THE PICTORIAL LANGUAGE OF HIERONYMUS BOSCH

Possibly the world's most popular inclination, the impulse to export your suffering to another seems to be near-universal. Not confined to any race, sex, or age category, the impulse to cause pain appears to well up from deep inside human beings. This is mysterious, because no one seems to enjoy pain when it is inflicted on them. Go figure.

Re: THE PICTORIAL LANGUAGE OF HIERONYMUS BOSCH

Postby admin » Tue Oct 06, 2015 1:49 am

Illustrations, Part 3

23. URS GRAF, 1485-1527/8: The devil prevents the flight of a bound slave

Image

Fig. 23. URS GRAF, 1485-1527/8. The devil prevents the escape of a bound slave. Basel, Kupferstichkabinett.

24. URS GRAF, 1485-l527/8: Dancing Bacchante

Image

Fig. 24. URS GRAF, 1517. Dancing Bacchante who pours out her wine. She squanders the gift of the God; yet she is bound to that God. Basel, Kupferstichkabinett.

25. URS GRAF, 1485-l527/8: The Wild Army

Image

Fig. 25. URS GRAF (1485-1527/8). The Wild Army. The warrior (Mars) is subject to the spirit; he is wearing a bandage of dedication. Basel, Kunst Museum.

26. After NIKLAUS MANUEL: Death and a young warrior

Image

Fig. 26. CONRAD MEYER, after NIKLAUS MANUEL. The Dance of Death (Death and a young warrior). Chalk drawing, Zurich, Kunsthaus.

27. HANS LEU: the Younger: 1490-1531: Detail St. Peter before the Risen Christ

Image

Fig. 27. HANS LEU, the younger. Peter before the Risen Christ (detail) Basel, Kupferstichkabinett.

28. JACOB VAN MAERLANT: St. Christopher wearing the bandage of dedication

Image

Fig. 28. Christophorus wearing the bandage of dedication, from the book of JACOB VAN MAERLANT, [39] Der Natuere Bloeme (? 1370). Leiden, Library of the University.

29. HIERONYMUS BOSCH: Detail from The Garden of Heavenly Delights. The treeman in the purgatorium

Image

Fig. 29. HIERONYMUS BOSCH: The treeman with the bandage of dedication in the purgatorium of The Garden of Heavenly Delights. Madrid, Prado Museum.

30. Velislaw Bible: The Prodigal Son is given the finest garment

Image

Fig. 30. The prodigal son is given the finest garment.

31. Velislaw Bible: The Prodigal Son at home

Image

Fig. 31. The prodigal son at home. Two pictures from the Velislaw Bible.

32. ROGIER VAN DER WEYDEN, 1400-1464: Crucifixion

Image

Fig. 32. ROGIER VAN DER WEYDEN: 1400-1464. Crucifixion. Vienna, Kunsthistorisches Museum.

33. A crucifixion (33)

Image

Fig. 33. Another Crucifixion.
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Re: THE PICTORIAL LANGUAGE OF HIERONYMUS BOSCH

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Illustrations, Part 4

34. The Cross and bandage of dedication in lace made in the 19th century

Image

Fig. 34. Lace 19th century, Cross and bandage of dedication, Rotterdam, Museum Boymans-van Beuningen.

35. Man and the Signs of the Zodiac

Image

Fig. 35. Man and the Signs of the Zodiac.

36. The horn-signal of spirituality

Image

Fig. 36 The horn signal of spirituality. Two men, are connected through spirituality and the word-power of the larynx. From "La queste du Saint Graal", trans. Albert Pauphilet; L'Album de Villard Honnecourt.

37. Title page, The Rites of Freemasons

Image

Fig. 37. Title page, The Rites of Freemasons.

38. Scottish Rite, a stage of initiation in Freemasonry

Image

Fig. 38. Scottish Rite, a stage of initiation in Freemasonry.

39. HIERONYMUS BOSCH: Detail, The Last Judgement

Image

Fig. 39· HIERONYMUS BOSCH: Detail from the Altarpiece, The Last Judgment. Vienna, Gemaldegalerie der Akademie der Bildemijen Kunste.

40. HIERONYMUS BOSCH: Detail from the central panel, The Garden of Heavenly Delights

Image

Fig. 40. HIERONYMUS BOSCH: Detail from the central panel of The Garden of Heavenly Delights. Madrid, Prado Museum.

