[Home] [Home B] [Evolve] [Viva!] [Site Map] [Site Map A] [Site Map B] [Bulletin Board] [SPA] [Child of Fortune] [Search] [ABOL]

THE PICTORIAL LANGUAGE OF HIERONYMUS BOSCH


[Librarian's Comment: THE GEOGRAPHY OF DOOM -- BOSCH'S PICTORIAL ESSAY ON THE DANGERS OF MUNDANE BELIEF: Wertheim Ames observed that, in "The Temptation of St. Anthony," Bosch used The Golden Legend as a disguise to "show his own convictions and the situation in his own time."  Again playing the religious commentator, in images from "The Garden of Earthly Delights" reproduced below, Bosch used the Catholic festival of Pre-Lent to display his savage contempt for mundane Christians untutored in Rosicrucian dogma by depicting them standing on their heads naked, displaying their hinder parts. While some interpreters suggest that acrobatic postures of several of the figures are meant to depict the light-hearted carnival of the Pre-Lenten revels, Ames argues that Bosch was criticizing them for having "the wrong attitude to their task."  Nor is the prominent exposure of naked bodies a compliment to those so exposed; rather, since the Fall, going naked shows a lack of proper shame. The repeated juxtaposition of jackasses and human buttocks also attacks the impiety of permitting the ass-like nature of the body to dominate over the spirit.  Naked bodies are also vulnerable to torment of the sort that is dealt out by the well-dressed tormentors in the hellish right frame of the triptych.  Ames also draws a cautionary message from the red fruits that are everywhere in the Garden, saying that they represent the accumulation of "the abilities and strengths which have been brought out of one earthly life into cosmic existence and are then brought back as compressed activity," i.e., the Rosicrucian version of karma that can be wasted when "gifted people fall into a dead rut ... fail to develop ... further ... and so as artists, misuse their talents."  Finally, the other type of food that appears in the Garden are fish, which both symbolize the Christian doctrine, and provided the proper Lenten meal for Catholics abstaining from meat.  Fish are everywhere displayed out of their natural element, and are not receiving reverential treatment -- they are being carried off, injured, ridden on, and ominously, one fish borne along by three naked men on horseback is devouring another smaller fish.  Perhaps indicating the preservation of the doctrine by "right-thinking" souls, a single winged figure, with a blue bird perched on his/her behind, flies away from the carnal melee, bearing a fish aloft."]

The Rosicrucians: Their Rites and Mysteries, by Hargrave Jennings

'Le Théologien érudit ordonna qu’on fît immédiatement dans la chambre de la jeune fille une fumigation de vapeur. On apporte en conséquence une marmite neuve en terre transparente; on y met une once de canne aromatique, de poivre cubèbe, de racines d’aristoloche des deux espèces, de cardomome grand et petit, de gingembre, de poivre long, de caryophyllée, de cinnamome, de canelle caryophyllée, de macis, de noix muscades, de storax calamite, de benjoin, de bois d’aloès, et de trisanthes, le tout dans trois livres d’eau-de-vie demipure; on place la marmite sur des cendres chaudes, afin de faire monter la vapeur fumigante, et l’on tient la chambre close. La fumigation fait arriver l’Incube, mais qui, cette fois, n’osa jamais pénétrer dans la chambre. Seulement, si la jeune fille en sortait pour se promener dans le jardin ou dans le cloître, il lui apparaissait aussitôt tout en restant invisible aux autres, et lui jetant ses bras autour du cou, lui dérobait ou plutôt lui arrachait des baisers, ce qui faisait cruellement souffrir cette honnête pucelle, Enfin, après nouvelle consultation, notre Théologien ordonna à la jeune fille de porter sur elle de petites boulettes composées de parfums exquis, tels que musc, ambre, civette, baume de Pérou et autres. Ainsi munie, elle s’en alla se promener dans le jardin où sur-le-champ lui apparut l’Incube, furieux et menaçant; toutefois, il n’osa point l’approcher, et après s’être mordille le doigt, comme s’il méditait une vengeance, il disparut pour ne plus revenir.--Confesseur de Nonnes, homme grave et très-digne de foi.'

Je sais que beaucoup de mes lecteurs, la plupart peut-être, diront de moi ce que les Epicuriens et bon nombre de Philosophes Stoïciens disaient de S. Paul (Actes des Apôtres, c. 17, v. r8): 'Il semble qu’il annonce des divinités nouvelles', et tourneront ma doctrine en ridicule. Mais ils n’en seront pas moins tenus de détruire les arguments qui précèdent, de nous dire ce que c’est que ces Démons Incubes, vulgairement appelés Follets, qui n’ont peur ni des exorcismes, ni des objets sacrés, ni de la Croix du Christ; et enfin de nous expliquer les divers effets et phénomènes relatés par nous dans l’exposition de cette doctrine.

The above passage is very curious, since it gives the key (a matter which has puzzled every speculator) as to the meaning of the masquerade and 'Folly' and antic system which prevails in the Catholic application of the Christian Doctrine at the 'Pre-Lent' period, and the recurring Festivals, or the Jovial, Mercurial, Venus-patronized periods. Folle: Follets (m), Follettes (f), Folletins (m.), Folletinnes (f). These are the names of the male and female masquerading, gambolling 'Follies', or Fays or Elves or Sprightly Spirits -- under their various fanciful names, and in their picturesque, sportive, masquerading disguises -- the 'pied-populace' of that 'world-turned-upside-down', in the general male and female interchange and frolicsome 'Glorying' -- the Carnival, or Grotesque (in reality, religious) Celebration of all countries. Dancing is also sacred in certain senses. The 'Precentor' of the Cathedrals was originally the Leader of the Choirephists, or Chorephists, or Corephests. Thence Coriphes, or Coryphées, for female dancers.

