Bosch’s “Hell” wing has many hidden Passion Items: 13. THE TORCH was like the Lantern (post #1), carried in the night mob that came to arrest Jesus at the Mount of Olives. Bosch again hides the article here. He placed it in the hands of a demon which accompanies a soul on Tree-Man’s head cover.

A KILLER/FIGHTING HARE was depicted in marginalia, specif. drolleries, funny side illustrations of manuscripts. A Dutch expression describes the Upside Down World: “The hunters catch the hares, and the hares catch the hunters.” Undated, Harrebomée v1 Bosch used a very similar image, see far right.

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Since Pride is greatest of capital sins, then Humility is the greatest virtue. Painter Hieronymus Bosch seems to have painted himself as a rather poor, laughable, wounded figure. He cannot move his legs, he has turned partly into dry wood. His egg shell torso holds a Bad Inn, w.lowly bagpipes music

Although Hieronymus Bosch restrained himself, Love Garden can be seen as a Cockaigne of "sinful life”. Its likely donor Engelbrecht is known to have led a more than debauched life. In the <Golden Fleece> he was blamed 3X for his dissolute lifestyle. He was one of the first to die of syphilis…

WHY DOES HE CARRY A LADDER? Presumably the "bird" (=guy) secretly goes to the Bad Inn brothel. After: “He comes like a thief in the night." Biblical expression 1 Thessalonians 5:2; also 2 Peter 3:10. (Part of the Anthony work -Hieronymus Bosch ~1500AD At the MNAA museum, Lisbon)

Typical AMBIGUOUS SCENE by late medieval/early Renaissance Hieronymus Bosch: a peaceful farm where people don’t notice what’s going on at the Anthony chapel- Except possibly a man who was collecting acorns on an Oak tree, when he saw the fire 🔥 and climbed up higher to see better what is happening.

RED FRUIT Dr. De Bruyn: In Bosch art, hollow fruit skins never mean much good. According to Bax it’s Mandrake. I added a copy from Brussels beneath the Lisbon original, and a part of John Baptist from Museo Lázaro Galdiano. Mandragora was used as anaestetic, and linked to fertility. /+ALT FOR MORE

@lauriestrings.bsky.social Best wishes for a very good year!

Hé @rijksmuseum.bsky.social wat is dat nou 😳 Waarom ontbreken de schilderijen (#devotieprenten) aan de muur in het poppenhuis van Petronella Dunois uit ca. 1675 op de tentoonstelling “Thuis in de 17de eeuw”???

SAINT HIERONYMUS (JEROME) was painter Bosch’s name-giver. *At LEFT as painted by Hieronymus Bosch himself. At the MSK Ghent. *At RIGHT as part of a triptych by the Bosch Studio. At the MSK Ghent/Groeningemuseum. Notice the similar somewhat hidden animal skulls. ~1500AD.

The INFERNAL LANDSCAPE drawing by Hieronymus Bosch was only recently authenticated as an autograph Bosch work in 2014, by the BRCP. A juggernaut monster swallows souls drawn in with a net by the wheel in its trap. With boschian elements s.a. human clappers, feet in jugs, huge knife, giant lamp.

The 4 giants of Bosch/Studio’s Last Judgment/Wien are underexposed. Fischer [edited -C] *a green one spits fire *a point-hatted, potbellied’s dots may allude to disease *one w. a blue sheet [helmet] is pierced *at left a black-faced one devours [reptiles!]. In any case it's mostly about eating.

WHY WAS BOSCH’S GARDEN WORK MADE? Ideas: *For a church *For a wedding *As moral mirror for princes. All true: *It has a religious triptych’s form- but wouldn’t be appropriate *it fits in with Henry III’s 1503 wedding *puzzling & daring details give it away as CONVERSATION PIECE.

PARALLELS IN ART: *A swine hunted, in Les très riches heures du Duc de Berry/ December month. By the Limburg bros. ~1410-15. At Musée Condé, Chantilly France. *A sinner hunted, on the Afterlife (“Hell”) panel of Hieronymus Bosch’s Garden triptych, ~1500AD. At the Prado museum, Madrid.

Dr.L.Scholten (2024) discusses the work shop(s) of the Van Akens including Bosch. A strong argument for B having an own studio is that Markt 61 of Bosch’s wife is much larger than the family house/shop Markt 29: it has almost 6x more space! Even without proof, it could easily harbor Bosch’s studio!

