THE PICTORIAL LANGUAGE OF HIERONYMUS BOSCH
Posted: Sat Oct 03, 2015 6:00 am
The Pictorial Language of Hieronymus Bosch
by Clement A. Wertheim Aymes
© New Knowledge Books 1975
NOTICE: THIS WORK MAY BE PROTECTED BY COPYRIGHT
Table of Contents:
• Errata Slips
• Translator's Preface
• Introduction
• The Spiritual Teacher of Hieronymus Bosch
• PART 1: THE PRODIGAL SON
o 1a. The picture of the Prodigal Son
o 1b. The parable of the Prodigal Son
o 2. Man on the threshold between life and death, between here and hereafter
o 3. True self-knowledge
o 4. Man on earth is the Prodigal Son
o 5. The name of the picture
o 6. Twilight or dawn
o 7. Owl and coaltit as soul-birds
o 8. The magpie as a soul-bird
o 9. The gate
o 10. The cow
o 11. The hostelry
o 12. Is the Prodigal Son a fool?
o 13. The true fool's staff
o 14. Is the Prodigal Son a beggar or vagrant?
o 15. Is the Prodigal Son a matchmaker?
o 16. The bandage at the knee - the ribbon of consecration
o 17. The bare knee
o 18. The load in the basket
o 19. The tree
o 20. Two hats
o 21. The hart's foot
o 22. The open shirt
o 23. The Prodigal Son on the outer wings of the Triptych of the Haywain
o 24. "The hounds of the Inquisition" in the purgatorium on the right wing of The Garden of Delights
o 25. The hounds of persecution in the central picture of The Temptations of St. Anthony
o 26. The hound with the studded collar in the Prodigal Son
o 27. Conclusion
• PART 2: THE TEMPTATIONS OF ST. ANTHONY
o 1. Introduction
o 2. The left outer wing
o 3. The right outer wing
o 4. The inner panel pictures and the Golden Legend
o The Lift Inner Wing
o 5. Upon and beneath the bridge
o 6. Anthony looks back into his youth
o 7. Anthony begins to take up the battle against the demons
o 8. The landscape in the background The Right Inner Wing
o The Right Inner Wing
o 9. Anthony surrounded by soul-pictures
o 10. The first soul-picture of Anthony on the right inner wing, the Faust-motif
o 11. The motif of self-mockery
o 12. The fish hit by the arrow of Satan
o 13. The murdered pot-belly and the hood
o 14. The second image mocking Anthony: the fish in the air
o 15. The baby-walker
o 16. The symbol of the hedgehog or the porcupine, the animal skeleton and bones
o 17. The ceremonial table
o 18. The battle with the dragon
o 19. Limekilns and beacons
o 20. The hare
o 21. The city in the background
o The Central Panel
o 22. Preliminary observations on the central panel
o 23. The Diospyros group
An imagination of the withered soul-spiritual and physical organs of man since the Fall
The donkey (physical body) and heron (death)
The old woman in the basket
Goldfinch and two harts
The badger and the goat in a duck skin (the two opposing powers in the soul)
o 24. The beached fish
o 25. The duck-ship: the education of mankind
o 26. Materialism and the impulse of Christ
Mother and child
The figure of Joseph
The Three Kings
The child in the water
o 27. The false interpretation of the Bible
o 28. False prophecies
o 29. The picture of the Inquisition
o 30. Fire and destruction
o 31. Altar and cult-table; the different aspects of man's being
o 32. The group of the forces of reason and feeling
o 33. The pillar of the old covenant
o 34. The bridge from here to the other side
o 35. Death as a lighthouse, lime-kiln and pumpkin combined
o 36. The cosmic constellation in the heavens
o 37. The symbols on the cupola
• PART 3
o Notes to the study of The Prodigal Son
o Notes to the study of The Temptations of St. Anthony
o Part 1
o Part 2
o Acknowledgements
o Bibliography
o Index
• List of Illustrations
o 1. QUENTIN METSYS (MASSYS), 1465/6-1530: Portrait of a Notary
o Plate A. HIERONYMUS BOSCH: The Prodigal Son
o 2. Christ at the centre of the four elements
o 3. The ground plan of Baptisteries
o 4. HIERONYMUS BOSCH: St. Jerome
o 5. HUGO VAN DER GOES, 1440-1482: Detail, Adoration of the Shepherds
o 6. Nativity, from the small Book of Beels
o 7. JOACHIM PATINIR: Christophorus
o 8. Bulls' heads with the signs of the life-force
o 9. ROEMER VISSCHER: The feast is over
o 10. Two old pictures on which the
o 11. Signs of the Zodiac appear
o HIERONYMUS BOSCH; The Prodigal Son
o 12. F. CREUZER: Theseus and the Minotaur 25
o 13. Cult figure, India, probably 11th century A.D.