41. HIERONYMUS BOSCH: Detail, The Prodigal Son, the knot in the tree of life

Image

Fig. 41. HIERONYMUS BOSCH: Detail from The Prodigal Son, the tree of life showing a knot in the trunk.

42. HIERONYMUS BOSCH: Sketch, showing a spindle

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Fig. 42. HIERONYMUS BOSCH. Sketch. Showing a spindle. Paris, Musee du Louvre.

43. HIERONYMUS BOSCH: Sketch

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Fig. 43. HIERONYMUS BOSCH: Sketch. Rotterdam, Museum Boymans-van Beuningen.

44. ALBRECHT DURER, 1471-1528: Lot and his Daughters

Image

Fig. 44. ALBRECHT DURER, 1471-1528: Lot and his daughters. Washington D.C. National Gallery of Arts, Samuel Kress Collection.
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Re: THE PICTORIAL LANGUAGE OF HIERONYMUS BOSCH

Postby admin » Tue Oct 06, 2015 1:53 am

Illustrations, Part 5

45. IACOPO DELLA QUERCIA, 1374-1438: Adam and Eve

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Fig. 45. JACOPO DELLA QUERCIA, 1374-1438: Adam and Eve. Bologna, S Petrino ± 1430.

46. HIERONYMUS BOSCH: Detail, The Prodigal Son, the thread of life has been used up

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Fig. 46. HIERONYMUS BOSCH: The thread of life has been used up. (detail), The Prodigal Son.

47. GIOTTO, 1266?-1337: Detail, St. Anne with a spindle

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Fig. 47. GIOTTO, 1266?-1337: St. Anne spinning (detail). Padua, Capella degli Scrovegni.

48. HIERONYMUS BOSCH; Detail, The Ascent of Calvary

Image

Fig. 48. HIERONYMUS BOSCH: The Ascent to Calvary (detail) Vienna. Kunsthistorisches Museum. (Fig. 89 is on the reverse side.)

49. HIERONYMUS BOSCH: The Hay Wain, The Prodigal Son on the outer panels of the Triptych

Image

Fig. 49. HIERONYMUS BOSCH: The Prodigal Son on the outer wings of the Hay Wain Triptych. Madrid, Prado Museum, and Escorial

50. HIERONYMUS BOSCH: Juvenile work

Image

Fig. 50. HIERONYMUS BOSCH: Juvenile work. Painting in the ownership of Frau E. van der Feer Lader-Lohmann, Baarn Holland. The wise man has built himself a new little house for his soul "above in the tree of life", i.e. in his higher consciousness. Just because the symbols are still relatively primitive in this early picture, they can give clues to Bosch's later works.

51. HIERONYMUS BOSCH: Detail, The Garden of Heavenly Delights, hounds in the purgatorium

Image

Fig. 51. HIERONYMUS BOSCH: Hounds in the purgatorium. Detail from the right inner wing of The Garden of Heavenly Delights. Madrid, Prado Museum.

52. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, hounds

Image

Fig. 52. HIERONYMUS BOSCH: Hounds. (Detail from the central panel.) The Temptations of St. Anthony.

53. HIERONYMUS BOSCH: Christ Crowned with the Crown of Thorns

Image

Fig. 53. HIERONYMUS BOSCH: Christ crowned with the crown of thorns. London, National Gallery. [x]

54. HIERONYMUS BOSCH: The Marriage at Canaa

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Fig. 54. HIERONYMUS BOSCH: The Marriage at Canaa. Rotterdam, Museum Boymans-van Beuningen. In the foreground there are two dogs. One seems to be still innocent, the other (the poodle) points to the focus of poodles who is the devil himself (cf. Goethe, Faust, Part I). Here the two spies of the hunt for heretics of the time are peeping through the window.

55. Reeds as a symbol

Image

Fig. 55. Reeds as a symbol. The Pilgrim, clearly recognisable by his staff and the seashells on his collar and hat, strides from the tree of life towards the reeds, i.e. from his birth he is travelling towards spiritual growth.
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Re: THE PICTORIAL LANGUAGE OF HIERONYMUS BOSCH

Postby admin » Tue Oct 06, 2015 1:56 am

Plates, Part 1

HIERONYMUS BOSCH:
B. The three inner panels, The Temptations of St. Anthony

Image

Plate B. HIERONYMUS BOSCH: Triptych, the three inner panels, The Temptations of St. Anthony. Oil on panel, wings 51-5/8" x 20-7/8" each, central panel 51-5/8" x 46-7/8". Courtesy of the Museu Nacional de Arte Antiga, Lisbon.