Ancient Netherlandish expression: “Owls breed Owls” 1561-1656. A.o. in Cats 1618-32. This would hint likely at Stupidity, although Evil is mostly behind sins. (Details from the Garden triptych by Hieronymus Bosch.)

In search for scenes fit for Purgatory/Hell on the Last Judgement/Wien of ~1500, Bosch Studio may have encountered a 1496 woodcut by Dürer. Compare how in the background prisoners are being thrown down against rocks and THORNY BUSHES. Dürer painted an other version in 1508.

VERONICA’S LEGEND started ~13c: During His carrying of the cross, Veronica gave Christ a sweat cloth. The depiction of His face impression became popular. Hieronymus Bosch & Studio painted it several times. Bosch Followers used it too. “Veronica” is explained as <vera icon> = the real depiction.

WILD MAN & WOMAN initially represent everything uncivilized (-). From end 14c a new image of these hairy creatures emerges: *Their purity & ignorance are idealized. *They don't know God, so they cannot sin. (After: Body Language-Museum Catharijneconvent.) Bosch painted 1 or 2, here on Garden work.

WHAT ABOUT THE SINGING FIGURE on Bosch’s Anthony work? *It always makes me think that it’s caught in a Duck trap. At bottom some traps & baskets in trad. designs in Brabant’s wet Biesbosch region. *A wilder idea I had, is that it hints at a famous contemporary Utrecht female hermit/songwriter.

BOSCH’S VISIONS OF THE HEREAFTER~1500 are 4 panels of a further lost polyptych, likely a Last Judgment. The heavenly assumption of redeemed is linked to literature about cleansing spheres of souls. Here part of the panel + the tunnel center underpainting. Imo it shows also a Near Death Experience

TREE-MEN & OTHERS WITH BRANCHES can be found several times in Hieronymus Bosch’ oeuvre of ca.1500AD. *They are all demonic *16c Rhetoricians called sinners “barren trees” and “withered branches” *it has a link to biblical passages like Luke 23:31 etc.

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A MOON CRESCENT is present on a majority of Bosch’s works, generally with negative meaning: *it stands for Middle East (originated fm. army flags) *anti-christian/heathen *even linking to the Devil/Evil. Except on St.John on Patmos *where St.Mary is seated on it *it’s symbol for the Church.

My collage of ca.24 Arma Christi (=Passion elements). Like *a lantern of the arrest in the dark *30 coins that Judas got for his betrayal. An other often seen Arma *3 dice of soldiers’ gamble. From the manuscript made by the Netherlandish scribe Theodericus Werken >1450. At the @britishlibrary .

A contemporary of Hieronymus Bosch was Leonardo da Vinci. Da Vinci's Last Supper features one knife, belonging to Peter. Imo this could refer to John 18:10-11, where Peter -later!- cut off Malchus' right ear with his sword during Jesus' arrest. Now compare Bosch's Ears-War Machine- Peter’s knife?!

BOSCH'S HIERONYMUS PANEL on the Hermit Triptych is dedicated to the painter's namesake. Bosch preferred meditating hermits as models for the Imitation of Christ. The saint receives support against the evil pagan world from the crucifix before him. (In the original design, he held it? ILL. in B&W.)

BOSCH’ HELL & FLOOD WING PANELS have 4 tondi on their back. The painter seems to follow Thomas à Kempis' book the “Imitatio Christi”. While standing strong and distancing from earthly life, following Christ & saints is the path to salvation. The last medaillon shows the Redeemer.

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A SURPRISING NUMBER OF PENTIMENTO’S makes the Last Judgment/Wien an original, not a copy. I even think that Bosch’s sketch can be discerned (purple arrow). Colors are my fantasy. The person(s) that executed the work were wise in creating more empty spaces + making great scenes!

A STUDY OF CLOTHING FOLDS helps in determining if an artwork is made by a Master. LEFT a detail of The Entombment of Christ at the British Museum (2nd illustration is the full drawing). RIGHT a detail of The Haywain by Bosch at the Prado The BRCP’s Catalogue Raissoné attributed the drawing to BOSCH

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COMIC SCENES A comical scene that Bosch used a few times, possibly going back to an old story, is that of the birds escaping from a man’s behind. It also is a literal depiction of a Dutch proverb. The drawing has secondary comical scenes, of children who try to catch the birds!

FOX & COCKEREL On the back of Bosch’s drawing “Two Old Women” is a sketch with a Cockerel & Fox, and some Duck parts. Fortunately we have a painting that shows the outcome! On the St.Jerome at Prayer, of the MSK Ghent, the Fox is sleeping satisfied, some Cockerel parts nearby.

