Hieronymus Bosch

(c. 1450–1516)

Contents
The Highlights
ECCE HOMO
SAINT JEROME AT PRAYER
CHRIST CARRYING THE CROSS
ADORATION OF THE MAGI
SAINT JOHN THE BAPTIST IN THE WILDERNESS
CUTTING THE STONE
THE GARDEN OF EARTHLY DELIGHTS
THE HAYWAIN
HERMIT SAINTS
THE CONJURER
THE LAST JUDGMENT
THE TEMPTATION OF SAINT ANTHONY
DEATH AND THE MISER
ASCENT OF THE BLESSED
THE MARRIAGE FEAST AT CANA
THE WAYFARER
The Paintings
THE COMPLETE PAINTINGS
ALPHABETICAL LIST OF PAINTINGS

The Drawings
LIST OF DRAWINGS

The Delphi Classics Catalogue

© Delphi Classics 2017

Version 1
Masters of Art Series
Hieronymus Bosch

By Delphi Classics, 2017

 COPYRIGHT

Masters of Art - Hieronymus Bosch

First published in the United Kingdom in 2017 by Delphi Classics.
© Delphi Classics, 2017.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or
transmitted, in any form or by any means, without the prior permission in writing of the publisher, nor be
otherwise circulated in any form other than that in which it is published.

ISBN: 978 1 78656 510 5

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 The Highlights

’s-Hertogenbosch (‘The Duke’s Forest’), a city in southern Netherlands and the capital of the
province of North Brabant — Bosch’s birthplace
’s-Hertogenbosch in the sixteenth century
Bronze sculpture of Hieronymus Bosch in ’s Hertogenbosch
 THE HIGHLIGHTS

In this section, a sample of Bosch’s most celebrated works is provided, with concise introductions,
special ‘detail’ reproductions and additional biographical images.
 ECCE HOMO

Very little is known about Bosch’s personal life and history. He left behind
no letters or diaries and what has been gleaned about him has been taken
from brief references in the municipal records of ‘s-Hertogenbosch, his
native city, in the Duchy of Brabant, and from the account books of the
local order of the Illustrious Brotherhood of Our Blessed Lady. Even the
artist’s date of birth has not been determined with any degree of
confidence, being estimated at c. 1450 due to a hand drawn portrait (likely
a self portrait) being made shortly before his death in 1516, which shows
the artist at an advanced age, probably in his late sixties.
His name derives from his birthplace, ‘s-Hertogenbosch, which is
commonly called “Den Bosch” (‘the forest’). Bosch was born and lived all
his life in this flourishing city, in the south of the present-day Netherlands,
at the time part of the Burgundian Netherlands. In 1463, 4,000 houses in
the town were destroyed by a catastrophic fire, which the then teenage
Bosch presumably witnessed. He became a popular painter in his lifetime
and often received commissions from abroad.
His grandfather, Jan van Aken (died 1454), was a painter and is first
mentioned in the records in 1430. It is known that Jan had five sons, four
of whom were also painters. Bosch’s father, Anthonius van Aken (died c.
1478), acted as artistic adviser to the Illustrious Brotherhood of Our
Blessed Lady. It is generally assumed that either Bosch’s father or one of
his uncles taught the artist to paint, though none of their works survive.
Bosch first appears in the municipal record on 5 April 1474, when he is
named along with two brothers and a sister.
Believed to be one of the artist’s earliest paintings, Ecce Homo
concerns an episode in the Passion of Jesus. The original version, with a
provenance in collections in Ghent, is housed today in Frankfurt’s Städel
Museum, while a copy is held at the Museum of Fine Arts in Boston. The
theme of Ecce Homo was not often taken up by painters before the
Renaissance, and Bosch is one of the best known early artists to take on
the scene. The painting takes its title from the Latin words meaning
“Behold the Man”, spoken by the Roman Prefect Pontius Pilate when Jesus
is paraded before the angry mob in Jerusalem, shortly before he is
sentenced to be crucified.
Bosch presents Jesus as half-naked and cowering, as he is brought
before the people by the Roman council members, who are flanked by
soldiers. The crowd mocks and jeers Jesus, who wears a Crown of Thorns.
His hands are bound with shackles, while the redness of the now raw flesh
on his legs, hands and chest indicate that he was previously beaten with a
scourge, as related in the Bible. The dialogue between Pilate and the mob
is indicated by three Gothic inscriptions placed near the mouths of the
protagonists. To Pilate’s cry of Ecce Homo the mob replies Crucifige Eum
(Crucify Him). A third inscription Salve nos Christe redemptor (Save us,
Christ Redeemer) can be seen in the lower left of the image, from the
mouths of what were the representations of two donors, although they
were later painted over.
Characteristic of Bosch throughout his career, the painting teems with
symbolic imagery. Most noteworthy is the placement of two of animals,
traditionally regarded as emblems of evil in Christian iconography: an owl
perched above Pilate and a giant toad seen resting on the shield of one of
the soldiers.
The upper right corner reveals an aesthetic cityscape of Jerusalem,
more in keeping with the view of a Late Gothic Netherlandish town. The
large open spaces form a strong contrast to the densely packed and
grotesque caricatures of the foreground mob, garbed in exotic clothes.
Due to the relative simplicity of the figures and the similarity in
content to other Bosch works painted during that time, Ecce Homme is
generally believed to have been completed between 1475-80, as later
confirmed by dendrochronological investigation of the oak panel. The
image features many elements typical of Netherlandish painting, including
homely faces and slight proportions of the figures, rendered flatly, while
their physique fails to be substantial under heavy clothes.
Detail
Detail
Detail
Detail of two donors painted out
‘Ecce Homo’ by Israhel van Meckenem, Gravure. Amsterdam, Rijksprentenkabinet
 SAINT JEROME AT PRAYER

Saint Jerome at Prayer is thought to have been completed c. 1482 and is

currently housed at the Museum of Fine Arts in Ghent. The saint was a
frequent subject of fifteenth century art, usually depicted in his studio or
during his penitence in the desert. For his interpretation, Bosch adopts the
latter iconography, presenting the saint as a long, thin figure, hinting at his
asceticism. Saint Jerome is praying with a crucifix in his arms, an unusual
gesture of communion with Christ. Jerome lies against a rock under a
shell-like cave, while surrounded by his traditional symbols, including the
lion, the galero (broad-brimmed hat) and the Bible. Bosch, as is common
in his works, also introduces several bizarre elements, such as the bony pig
and the spherical shell emerging from the pool, perhaps as a symbol of the
world floating towards decay. The large owl and small owl are depicted on
a branch, alluding to heresy and the struggle against sacrilege. The Ten
Commandments tables can be seen above the cave.
The work is known only from its acquisition by the Ghent museum in
1908. As for most of Bosch’s paintings, dating has been long disputed,
with years varying from 1490 to 1505. However, dendochronologic
analysis has proved that it has been painted before 1483.
Detail
Detail
Detail
Detail
 CHRIST CARRYING THE CROSS

Bosch painted at least three versions of Christ Carrying the Cross

throughout his career, the first of which was completed in the 1480’s and
is housed at the Kunsthistorisches Museum, Vienna. It is believed that the
painting was once the left panel of a triptych, with the other two panels
concerned scenes from the Passion. There are two narrative scenes taking
place in the composition, with Christ in the upper section moving toward
Calvary, bearing the Cross, while in the lower section the Good and Bad
Thieves — Christ’s two fellow sufferers — have arrived.
On the left, soldiers torment the Bad Thief, who appears to be
counselled by an exotically dressed man in a red cloak, with a strange cap
and carrying a shield. On the right side, the Good Thief kneels before a
priest, frantically taking his blessing in an intensity of confession,
suggested by the open-mouthed profile, contrasting vividly with the
passive response of the priest, who seems to suppress a yawn. The
depiction of the priest is likely inspired by Bosch’s own time spent at
contemporary executions. The motif recurs in the great multi-figure Christ
Carrying the Cross that Pieter Bruegel the Elder was to paint almost a
century later.
Naturally, Christ forms the centre of the panel, surrounded by a densely
packed crowd that appears to mock and victimise him. A blue shield
bearing the portrayal of a dying toad, limbs outstretched, predicts Christ’s
imminent death on the Cross. Amidst the hostile mob, he endures his
torturous journey alone. His suffering is heightened by the spike-studded
wooden blocks dangling from his waist, cutting deeply into his feet and
ankles with every step. This torture device was used in Bosch’s day to
increase the pain of criminals on the road to execution.
In 1923 while a restorer was removing paint from the reverse side of
the panel, an enigmatic Bosch figure was discovered for the first time in
over five hundred years. The image is often titled Christ Child with a
Walking Frame, revealing a naked male child playing with a whirligig toy,
while walking with the aid of a wooden walking frame. Interpretation of
the image has been much contested in recent years, with some believing
that the child is a symbol of folly for those that fail to recognise the
meaning of Christ’s suffering and fail to live life as one of his followers.
Others view the figure as the Christ Child taking his first halting steps
towards his destiny on Calvary. Some argue that the whirligig is a
“walking mill” and therefore associated with the Eucharist, with the blades
of the mill representing the Cross.
Detail
Detail
Detail
Detail
Reverse of the painting: ‘Christ Child with a Walking Frame’
 ADORATION OF THE MAGI