C. Detail from the left inner wing, The Temptations of St. Anthony

Image

Plate C. HIERONYMUS BOSCH: Detail from the left inner wing, The Temptations of St. Anthony, lower group. See sections 4 and 5 of the relevant text.

D. Detail from the left inner wing, The Temptations of St. Anthony

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Plate D. HIERONYMUS BOSCH: Detail from the left inner wing, The Temptations of St. Anthony, middle group. See section 6.

E. Detail from the right inner wing, The Temptations of St. Anthony

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Plate E. HIERONYMUS BOSCH: Detail from the right inner wing. The Temptations of St. Anthony, middle group. See sections 9-12, 15, 16, 18 and 20.

F. Detail from the right inner wing, The Temptations of St. Anthony

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Plate F. HIERONYMUS BOSCH: Detail from the right inner wing, The Temptations of St. Anthony, the lower group. See sections 13 and 17.

G. Detail from the central panel, The Temptations of St. Anthony

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Plate G. HIERONYMUS BOSCH: Detail from the central panel, The Temptations of St. Anthony. See sections 23 and 28.

H. Detail from the central panel, The Temptations of St. Anthony

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Plate H. Detail from the central panel, The Temptations of St. Anthony. See sections 24, 25, 26 and 27.

I. Detail from the central panel, The Temptations of St. Anthony

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Plate I. Detail from the central panel, The Temptations of St. Anthony. See sections 27, 28, 29, 30 and 31.

J. Detail from the central panel, The Temptations of St. Anthony

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Plate J. Detail from the central panel, The Temptations of St. Anthony. See sections 32 and 33.

K. Detail from the central panel, The Temptations of St. Anthony

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Plate K. Detail from the central panel, The Temptations of St. Anthony. See section 31.

L. Detail from the central panel, The Temptations of St. Anthony

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Plate L. Detail from the central panel, The Temptations of St. Anthony. See sections 34 and 35.
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Re: THE PICTORIAL LANGUAGE OF HIERONYMUS BOSCH

Postby admin » Tue Oct 06, 2015 1:58 am

Illustrations, Part 6

56. HIERONYMUS BOSCH: The Temptations of St. Anthony, the left outer wing, The capture of Christ

Image

Fig. 56. HIERONYMUS BOSCH: The capture of Christ. The left outer wing, The Temptations of St. Anthony, Lisbon, National Museum.

57. HIERONYMUS BOSCH: The Temptations of St. Anthony, the right outer wing, Christ bearing the Cross

Image

Fig. 57. HIERONYMUS BOSCH: Christ bearing the Cross. The right outer wing The Temptations of St. Anthony. Lisbon, National Museum.

58. HIERONYMUS BOSCH: The Temptations of St. Anthony, a general view of the three inner panels

http://rapeutation.com/hieronymusbosch.17g_small.gif

Fig. 58. HIERONYMUS BOSCH: General view of the three inner panels of the altar-piece. The Temptations of St. Anthony. Lisbon,
Museu Nacional de Arte Antiga. (See Plate B.)

59. HIERONYMUS BOSCH: The Temptations of St. Anthony, the left inner wing

Image

Fig. 59. HIERONYMUS BOSCH: The left inner wing. The Temptations of St. Anthony.

60. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the crossbill on skates

Image

Fig. 60. HIERONYMUS BOSCH: The crossbill on skates (see Plate C) (detail, The Temptations of St. Anthony).

61. HIERONYMUS BOSCH: Detail, The Garden of Heavenly Delights, purgatorium

Image

Fig. 61. HIERONYMUS BOSCH: purgatorium. The devil presented as a spoonbill on skates detail. The Garden of Heavenly Delights. Madrid, Prado Museum.

62. HIERONYMUS BOSCH: Detail, The Temptations of S1. Anthony, the young Anthony bowed down under the weight of his lands

Image

Fig 62. HIERONYMUS BOSCH: The young Anthony bowed down under the weight of his lands (see Plate D) (detail, The Temptations of St. Anthony).

63. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the soul of Anthony becoming loosened from its physical bonds

Image

Fig. 63. HIERONYMUS BOSCH: The soul of Anthony becoming loosened from its physical bonds (detail, The Temptations of St. Anthony).