Author Fisher (Edition 2023) mentions that some of the Seven Deadly Sins are pictured on the Last Judgement/Wien by the Bosch Studio, of ca.1500AD. They are with several examples, from left to right: Sloth, Lust, Wrath, and Gluttony. (I added the man on the bed also to Sloth.)

NEAR DEATH EXPERIENCES as painted by Hieronymus Bosch, in circa 1500AD: 1.leaving the body 2.tunnel of light 3.meeting guiding beings 4.(life review) 5.presence of love, accepting 6.a boundary, f.i. like a gate 7.some experiences were haunting. (List after @thedarshakrana based on Dr.Raymond Moody)

MALTHUS, while St.Peter cuts off an ear. At RIGHT by Hieronymus Bosch ~1500. On the Outside of Anthony triptych Lisbon. At LEFT in a Passion scene, ~1440-50. In Book of Hours of Katharina van Lokhorst. Evil is hinted at by giving him a small body; compare other deformed person from Anthony triptych

DECODING BOSCH At first there’s no relationship between these images. But painter Bosch let the Devil make an abomination to bully pious St.Anthony: instead of the trad.Pelican feeding its young w blood (so it was thought), he made a Bittern eat its chicken- actually a real thing! L.Art:Aron Bakker

SIMILARITIES The Palacio Decanal of Tudela, Navarro, has an interesting Last Judgment work, once linked to a Bosch assistant. It surely contains some elements to be found on Bosch Studio works. As always: are they copied, but by whom and from what? By JL FilpoC CC BY-SA 4.0

THE COPPER SNAKE REVISITED LEFT: in a Biblia Pauporum of ~1460-70, at the British Museum. RIGHT: in a parody on Hieronymus Bosch’s Anthony triptych of ~1500, at the MNAA Lisbon. The similarity is evident, even more so than with the Naarden Church version seen in my earlier postings on internet.

@mardealgo.bsky.social Text and illustration have been supplemented!

At LEFT a detail of Bosch’s Christ carrying the Cross/Wien, ~1500AD. A contemporary group made enormous ceiling paintings in the St.Vitus Church of Naarden. The detail RIGHT shows the same scene. Interesting is that the wooden block(s) with pins are used differently. ~1510-18AD.

COMPARING ART A background scene of Bosch’s “Afterlife” (misnamed Hell) on the Garden triptych is imo similar to a contemporary scene of Naarden’s Great Church ceiling paintings. A group of people with light/white covering is welcomed by a figure in red at a gate: St.Peter at the gate to Heaven.

“So I heard you’re a real glutton, eh? Well you can taste some Toad on this dish. And you had no table manners? Get a taste right from the table now!” L: Last Judgment/Vienna by H. Bosch Studio ~1500 at KHM Wien. R: Naarden St.Vitus/Great Church ceiling painting, An. ~1518

THE CRESCENT is an ambiguous symbol, even related to Mary and the Church. But with painter Bosch it’s 90% negative, hinting at stupidity, (Mid)eastern origin, unchristianity and diabolism. LEFT ILL: <St.Anthony triptych. An exception is the use combined with Mary as on St. John Baptist on Patmos;R.

DRAGON AND SNAKE ARE THE SAME and stand for Satan. Compare: L: St. George conquering the Dragon, anonymus. Wooden sculpture, St.Georg Nördlingen ~1365AD. Notice the ENTWINED Dragon’s tail on the Lance. R: Last Judgment/Vienna - Hieronymus Bosch Studio. At the KHM Wien. ~1500AD.

The meaning of Hieronymus Bosch’s merry go round dance on the Garden triptych seems the same as that of the Legend of the Three Dead and the Three Living, here by the Brothers Limbourg: “You too will become like us: power, honor, and wealth are worthless.”

A SORT OF FIERY LAKE can be spotted on some Bosch’ works. Possibly it is what in Revelation 20:14 is called the Second Death. The final destination for those who reject Christ is described as the Hell, the Lake of Fire, and Outer Darkness. A state of complete separation from God.

THE GROUP DEMON CLERICS on Bosch’s Anthony work has 4 figures. Surprisingly ALL copies have a 5th person with purse on his belt, and playing a viol. Dr. De Bruyn gives no extra explanation. Since there’s no mention of panel shortening: apparently an early version must have included a 5th figure!