o 14. HIERONYMUS BOSCH: Detail from The Ship of Fools
o 15. QUENTIN METSYS (MASSYS), 1465/6-1530: Allegory of Folly
o 16. ALBRECHT DURER, 1471-1528: Woodcut, The Holiday Fool
o 17. F. CREUZER: Old Greek bandage of dedication
o 18. F. CREUZER: Symbols of the Mystic, including bandages
o 19. A man girded with the bandage of dedication
o 20. F. CREUZER: The Greek bandage of dedication
o 21. Mars wearing two bandages of dedication over his armour
o 22. ANDREA PISANO: The Hornblower (La musica)
o 23. URS GRAF, 1485-1527/8: The devil prevents the flight of a bound slave
o 24. URS GRAF, 1485-l527/8: Dancing Bacchante
o 25. URS GRAF, 1485-l527/8: The Wild Army
o 26. After NIKLAUS MANUEL: Death and a young warrior
o 27. HANS LEU: the Younger: 1490-1531: Detail St. Peter before the Risen Christ
o 28. JACOB VAN MAERLANT: St. Christopher wearing the bandage of dedication
o 29. HIERONYMUS BOSCH: Detail from The Garden of Heavenly Delights. The treeman in the purgatorium
o 30. Velislaw Bible: The Prodigal Son is given the finest garment
o 31. Velislaw Bible: The Prodigal Son at home
o 32. ROGIER VAN DER WEYDEN, 1400-1464: Crucifixion
o 33. A crucifixion (33)
o 34. The Cross and bandage of dedication in lace made in the 19th century
o 35. Man and the Signs of the Zodiac
o 36. The horn-signal of spirituality
o 37. Title page, The Rites of Freemasons
o 38. Scottish Rite, a stage of initiation in Freemasonry
o 39. HIERONYMUS BOSCH: Detail, The Last Judgement
o 40. HIERONYMUS BOSCH: Detail from the central panel, The Garden of Heavenly Delights
o 41. HIERONYMUS BOSCH: Detail, The Prodigal Son, the knot in the tree of life
o 42. HIERONYMUS BOSCH: Sketch, showing a spindle
o 43. HIERONYMUS BOSCH: Sketch
o 44. ALBRECHT DURER, 1471-1528: Lot and his Daughters
o 45. IACOPO DELLA QUERCIA, 1374-1438: Adam and Eve
o 46. HIERONYMUS BOSCH: Detail, The Prodigal Son, the thread of life has been used up
o 47. GIOTTO, 1266?-1337: Detail, St. Anne with a spindle
o 48. HIERONYMUS BOSCH; Detail, The Ascent of Calvary
o 49. HIERONYMUS BOSCH: The Hay Wain, The Prodigal Son on the outer panels of the Triptych
o 50. HIERONYMUS BOSCH: Juvenile work
o 51. HIERONYMUS BOSCH: Detail, The Garden of Heavenly Delights, hounds in the purgatorium
o 52. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, hounds
o 53. HIERONYMUS BOSCH: Christ Crowned with the Crown of Thorns
o 54. HIERONYMUS BOSCH: The Marriage at Canaa
o 55. Reeds as a symbol
o Plates
o HIERONYMUS BOSCH:
B. The three inner panels, The Temptations of St. Anthony
o C. Detail from the left inner wing, The Temptations of St. Anthony
o D. Detail from the left inner wing, The Temptations of St. Anthony
o E. Detail from the right inner wing, The Temptations of St. Anthony
o F. Detail from the right inner wing, The Temptations of St. Anthony
o G. Detail from the central panel, The Temptations of St. Anthony
o H. Detail from the central panel, The Temptations of St. Anthony
o I. Detail from the central panel, The Temptations of St. Anthony
o J. Detail from the central panel, The Temptations of St. Anthony
o K. Detail from the central panel, The Temptations of St. Anthony
o L. Detail from the central panel, The Temptations of St. Anthony
o 56. HIERONYMUS BOSCH: The Temptations of St. Anthony, the left outer wing, The capture of Christ
o 57. HIERONYMUS BOSCH: The Temptations of St. Anthony, the right outer wing, Christ bearing the Cross
o 58. HIERONYMUS BOSCH: The Temptations of St. Anthony, a general view of the three inner panels