See also "Timaeus," by Plato

"When the creator had made all these ordinances he remained in his own accustomed nature, and his children heard and were obedient to their father's word, and receiving from him the immortal principle of a mortal creature, in imitation of their own creator they borrowed portions of fire, and earth, and water, and air from the world, which were hereafter to be restored—these they took and welded them together, not with the indissoluble chains by which they were themselves bound, but with little pegs too small to be visible, making up out of all the four elements each separate body, and fastening the courses of the immortal soul in a body which was in a state of perpetual influx and efflux...And they did in fact at that time create a very great and mighty movement; uniting with the ever-flowing stream in stirring up and violently shaking the courses of the soul, they completely stopped the revolution of the same by their opposing current, and hindered it from predominating and advancing; and they so disturbed the nature of the other or diverse, that the three double intervals (i.e. between 1, 2, 4, 8), and the three triple intervals (i.e. between 1, 3, 9, 27), together with the mean terms and connecting links which are expressed by the ratios of 3:2, and 4:3, and of 9:8—these, although they cannot be wholly undone except by him who united them, were twisted by them in all sorts of ways, and the circles were broken and disordered in every possible manner, so that when they moved they were tumbling to pieces, and moved irrationally, at one time in a reverse direction, and then again obliquely, and then upside down, as you might imagine a person who is upside down and has his head leaning upon the ground and his feet up against something in the air; and when he is in such a position, both he and the spectator fancy that the right of either is his left, and the left right. If, when powerfully experiencing these and similar effects, the revolutions of the soul come in contact with some external thing, either of the class of the same or of the other, they speak of the same or of the other in a manner the very opposite of the truth; and they become false and foolish, and there is no course or revolution in them which has a guiding or directing power; and if again any sensations enter in violently from without and drag after them the whole vessel of the soul, then the courses of the soul, though they seem to conquer, are really conquered. And by reason of all these affections, the soul, when encased in a mortal body, now, as in the beginning, is at first without intelligence; but when the flood of growth and nutriment abates, and the courses of the soul, calming down, go their own way and become steadier as time goes on, then the several circles return to their natural form, and their revolutions are corrected, and they call the same and the other by their right names, and make the possessor of them to become a rational being."

"Whenever Bosch paints something upside down he means that something is going on that is the opposite of what is right; in this too he was consistent. Here it means that such representatives have the wrong attitude to their task." -- THE PICTORIAL LANGUAGE OF HIERONYMUS BOSCH, by Clement A. Wertheim Aymes

"Since ancient times the donkey [ass] has been the symbol of the physical body as the bearer of the spirit, but the donkey represents the physical body as it became after the Fall, serving the spirit only reluctantly, both lazy and tough, difficult to guide, yet full of endurance when laden, clever and stubborn. In Isis and Osiris Plutarch tells that the god Osiris -- who corresponds to what is higher and divine in man -- was suffocated by Seth Typhon in a casket which had the form of a human body. This Seth Typhon is portrayed with a donkey's head. Here already the donkey appears as the symbol of the living physical body. When the human body became hardened, and grew to be the casket of the soul, man began to develop material understanding, but became cosmically dull. St. Francis of Assisi called the physical body brother donkey." -- THE PICTORIAL LANGUAGE OF HIERONYMUS BOSCH, by Clement A. Wertheim Aymes.

"We have often found a red ball in Bosch's pictures. In The Garden of Heavenly Delights (middle panel) it is clearly representative of the "causal body". We must briefly describe its significance in connection with what is shown here: Individuals who are gifted have not gained their talents only through inheritance -- how frequently a genius stands at the beginning of a dynasty. Nor have they won their gifts out of nothing. The fruits of former earth-lives slumber within them as the potential of genius. They carry these fruits with them as their "causal body". These are the abilities and strengths which have been brought out of one earthly life into cosmic existence, and are then brought back as compressed activity -- hence the red "ball of causation". If such gifted people fall into a dead rut in life, they carry their abilities with them, but fail to develop them further. They become mere technicians in their art, and so, as artists, misuse their talents. They carry nothing forward into the future, but live on their past." -- THE PICTORIAL LANGUAGE OF HIERONYMUS BOSCH, by Clement A. Wertheim Aymes

"The Fish of Christianity. In Greek the word "fish" is "ICHTHYS". The single letters were taken as the symbols for the initials of the Christ, as follows:  Iesus CHristos THeou Yios Soter, Jesus Christ, the Son of God, Redeemer (Saviour). During the times of the catacombs in early Christian centuries, the fish was used without hesitation as the symbol of Jesus Christ. In the picture of The Garden of Heavenly Delights Bosch used this symbol not only to indicate the Christ, but also Christianity as it existed upon the earth, in church and ritual." -- THE PICTORIAL LANGUAGE OF HIERONYMUS BOSCH, by Clement A. Wertheim Aymes

[Librarian's Comment: The Winged Angel flying above rescues the Christ-Fish from the Motley Crowd]

Go to Next Page