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| Anonymous Netherlandish Artist Pilgrim to Santiago de Compostela deceived by the disguised Devil ca. 1530 oil on panel Museum De Lakenhal, Leiden |
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| Gherardo Starnina St Hugh of Lincoln Exorcising a Demon-Possessed Man ca. 1404-1407 tempera on panel Museo Poldi Pezzoli, Milan |
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| Gianlorenzo Bernini Damned Soul 1619 marble Palazzo di Spagna, Rome (also called Palazzo Monaldeschi) |
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| Dosso and Battista Dossi Virgin of the Assumption with St Michael Archangel vanquishing Lucifer 1533-34 oil on panel (altarpiece) Galleria Nazionale di Parma |
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| Martin Schongauer St Michael Archangel subduing a Demon ca. 1470 engraving Museum of Fine Arts, Budapest |
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| Andrea Vaccaro St Michael Archangel subduing Satan ca. 1650 oil on canvas Národní Galerie, Prague |
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| Denys Calvaert St Michael Archangel subduing Satan ca. 1570-75 drawing Museum of Fine Arts, Budapest |
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| Johannes Stradanus Odysseus at the entrance to Hades ca. 1600-1605 drawing Museum Boijmans Van Beuningen, Rotterdam |
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| Michele Bisi Dante and Virgil in Hell observing Paolo and Francesco 1823 drawing Museo Poldi Pezzoli, Milan |
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| Lucas Cranach the Elder Christ rescuing Souls from Limbo 1538 oil on panel Bildgalerie von Sanssouci, Potsdam |
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| Albrecht Dürer The Harrowing of Hell 1512 engraving National Gallery of Canada, Ottawa |
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| Pietro Sorri The Virgin, Angels and Saints liberating Souls from Purgatory ca. 1610 oil on canvas (altarpiece) Galleria Nazionale di Parma |
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| Joseph Roques Soul delivered from Purgatory ca. 1820 oil on canvas (altarpiece) Musée des Augustins de Toulouse |
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| Philippe de Champaigne Souls in Purgatory ca. 1650 oil on canvas (altarpiece) Musée des Augustins de Toulouse |
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| Sebald Beham Young Woman and Death 1541 engraving Národní Galerie, Prague |
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| attributed to Hans Bock The Triumph of Death ca. 1580 drawing Graphische Sammlung Albertina, Vienna |
from Prose Poem
If objects are of two kinds – those
That we contemplate and, the remainder, use,
I am unsure whether its poetry or prose
I am unsure whether its poetry or prose
First drew us to this jar. A century
Ago, an apothecary must have been its owner,
Ago, an apothecary must have been its owner,
Thankful that it was airtight. And in spite of time
It remains so still. Its cylinder of glass,
Perfectly seamless, has the finality and satisfaction
Of the achieved act of an artisan. Indeed,
It remains so still. Its cylinder of glass,
Perfectly seamless, has the finality and satisfaction
Of the achieved act of an artisan. Indeed,
The stopper of ground glass, that refused
To be freed from the containing neck,
Was almost too well-made. What had to be done
If we were to undo it, was to pass
A silk cord round the collar of glass
And rub it warm – but this friction
If we were to undo it, was to pass
A silk cord round the collar of glass
And rub it warm – but this friction
Must be swift enough not to conduct its heat
Inside – the best protection against which
(Only a third hand can ensure this feat)
Inside – the best protection against which
(Only a third hand can ensure this feat)
Is a cube of ice on top of the stopper.
Whether it was the rubbing only, or the warm
Grasp that must secure the bottle's body,
Whether it was the rubbing only, or the warm
Grasp that must secure the bottle's body,
The stopper, once more refusing at first,
Suddenly parted – breathed-out
Suddenly parted – breathed-out
(So to speak) by the warmed expanding glass.
Remaining ice-cool itself, when
Remaining ice-cool itself, when
Lightly oiled, it was now ready again
For use –
For use –
– Charles Tomlinson (1978)