o 59. HIERONYMUS BOSCH: The Temptations of St. Anthony, the left inner wing
o 60. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the crossbill on skates
o 61. HIERONYMUS BOSCH: Detail, The Garden of Heavenly Delights, purgatorium
o 62. HIERONYMUS BOSCH: Detail, The Temptations of S1. Anthony, the young Anthony bowed down under the weight of his lands
o 63. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the soul of Anthony becoming loosened from its physical bonds
o 64. From the studio of JAN BORMAN: The figure of a knight with a fish-tail
o 65. HIERONYMUS BOSCH: The Temptations of St. Anthony, the right inner wing
o 66. HIERONYMUS BOSCH: Detail, The Garden of Heavenly Delights, the treeman and the thought-grinding mill in the purgatorium
o 67. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the Faust-motif
o 68. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the fish in mid-air
o 69. From a Cebes-table, a babywalker to teach infants to walk
o 70. HIERONYMUS BOSCH: The Altar of the Hermits, the right inner wing
o 71. HIERONYMUS BOSCH: Detail, The Garden of Heavenly Delights
o 72. Relief of a hedgehog, from Amiens Cathedral
o 73. HIERONYMUS BOSCH: Detail, The Temptation of St. Anthony, the Cult table, right inner wing (see Plate F)
o 74. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the battle with the dragon, right inner wing
o 75. From the Hours of Catherine of
o 76. Cleeves
o 77. Old beacon tower
o 78. Transition from old to new beacon tower
o 79. New beacon tower
o 80. Cebes Table, ± 1550
o 81. Diospyros Kaki
o 82. FIORENTINO: Virgin and Child
o 83. Detail of Figure 82
o 84. RAFFAELLO SANZIO: Madonna del Cardellino
o 85. RAFFAELLO SANZIO: Virgin and Child with a Goldfinch
o 86. TIEPOLO: Madonna of the Goldfinch
o 87. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the fish and the duck-ship of education
o 88. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, materialism and the Christ Impulse
o 89. HIERONYMUS BOSCH: The Playing Jesus Child
o 90. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the three fellows in the waste water
o 91. HIERONYMUS BOSCH: Round Picture, the three opposing forces attacking man
o 92. HIERONYMUS BOSCH: Detail of Figure 143, the magician and astrologer, surrounded by the Signs of the Zodiac
o 93. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the Inquisition
o 94. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, fire and destruction
o 95. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the Cult table pillar and bridge in the central panel
o 96. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the different aspects of man
o 97. HIERONYMUS BOSCH: Detail, The Garden of Heavenly Delights, the purgatorium
o 98. The emblem of the bookprinter Christoph Froshower
o 99. HIERONYMUS BOSCH: Detail from a picture known as A Fragment of a Last Judgement
o 100. HIERONYMUS BOSCH: The Temptations of St. Anthony, the central panel
o 101. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, scholasticism and mysticism
o 102. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the bridge from here to the beyond
o 103. HIERONYMUS BOSCH: The Hay Wain, right inner wing
o 104. THE MASTER OF THE HOLY CROSS, ± 1400: The Annunciation
o 105. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, cosmic constellation
o 106. HIERONYMUS BOSCH: Detail, The Garden of Heavenly Delights, soul birds
o 107. Cartoon of the group around Roemer Visscher, etched by PIETER NOLPE after PIETER QUAST