64. From the studio of JAN BORMAN: The figure of a knight with a fish-tail

Image

Fig. 64. From the studio of JAN BORMAN ± 1493. The figure of a knight with a fishtail on the chair of the church in Diest, Belgium.

65. HIERONYMUS BOSCH: The Temptations of St. Anthony, the right inner wing

Image

Fig. 65. HIERONYMUS BOSCH: The right inner wing. The Temptations if St. Anthony (see Plates E and F).

66. HIERONYMUS BOSCH: Detail, The Garden of Heavenly Delights, the treeman and the thought-grinding mill in the purgatorium

↓Thought-mill

Image

Fig. 66. HIERONYMUS BOSCH: Head of the tree-man and the thought-grinding mill in the purgatorium (detail from The Garden of Heavenly Delights). Madrid, Prado Museum.
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Re: THE PICTORIAL LANGUAGE OF HIERONYMUS BOSCH

Postby admin » Tue Oct 06, 2015 2:01 am

Illustrations, Part 7

67. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the Faust-motif

Image

Fig. 67. HIERONYMUS BOSCH: The Faust Motif (see Plate E) (detail, The Temptations of St. Anthony).

68. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the fish in mid-air

Image

Fig. 68. HIERONYMUS BOSCH: The fish in mid-air (detail, The Temptations of St. Anthony).

69. From a Cebes-table, a babywalker to teach infants to walk

Image

Fig. 69· Babywalker to teach infants to walk, detail from a Cebes table. Kassel, Landes museum. (See Fig. 80.)

70. HIERONYMUS BOSCH: The Altar of the Hermits, the right inner wing

Image

Fig. 70. HIERONYMUS BOSCH: Right wing of the altar of the Hermits (Aegidius) Venice, Palace of the Doge. The porcupine is arrowed.

71. HIERONYMUS BOSCH: Detail, The Garden of Heavenly Delights

Image

Fig.71. HIERONYMUS BOSCH: Detail from The Garden of Heavenly Delights, Madrid, Prado museum.

72. Relief of a hedgehog, from Amiens Cathedral

Image

Fig. 72. Relief from Amiens Cathedral.

73. HIERONYMUS BOSCH: Detail, The Temptation of St. Anthony, the Cult table, right inner wing (see Plate F)

Image

Fig. 73. HIERONYMUS BOSCH: The Cult table (see Plate F) (detail, The Temptations of St. Anthony).

74. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the battle with the dragon, right inner wing

Image

Fig. 74. HIERONYMUS BOSCH: The battle with the dragon. The hare is watching. Also Beacons and Statue of Christ. The City is in the background (detail, The Temptations of St. Anthony).

75. From the Hours of Catherine of

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Fig. 75. From the Hours of Catherine of Cleves, wife of the Duke of Gelre. Utrecht, ± 1435. New York. Pierpoint Morgan Library.

76. Cleeves

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Fig. 76. From the Hours of Catherine of Cleves, wife of the Duke of Gelre. Utrecht, ± 1435. New York. Pierpoint Morgan Library.

77. Old beacon tower

Image

Fig. 77. Old beacon tower.
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Re: THE PICTORIAL LANGUAGE OF HIERONYMUS BOSCH

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Illustrations, Part 8

78. Transition from old to new beacon tower

Image

Fig. 78. Transition from old to new beacon tower.

79. New beacon tower

Image

Fig. 79. New beacon tower.

80. Cebes Table, ± 1550

Image

Fig. 80. A Cebes table. ± 1550. Kassel, Landes museum.

81. Diospyros Kaki

Image

Fig. 81. Diospyros Kaki, as the fruit is now called.

82. FIORENTINO: Virgin and Child

Image

Fig. 82. FIORENTINO: Virgin and Jesus Child. Musee de Dijon, Palais des Etats de Bourgogne.

83. Detail of Figure 82

Image

Fig. 83. Detail of Fig. 82. A Goldfinch is on the right.

84. RAFFAELLO SANZIO: Madonna del Cardellino

Image

Fig. 84. RAFFAELLO SANZIO: 1516. Madonna del Cardellino. Florence, Uffizi Gallery.

85. RAFFAELLO SANZIO: Virgin and Child with a Goldfinch

Image

Fig. 85. RAFFAELLO SANZIO: Madonna, Jesus with a goldfinch. Berlin, Gemaldegalerie, Staatliche Museen Preussischer Kulturbesitz.

