Ferdinand Bol
Moses descends from Mount Sinai with the Ten Commandments, 1662, Oil on canvas, 284 x 423 cm, Royal Palace, Amsterdam; ©️ Royal Palace Amsterdam; Photo: Tom Haartsen
The Weight of the Law
Commentary by Alison Gray
A solemn Moses, adorned in shimmering golden robes, cradles the second set of tablets as he descends from Mount Sinai. Almost hesitant, he looks down over the people of Israel, fiercely protective of the divine laws and the precious covenant they symbolize.
At the foot of the mountain in the bottom half of the painting, the artist depicts the Israelites’ response to the return of their leader and mediator. It has been forty days since their punishment for the idolatry of the golden calf. In this they were led by Aaron, who is now pictured in a penitential pose in pale blue. Some of the characters shield their eyes from the dazzling gleam that surrounds a veil-less Moses—reflecting his glory-filled encounter with God. Others lift their hands in prayer and humble adoration to receive the merciful gift of the Law.
The imposing scene was originally commissioned for the Town Hall of Amsterdam, now the Royal Palace. Moses’s theological authority, here confirming the authority of the town’s magistrates, is accentuated by the cherubs who accompany him in the heavens. Each cherub offers a reflection on the Law for the seventeenth-century viewer.
The most prominent, in a central position with bright wings, peers down at the people whilst proffering large white lilies—a symbol of innocence and purity. Next to Moses, another looks instead towards the tablets, holding an ouroboros (a serpent eating its own tail), suggestive of the eternal circle of life and death. The cherub on the far left holds its own dark rain cloud, a typical biblical symbol of divine presence, both revealed and concealed like the cherub. Finally, the topmost cherub clasps a fasces—a bundle of rods with an axe blade protruding from one end—another reference to the magistrates’ divinely ordained power.