o 108. ROEMER VISSCHER: The gate, from Sinnepoppen
o 109. GASPARD ISENMAN, 1435-1492: Christ in the Garden of Olives, The Kiss of Judas
o 110. After HIERONYMUS BOSCH: The Adoration of the Shepherds
o 111. DIVI LADNER: The Tree of Knowledge of Good and Evil
o 112. MATTHAUS MERIAN: Symbolic representation with the text of the Tabula Smaragdina
o 113. HIERONYMUS BOSCH: Detail, The Hay Wain, the hart on the right inner wing
o 114. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, hart on the left inner wing
o 115. MATHIS NEITHAT, (also called GRUNEWALD), 1455-1528: Les amants Trespasses
o 116. MASTER I. VAN ZWOLLE: "Memento mori"
o 117. Porcupines carved in stone
o 118. Hedgehog and dogs carved in stone
o 119. ROEMER VISSCHER: Hedgehog and dogs, from Sinnepoppen
o 120. JOB. SADELER: Etching after MARTEN (MAARTEN) DE VOS
o 121. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, x-ray picture of the signature on the right inner wing
o 122. Hare, Peru
o 123. Hare on Sicilian coin
o 124. Hare on a 10 drachma coin
o 125. Hare, Asia
o 126. Hare (the ego) hidden in a treetrunk, A Chinese Netsuke
o 127. Chinese Netsuke, hare attacked by an eagle
o 128. Horn blower who is standing upon a hare
o 129. Mountain of the Adepts
o 130. Mons Philosophorum
o 131. Tragedia with a white hare and the thyrsus rod, from F. CREUZER
o 132. Liber and Libera, from F. CREUZER
o 133. Probably the seal of a Hittite priest-king
o 134. The sea-hare
o 135. Hares
o 136. Madonna with the hare, Tungental
o 137. Hares, Paderborn
o 138. Mary and Jesus Child with a rabbit
o 139. TITIAN: Mary with the Jesus Child with a rabbit
o 140. The Initiation (Two Conjurers) from Moralia in Job (12th century)
o 141. MONTE DI GIOVANNI AND HIS STUDIO: Christ calling upon Simon Peter and Andrew to follow Him
o Plate M. MASTER OF THE CARNATION OF BADEN: The Visitation
o 142. JAN STEEN: "In Welde Ziet Toe" (in the midst of plenty beware)
o 143. HIERONYMUS BOSCH: The Temptations of St. Anthony, in private ownership
o 144. HIERONYMUS BOSCH: x-ray of the signature in Fig. 143
o 145. Detail of the signature area of Figure 143
o 146. ERASMUS GRASSER: "Statuette"
o 147. Morija dancer
• Extra Illustrations (Not included in the book)
o The Garden of Heavenly/Earthly Delights
Left Panel
Central Panel
The Geography of Doom -- Bosch's Pictorial Essay on the Dangers of Mundane Belief
Right Panel
Heretical Tormenters and Victimized Flesh
o The Last Judgment
o Fragment of a Last Judgment
o St. Christopher
o St. John the Baptist in the Wilderness
o St. John the Evangelist on Patmos
o The Temptation of St. Anthony
o St. Jerome in Prayer
o Death and the Miser
o The Hay Wain Triptych
o The Ship of Fools
o Christ Crowned with Thorns
o Christ Carrying the Cross
o Christ Carrying the Cross (2)
o Adoration of the Child
o Allegory of Gluttony and Lust
o Christ Mocked (Crowning with Thorns)
o The Marriage of Canaa
• The Brothers Grimm (Not included in the book)
by Clement A. Wertheim Aymes
© New Knowledge Books 1975
NOTICE: THIS WORK MAY BE PROTECTED BY COPYRIGHT
YOU ARE REQUIRED TO READ THE COPYRIGHT NOTICE AT THIS LINK BEFORE YOU READ THE FOLLOWING WORK, THAT IS AVAILABLE SOLELY FOR PRIVATE STUDY, SCHOLARSHIP OR RESEARCH PURSUANT TO 17 U.S.C. SECTION 107 AND 108. IN THE EVENT THAT THE LIBRARY DETERMINES THAT UNLAWFUL COPYING OF THIS WORK HAS OCCURRED, THE LIBRARY HAS THE RIGHT TO BLOCK THE I.P. ADDRESS AT WHICH THE UNLAWFUL COPYING APPEARED TO HAVE OCCURRED. THANK YOU FOR RESPECTING THE RIGHTS OF COPYRIGHT OWNERS.
