracks have been in use since the 1990s.

121_7

A large station building, which had been built in 1882, was destroyed in the Second World War. A

121_8

restaurant complex built in GDR times was substantially rebuilt after 2010 and now serves as the

121_9

entrance building. A number of buildings of the station and its surrounds are heritage-listed.

121_10

Location and name

121_11

The station is situated mostly in the town of Falkenberg/Elster in the Elbe-Elster district not far

121_12

from the state borders of Saxony and Saxony-Anhalt. Originally the station was called Falkenberg

121_13

(b. Torgau), but it received its present name in 1937. While the town is written Falkenberg/Elster

121_14

(with a slash), the station is written with parentheses.

121_15

The station building is located at km 111.9 of the Jüterbog–Röderau railway,which runs north–south,

121_16

at kilometer 148.2 of the Węgliniec–Roßlau railway, which runs from southeast to northwest, and at

121_17

kilometer 95.0 of the Halle–Cottbus railway, which runs west–east. The latter line runs through the

121_18

upper level of Falkenberg station, while the others run through the lower level. The Lower Lusatian

121_19

Railway (Niederlausitzer Eisenbahn), which runs to the northeast, also begins at the lower station.

121_20

The station has extensive marshalling yards, both connected to the lower and the upper stations and

121_21

extending over several kilometres. The eastern part of the upper station extends to the territory

121_22

of the town of Uebigau-Wahrenbrück.