86. TIEPOLO: Madonna of the Goldfinch

Image

Fig. 86. TIEPOLO: Madonna of the Goldfinch. Washington, D.C. National Gallery of Arts. Samuel H. Kress Collection.

87. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the fish and the duck-ship of education

Image

Fig. 87. HIERONYMUS BOSCH: Fish and the duck ship of education (detail from The Temptations of St. Anthony).

88. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, materialism and the Christ Impulse

Image

Fig. 88. HIERONYMUS BOSCH: Materialism and the Christ impulse (see Plate H) (detail, The Temptations of St. Anthony).
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Re: THE PICTORIAL LANGUAGE OF HIERONYMUS BOSCH

Postby admin » Tue Oct 06, 2015 2:19 am

Illustrations, Part 9

89. HIERONYMUS BOSCH: The Playing Jesus Child

Image

Fig. 89. HIERONYMUS BOSCH: The playing Jesus Child. Vienna, Kunsthistorisches Museum (reverse side of Fig. 48).

90. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the three fellows in the waste water

Image

Fig. 90. HIERONYMUS BOSCH: The three fellows in the waste water (detail, The Temptations of St. Anthony).

91. HIERONYMUS BOSCH: Round Picture, the three opposing forces attacking man

Image

Fig. 91. HIERONYMUS BOSCH; The three opposing forces attacking man. Rotterdam, Museum Boymans-van-Beuningen.

92. HIERONYMUS BOSCH: Detail of Figure 143, the magician and astrologer, surrounded by the Signs of the Zodiac

Image

Fig. 92. HIERONYMUS BOSCH: Detail from appointing in private ownership. The magician or trickster and astrologer, surrounded by the Signs of the Zodiac, a shackle to the right and a severed foot (not visible in this picture -- see Fig. 143)·

93. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the Inquisition

Image

Fig. 93. HIERONYMUS BOSCH: Picture of the Inquisition (see Plate I) (detail, The Temptations of St. Anthony).

94. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, fire and destruction

Image

Fig. 94. HIERONYMUS BOSCH: Fire and destruction (detail, The Temptations of St. Anthony).

95. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the Cult table pillar and bridge in the central panel

Image

Fig. 95. HIERONYMUS BOSCH: Detail from the central panel, The Temptations of St. Anthony. Cult table, pillar and the bridge to the lime-kiln death.

96. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the different aspects of man

Image

Fig. 96. HIERONYMUS BOSCH: The different aspects of man (see Plate K) (detail, The Temptations of St. Anthony).

97. HIERONYMUS BOSCH: Detail, The Garden of Heavenly Delights, the purgatorium

Image

Fig. 97. HIERONYMUS BOSCH: Detail from the purgatorium (The Garden of Heavenly Delights). Madrid, Prado Museum

98. The emblem of the bookprinter Christoph Froshower

Image

Fig. 98. Emblem of the bookprinter Christoph Froshower in Zurich. A copy exists in the bookshop 'Erasmus', Basel.

99. HIERONYMUS BOSCH: Detail from a picture known as A Fragment of a Last Judgement

Image

Fig. 99. HIERONYMUS BOSCH: Detail from a picture known as a fragment of a Last Judgment, which we should like to call "revival of the individual soul in the purgatorium". Munich, alte Pinakothek.
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Re: THE PICTORIAL LANGUAGE OF HIERONYMUS BOSCH

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Illustrations, Part 10

100. HIERONYMUS BOSCH: The Temptations of St. Anthony, the central panel

Image

Fig. 100. HIERONYMUS BOSCH: General view of the central panel. The Temptations of St. Anthony.

101. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, scholasticism and mysticism

Image

Fig. 101. HIERONYMUS BOSCH; Scholasticism and mysticism, the pillar of the old covenant, the Crucified and the Risen Christ by the altar. (detail, The Temptations of St. Anthony).

102. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, the bridge from here to the beyond

Image

Fig. 102. HIERONYMUS BOSCH: The bridge from here to the beyond (detail, The Temptations of St. Anthony).

103. HIERONYMUS BOSCH: The Hay Wain, right inner wing

Image

Fig. 103.HIERONYMUS BOSCH: The Hay Wain Triptych -- right inner wing. Madrid, Prado
Museum.