Table of Contents:
• Errata Slips
• Translator's Preface
• Introduction
• The Spiritual Teacher of Hieronymus Bosch
• PART 1: THE PRODIGAL SON
o 1a. The picture of the Prodigal Son
o 1b. The parable of the Prodigal Son
o 2. Man on the threshold between life and death, between here and hereafter
o 3. True self-knowledge
o 4. Man on earth is the Prodigal Son
o 5. The name of the picture
o 6. Twilight or dawn
o 7. Owl and coaltit as soul-birds
o 8. The magpie as a soul-bird
o 9. The gate
o 10. The cow
o 11. The hostelry
o 12. Is the Prodigal Son a fool?
o 13. The true fool's staff
o 14. Is the Prodigal Son a beggar or vagrant?
o 15. Is the Prodigal Son a matchmaker?
o 16. The bandage at the knee - the ribbon of consecration
o 17. The bare knee
o 18. The load in the basket
o 19. The tree
o 20. Two hats
o 21. The hart's foot
o 22. The open shirt
o 23. The Prodigal Son on the outer wings of the Triptych of the Haywain
o 24. "The hounds of the Inquisition" in the purgatorium on the right wing of The Garden of Delights
o 25. The hounds of persecution in the central picture of The Temptations of St. Anthony
o 26. The hound with the studded collar in the Prodigal Son
o 27. Conclusion
• PART 2: THE TEMPTATIONS OF ST. ANTHONY
o 1. Introduction
o 2. The left outer wing
o 3. The right outer wing
o 4. The inner panel pictures and the Golden Legend
o The Lift Inner Wing
o 5. Upon and beneath the bridge
o 6. Anthony looks back into his youth
o 7. Anthony begins to take up the battle against the demons
o 8. The landscape in the background The Right Inner Wing
o The Right Inner Wing
o 9. Anthony surrounded by soul-pictures
o 10. The first soul-picture of Anthony on the right inner wing, the Faust-motif
o 11. The motif of self-mockery
o 12. The fish hit by the arrow of Satan
o 13. The murdered pot-belly and the hood
o 14. The second image mocking Anthony: the fish in the air
o 15. The baby-walker
o 16. The symbol of the hedgehog or the porcupine, the animal skeleton and bones
o 17. The ceremonial table
o 18. The battle with the dragon
o 19. Limekilns and beacons
o 20. The hare
o 21. The city in the background
o The Central Panel
o 22. Preliminary observations on the central panel
o 23. The Diospyros group
An imagination of the withered soul-spiritual and physical organs of man since the Fall
The donkey (physical body) and heron (death)
The old woman in the basket
Goldfinch and two harts
The badger and the goat in a duck skin (the two opposing powers in the soul)
o 24. The beached fish
o 25. The duck-ship: the education of mankind
o 26. Materialism and the impulse of Christ
Mother and child
The figure of Joseph
The Three Kings
The child in the water
o 27. The false interpretation of the Bible
o 28. False prophecies
o 29. The picture of the Inquisition
o 30. Fire and destruction
o 31. Altar and cult-table; the different aspects of man's being
o 32. The group of the forces of reason and feeling
o 33. The pillar of the old covenant
o 34. The bridge from here to the other side
o 35. Death as a lighthouse, lime-kiln and pumpkin combined
o 36. The cosmic constellation in the heavens
o 37. The symbols on the cupola
• PART 3
o Notes to the study of The Prodigal Son
o Notes to the study of The Temptations of St. Anthony
o Part 1
o Part 2
o Acknowledgements
o Bibliography
o Index
• List of Illustrations
o 1. QUENTIN METSYS (MASSYS), 1465/6-1530: Portrait of a Notary
o Plate A. HIERONYMUS BOSCH: The Prodigal Son
o 2. Christ at the centre of the four elements
o 3. The ground plan of Baptisteries
o 4. HIERONYMUS BOSCH: St. Jerome
o 5. HUGO VAN DER GOES, 1440-1482: Detail, Adoration of the Shepherds
o 6. Nativity, from the small Book of Beels
o 7. JOACHIM PATINIR: Christophorus
o 8. Bulls' heads with the signs of the life-force
o 9. ROEMER VISSCHER: The feast is over
o 10. Two old pictures on which the
o 11. Signs of the Zodiac appear
o HIERONYMUS BOSCH; The Prodigal Son
o 12. F. CREUZER: Theseus and the Minotaur 25
o 13. Cult figure, India, probably 11th century A.D.