Completed between 1485-1500, Bosch’s triptych of The Adoration of the

Magi was once identified with a canvas executed for the Cathedral of ‘s-
Hertogenbosch, though it is now considered more likely that it is the
painting recorded as belonging to Jehan de Kassembrood, which was later
seized by Fernando Álvarez de Toledo, 3rd Duke of Alba in 1567. It
features the coat of arms of the Bronchorst, the family of Kassembrood’s
wife; Kassembrood had been secretary of Lamoral, Count of Egmont, and
was executed with him in 1568. Along with other forfeited works of art,
the Duke shipped the triptych to Philip II of Spain, a famed collector of
Bosch paintings. In 1574 the painting was in the El Escorial monastery and
is mentioned in 1605 as an “Epiphany without any extravaganza”. The
triptych has been held in Madrid’s Museo del Prado since 1839.
When closed the shutters display a grisaille painting of the Mass of
Saint Gregory in a single scene, with him kneeling at an altar in front of
Christ. The latter is surrounded by an arch with flying angels. The two
characters in colour are a later addition and are the painting’s donors. The
frame above the saint concerns scenes of the Life of Jesus: from the lower
left, the Prayer in the Garden, The Arrest, Christ in Front of Pilate, the
Flagellation, the Coronation of Thorns, the Via Crucis and, finally, the
Crucifixion. In the sky around the Cross we can see a flying angel and a
devil, with a red halo around his head, drawing Judas Iscariot’s soul away.
Judas is also visible hanging by the mountain’s right edge, while another
figure is pointing at him.
The triptych’s left panel portrays Saint Peter and the donor Peter
Bronckhorst with the motto “Een voer al” (One for all). In the background,
a man sits on a basket under temporary roofing — he is most likely Saint
Joseph preparing Jesus’ bedclothes. The right panel presents Saint Agnes
and the eponymous donor, Agnes Bosshuysse, also portrayed with her coat
of arms. The background reveals a bear and a wolf attacking several
citizens.
The main focus is drawn to the central panel, showing the Adoration of
the Magi, depicted in accordance with traditional iconography. A
particularly large-sized Mary sits outside the ramshackle stable —
resembling a Brabantian hut — with the Christ Child held in her lap,
recalling the works of Jan van Eyck. Balthazar, the eldest of the Magi,
kneels at her feet, with his gift before him: a golden sculpture of the
Sacrifice of Isaac, a hint of Jesus’ Passion. Below the object are several
toads, serving as symbols of heresy. Balthazar’s crown lies on the ground,
an allusion to the powerlessness of earthly power against the celestial.
Melchior stands to the rear, with a depiction of the Visit of Queen
Sheba to Solomon on his mantle. He bears the gift of incense on a vessel,
while the last of the Magi, the dark-skinned Gaspar, is dressed in white
garments decorated with embroidery resembling thorny leaves; he bears a
spherical pix with reliefs depicting the Offer of Water to King David,
containing myrrh.
A pale-skinned, partially naked figure by the hut’s entrance, dressed in
a red mantle and accompanied by other grotesque figures has been
variously interpreted as either another prefiguration of the Passion, or
intended as a symbol of the heresy intended for the followers. Other
commentators have suggested the unusual figure might represent the
Judaic messiah which, after having been struck by leper, has become the
Antichrist.
The triptych’s overall theme is the advent of salvation, conveying a
message of the universality of Redemption. The Eucharistic meaning
indicated by the scene of Saint Gregory’s Mass is also found in the central
panel in the wheat stored in the upper part of the hut, above the figure of
the strange partially clothed man. Bosch exerts his painting skills in the
opulence of the Magi’s robes and offerings and in the depicting of the
sumptuous materials also featured in the triptych. The artist’s brushstroke
highlights are so fine that they appear to be drawn. The city silhouetted
against the clouds in the background is Bethlehem, though Bosch is
carried away by his imagination, infusing the buildings with an oriental
appearance. He utilises long, thin, light strokes to sketch the main
elements of the composition, though some are thicker. In the areas with
modelling, his strokes are shorter, but always adapted to the size of the
motif. The folds of the drapes are drawn with long strokes in a less intense
colour, while creases and areas of shadow are often accentuated during the
paint stage.
Detail: central panel
Detail: central panel
Detail: central panel
Detail: left panel
Detail: left panel
Detail: right panel
Detail Detail: right panel
The image displayed when the triptych is closed
Detail
Detail
‘Madonna of Chancellor Rolin’ by Jan van Eyck, c. 1435. Musée du Louvre, Paris
 SAINT JOHN THE BAPTIST IN THE
WILDERNESS

Currently on display in the Museum of Lázaro Galdiano, Madrid, this

exquisite painting forms a pair with Saint John the Evangelist on Patmos,
now held in Berlin. As recently as the 1940’s it was discovered that the
two paintings may well have been designed as the wings of an altarpiece.
It has since been suggested that the altarpiece in question was an artwork
that is known to have been made for Saint John’s Cathedral, ‘s-
Hertogenbosch. As with many of Bosch’s paintings, it is difficult to date,
though if the ‘s-Hertogenbosch theory is correct, the date would be c.
1489.
Bosch often liked to portray John the Baptist with a lamb, representing
the sacrifice of the saint as an innocent victim of the wickedness of
mankind. Some art historians argue that the saint is in fact pointing
towards Jesus Christ, whose symbol is the pascal lamb (John 1:29–36).
Bosch’s painting differs from other paintings of John the Baptist in the
fantastical objects carefully depicted and the range of colour tones
introduced, establishing a surreal and magical atmosphere. The artist’s
customary use of curling and twisting plant forms conveys a sense of
exoticism, hinting at danger otherwise absent in the piece. The tender and
sympathetic face of the saint is echoed by the innocent purity of the lamb,
which patiently, even playfully, looks backs at the viewer.
Detail
Detail
Detail
Detail
Detail
The companion piece: ‘Saint John on Patmos’, Gemäldegalerie Berlin, Germany
Saint John’s Cathedral, ‘s-Hertogenbosch
 CUTTING THE STONE

Also known as The Extraction of the Stone of Madness or The Cure of

Folly, this panel painting has been dated to c. 1494 and is displayed today
in the Museo del Prado in Madrid. The composition refers to a
hypothetical procedure in the fifteenth century involving trepanation and
extraction of a stone, thought to be the cause of the patient’s madness.
Bosch depicts the extraction being performed by a man wearing a funnel
hat, removing the stone from a middle-aged man’s head. However, Bosch
replaces the traditional “stone” as the object of extraction with the bulb of
a flower, while another flower rests on the table. An imposing Gothic
inscription in gold reads:

Meester snyt die keye ras

Myne name Is lubbert Das

which translates as “Master, cut away the stone / my name is Lubbert

Das.” Bosch invites us to view the doctor as a charlatan, pulling a flower
instead of a stone, the funnel hat confirming his status as a comedic
character. In Dutch literature Lubbert Das was a stock character usually
employed for humour, providing light entertainment by his foolish actions.
The woman balancing a book on her head could be intended as a satire of
the Flemish custom of wearing amulets made out of books and scripture, a
pictogram for the word phylactery. Likewise, she depicts folly, providing
an ironic comment. The man supposed to be insane is being treated by
fools, who in turn are supposed to be figures of authority and sense.
Detail
Detail
Detail
Detail
‘A surgeon extracting the stone of folly’ by Pieter Huys, 1545-1577, Wellcome Library
Museo del Prado, Madrid, widely considered to have one of the world’s finest collections of
European art and where several Bosch masterpieces are held today
 THE GARDEN OF EARTHLY DELIGHTS

Generally regarded as Bosch’s most famous and ambitious extant work,

this triptych dates from between 1490 and 1510. Painted in oil on oak, the
outer wings, when folded, reveal a grisaille painting of the Earth during
the biblical narrative of Creation. The three scenes of the inner triptych,
likely intended to be read chronologically from left to right, depicts God
presenting Eve to Adam in the left side; the central panel offers a broad
panorama of nude figures, fantastical animals, oversized fruit and hybrid
stone formations; while the right panel presents a hellscape of the
torments of damnation.
The aristocracy of the Burgundian Netherlands, influenced by the
humanist movement, were the most likely collectors of Bosch’s paintings,
but there are few records of the location of his works in the years
immediately following his death. It is probable that the patron of The
Garden of Earthly Delights was Engelbrecht II of Nassau, who died in
1504, or his successor Henry III of Nassau-Breda, the governor of several
of the Habsburg provinces in the Low Countries. De Beatis wrote in his
travel journal that “there are some panels on which bizarre things have
been painted. They represent seas, skies, woods, meadows, and many other
things, such as people crawling out of a shell, others that bring forth birds,
men and women, white and blacks doing all sorts of different activities
and poses.” As the triptych was publicly displayed in the palace of the
House of Nassau, it was visible to many and Bosch’s reputation and fame
quickly spread across Europe. The work’s popularity can be measured by
the numerous surviving copies — in oil, engraving and tapestry —
commissioned by wealthy patrons, as well as by the number of forgeries in
circulation after his death.
Some commentators have proposed that Bosch used the outer panels,
featuring the biblical scene of the Deluge, to encourage a reading of the
triptych in a chronological order. As with Bosch’s later triptych The
Haywain, the inner centre panel is flanked by heavenly and hellish
imagery. The scenes concern Eden, the garden of earthly delights, and
Hell. God appears as the creator of humanity in the left hand wing, while
the consequences of humanity’s failure to follow his Will are revealed in
all their devastating power in the right.
The left panel, illustrating the Joining of Adam and Eve, is a scene
from the paradise of the Garden of Eden commonly interpreted as the
moment when God presents Eve to Adam. Adam wakes from a deep sleep
to find God holding Eve by her wrist and giving the sign of his blessing to
their union. God is younger-looking than on the outer panels, blue-eyed
and with golden curls. His youthful appearance may be a device by the
artist to illustrate the concept of Christ as the incarnation of the Word of
God. The right hand of God is raised in blessing, while he holds Eve’s
wrist with his left. Adam’s expression is one of amazement, reacting to an
awareness that Eve is of the same nature as himself and has been created
from his own body. Finally, from the intensity of Adam’s gaze, it can be
concluded that he is experiencing sexual arousal and the primal urge to
reproduce for the first time.
The most ambiguous section is the central panel, where humanity is
represented as performing hedonistic acts, as naked men and women
engage in various pleasure-seeking activities. They appear to revel in an
innocent, self-absorbed zeal. Some appear to enjoy sensory pleasures,
others play unselfconsciously in the water, and yet others cavort in
meadows with a variety of animals, seemingly at one with nature. In the
middle of the background, a large blue globe resembling a fruit pod rises
in the middle of a lake. Visible through its circular window is a man
holding his right hand close to his partner’s genitals, and the bare buttocks
of yet another figure hover nearby.
The right panel illustrates Hell, a setting that frequents a number of
Bosch’s paintings. He depicts a world in which humans have succumbed to
temptations that lead to evil and reap eternal damnation. The tone of this
final panel strikes a harsh contrast, chromatically and thematically, to the
other panels. The scene is set at night, and the natural beauty that adorned
the earlier scenes is markedly absent. Compared to the warmth of the
central panel, the right wing possesses a chilling quality, achieved by cold
colourisation and frozen waterways, presenting a tableau that has shifted
from the paradise to a spectacle of torture and retribution. In the densely
detailed scene, cities erupt in fire in the background, while war, torture
chambers, infernal taverns and demons dominate the middle section, with
mutated animals feeding on human flesh in the foreground. Large
explosions in the background throw light through the city gate and spill
forth on to the water in the midsection, as a fiery reflection turns the water
below into blood. Light illuminates a road filled with fleeing figures,
while hordes of tormentors prepare to burn a neighbouring village. A short
distance away, a rabbit carries an impaled and bleeding corpse, while a
group of victims above are thrown into a burning lantern.
Bosch is innovative in that he describes Hell not as a fantastical space,
but as a realistic world containing many elements from day-to-day human
life. The foreground is populated by a variety of distraught and tortured
figures. Some are shown vomiting or excreting; others are crucified using
a harp and lute, an allegory of music, emphasising the contrast between
pleasure and torture. A choir sings from a score inscribed on a pair of
buttocks, part of a group that has been described as the “Musicians’ Hell”.
A striking section of the scene concerns the “Tree-Man”, whose
cavernous torso is supported by rotting tree trunks. His head supports a
disk containing demons and victims parading around a huge set of
bagpipes — often used as a sexual symbol — reminiscent of the scrotum
and penis. The tree-man’s torso is formed from a broken eggshell, and the
supporting trunk has thorn-like branches that pierce the fragile body. A
grey figure in a hood with an arrow jammed between his buttocks climbs a
ladder into the tree-man’s central cavity, where nude men sit in a tavern-
like setting. The tree-man gazes outwards beyond the viewer, his
expression a mixture of wistfulness and resignation.
Art historians frequently interpret the painting as a didactic warning of
the perils of life’s temptations. Nevertheless, the complex symbolism,
particularly in the central panel, has led to a wide range of interpretations
over the centuries. Twentieth-century art historians are divided as to
whether the triptych’s central panel is a moral warning or a panorama of
paradise lost.
The triptych was first documented in 1517, a year after the artist’s
death, when Antonio de Beatis, a canon from Molfetta, Italy, described the
work as part of the decoration in the town palace of the Counts of the
House of Nassau in Brussels. The palace was a high-profile location, often
visited by heads of state and leading court figures. The prominence of the
painting has led some to conclude that it was specially commissioned. A
description of the triptych in 1605 described it as the “strawberry
painting”, due to the fruit of the strawberry tree, featuring prominently in
the central panel.
The exterior panels show the world during creation, probably on the Third Day, after the addition
of plant life but before the appearance of animals and humans.
Detail: left panel
Detail: left panel
Detail: upper central panel
Detail: central panel
Detail: central panel
Detail: right panel
Detail: right panel
The “Tree-Man” of the right panel
Count Henry III of Nassau-Dillenburg-Dietz (1483-1538), likely the original patron that
commissioned the triptych
 THE HAYWAIN

