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Sammanfattning

In the late 17th century, a new style of decorations was developing in Sweden. Brutal flaming depictions of hell started covering the ceilings of the small parish churches. The trend would catch fire and over the course of the 18th century over 500 decorations were made in churches across western Sweden. This essay studies iconographic starting points for the style in the depictions the final judgement in the Ulricehamn and Bottnaryd parish churches decorated by the Swedish painter Anders Falck. Considering the process from the perspective of the circulation of knowledge the essay also investigates the popular influence in the development of the iconography used in these motifs. The essay concludes that there are indeed strong indications of a successful and active popular engagement in the development of the final judgement motifs. It also pinpoints a few examples of change in the iconographic structure of the motif such as the removal of the virgin Mary and saint John as intercessors, the depiction of graves, the role of the devils and the addition of fighting angels to the motif. These are studied in relation to local popular Christian traditions, with later and earlier depictions of the final judgment in Swedish churches and with contemporary depictions of the last judgement produced in Swedish noble and royal courts.