Illustrations

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

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

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

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

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

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

48. HIERONYMUS BOSCH; Detail, The Ascent of Calvary

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

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

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

50. HIERONYMUS BOSCH: Juvenile work

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

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

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

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

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

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

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

54. HIERONYMUS BOSCH: The Marriage at Canaa

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

55. Reeds as a symbol

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

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