Bosch’s Haywain triptych is dated to around 1516, once again established

by means of dendrochronological research. The panel painting forms part
of a group of six acquired by King Philip II of Spain in 1570, and shipped
to El Escorial four years later. It was later sold to the Marquis of
Salamanca and divided into three paintings. In 1848, the central panel was
bought by Isabella II of Spain and brought to Aranjuez, when the right
panel was returned to Escorial and the left went to the Prado. The triptych
was finally recomposed in 1914 in the latter museum.
Unlike in other Bosch triptychs, the closed shutters are painted in full
colours instead of grisaille, representing a version of the artist’s famous
wayfarer image, surrounded by a series of miniatures, including the
robbery of another wayfarer and a hanged man. The wayfarer uses a stick
to repel a dog, adding to much speculation as to its intended meaning.
Some commentators have suggested that the figure may represent a man
that follows his road in spite of the temptation of sins, such as lust,
symbolised by the two dancing shepherds, and the evil acts occurring
around him.
The triptych adheres to a similar narrative structure as seen previously
in The Garden of Earthly Delights. The top section of the left panel
portrays the rebel angels being cast out of Heaven, as God sits enthroned,
while the angels are transformed into insects. Below this, God creates Eve
from the rib of Adam; followed by Adam and Eve discovering the serpent
and the Tree of Knowledge in Eden. Temptingly, the serpent offers them
the forbidden fruit. In the lower section of the panel, Saint Michael forces
Adam and Eve out of Eden. Adam speaks with the angel; Eve, in a
melancholic pose, looks ahead to the right, fixed on the uncertain future
ahead.
The central panel features a large wagon of hay surrounded by a
multitude of fools engaged in a variety of sins, distinctly different from
the sins of lust that dominate The Garden of Earthly Delights. Bosch
positions Christ in the sky and an angel on top of the wagon looks up to
him, praying, though the figures below are unaware of Christ looking
down upon the world. The haywain is being drawn by infernal beings,
appearing to drag the sinners on to Hell.
The cart appears to move to the right, emphasised by the direction of
the bowing sinners, leading the viewer on to the final panel and the
torturous realms of Hell. The procession on the left side of this panel
bends back into the middle ground, but the right side figures continue in a
straight line with the wagon, suggesting a more evident progress into
damnation. Hell teems with strange beasts, delineated as anthropomorphic
figures, inflicting pain and suffering on the human sinners. A giant fish-
like creature, with human legs instead of a tail, feasts upon the torso of
one figure, while wild dogs set upon another. In the sky above, a haunting
tower, surrounded by blood-red smoke, is manned by monstrous figures,
while the lone body of a hanged man catches our attention as a black
silhouette. An eerie figure floats witch-like above the carnage, holding a
long weapon over its shoulder. A medieval viewer of the painting would be
alerted at once to the manifold consequences of leading a sinful life.
Detail: left panel, bottom centre
Detail: left panel, middle section
Detail: left panel, top section
Detail: top of central panel
Detail: central panel, bottom right
Detail: central panel, middle left
Detail: right panel, bottom section
Detail: right panel, top section
The closed triptych
Philip II of Spain (1527-1598), called “the Prudent”. The King of Spain from 1556–1598 was an
early owner of ‘The Haywain’.
 HERMIT SAINTS

Dating from c. 1493, confirmed by dendochronologic analysis, Hermit

Saints was completed towards the middle of Bosch’s career. Some art
historians believe that it is the most important production during the
artist’s stay in Venice. In the triptych, he enlarges the view of the
landscape, seeking to capture innovative atmospheric effects. The painting
features the typical bizarre and surreal apparitions that are such a
distinctive feature of the artist’s works.
Each of the three panels portrays a different Christian anchorite saint
— all three saints reflecting the monastic ideal: a life spent in
mortification of the flesh and in continuous prayer and meditation. The
central panel depicts Saint Jerome, kneeling in the desert and praying by a
crucifix on a stick, in a setting of an altar, similar to a sculpted Roman
sarcophagus, located within a ruined oratory. Reliefs in the stonework
illustrate scenes concerning the theme of redemption theme, such as Judith
and Holophernes, symbolising the victory of the soul, as well as a knight
and a unicorn, functioning as a symbol of virginity. In the lower section of
the panel a man dives into a beehive, covering himself with honey,
offering a statement on carnal love. The scene is dominated by symbols of
evil, scattered in a desert and dark landscape and surrounded by sinister
vegetation. They include skeletons, monstrous animals and deadened
plants.
The left panel concerns Saint Anthony the Abbot in a nocturnal
landscape. The village on fire might be an allegory of the ergotism plague,
or of the saint’s alleged capability to quench fires. He collects the marshy
water out of a pool with a jar, surrounded by demonic visions, such as the
naked woman appearing behind a tent in the company of several devils.
Below her, a devil-fish pours wine from a jar, while deformed crickets are
portrayed in grotesque postures: one is reading a missal, another has a
prolonged beak and a peacock tail, while another is composed by a nun’s
head with feet, carrying a little owl and its nest above.
The right panel shows Saint Giles praying in a grotto, which contains a
roll that, according to the Golden Legend, lists all the names of those to be
saved due to his intercession. The saint has been shot by an arrow,
originally destined for the fawn at his feet, relating to the time he was shot
accidentally by a passing hunter. The landscape, the least dark in the
triptych, is nevertheless dominated by a sharp rock.
The triptych is housed at the Gallerie dell’Accademia, Venice. It was
first mentioned at the Palazzo Ducale in 1771, as hanging in the Eccelso
Tribunale Hall. In 1838 it was removed by the Austrian authorities, then
ruling Venice, to the Imperial Gallery of Vienna in Austria, from which, in
1893, it went to the Kunsthistorisches Museum, yet in 1919 it was returned
to Venice. The triptych has been badly damaged, possibly by a fire, in
particular in the central part, causing someone to repaint the sky,
landscape and head of Saint Jerome at some time in its history.
Detail: left panel, bottom section
Detail: central panel, bottom section
Detail: central panel, middle section
Detail: right panel, middle section
Detail: right panel, top section
 THE CONJURER

There are five versions of The Conjurer and one engraving, though most
experts agree the most reliable painting forms part of the collection of the
Musée Municipal in Saint-Germain-en-Laye, which is kept locked in a
safe and loaned out on a limited basis for special exhibitions. On 1
December 1978 the painting was stolen from the museum and returned on
2 February 1979. It was bequeathed by Louis Alexandre Ducastel, a notary
at Saint Germain en Laye from 1813, who was also city council member
and Mayor in August 1835 and 1839. The collection seems especially to
have been formed by his father John Alexander Ducastel, a painter and
collector.
The theme of the painting concerns how people are fooled by a lack of
alertness and their own naivety. The figure of the conjurer on the right
captures the attention of a diverse audience with a game of cups and balls.
At once we are drawn to the central character, a man of rank in the
forefront, who leans in and is fixed on the pearl in the conjurer’s hand,
while unaware of being robbed of his purse by the conjurer’s accomplice
behind him. Bosch associates the conjurer as a common criminal, luring in
the prey. The foolish look on the rich man’s face adds to the sense of his
vulnerability.
As in many of Bosch’s works, animals are used to symbolise human
traits such as deception and victimisation. The little owl in the basket by
the conjurer’s waist represents his intelligence and deviousness. Frogs
jumping out of the mouth of the central character represent the extent to
which the victim renounces reason and gives in to bestial impulses. The
child engrossed in watching the victim being robbed exemplifies the
Flemish proverb: “He who lets himself be fooled by conjuring tricks loses
his money and becomes the laughing stock of children.” Another Flemish
proverb, published and widely distributed c. 1480 in ‘s-Hertogenbosch
warns: “No one is so much a fool as a wilful fool.”
Detail
Detail
Detail
Detail
Detail
 THE LAST JUDGMENT

