Dionysios Stathakopoulos’ chapter is divided in two parts. In the first he presents the textual sources that have had a seminal influence on the establishment of a visual vocabulary of transgressions that appear in depictions of Hell in monumental painting. He focuses on the development of ideas of punishment in the afterlife, tracing their origins from the Old and the New Testament and apocryphal texts to late Byzantine theology, which were popular in shaping ideas on punishment. Since, however, they do not always assist our understanding of the iconography of Hell, as this also reflects the social preoccupations of the community that commissioned the cycles, Stathakopoulos, in the second part of his chapter, turns to Joseph Bryennios (born around 1350), who recorded a vivid depiction of his experiences during his appointment on Crete, in an attempt to look into the contemporary society that commissioned the Cretan Hell cycles that lie at the heart of this publication.

Angeliki Lymberopoulou identifies the basic characteristics of the imagery of Hell (the Place of Hell Formed by the River of Fire, Individual Sinners and Communal Punishments), but highlights the absence of iconographical standardisation. Since Hell signified divergence from the preaching of the Orthodox Church and highlighted to the faithful the consequences of sin, it was often formed according to the degree to which communities were affected by each transgression. As such, the professions depicted offer us valuable insight into the economic structure of the society and the role of women within a male-dominant society. To highlight the significance of repentance, individual sinners are often placed at eye level, creating a telling proximity between sinners and churchgoers, who are brutally reminded of the significance their own deeds could have in determining their final destination – Paradise or Hell. It can be argued that Cretan imagery of Hell acts as the Church’s call for repentance from the faithful, encouraging social disapproval of those who transgress against penal and ethical law.

Rembrandt Duits focuses on the Western aspect of Italo-Byzantine cultural and artistic interaction and thus expands the geographical setting of the Cretan representations of Hell. His chapter presents a new perspective on the origins of certain elements in the Cretan images of Hell, which he points out have parallels in Western – particularly Italian - art. He draws on a representative sample of 25 per cent of all the Cretan wall paintings showing Hell that appear to deviate from pre-established Byzantine traditions. The geographical dispersion and chronological range of the sample mean that this iconographic divergence cannot be explained as the impact of a single Cretan master or a local ‘school’. Duits draws our attention to iconographic elements that suggest an interaction of Cretan and Italian artists, such as devils pulling souls by ropes or chains, frontally rendered processions of sinners, the double-headed Dragon of the Depths, the structure of Hell, and inscriptions that identify certain sinners. He argues that while there are no clear formal derivations of Western art in Cretan Hell scenes, there is nonetheless a strong suggestion that Cretan painters were aware of certain trends in the Italian rendition of Hell.

Charalambos Gasparis assesses the implications of the dissolution of the Orthodox ecclesiastical hierarchy in Venetian Crete and the influence this had on the imagery of Hell. He offers an overview of the continuities and novelties in the political, administrative, economical and ecclesiastical realm that shaped a society that produced numerous images of Hell. The study of the Cretan images of Hell has become essential for our understanding of social norms as well as the enforcement of Venetian penal law and the survival of Byzantine law on the island. By providing a detailed analysis of the organisation of the local Orthodox Church as well as a comparative analysis of offences, presented in both pictorial and textual form, as found in hitherto unpublished documents from the Venetian archives, where the social, economic and religious profile of the donors is also reflected, Gasparis correlates iconography to its social background and demonstrates how images can mirror aspects of the society that depicted Hell in their churches.

Angeliki Lymberopoulou identifies the basic characteristics of the imagery of Hell (the Place of Hell Formed by the River of Fire, Individual Sinners and Communal Punishments), but highlights the absence of iconographical standardisation. Since Hell signified divergence from the preaching of the Orthodox Church and highlighted to the faithful the consequences of sin, it was often formed according to the degree to which communities were affected by each transgression. As such, the professions depicted offer us valuable insight into the economic structure of the society and the role of women within a male-dominant society. To highlight the significance of repentance, individual sinners are often placed at eye level, creating a telling proximity between sinners and churchgoers, who are brutally reminded of the significance their own deeds could have in determining their final destination – Paradise or Hell. It can be argued that Cretan imagery of Hell acts as the Church’s call for repentance from the faithful, encouraging social disapproval of those who transgress against penal and ethical law.

Charalambos Gasparis assesses the implications of the dissolution of the Orthodox ecclesiastical hierarchy in Venetian Crete and the influence this had on the imagery of Hell. He offers an overview of the continuities and novelties in the political, administrative, economical and ecclesiastical realm that shaped a society that produced numerous images of Hell. The study of the Cretan images of Hell has become essential for our understanding of social norms as well as the enforcement of Venetian penal law and the survival of Byzantine law on the island. By providing a detailed analysis of the organisation of the local Orthodox Church as well as a comparative analysis of offences, presented in both pictorial and textual form, as found in hitherto unpublished documents from the Venetian archives, where the social, economic and religious profile of the donors is also reflected, Gasparis correlates iconography to its social background and demonstrates how images can mirror aspects of the society that depicted Hell in their churches.

Rembrandt Duits focuses on the Western aspect of Italo-Byzantine cultural and artistic interaction and thus expands the geographical setting of the Cretan representations of Hell. His chapter presents a new perspective on the origins of certain elements in the Cretan images of Hell, which he points out have parallels in Western – particularly Italian - art. He draws on a representative sample of 25 per cent of all the Cretan wall paintings showing Hell that appear to deviate from pre-established Byzantine traditions. The geographical dispersion and chronological range of the sample mean that this iconographic divergence cannot be explained as the impact of a single Cretan master or a local ‘school’. Duits draws our attention to iconographic elements that suggest an interaction of Cretan and Italian artists, such as devils pulling souls by ropes or chains, frontally rendered processions of sinners, the double-headed Dragon of the Depths, the structure of Hell, and inscriptions that identify certain sinners. He argues that while there are no clear formal derivations of Western art in Cretan Hell scenes, there is nonetheless a strong suggestion that Cretan painters were aware of certain trends in the Italian rendition of Hell.

Dionysios Stathakopoulos’ chapter is divided in two parts. In the first he presents the textual sources that have had a seminal influence on the establishment of a visual vocabulary of transgressions that appear in depictions of Hell in monumental painting. He focuses on the development of ideas of punishment in the afterlife, tracing their origins from the Old and the New Testament and apocryphal texts to late Byzantine theology, which were popular in shaping ideas on punishment. Since, however, they do not always assist our understanding of the iconography of Hell, as this also reflects the social preoccupations of the community that commissioned the cycles, Stathakopoulos, in the second part of his chapter, turns to Joseph Bryennios (born around 1350), who recorded a vivid depiction of his experiences during his appointment on Crete, in an attempt to look into the contemporary society that commissioned the Cretan Hell cycles that lie at the heart of this publication.