o 14. HIERONYMUS BOSCH: Detail from The Ship of Fools
o 15. QUENTIN METSYS (MASSYS), 1465/6-1530: Allegory of Folly
o 16. ALBRECHT DURER, 1471-1528: Woodcut, The Holiday Fool
o 17. F. CREUZER: Old Greek bandage of dedication
o 18. F. CREUZER: Symbols of the Mystic, including bandages
o 19. A man girded with the bandage of dedication
o 20. F. CREUZER: The Greek bandage of dedication
o 21. Mars wearing two bandages of dedication over his armour
o 22. ANDREA PISANO: The Hornblower (La musica)
o 23. URS GRAF, 1485-1527/8: The devil prevents the flight of a bound slave
o 24. URS GRAF, 1485-l527/8: Dancing Bacchante
o 25. URS GRAF, 1485-l527/8: The Wild Army
o 26. After NIKLAUS MANUEL: Death and a young warrior
o 27. HANS LEU: the Younger: 1490-1531: Detail St. Peter before the Risen Christ
o 28. JACOB VAN MAERLANT: St. Christopher wearing the bandage of dedication
o 29. HIERONYMUS BOSCH: Detail from The Garden of Heavenly Delights. The treeman in the purgatorium
o 30. Velislaw Bible: The Prodigal Son is given the finest garment
o 31. Velislaw Bible: The Prodigal Son at home
o 32. ROGIER VAN DER WEYDEN, 1400-1464: Crucifixion
o 33. A crucifixion (33)
o 34. The Cross and bandage of dedication in lace made in the 19th century
o 35. Man and the Signs of the Zodiac
o 36. The horn-signal of spirituality
o 37. Title page, The Rites of Freemasons
o 38. Scottish Rite, a stage of initiation in Freemasonry
o 39. HIERONYMUS BOSCH: Detail, The Last Judgement
o 40. HIERONYMUS BOSCH: Detail from the central panel, The Garden of Heavenly Delights
o 41. HIERONYMUS BOSCH: Detail, The Prodigal Son, the knot in the tree of life
o 42. HIERONYMUS BOSCH: Sketch, showing a spindle
o 43. HIERONYMUS BOSCH: Sketch
o 44. ALBRECHT DURER, 1471-1528: Lot and his Daughters
o 45. IACOPO DELLA QUERCIA, 1374-1438: Adam and Eve
o 46. HIERONYMUS BOSCH: Detail, The Prodigal Son, the thread of life has been used up
o 47. GIOTTO, 1266?-1337: Detail, St. Anne with a spindle
o 48. HIERONYMUS BOSCH; Detail, The Ascent of Calvary
o 49. HIERONYMUS BOSCH: The Hay Wain, The Prodigal Son on the outer panels of the Triptych
o 50. HIERONYMUS BOSCH: Juvenile work
o 51. HIERONYMUS BOSCH: Detail, The Garden of Heavenly Delights, hounds in the purgatorium
o 52. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, hounds
o 53. HIERONYMUS BOSCH: Christ Crowned with the Crown of Thorns
o 54. HIERONYMUS BOSCH: The Marriage at Canaa
o 55. Reeds as a symbol
o Plates
o HIERONYMUS BOSCH:
B. The three inner panels, The Temptations of St. Anthony
o C. Detail from the left inner wing, The Temptations of St. Anthony
o D. Detail from the left inner wing, The Temptations of St. Anthony
o E. Detail from the right inner wing, The Temptations of St. Anthony
o F. Detail from the right inner wing, The Temptations of St. Anthony
o G. Detail from the central panel, The Temptations of St. Anthony
o H. Detail from the central panel, The Temptations of St. Anthony
o I. Detail from the central panel, The Temptations of St. Anthony
o J. Detail from the central panel, The Temptations of St. Anthony
o K. Detail from the central panel, The Temptations of St. Anthony
o L. Detail from the central panel, The Temptations of St. Anthony
o 56. HIERONYMUS BOSCH: The Temptations of St. Anthony, the left outer wing, The capture of Christ
o 57. HIERONYMUS BOSCH: The Temptations of St. Anthony, the right outer wing, Christ bearing the Cross
o 58. HIERONYMUS BOSCH: The Temptations of St. Anthony, a general view of the three inner panels
o 59. HIERONYMUS BOSCH: The Temptations of St. Anthony, the left inner wing
o 60. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the crossbill on skates
o 61. HIERONYMUS BOSCH: Detail, The Garden of Heavenly Delights, purgatorium
o 62. HIERONYMUS BOSCH: Detail, The Temptations of S1. Anthony, the young Anthony bowed down under the weight of his lands