Created after 1482, this imposing triptych currently resides at the

Academy of Fine Arts in Vienna, Austria. The composition shares
similarities with The Haywain triptych, once again detailing the Garden of
Eden in the left panel, Hell on the right and the central panel portrays the
Last Judgement. The shutters are externally painted in grisaille, depicting
two saints, with Saint James in pilgrimage on the left and right shows
Saint Bavo, the patron of Flanders, donating to the poor with his hawk on
his left wrist.
The left panel reveals the Garden of Eden of Genesis, as a green
landscape in the lower three-quarters. In the upper section God sits on his
throne, surrounded by a luminous halo. Around him is a cloudy sky, with
angels fighting rebellious angels, who are turning into devils as they fall.
Below this, a narrative sequence is formed, reading from bottom to
middle: God creating Eve from Adam’s rib, with Adam sleeping at her
feet; the Serpent tempting Eve and the Tree of Knowledge; and,
culminating with Adam and Eve expelled from the Garden by Saint
Michael, who wields his sword amidst a dark forest. The inclusion of the
Fall of Adam and Eve in a representation of the Last Judgment is unusual,
as generally Heaven and Hell were allotted the chief role in the
eschatological drama.
The Last Judgement of the central panel is based on John’s Book of
Revelation. Christ sits above as judge, surrounded by the Virgin Mary,
John the Evangelist and the Apostles. The celestial zone, painted in vivid
bright blue, contrasts with the rest of the panel, which is dominated by the
earthy, dark brown punishment of the damned, while the Blessed occupy
only a small section. Punishments for the sinners are represented as
monstrous creatures of Hell. The sinners are burned, speared, impaled,
hung from butcher hooks, forced to eat impure food or victimised by the
cogs of horrifying machines. The wide valley dominating the central panel
may represent the Valley of Jehoshaphat, which, on the basis of several
Old Testament references, was traditionally thought to be the site of the
Last Judgment, with the walls of the earthly Jerusalem on fire in the
background.
Earth has become indistinguishable from Hell, depicted on the right
wing, as the army of Satan swarms to attack the damned and an eternity of
torment commences. Satan, in the centre, receives the damned souls,
while the avaricious are boiled in the great cauldron just visible beneath
one of the buildings. Nearby, a glutton sinner is forced to drink from a
barrel held by two devils. The lascivious woman on the roof above is
seduced by a lizard-like monster that slithers across her loins, while being
serenaded by two musical demons. On the cliffs to the right, across the
river, blacksmith-devils hammer other victims on anvils and one is being
shod like a horse. The triptych is renowned for Bosch’s original depictions
of Hell and its horrors. Many bizarre fusions of animal and human
elements, sometimes combined with inanimate objects, populate the
maddened scene. Disembodied heads scuttle about on stubby limbs, while
others possess bodies and limbs that glow in the darkness.
The oldest record of the triptych is in a 1659 inventory of Archduke
Leopold Wilhelm of Austria’s collection. In the late eighteenth century,
the work was acquired by Count Lambert-Spritzenstein, from whom it
later went to the Academy of Fine Arts in Vienna. Some art historians
believe it was acquired by Philip I of Castile in 1504, though others deny
this.
Detail: left panel
Detail: left panel
Detail: central panel
Detail: central panel, lower section
Detail: right panel
Detail: right panel
The closed triptych
 THE TEMPTATION OF SAINT ANTHONY

The Temptation of Saint Anthony was a popular subject in Renaissance art

and Bosch’s handling of the subject dates from around 1501. It tells the
story of the spiritual and mental torments endured by Saint Anthony the
Great (Anthony Abbott), one of the most prominent of the Desert Fathers
of Egypt in the late third and early fourth centuries. According to some
historians, the triptych could be one of the three Temptations recorded in
the inventory of Philip II of Spain, transferred to the Escorial in 1574.
However, it is now considered more likely that it was instead bought by
the Portuguese humanist Damião de Góis between 1523 and 1545. The
painting was documented as part of the collections in the Royal Palace of
Lisbon in the mid-nineteenth century, and in 1911 King Manuel II donated
it to its current museum, the Museu Nacional de Arte Antiga in Lisbon.
The painting is inspired by events related in the Life of Saint Anthony
by Athanasius of Alexandria, which was made famous in Flanders by
Pieter van Os and Jacopo da Varazze’s Golden Legend. The left panel
portrays the legendary flight and fall of the saint. In the sky, Saint
Anthony is brought down by a host of demons. Below, is the saint’s grotto,
likened to a brothel, carved within a hill in the shape of a man on all fours,
his backside forming an entrance. An impious procession is directed
towards this entry, led by a deer and a demon in holy vestments. In the
foreground, Anthony appears weakened, as he is supported after the fall by
a monk and a layman; the latter has been traditionally identified as a self-
portrait of Bosch. Beneath the bridge are three figures, one of which is a
monk reading a letter. Also, on the icy lake there is a demon bird with
skates, its beak holding a cartouche with the word “fat” — most likely a
reference to the simony scandal.
The central panel concerns the saint’s refusal of temptation, depicting
Anthony in contemplation, with a blessing hand pointing at his small cell
inside a ruined tower, where a miniature Christ appears to point at the
Crucifix, suggesting the true sacrifice. A black-skinned priestess holds a
vessel with a toad, a symbol of witchcraft as well as of luxury. A black-
dressed singer with a pig face and a little owl — an allegory of heresy —
above his head can be seen, while a crippled man is going to receive the
communion. The saint looks out into the world, pointing in the direction of
Christ. Importantly, none of the people look in the saint’s direction.
The right panel depicts the Contemplation of Saint Anthony. The two
figures riding the fish in the sky relate to a legend, which tells how they
obtained the capability to fly by the Devil in order to partake in Witches’
Sabbaths. In the foreground, a naked woman, another symbol of luxury,
peeps from a hollow trunk through a tent, which is being kept open for her
by a toad. Her tempting body is being offered to the saint, portrayed to the
right, looking directly at the viewer, a look of contemplation on his face.
The dwarf next to him, who wears a red mantle and a whirligig, serves as a
symbol of humanity’s fecklessness. In the foreground, we can see the last
temptations: a table with bread and a jar of wine, supported by naked
demons. One of the human pillars has his foot caught in a jar — most
likely an allusion to a sexual act.
As customarily found in Bosch’s triptychs, the exteriors of the shutters
are painted in grisaille. Traditionally, artworks in churches were covered
and altarpieces with wings were closed the week before Easter. The
subdued coloration and the subject matter of the shutter exteriors of this
triptych are in keeping with the Lenten theme. The left panel concerns the
Arrest of Christ, including, in the foreground, Saint Peter cutting Malchus’
ear and, in the background, soldiers surround the fallen Christ; to the left
Judas flees after his kiss. The right panel portrays Christ Carrying the
Cross in the background, while the foreground depicts the two thieves, one
confessing and the other refusing to convert. The crowd around Christ
includes the figure of Simon of Cyrene, who supports the Cross.
In later years, Bosch was clearly preoccupied with themes of torment
and the sinfulness of man, replacing his earlier, more optimistic visions of
Christ and the Virgin with themes of anxiety and guilt. His sources for
these unusual images came from the dark corners of the medieval
imagination, introducing forms such as gargoyles and monsters of
cathedral decoration, as well as ideas from the marginal illustrations of
books and popular prints. The Temptation of Saint Anthony epitomises the
major themes that we encounter in Bosch’s art. The spectacle of sin and
folly and the shifting horrors of Hell are strikingly contrasted with the
suffering of Christ, while Anthony stands firm in his faith against the
assaults of evil. To contemporary men and women, who feared the
imminent appearance of the Antichrist and the Last Judgment, the serene
countenance of the saint, looking at us from his haunted chapel, must have
offered hope and reassurance in a troubling world.
As with many of Bosch’s paintings, the triptych was the subject of a
number of copies. Another version of the central panel is found in MASP
in São Paulo, while a copy by a follower of Bosch is housed in the
National Gallery of Canada in Ottawa, while yet another version is in the
Prado Museum in Madrid. A third copy, once believed to be the original
but now identified as a sixteenth century copy, is owned by the Barnes
Foundation, near Philadelphia, USA.
Detail: left panel
Detail: left panel
Detail: central panel
Detail: central panel
Detail: central panel, with the saint alone in the centre
Detail: right panel
Detail: right panel; Saint Anthony wears his blue cloak and looks out at the viewer
The closed triptych, showing the Arrest of Christ and Christ carrying the Cross
 DEATH AND THE MISER

Death and the Miser, held in the National Gallery of Art in Washington,
D.C., was originally the inside of the right panel of a divided triptych. The
other existing portions of the triptych are The Ship of Fools and Allegory
of Gluttony and Lust, while The Wayfarer was painted on the external right
panel. Death and the Miser functions as a memento mori, reminding the
viewer of the inevitability of death. The painting shows the influence of
popular fifteen century handbooks on the art of dying, intended to help
Christians choose Christ over sinful pleasures. As Death approaches,
illustrated as a skeleton in flowing robes, the miser, unable to resist
worldly temptations, reaches for the bag of gold offered by a demon, while
an angel points to a crucifix from which a slender beam of light descends.
In the foreground, Bosch depicts the miser as he was previously,
dressed in green clothing, signifying full health, placing gold in his money
chest, which is infested with demons, while he clutches his rosary.
Symbols of worldly power, such as a helmet, sword and shield in the
bottom section allude to earthly follies, while also informing us of the
station held by this man during his life.
Bosch encourages us to interact with the image, as whether or not the
miser, in his last moments, will embrace the salvation offered by Christ or
cling to his worldly riches, remains uncertain. The artist’s familiarity with
the visual tradition of the Ars Moriendi is demonstrated in the top left
roundel, illustrating the death of a sinner in The Seven Deadly Sins and the
Four Last Things.
Detail
Detail
Detail
Detail
A reconstruction of the left and right wings of the triptych: at Upper left ‘The Ship of Fools’; at
lower left: ‘Allegory of Gluttony and Lust’. Panel at right is ‘Death and the Miser’
 ASCENT OF THE BLESSED

