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Das neue Jerusalem is an anonymous fraktur woodcut with watercolor and letterpress, created in the early 19th Century depicting the divergent paths of good and evil.

The term "fraktur" refers to a style of manuscripts and printed folk art produced by the German and Swiss-born residents of Pennsylvania and Ohio. This art form served to preserve the language, culture, and customs of communities such as Bethlehem, Ephrata, Easton, and Lancaster. Frakturs often took the form of baptismal or wedding certificates, memorial remembrances, academic rewards, illuminated alphabets, mottoes, hymns, and biblical excerpts.  

The illustration contrasts the paths of righteousness and sin, guiding viewers through a narrative that emphasizes moral choices and their eternal consequences. On the left side, the path to salvation is depicted. This journey begins with a depiction of "The New Jerusalem," symbolizing heaven, portrayed as a serene and grand city. Below it, a crucifixion scene with Jesus Christ underscores the sacrifice made for humanity's salvation. Various figures are shown ascending this righteous path, performing acts of piety and good works, guided by angels. These figures are accompanied by moral instructions and biblical references, stressing the virtues required to reach heaven.

In stark contrast, the right side of the image illustrates the path to damnation. This path is marked by graphic depictions of hell, with flames, demons, and tormented souls, illustrating the consequences of straying from the righteous path. Figures are led by devils and engage in sinful activities, with texts warning against various vices and immoral behaviors. The Grim Reaper, depicted with a scythe, highlights the inevitability of death and final judgment.

The middle section of the illustration acts as a transitional area where individuals make choices that lead them either toward salvation or damnation. This part shows people engaging in everyday activities, with some heeding spiritual guidance while others are distracted by worldly temptations. An arch labeled "Ich will nach Zion" (I want to go to Zion) indicates the desire for spiritual elevation, juxtaposed with a pathway leading to Babylonian flames, symbolizing corruption and moral decay.

The image is a beautiful example of Christian teaching, depicting the two possible paths—only one of which leads to eternal life, as referenced in Matthew 7:13-14. In the bottom left, the path of life begins with a large gate and a wide, flat road. Numerous people, led by the "Babylonian whore" and musicians, walk along it straight to hell. Only the few who take the steep, arduous path reach the heavenly Jerusalem. Pious explanations and sayings are put into the mouths of people, such as the little boy who stands with his father in front of the gate (towards hell) and says, "Everything is possible there."

Documented since the 16th century, most of these depictions come from the 19th century. This fraktur serves both as a didactic tool and a piece of devotional art, aiming to influence viewers' actions and beliefs by vividly contrasting the rewards of virtue with the consequences of sin.