[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."
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"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]

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