Produced between 1505 and 1515, the captivating image of Ascent of the
Blessed was originally part of a polyptych of four panels, entitled Visions
of the Hereafter. The other panels provided the titles Terrestrial Paradise,
Fall of the Damned into Hell and Hell. The intriguing large form at the top
of the panel is depicted as a three dimensional tunnel, allowing us to peek
into Heaven from below. Angels, appearing in white robes, guide naked
souls up to the light. In the lower parts of the panel there are two angels
for each soul, perhaps suggesting that some humans require more help
than others.
Closer to heaven, there is only one angel for each soul, conveying that
the souls are being pulled from Earth with greater ease towards the tunnel,
as they become lighter in weight. The figures share similar facial features.
as the physical aspect of the humans and angels are more idealised and not
individualised. None of the souls are differentiated as male or female —
there are no genders in Heaven. All the figures in the painting loos
upwards towards the tunnel, fixed on their destination. This funnel-shaped
radiance, with distinct segments, is most likely inspired by contemporary
zodiacal diagrams.
The dark black tones of the majority of the painting contrast strikingly
with the white brightness at the end of the tunnel, drawing us up with the
souls in their ascent. The sky becomes darker as it approaches the white
light of the tunnel, emphasising the dramatic impact of the contrast. The
hazy form of a figure within Heaven itself, delineated as total white,
seems to gesture ambiguously, adding to the ethereal nature of the image.
Bosch’s paintings reflect the religious themes that dominated art and
society in the Netherlands during the sixteenth century. Citizens were
expected to behave and act as good Catholics, with their reward eventually
being access to heaven. The consequences of sin, portrayed in images of
Purgatory and Hell, were often represented to frighten people into
obedience, encouraging them to lead diligent and respectable lives. A
treatise current at that time, titled Van der Vorsieningkeit Godes, claimed
that “out of 30,000 souls only two were likely to reach Heaven.” Such
ideology stirred everyday men and women, playing upon their inner fears
of an afterlife of torment and torture. Bosch’s image intends to allay these
fears, offering a beautiful window into the rewards of a blessed life.
Detail
Detail
Detail
Detail
Detail
‘Terrestrial Paradise’, another part of the polyptych of four panels, Palazzo Grimani di Santa
Maria Formosa, Venice, Italy
 THE MARRIAGE FEAST AT CANA

The Marriage Feast at Cana was only recently attributed to Bosch,

residing today at the Museum Boijmans van Beuningen in Rotterdam. The
picture survives in poor condition, with the upper corners having been cut
off, as many heads have been repainted and a pair of dogs at the lower left
may have been added as late as the eighteenth century. Bosch establishes
the biblical marriage banquet in an ornately furnished interior, which is
most likely a tavern. The miracle of the wine jars takes place in the lower
right section of the panel. The guests are seated around an L-shaped table
dominated at one end by the figure of Christ, behind whom hangs the
brocaded cloth of honour usually reserved for the bride. Christ is flanked
by two male donors in contemporary dress, while next to the Virgin at the
centre of the table appear the austerely dressed bridal couple. The
bridegroom is John the Evangelist, for his face closely resembles features
used by Bosch in other depictions of the saint. Although the bridegroom
remains nameless in the New Testament account, he was frequently
identified as Christ’s most beloved disciple.
Christ and his friends are pensively absorbed in some inner vision,
unaware of the evil enchantment that seems to have fallen upon the
banquet hall. The other wedding guests drink or chatter, observed by a
bagpiper, who leers drunkenly from a platform in the upper left. On the
columns flanking the rear portal, two sculptured demons have
mysteriously come to life; one of them aims an arrow at the other, who
escapes by disappearing through a hole in the wall. From the left, two
servants carry in a boar’s head and a swan spitting fire from their mouths
— a symbol for unchastity. This unholy revelry seems to be directed by
the innkeeper or steward, who stands with his baton in the rear chamber.
The precise meaning of the many bizarre details remains unclear, as
does the inclusion of the richly gowned child, his back turned to the
viewer, who seems to toast the bridal couple with a chalice. Nevertheless,
Bosch has undoubtedly intended for the tavern to represent a place of evil,
contrasting the chaste marriage feast at Cana with the debauchery of the
world. On one hand, we are presented with a moral allegory of man’s
pursuit of the flesh at the expense of his spiritual welfare, while on the
other we are asked to appreciate the monastic ideal of a life secure from
the world in contemplation of God. These two themes would dominate
much of the artist’s later work.
Detail
Detail
Detail
Detail
Detail
 THE WAYFARER

The Wayfarer, also housed in Rotterdam’s Museum Boijmans van

Beuningen, is one of the fragments of a partially lost triptych or diptych,
which also included the Allegory of Gluttony and Lust, The Ship of Fools
and Death and the Miser. The figure of the wayfarer, also appearing in The
Path of Life panel on the exterior of The Haywain triptych, represents the
choice between the path of virtue at the gate on the right or debauchery in
the house on the left. The rolling sand dunes to the right and the subdued
tonalities of grey and yellow effectively convey the rain-drenched Dutch
countryside. The large foreground figure closely recalls the Haywain
pilgrim, except that he appears more haggard and poorly dressed. This
time the dangers of the world are chiefly spiritual, embodied by the tavern
on the left, its ruinous condition echoing the ragged clothes of the
wayfarer. The tavern symbolises the World and the Devil in general, its
nefarious nature emphasised by the man urinating on the right and by the
couple embracing in the doorway.
If the second woman, who peers eagerly out the window, is a prostitute,
then the traveller may well be the next customer she is waiting for.
However, he appears to have passed the tavern in his journey and his path
leads towards a gate, with the tranquil Dutch countryside beyond. In a
moment of indecision, he halts by the roadside, tempted by the promise of
pleasure. Whether he will turn away from the tavern to pass through the
gate is left for us, the viewer, to decide, encouraging us to engage with the
painting. It remains one of the artist’s most poignant and enigmatic works
to have survived from his later career.
Little information has survived regarding the artist’s final years. An
entry in the accounts of the Brotherhood of Our Lady records Bosch’s
death in 1516. A funeral mass served in his memory was held in the
Church of Saint John on 9 August 1516. In recent years, scholars have
changed their views of Bosch’s art, no longer regarding it merely as a
fantastic style intended only to titillate and amuse, much like the
“grotteschi” of the Italian Renaissance. Critics have now accepted that his
highly original paintings reflect the orthodox religious belief systems of
his age. His depictions of sinful humanity and his conceptions of Heaven
and Hell are seen as consistent with those of late medieval didactic
literature and sermons. A more profound significance has been assigned to
his works and attempts to interpret them in terms of late medieval
morality. One of his most alluring and innovative achievements is his use
of ambiguity to interact with the viewer, emphasising ironic tendencies
and satirical comments — keen indications of Bosch’s sharp wit. His
employment of irony offers the option of detachment, both from the real
world and from his illustrated fantasy world, appealing to both
conservative and progressive viewers.
Detail
Detail
Detail
Detail
 The Paintings

The old town hall at Oirschot, a town in the southern Netherlands — after his marriage to Aleyt
Goyaerts van den Meerveen, Bosch moved to Oirschot, where his wife had inherited a house and
land from her wealthy family.
 THE COMPLETE PAINTINGS

Bosch’s paintings are presented in approximate chronological order, with

an alphabetical table of contents following immediately after.

CONTENTS
Triptychs
Adoration of the Magi – Prado
The Garden of Earthly Delights
The Haywain
Passion Triptych
Passion Triptych – left detail
Passion Triptych – centre detail
Passion Triptych – right detail
Hermit Saints Triptych
The Last Judgment – Vienna
The Last Judgment – Bruges
The Last Judgment – left detail
The Last Judgment – centre detail
The Last Judgment – right detail
The Martyrdom of Saint Julia
The Martyrdom of Saint Julia – left detail
The Martyrdom of Saint Julia – centre detail
The Martyrdom of Saint Julia – right detail
The Temptation of Saint Anthony – Lisbon

Diptychs and Polyptychs

Hell and the Flood
The Fall of the Rebel Angels
Noah’s Ark on Mount Ararat
Mankind Beset by Devils
Visions of the Hereafter Polyptych
Fall of the Damned
Hell
Terrestrial Paradise
Ascent of the Blessed

Single Panels
Adoration of the Child
Adoration of the Magi – New York
Adoration of the Magi – Philadelphia
Crucifixion with a Donor
Christ Carrying the Cross – Vienna
Christ Carrying the Cross – Ghent
Christ Carrying the Cross – Madrid
Christ Crowned with Thorns – London
Christ Crowned with Thorns – El Escorial
Ecce Homo – Philadelphia
Ecce Homo – Frankfurt
The Marriage Feast at Cana
Saint Jerome at Prayer
Saint Christopher Carrying the Christ Child
Saint John the Baptist in the Wilderness
Saint John the Evangelist on Patmos
The Temptation of Saint Anthony – Kansas City
The Temptation of Saint Anthony – Prado

Other Works
Allegory of Gluttony and Lust
The Conjurer
Death and the Miser
Death of the Reprobate
Cutting the Stone
Head of a Halberdier
Head of a Woman – fragment
The Last Judgment – fragment
The Seven Deadly Sins and the Four Last Things
Ship of Fools
The Wayfarer
 ALPHABETICAL LIST OF PAINTINGS