o 63. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the soul of Anthony becoming loosened from its physical bonds
o 64. From the studio of JAN BORMAN: The figure of a knight with a fish-tail
o 65. HIERONYMUS BOSCH: The Temptations of St. Anthony, the right inner wing
o 66. HIERONYMUS BOSCH: Detail, The Garden of Heavenly Delights, the treeman and the thought-grinding mill in the purgatorium
o 67. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the Faust-motif
o 68. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the fish in mid-air
o 69. From a Cebes-table, a babywalker to teach infants to walk
o 70. HIERONYMUS BOSCH: The Altar of the Hermits, the right inner wing
o 71. HIERONYMUS BOSCH: Detail, The Garden of Heavenly Delights
o 72. Relief of a hedgehog, from Amiens Cathedral
o 73. HIERONYMUS BOSCH: Detail, The Temptation of St. Anthony, the Cult table, right inner wing (see Plate F)
o 74. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the battle with the dragon, right inner wing
o 75. From the Hours of Catherine of
o 76. Cleeves
o 77. Old beacon tower
o 78. Transition from old to new beacon tower
o 79. New beacon tower
o 80. Cebes Table, ± 1550
o 81. Diospyros Kaki
o 82. FIORENTINO: Virgin and Child
o 83. Detail of Figure 82
o 84. RAFFAELLO SANZIO: Madonna del Cardellino
o 85. RAFFAELLO SANZIO: Virgin and Child with a Goldfinch
o 86. TIEPOLO: Madonna of the Goldfinch
o 87. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the fish and the duck-ship of education
o 88. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, materialism and the Christ Impulse
o 89. HIERONYMUS BOSCH: The Playing Jesus Child
o 90. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the three fellows in the waste water
o 91. HIERONYMUS BOSCH: Round Picture, the three opposing forces attacking man
o 92. HIERONYMUS BOSCH: Detail of Figure 143, the magician and astrologer, surrounded by the Signs of the Zodiac
o 93. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the Inquisition
o 94. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, fire and destruction
o 95. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the Cult table pillar and bridge in the central panel
o 96. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the different aspects of man
o 97. HIERONYMUS BOSCH: Detail, The Garden of Heavenly Delights, the purgatorium
o 98. The emblem of the bookprinter Christoph Froshower
o 99. HIERONYMUS BOSCH: Detail from a picture known as A Fragment of a Last Judgement
o 100. HIERONYMUS BOSCH: The Temptations of St. Anthony, the central panel
o 101. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, scholasticism and mysticism
o 102. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the bridge from here to the beyond
o 103. HIERONYMUS BOSCH: The Hay Wain, right inner wing
o 104. THE MASTER OF THE HOLY CROSS, ± 1400: The Annunciation
o 105. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, cosmic constellation
o 106. HIERONYMUS BOSCH: Detail, The Garden of Heavenly Delights, soul birds
o 107. Cartoon of the group around Roemer Visscher, etched by PIETER NOLPE after PIETER QUAST
o 108. ROEMER VISSCHER: The gate, from Sinnepoppen
o 109. GASPARD ISENMAN, 1435-1492: Christ in the Garden of Olives, The Kiss of Judas
o 110. After HIERONYMUS BOSCH: The Adoration of the Shepherds
o 111. DIVI LADNER: The Tree of Knowledge of Good and Evil
o 112. MATTHAUS MERIAN: Symbolic representation with the text of the Tabula Smaragdina
o 113. HIERONYMUS BOSCH: Detail, The Hay Wain, the hart on the right inner wing
o 114. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, hart on the left inner wing
o 115. MATHIS NEITHAT, (also called GRUNEWALD), 1455-1528: Les amants Trespasses
o 116. MASTER I. VAN ZWOLLE: "Memento mori"
o 117. Porcupines carved in stone
o 118. Hedgehog and dogs carved in stone
o 119. ROEMER VISSCHER: Hedgehog and dogs, from Sinnepoppen