104. THE MASTER OF THE HOLY CROSS, ± 1400: The Annunciation

Image

Fig. 104. THE MASTER OF THE HOLY CROSS. ± 1400. The Annunciation. Vienna, Kunsthistorisches Museum.

105. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, cosmic constellation

Image

Fig. 105. HIERONYMUS BOSCH; Cosmic Constellation (detail from The Temptations of St. Anthony).

106. HIERONYMUS BOSCH: Detail, The Garden of Heavenly Delights, soul birds

Image

Fig. 106. HIERONYMUS BOSCH: Soul birds from the central panel of The Garden of Heavenly Delights. Madrid, Prado Museum.

107. Cartoon of the group around Roemer Visscher, etched by PIETER NOLPE after PIETER QUAST

Image

Fig. 107. Cartoon of the group around Roemer Visscher after PIETER QUAST, etched by Pieter Nolpe. Rijksprentenkabinet, Amsterdam.

108. ROEMER VISSCHER: The gate, from Sinnepoppen

Image

Duycken en ghenoeghen.
Fig. 108. From the book Sinnepoppen by ROEMER VISSCHER, 1614 [63]

109. GASPARD ISENMAN, 1435-1492: Christ in the Garden of Olives, The Kiss of Judas

Image

Fig. 109. GASPARD ISENMAN, I435-1492: Christ in the Garden of Olives, the kiss of Judas. Colmar Musee d'Unterlinden, painted 1482-1484.

110. After HIERONYMUS BOSCH: The Adoration of the Shepherds

Image

Fig. 110. After HIERONYMUS BOSCH. Adoration of the Shepherds (note the large sparrow above and to the right). Cologne, Wallraf-Richartz Museum. [i]
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Re: THE PICTORIAL LANGUAGE OF HIERONYMUS BOSCH

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Illustrations, Part 11

111. DIVI LADNER: The Tree of Knowledge of Good and Evil

Image

Fig. 111. DIVI LADNER: Tree of the Knowledge of Good and Evil. From Plants of the Bible [41]. By kind permission of St. Martin's Press, New York.

112. MATTHAUS MERIAN: Symbolic representation with the text of the Tabula Smaragdina

Image

Fig. 112. MATTHAUS MERIAN. Symbolic representation with the text of the Tabula Smaragdina. Etching 1698. Published by permission of Philosophical Research Society, L.A. California, U.S.A. From "The Secret Teachings of all Ages", by Manley P. Hall.

113. HIERONYMUS BOSCH: Detail, The Hay Wain, the hart on the right inner wing

Image

Fig. 113. HIERONYMUS BOSCH: Hart on the right inner wing of The Hay Wain Triptych. Madrid, Prado Museum.

114. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, hart on the left inner wing

Image

Fig. 114. HIERONYMUS BOSCH: Hart on the lift inner wing of The Temptations of St. Anthony.

115. MATHIS NEITHAT, (also called GRUNEWALD), 1455-1528: Les amants Trespasses

Image

Fig. 115. MATHIS NEITHATT called "GRUNEWALD", 1455-1528 Les amants Trepasses. The toad as the symbol of sexuality. A painting which was completed about 1470. Strasbourg Musee de l'Oevre, Notre·Dame.

116. MASTER I. VAN ZWOLLE: "Memento mori"

Image

Fig. 116. Master I. A. VAN ZWOLLE "Memento Mori".

117. Porcupines carved in stone

Image

Fig. 117. Stone carved porcupines. From about the time of Louis XII (1478-1515), King of France. Dijon, Musee Archeologique.

118. Hedgehog and dogs carved in stone

Image

Fig. 118. Hedgehog and dogs. Childrey, Berkshire, England [vi] A. H. Collins [18].

119. ROEMER VISSCHER: Hedgehog and dogs, from Sinnepoppen

Image

Laet legghen dat hachjen.
Fig. 119. Hedgehog and dogs from Sinnepoppen by ROEMER VISSCHER [63]. Book II No. 25.

120. JOB. SADELER: Etching after MARTEN (MAARTEN) DE VOS

Image

Fig. 120. JOH SADELER. Etching after Marten (Maarten) de Vos.

121. HIERONYMUS BOSCH: Detail, The Temptations of St. Anthony, x-ray picture of the signature on the right inner wing

Image

Fig. 121. HIERONYMUS BOSCH: X-ray picture of the signature on the right inner wing if The Temptations of St. Anthony.
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