CONTENTS
Adoration of the Child
Adoration of the Magi – New York
Adoration of the Magi – Philadelphia
Adoration of the Magi – Prado
Allegory of Gluttony and Lust
Ascent of the Blessed
Christ Carrying the Cross – Ghent
Christ Carrying the Cross – Madrid
Christ Carrying the Cross – Vienna
Christ Crowned with Thorns – El Escorial
Christ Crowned with Thorns – London
Crucifixion with a Donor
Cutting the Stone
Death and the Miser
Death of the Reprobate
Ecce Homo – Frankfurt
Ecce Homo – Philadelphia
Fall of the Damned
Head of a Halberdier
Head of a Woman – fragment
Hell
Hell and the Flood
Hermit Saints Triptych
Mankind Beset by Devils
Noah’s Ark on Mount Ararat
Passion Triptych
Passion Triptych – centre detail
Passion Triptych – left detail
Passion Triptych – right detail
Saint Christopher Carrying the Christ Child
Saint Jerome at Prayer
Saint John the Baptist in the Wilderness
Saint John the Evangelist on Patmos
Ship of Fools
Terrestrial Paradise
The Conjurer
The Fall of the Rebel Angels
The Garden of Earthly Delights
The Haywain
The Last Judgment – Bruges
The Last Judgment – centre detail
The Last Judgment – fragment
The Last Judgment – left detail
The Last Judgment – right detail
The Last Judgment – Vienna
The Marriage Feast at Cana
The Martyrdom of Saint Julia
The Martyrdom of Saint Julia – centre detail
The Martyrdom of Saint Julia – left detail
The Martyrdom of Saint Julia – right detail
The Seven Deadly Sins and the Four Last Things
The Temptation of Saint Anthony – Kansas City
The Temptation of Saint Anthony – Lisbon
The Temptation of Saint Anthony – Prado
The Wayfarer
Visions of the Hereafter Polyptych
Triptychs
 Adoration of the Magi – Prado
c. 1491 - 98
Oil on wood
138 × 144 cm
M useo del Prado, M adrid, Sp ain
 The Garden of Earthly Delights
c. 1495-1505
Oil on wood
220 × 389 cm
M useo del Prado, M adrid, Sp ain
 The Haywain
1510-16
Oil on wood
147 × 232 cm (Escorial version)
135 x 190 cm (Prado version)
El Escorial, Sp ain (version 1)
M useo del Prado, M adrid, Sp ain (version 2)
 Passion Triptych
c. 1530
Oil on p anel
163 × 382 cm
M useu de Belles Arts de València, Valencia, Sp ain
Probably not a work by Bosch, but by a Flemish follower.
 Passion Triptych – left detail
c. 1530
Oil on p anel
 Passion Triptych – centre detail
c. 1530
Oil on p anel
 Passion Triptych – right detail
c. 1530
Oil on p anel
 Hermit Saints Triptych
c. 1495-1505
Oil on wood
86 × 100 cm
Palazzo Ducale, Venice, Italy
 The Last Judgment – Vienna
c. 1500-05
Oil on wood
163.7 × 127 cm (central p anel)
167.7 × 60 cm (left wing)
167 × 60 cm (right wing)
Academie für Bildenden Künste, Vienna, Austria
 The Last Judgment – Bruges
c. 1495-1505
Oil on wood
99.5 × 117.5 cm
Groeningemuseum, Bruges, Belgium
 The Last Judgment – left detail
c. 1495-1505
Oil on wood
 The Last Judgment – centre detail
c. 1495-1505
Oil on wood
 The Last Judgment – right detail
c. 1495-1505
Oil on wood
 The Martyrdom of Saint Julia
c. 1495-1505
Oil on wood
104 × 119 cm
Palazzo Ducale, Venice, Italy
 The Martyrdom of Saint Julia – left detail
c. 1495-1505
Oil on wood
 The Martyrdom of Saint Julia – centre detail
c. 1495-1505
Oil on wood
 The Martyrdom of Saint Julia – right detail
c. 1495-1505
Oil on wood
 The Temptation of Saint Anthony – Lisbon
c. 1500-10
Oil on wood
131.5 × 225 cm
M useu Nacional de Arte Antiga, Lisbon, Portugal
Diptychs and Polyptychs
 Hell and the Flood
Including The Fall of the Rebel Angels, Noah’s Ark on Mount Ararat and Mankind Beset by Devils
Oil on wood
69.5 × 35 cm (each p anel)
M useum Boijmans Van Beuningen, Rotterdam, Netherlands
The Fall of the Rebel Angels
Noah’s Ark on Mount Ararat
Mankind Beset by Devils
 Visions of the Hereafter Polyptych
Including Fall of the Damned, Hell, Terrestrial Paradise, Ascent of the Blessed
1505-15
Oil on wood
86.5 × 39.5 (each)
Palazzo Grimani, Venice, Italy
Fall of the Damned
Hell
Terrestrial Paradise
Ascent of the Blessed
Single Panels
 Adoration of the Child
Oil on wood
66 × 43 cm
Wallraf-Richartz M useum, Cologne, Germany
Disp uted authorship
 Adoration of the Magi – New York
c. 1470-80
Oil on wood
71.1 × 56.5 cm
M etrop olitan M useum of Art, New York, USA
Disp uted authorship
 Adoration of the Magi – Philadelphia
Oil on wood
94 × 74 cm
M useum of Art, Philadelp hia, USA
 Crucifixion with a Donor
Oil on wood
74.7 × 61 cm
Roy al M useums of Fine Arts of Belgium, Brussels, Belgium
 Christ Carrying the Cross – Vienna
c. 1490-1510
Oil on wood
57 × 32 cm
Kunsthistorisches M useum, Vienna, Austria
 Christ Carrying the Cross – Ghent
c. 1530-40
Oil on wood
74 × 81 cm
M useum voor Schone Kunsten, Ghent, Belgium
Disp uted authorship
 Christ Carrying the Cross – Madrid
c. 1495-1505
Oil on wood
150 × 94 cm
Palacio Real, M adrid, Sp ain
 Christ Crowned with Thorns – London
c. 1490-1500
Oil on wood
73 × 59 cm
National Gallery, London, UK
 Christ Crowned with Thorns – El Escorial
c. 1530-40
Oil on wood
165 × 195 cm
El Escorial, Sp ain
Painted neither by Bosch nor his workshop .
 Ecce Homo – Philadelphia
Oil on wood
52 × 54 cm
M useum of Art, Philadelp hia, USA
 Ecce Homo – Frankfurt
c. 1475-85
Oil on wood
71 × 61 cm
Städel M useum, Frankfurt, Germany
 The Marriage Feast at Cana
Oil on wood
93 × 72 cm
M useum Boijmans Van Beuningen, Rotterdam, Netherlands
 Saint Jerome at Prayer
c. 1485-95
Oil on wood
77 × 59 cm
M useum voor Schone Kunsten, Ghent, Belgium
 Saint Christopher Carrying the Christ Child
c. 1490-1500
Oil on wood
113 × 71.5 cm
M useum Boijmans Van Beuningen, Rotterdam, Netherlands
 Saint John the Baptist in the Wilderness
c. 1490-95
Oil on wood
48.5 × 40 cm
M useo Lázaro Galdiano, M adrid, Sp ain
 Saint John the Evangelist on Patmos
c. 1490-95
Oil on wood
63 × 43.3 cm
Gemäldegalerie, Berlin, Germany
 The Temptation of Saint Anthony – Kansas City
c. 1500-1510
Oil on wood
38.6 x 25.1 cm
Nelson-Atkins M useum of Art, Kansas City, M O
 The Temptation of Saint Anthony – Prado
c. 1530-40
Oil on wood
70 × 51 cm
M useo del Prado, M adrid, Sp ain
Disp uted authorship
Other Works
 Allegory of Gluttony and Lust
c. 1500-10
Oil on wood
35.8 × 32 cm
Yale University Art Gallery, New Haven, USA
 The Conjurer
c. 1530-40
Oil on wood
53 × 65 cm
M usée M unicip al, Saint-Germain-en-Lay e, France
Disp uted authorship
 Death and the Miser
c. 1500-10
Oil on wood
92.6 × 30.8 cm
National Gallery of Art, Washington, D.C., USA
 Death of the Reprobate
Oil on wood
34.6 × 21.2 cm
Private collection, New York, USA
Probably a cop y of a fragment of a lost trip ty ch.
 Cutting the Stone
c. 1500-20
Oil on wood
48 × 35 cm
M useo del Prado, M adrid, Sp ain
 Head of a Halberdier
Oil on wood
28 × 20 cm
M useo del Prado, M adrid, Sp ain
Disp uted authorship
 Head of a Woman – fragment
Oil on wood
13 × 5 cm
M useum Boijmans Van Beuningen, Rotterdam, Netherlands
Disp uted authorship
 The Last Judgment – fragment
c. 1530-40
Oil on wood
60 × 114 cm
Alte Pinakothek, M unich, Germany
Disp uted authorship
 The Seven Deadly Sins and the Four Last Things
c. 1510-20
Oil on wood
120 × 150 cm
M useo del Prado, M adrid, Sp ain
Disp uted authorship
 Ship of Fools
c. 1500-10
Oil on wood
58 × 33 cm
Louvre, Paris, France
 The Wayfarer
c. 1500-10
Oil on wood
71.5 cm (diameter)
M useum Boijmans Van Beuningen, Rotterdam, Netherlands
Outer p anel of a lost trip ty ch.
The Drawings
St. John’s Cathedral, ‘s-Hertogenbosch — where a funeral mass was served in Bosch’s memory on
9 August 1516
 LIST OF DRAWINGS