o 120. JOB. SADELER: Etching after MARTEN (MAARTEN) DE VOS
o 121. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, x-ray picture of the signature on the right inner wing
o 122. Hare, Peru
o 123. Hare on Sicilian coin
o 124. Hare on a 10 drachma coin
o 125. Hare, Asia
o 126. Hare (the ego) hidden in a treetrunk, A Chinese Netsuke
o 127. Chinese Netsuke, hare attacked by an eagle
o 128. Horn blower who is standing upon a hare
o 129. Mountain of the Adepts
o 130. Mons Philosophorum
o 131. Tragedia with a white hare and the thyrsus rod, from F. CREUZER
o 132. Liber and Libera, from F. CREUZER
o 133. Probably the seal of a Hittite priest-king
o 134. The sea-hare
o 135. Hares
o 136. Madonna with the hare, Tungental
o 137. Hares, Paderborn
o 138. Mary and Jesus Child with a rabbit
o 139. TITIAN: Mary with the Jesus Child with a rabbit
o 140. The Initiation (Two Conjurers) from Moralia in Job (12th century)
o 141. MONTE DI GIOVANNI AND HIS STUDIO: Christ calling upon Simon Peter and Andrew to follow Him
o Plate M. MASTER OF THE CARNATION OF BADEN: The Visitation
o 142. JAN STEEN: "In Welde Ziet Toe" (in the midst of plenty beware)
o 143. HIERONYMUS BOSCH: The Temptations of St. Anthony, in private ownership
o 144. HIERONYMUS BOSCH: x-ray of the signature in Fig. 143
o 145. Detail of the signature area of Figure 143
o 146. ERASMUS GRASSER: "Statuette"
o 147. Morija dancer
• Extra Illustrations (Not included in the book)
o The Garden of Heavenly/Earthly Delights
Left Panel
Central Panel
The Geography of Doom -- Bosch's Pictorial Essay on the Dangers of Mundane Belief
Right Panel
Heretical Tormenters and Victimized Flesh
o The Last Judgment
o Fragment of a Last Judgment
o St. Christopher
o St. John the Baptist in the Wilderness
o St. John the Evangelist on Patmos
o The Temptation of St. Anthony
o St. Jerome in Prayer
o Death and the Miser
o The Hay Wain Triptych
o The Ship of Fools
o Christ Crowned with Thorns
o Christ Carrying the Cross
o Christ Carrying the Cross (2)
o Adoration of the Child
o Allegory of Gluttony and Lust
o Christ Mocked (Crowning with Thorns)
o The Marriage of Canaa
• The Brothers Grimm (Not included in the book)
It is more likely that Jeroen Bosch made an allusion here in the form of a mock penitence which must have raised a smile among his circle of friends who understood him.
***
There can be little doubt that Bosch identified with St. Anthony. This is very plainly shown by the fact that the figures, events and buildings shown on the central panel of the altarpiece, all belong to Bosch's own time. He painted several temptations of the saint. The most beautiful, complete and mature version is to be found in the so-called Lisbon altarpiece. The inner panels of the triptych are filled to overflowing with demons.
***
On the left a bowed figure is creeping away, hands folded in prayer, and carrying a money bag over its back: it is Judas. This small detail points to a specific conception of the painter, deviating from the idea, which is commonly held, that in Judas we see only an ordinary betrayer. Judas expected that Jesus would prove Himself to be the Messiah who had been announced to the Jewish People, and who should re-establish its dominance and found a new terrestrial kingdom. He felt that he must accelerate events, and betrayed the Saviour in order that he might the sooner become a witness to His triumph. He was unable to imagine a suffering God, only a triumphant one. Now he prays that the heavenly hosts should come to the rescue.
***
One notices throughout how he uses the figure of the Saint as a pretext, to show his own convictions and the situation in his own time. He kept to the Golden Legend however, which was well known to everyone, and used this as a disguise for his own world philosophy.
-- The Pictorial Language of Hieronymus Bosch, by Clement A. Wertheim Aymes