CONTENTS
Infernal Landscape
Two Monsters
Study of Monsters
Beehive and Witches
Beggars
Beggars and Cripples
Christ Carrying The Cross
A Comical Barber Scene
Death of the Miser
Group of Male Figures
Mary and John at the Foot of the Cross
Nest of Owls
Scenes in Hell
Studies
Monsters
Studies of Monsters
Temptation of Saint Anthony
The Entombment
The Forest that Hears and the Field that Sees
The Ship of Fools
Ship in Flames
Man Tree
Two Caricatured Heads
Two Monsters
Turtle and a Winged Demon
Two Witches
Witches
 Infernal Landscape
Pen and brown ink
25.9 x 19.7 cm
Private Collection
 Two Monsters
Pen drawing
86 x 182 mm
Staatliche M useen, Berlin
 Study of Monsters
Reverse of p revious.
 Beehive and Witches
Pen and bistre
192 x 270 mm
Albertina, Vienna
 Beggars
Pen and bistre
285 x 205 mm
Albertina, Vienna
 Beggars and Cripples
Pen and bistre
264 x 198 mm
Bibliothèque Roy ale Albert I, Brussels
 Christ Carrying The Cross
Pen
236 x 198 mm
M useum Boijmans Van Beuningen, Rotterdam
Formerly attributed to Bosch.
 A Comical Barber Scene
Pen and brown ink on black chalk
174 × 207 mm.
London, British M useum
 Death of the Miser
256 x 149 mm
M usée du Louvre, Paris
 Group of Male Figures
Pen
124 x 126 mm
Pierp ont M organ Library, New York
Attribution uncertain.
 Mary and John at the Foot of the Cross
Brush
302 x 172 mm
Kup ferstich-Kabinett (Dresden)
 Nest of Owls
Pen and bistre
140 x 196 mm
M useum Boijmans Van Beuningen, Rotterdam
 Scenes in Hell
Pen and bistre
163 x 176 mm
Staatliche M useen, Berlin
Attribution uncertain.
 Studies
Pen and bistre
205 x 263 mm
M usée du Louvre, Paris
Disp uted authorship
 Monsters
Pen and bistre
318 x 210 mm
Ashmolean M useum, Oxford
 Studies of Monsters
Reverse of p revious.
 Temptation of Saint Anthony
Pen and bistre
257 x 175 mm
Staatliche M useen, Berlin
Disp uted authorship
 The Entombment
Date: 1507
Ink and grey wash
250 x 350 mm
British M useum, London
Disp uted authorship
 The Forest that Hears and the Field that Sees
Pen and bistre
202 x 127 mm
Staatliche M useen, Berlin
 The Ship of Fools
Date: c. 1500
Wash on gray p ap er
M usée du Louvre, Paris
Disp uted authorship
 Ship in Flames
Pen and bistre
Date: 176 x 153 mm
Akademie der bildenden Künste, Vienna
Disp uted authorship
 Man Tree
Date: c.1470s (?)
Pen and bistre
277 x 211 mm
Grap hische Sammlung Albertina, Vienna
 Two Caricatured Heads
Pen and bistre
133 x 100 mm
Lehmann Collection, New York
 Two Monsters
Pen and bistre
164 x 116 mm
Staatliche M useen, Berlin
 Turtle and a Winged Demon
Reverse of p revious.
 Two Witches
Pen and bistre
125 x 85 mm
M useum Boijmans Van Beuningen, Rotterdam
 Witches
Pen and bistre
203 x 264 mm
M usée du Louvre, Paris
 The Delphi Classics Catalogue

We are proud to present a listing of our complete catalogue of English titles, with new titles being added
every month. Buying direct from our website means you can make great savings and take advantage of
our instant Updates service. You can even purchase an entire series (Super Set) at a special discounted
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visit our Parts Edition page.
Series Contents

Series One
Anton Chekhov
Charles Dickens
D.H. Lawrence
Dickensiana Volume I
Edgar Allan Poe
Elizabeth Gaskell
Fyodor Dostoyevsky
George Eliot
H. G. Wells
Henry James
Ivan Turgenev
Jack London
James Joyce
Jane Austen
Joseph Conrad
Leo Tolstoy
Louisa May Alcott
Mark Twain
Oscar Wilde
Robert Louis Stevenson
Sir Arthur Conan Doyle
Sir Walter Scott
The Brontës
Thomas Hardy
Virginia Woolf
Wilkie Collins
William Makepeace Thackeray
 Series Two
Alexander Pushkin
Alexandre Dumas (English)
Andrew Lang
Anthony Trollope
Bram Stoker
Christopher Marlowe
Daniel Defoe
Edith Wharton
F. Scott Fitzgerald
G. K. Chesterton
Gustave Flaubert (English)
H. Rider Haggard
Herman Melville
Honoré de Balzac (English)
J. W. von Goethe (English)
Jules Verne
L. Frank Baum
Lewis Carroll
Marcel Proust (English)
Nathaniel Hawthorne
Nikolai Gogol
O. Henry
Rudyard Kipling
Tobias Smollett
Victor Hugo
William Shakespeare
 Series Three
Ambrose Bierce
Ann Radcliffe
Ben Jonson
Charles Lever
Émile Zola
Ford Madox Ford
Geoffrey Chaucer
George Gissing
George Orwell
Guy de Maupassant
H. P. Lovecraft
Henrik Ibsen
Henry David Thoreau
Henry Fielding
J. M. Barrie
James Fenimore Cooper
John Buchan
John Galsworthy
Jonathan Swift
Kate Chopin
Katherine Mansfield
L. M. Montgomery
Laurence Sterne
Mary Shelley
Sheridan Le Fanu
Washington Irving

Series Four
Arnold Bennett
Arthur Machen
Beatrix Potter
Bret Harte
Captain Frederick Marryat
Charles Kingsley
 Charles Reade
G. A. Henty
Edgar Rice Burroughs
Edgar Wallace
E. M. Forster
E. Nesbit
George Meredith
Harriet Beecher Stowe
Jerome K. Jerome
John Ruskin
Maria Edgeworth
M. E. Braddon
Miguel de Cervantes
M. R. James
R. M. Ballantyne
Robert E. Howard
Samuel Johnson
Stendhal
Stephen Crane
Zane Grey

Series Five
Algernon Blackwood
Anatole France
Beaumont and Fletcher
Charles Darwin
Edward Bulwer-Lytton
Edward Gibbon
E. F. Benson
Frances Hodgson Burnett
Friedrich Nietzsche
George Bernard Shaw
George MacDonald
Hilaire Belloc
John Bunyan
John Webster
Margaret Oliphant
 Maxim Gorky
Oliver Goldsmith
Radclyffe Hall
Robert W. Chambers
Samuel Butler
Samuel Richardson
Sir Thomas Malory
Thomas Carlyle
William Harrison Ainsworth
William Dean Howells
William Morris

Series Six
Anthony Hope
Aphra Behn
Arthur Morrison
Baroness Emma Orczy
Captain Mayne Reid
Charlotte M. Yonge
Charlotte Perkins Gilman
E. W. Hornung
Ellen Wood
Frances Burney
Frank Norris
Frank R. Stockton
Hall Caine
Horace Walpole
One Thousand and One Nights
R. Austin Freeman
Rafael Sabatini
Saki
Samuel Pepys
Sir Issac Newton
Stanley J. Weyman
Thomas De Quincey
Thomas Middleton
Voltaire
 William Hazlitt
William Hope Hodgson

Series Seven
Adam Smith
Benjamin Disraeli
Confucius
David Hume
E. M. Delafield
E. Phillips Oppenheim
Edmund Burke
Ernest Hemingway
Frances Trollope
Galileo Galilei
Guy Boothby
Hans Christian Andersen
Ian Fleming
Immanuel Kant
Karl Marx
Kenneth Grahame
Lytton Strachey
Mary Wollstonecraft
Michel de Montaigne
René Descartes
Richard Marsh
Sax Rohmer
Sir Richard Burton
Talbot Mundy
Thomas Babington Macaulay
W. W. Jacobs
 Series Eight
Anna Katharine Green
Arthur Schopenhauer
The Brothers Grimm
C. S. Lewis
Charles and Mary Lamb
Elizabeth von Arnim
Ernest Bramah
Francis Bacon
Gilbert and Sullivan
Grant Allen
Henryk Sienkiewicz
Hugh Walpole
Jean-Jacques Rousseau
John Locke
John Muir
Joseph Addison
Lafcadio Hearn
Lord Dunsany
Marie Corelli
Niccolò Machiavelli
Ouida
Richard Brinsley Sheridan
Sigmund Freud
Theodore Dreiser
Walter Pater
W. Somerset Maugham
 Series Nine
Aldous Huxley
August Strindberg
Booth Tarkington
C. S. Forester
Erasmus
Eugene Sue
Fergus Hume
Franz Kafka
Gertrude Stein
Giovanni Boccaccio
Izaak Walton
J. M. Synge
Johanna Spyri
John Galt
Maurice Leblanc
Max Brand
Molière
Norse Sagas
R. D. Blackmore
R. S. Surtees
Sir Thomas More
Stephen Leacock
The Harvard Classics
Thomas Love Peacock
Thomas Paine
William James

Ancient Classics
Achilles Tatius
Aeschylus
Ammianus Marcellinus
Apollodorus
Appian
Apuleius
 Apollonius of Rhodes
Aristophanes
Aristotle
Arrian
Athenaeus
Augustine
Aulus Gellius
Bede
Cassius Dio
Cato
Catullus
Cicero
Claudian
Clement of Alexandria
Cornelius Nepos
Demosthenes
Dio Chrysostom
Diodorus Siculus
Dionysius of Halicarnassus
Diogenes Laërtius
Euripides
Frontius
Herodotus
Hesiod
Hippocrates
Homer
Horace
Isocrates
Josephus
Julian
Julius Caesar
Juvenal
Livy
Longus
Lucan
Lucian
Lucretius
Marcus Aurelius
Martial
Nonnus
Ovid
Pausanias
Petronius
Pindar
Plato
Plautus
Pliny the Elder
Pliny the Younger
 Plotinus
Plutarch
Polybius
Procopius
Propertius
Quintus Curtius Rufus
Quintus Smyrnaeus
Sallust
Sappho
Seneca the Younger
Septuagint
Sextus Empiricus
Sidonius
Sophocles
Statius
Strabo
Suetonius
Tacitus
Terence
Theocritus
Thucydides
Tibullus
Varro
Virgil
Xenophon

Delphi Poets Series

A. E. Housman
Alexander Pope
Alfred, Lord Tennyson
Algernon Charles Swinburne
Andrew Marvell
Beowulf
Charlotte Smith
Christina Rossetti
D. H Lawrence (poetry)
Dante Alighieri (English)
 Dante Gabriel Rossetti
Delphi Poetry Anthology
Edgar Allan Poe (poetry)
Edmund Spenser
Edward Lear
Edward Thomas
Edwin Arlington Robinson
Ella Wheeler Wilcox
Elizabeth Barrett Browning
Emily Dickinson
Epic of Gilgamesh
Ezra Pound
Friedrich Schiller (English)
George Chapman
George Herbert
Gerard Manley Hopkins
Gertrude Stein
Hafez
Heinrich Heine
Henry Howard, Earl of Surrey
Henry Wadsworth Longfellow
Isaac Rosenberg
James Russell Lowell
Johan Ludvig Runeberg
John Clare
John Donne
John Dryden
John Gower
John Keats
John Milton
John Wilmot, Earl of Rochester
Joseph Addison
Kahlil Gibran
Leigh Hunt
Lord Byron
Ludovico Ariosto
Luís de Camões
Matthew Arnold
Matthew Prior
Michael Drayton
Nikolai Nekrasov
Paul Laurence Dunbar
Percy Bysshe Shelley
Petrarch
Ralph Waldo Emerson
Robert Browning
Robert Burns
Robert Frost
 Robert Southey
Rumi
Rupert Brooke
Samuel Taylor Coleridge
Sir Philip Sidney
Sir Thomas Wyatt
Sir Walter Raleigh
Thomas Chatterton
Thomas Gray
Thomas Hardy (poetry)
Thomas Hood
Thomas Moore
Torquato Tasso
T. S. Eliot
W. B. Yeats
Walter Savage Landor
Walt Whitman
Wilfred Owen
William Blake
William Cowper
William Wordsworth

Masters of Art
Albrecht Dürer
Amedeo Modigliani
Artemisia Gentileschi
Camille Pissarro
Canaletto
Caravaggio
Caspar David Friedrich
Claude Lorrain
Claude Monet
Dante Gabriel Rossetti
Diego Velázquez
Donatello
Edgar Degas
Édouard Manet
 Edvard Munch
El Greco
Eugène Delacroix
Francisco Goya
Giotto
Giovanni Bellini
Gustave Courbet
Gustav Klimt
Hieronymus Bosch
Jacques-Louis David
James Abbott McNeill Whistler
J. M. W. Turner
Johannes Vermeer
John Constable
Leonardo da Vinci
Michelangelo
Paul Cézanne
Paul Gauguin
Paul Klee
Peter Paul Rubens
Piero della Francesca
Pierre-Auguste Renoir
Pieter Bruegel the Elder
Sandro Botticelli
Raphael
Rembrandt van Rijn
Thomas Gainsborough
Tintoretto
Titian
Vincent van Gogh
Wassily Kandinsky

Great Composers
Antonín Dvořák
Franz Schubert
Johann Sebastian Bach
Joseph Haydn
Ludwig van Beethoven
 Piotr Illitch Tchaïkovsky
Richard Wagner
Wolfgang Amadeus Mozart
Alphabetical List of Titles

A. E. Housman
Achilles Tatius
Adam Smith
Aeschylus
Albrecht Dürer
Aldous Huxley
Alexander Pope
Alexander Pushkin
Alexandre Dumas (English)
Alfred, Lord Tennyson
Algernon Blackwood
Algernon Charles Swinburne
Ambrose Bierce
Amedeo Modigliani
Ammianus Marcellinus
Anatole France
Andrew Lang
Andrew Marvell
Ann Radcliffe
Anna Katharine Green
Anthony Hope
Anthony Trollope
Anton Chekhov
Antonín Dvořák
Aphra Behn
Apollodorus
Apollonius of Rhodes
Appian
Apuleius
Aristophanes
Aristotle
Arnold Bennett
Arrian
Artemisia Gentileschi
Arthur Machen
Arthur Morrison
Arthur Schopenhauer
 Athenaeus
August Strindberg
Augustine
Aulus Gellius
Baroness Emma Orczy
Beatrix Potter
Beaumont and Fletcher
Bede
Ben Jonson
Benjamin Disraeli
Beowulf
Booth Tarkington
Bram Stoker
Bret Harte
C. S. Forester
C. S. Lewis
Camille Pissarro
Canaletto
Captain Frederick Marryat
Captain Mayne Reid
Caravaggio
Caspar David Friedrich
Cassius Dio
Cato
Catullus
Charles and Mary Lamb
Charles Darwin
Charles Dickens
Charles Kingsley
Charles Lever
Charles Reade
Charlotte M. Yonge
Charlotte Perkins Gilman
Charlotte Smith
Christina Rossetti
Christopher Marlowe
Cicero
Claude Lorrain
Claude Monet
Claudian
Clement of Alexandria
Confucius
Cornelius Nepos
D. H Lawrence (poetry)
D.H. Lawrence
Daniel Defoe
Dante Alighieri (English)
Dante Gabriel Rossetti
 Dante Gabriel Rossetti
David Hume
Delphi Poetry Anthology
Demosthenes
Dickensiana Volume I
Diego Velázquez
Dio Chrysostom
Diodorus Siculus
Diogenes Laërtius
Dionysius of Halicarnassus
Donatello
E. F. Benson
E. M. Delafield
E. M. Forster
E. Nesbit
E. Phillips Oppenheim
E. W. Hornung
Edgar Allan Poe
Edgar Allan Poe (poetry)
Edgar Degas
Edgar Rice Burroughs
Edgar Wallace
Edith Wharton
Edmund Burke
Edmund Spenser
Édouard Manet
Edvard Munch
Edward Bulwer-Lytton
Edward Gibbon
Edward Lear
Edward Thomas
Edwin Arlington Robinson
El Greco
Elizabeth Barrett Browning
Elizabeth Gaskell
Elizabeth von Arnim
Ella Wheeler Wilcox
Ellen Wood
Émile Zola
Emily Dickinson
Epic of Gilgamesh
Erasmus
Ernest Bramah
Ernest Hemingway
Eugène Delacroix
Eugene Sue
Euripides
Ezra Pound
 F. Scott Fitzgerald
Fergus Hume
Ford Madox Ford
Frances Burney
Frances Hodgson Burnett
Frances Trollope
Francis Bacon
Francisco Goya
Frank Norris
Frank R. Stockton
Franz Kafka
Franz Schubert
Friedrich Nietzsche
Friedrich Schiller (English)
Frontius
Fyodor Dostoyevsky
G. A. Henty
G. K. Chesterton
Galileo Galilei
Geoffrey Chaucer
George Bernard Shaw
George Chapman
George Eliot
George Gissing
George Herbert
George MacDonald
George Meredith
George Orwell
Gerard Manley Hopkins
Gertrude Stein
Gertrude Stein
Gilbert and Sullivan
Giotto
Giovanni Bellini
Giovanni Boccaccio
Grant Allen
Gustav Klimt
Gustave Courbet
Gustave Flaubert (English)
Guy Boothby
Guy de Maupassant
H. G. Wells
H. P. Lovecraft
H. Rider Haggard
Hafez
Hall Caine
Hans Christian Andersen
Harriet Beecher Stowe
 Heinrich Heine
Henrik Ibsen
Henry David Thoreau
Henry Fielding
Henry Howard, Earl of Surrey
Henry James
Henry Wadsworth Longfellow
Henryk Sienkiewicz
Herman Melville
Herodotus
Hesiod
Hieronymus Bosch
Hilaire Belloc
Hippocrates
Homer
Honoré de Balzac (English)
Horace
Horace Walpole
Hugh Walpole
Ian Fleming
Immanuel Kant
Isaac Rosenberg
Isocrates
Ivan Turgenev
Izaak Walton
J. M. Barrie
J. M. Synge
J. M. W. Turner
J. W. von Goethe (English)
Jack London
Jacques-Louis David
James Abbott McNeill Whistler
James Fenimore Cooper
James Joyce
James Russell Lowell
Jane Austen
Jean-Jacques Rousseau
Jerome K. Jerome
Johan Ludvig Runeberg
Johann Sebastian Bach
Johanna Spyri
Johannes Vermeer
John Buchan
John Bunyan
John Clare
John Constable
John Donne
John Dryden
 John Galsworthy
John Galt
John Gower
John Keats
John Locke
John Milton
John Muir
John Ruskin
John Webster
John Wilmot, Earl of Rochester
Jonathan Swift
Joseph Addison
Joseph Addison
Joseph Conrad
Joseph Haydn
Josephus
Jules Verne
Julian
Julius Caesar
Juvenal
Kahlil Gibran
Karl Marx
Kate Chopin
Katherine Mansfield
Kenneth Grahame
L. Frank Baum
L. M. Montgomery
Lafcadio Hearn
Laurence Sterne
Leigh Hunt
Leo Tolstoy
Leonardo da Vinci
Lewis Carroll
Livy
Longus
Lord Byron
Lord Dunsany
Louisa May Alcott
Lucan
Lucian
Lucretius
Ludovico Ariosto
Ludwig van Beethoven
Luís de Camões
Lytton Strachey
M. E. Braddon
M. R. James
Marcel Proust (English)
 Marcus Aurelius
Margaret Oliphant
Maria Edgeworth
Marie Corelli
Mark Twain
Martial
Mary Shelley
Mary Wollstonecraft
Matthew Arnold
Matthew Prior
Maurice Leblanc
Max Brand
Maxim Gorky
Michael Drayton
Michel de Montaigne
Michelangelo
Miguel de Cervantes
Molière
Nathaniel Hawthorne
Niccolò Machiavelli
Nikolai Gogol
Nikolai Nekrasov
Nonnus
Norse Sagas
O. Henry
Oliver Goldsmith
One Thousand and One Nights
Oscar Wilde
Ouida
Ovid
Paul Cézanne
Paul Gauguin
Paul Klee
Paul Laurence Dunbar
Pausanias
Percy Bysshe Shelley
Peter Paul Rubens
Petrarch
Petronius
Piero della Francesca
Pierre-Auguste Renoir
Pieter Bruegel the Elder
Pindar
Piotr Illitch Tchaïkovsky
Plato
Plautus
Pliny the Elder
Pliny the Younger
 Plotinus
Plutarch
Polybius
Procopius
Propertius
Quintus Curtius Rufus
Quintus Smyrnaeus
R. Austin Freeman
R. D. Blackmore
R. M. Ballantyne
R. S. Surtees
Radclyffe Hall
Rafael Sabatini
Ralph Waldo Emerson
Raphael
Rembrandt van Rijn
René Descartes
Richard Brinsley Sheridan
Richard Marsh
Richard Wagner
Robert Browning
Robert Burns
Robert E. Howard
Robert Frost
Robert Louis Stevenson
Robert Southey
Robert W. Chambers
Rudyard Kipling
Rumi
Rupert Brooke
Saki
Sallust
Samuel Butler
Samuel Johnson
Samuel Pepys
Samuel Richardson
Samuel Taylor Coleridge
Sandro Botticelli
Sappho
Sax Rohmer
Seneca the Younger
Septuagint
Sextus Empiricus
Sheridan Le Fanu
Sidonius
Sigmund Freud
Sir Arthur Conan Doyle
Sir Issac Newton
 Sir Philip Sidney
Sir Richard Burton
Sir Thomas Malory
Sir Thomas More
Sir Thomas Wyatt
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Portrait of Hieronymus Bosch by Jacques Le Boucq, c. 1550
The Brotherhood of Our Lady buried Bosch in an unmarked pauper’s grave near St. Johns
Cathedral on 9 August 9 1516. The exact location of his grave would have been paved over
decades ago and remains a mystery.