THE SPIRITUAL TEACHER OF HIERONYMUS BOSCH

There is a possibility that the initials "I.A." which are mentioned in the Fama Fraternitatis [1], [67], refer to a certain Jacob van Almaengien, a Jew. In the Fama, this individual is expressly described as a "non-German". If this is so, Jacob can be regarded as one of the first disciples of Christian Rosencreutz, and the person mentioned by Cuperinus in his curious history -- Die merkwuerdige Geschichte der Stadt von den Bosch, written at the time of Philip, Duke of Brabant and King of Castile [21], [25]. Fraenger's attention was drawn to the original documents by Jan Mosmans Archivist of the church of St. Jan, at s'Hertogenbosch [42].

Cuperinus writes as follows:

"In the year of Our Lord, 1496, on the thirteenth day of the month of December, the new Prince and Duke, Philip, came into the city of Bosch, where he was received with much merriment and rejoicing. There, on the fifteenth day of the same month, the people swore fealty to him and received him as Duke of Brabant, in the presence of his father Maximilian, the Emperor of Rome. The City made him a gift of two large and valuable oxen with silvered horns and two hogsheads of wine. When the ceremony had been concluded, the young Prince Philip rode to the church of St. Jan. There a certain Jew was baptized by the Dean, Master Ghysbert de Bie, in the presence of Duke Philip, of Lord Jan van Bergen, of Cornelius van Sevenbergen, and of other noble Lords who all stood as godparents and witnesses, and he was given the new name of Philip van Saint Jan. His name previously had been  Jacob van Almaengien; but this Jew did  not remain constant (to his new religion); he neglected his Christianity and again became a Jew."

Fraenger comments that at the same time, Jacob van Almaengien, alias Philip van St. Jan, became a member of the illustrious Brotherhood of Our Lady (Liebfrauen Bruderschaft). We find a record of "Master Philip van St. Jan, erstwhile a Jew", as a member, in their Year-book, 1496/7. The title of Master, Magister, indicated that he had received a University education. Yet, despite such an illustrious baptism, the proselyte had apparently the impudence regardless of the implied affront to the ruler of the country, the city, and the burghers, to return to his former religion, after only a few brief years: For those times he was a unique example of monstrous religious egocentricity.

It is probable, in our view, that Cuperinus took exception to Jacob's neglect of his religious (Church) duties. Cuperinus expresses his wrath at this in his last sentence. As Fraenger failed to recognise the abundant evidence of Rosicrucian ideas and concepts in the paintings of Bosch, the real reason for Cuperinus' condemnation of Jacob also escaped him, i.e., Jacob's apparent neglect of his church duties. Had he recognised the Rosicrucian content, and its connections, Fraenger would have realised the impossibility, at least at that time, in s'Hertogenbosch, of a convert from Judaism to Christianity being re-baptised into Judaism.

Bosch, the painter, was also a member of the illustrious Brotherhood of Our Lady, and belonged to the inner circle, where Rosicrucian ideas were familiar to the members. It is significant, therefore, that Jacob was admitted to this Order in the very hour of his baptism.

At this point, it is necessary once again to refer to the Fama Fraternitatis. We find in The Chymical Wedding of Christian Rosencreutz, A.D. 1459, and the Fama Fraternitatis [1] [67] that, literally "'I.A.' brought in a skilled painter, 'B'''. This painter, "B", could easily be Hieronymus Bosch; at all events, in the documents of Cuperinus, there is mention of a meeting of two men whose initials are "LA." and "B" respectively.

Recent radiological examinations of two different versions of The Temptations of St. Anthony further point to the identities of these two people. Both carry the signatures "I.A." and "B". (Photos alleged to be of both are reproduced, (Figs. 121, 144.) Strangely, an extended "M" is written beneath the signature in the first illustration. This may be intended to refer to the book, "M" (Liber Mundi) which is mentioned in the Fama. There are a large number of other indications pointing in this same direction, but research into this has not been fully completed.

The late Johan Brouwer gives an authoritative account, from his intimate knowledge of Spanish history about the year 1500, of his research into documents of that time. In Johanna de Waanzinnige [16] he describes how a priest of Salamanca denigrated Philip the Fair and scornfully called him a "friend of Jews" (after the death of Johanna's husband). This priest was correct in his statement, as Philip gave his name to the Jew, Jacob van Almaengien (i.e. Germany) according to Cuperinus, and he was present at the baptism of Jews in Veere, Zeeland, in the year 1497 [21]. Most probably it is correct to suspect the support of the Emperor Maximilian, Philip's father, for all this, as Philip the Fair was still too young to be able fully to appreciate the value and meaning of Rosicrucian teaching. Maximilian had also kept Erasmus Grasser, the sculptor, in his service for a considerable time (see Figs. 146 and 147) [29]. He must have known exactly what was afoot and what the world philosophy was that stood behind it all.

In the above book by Brouwer, there is a reference to Bergenroth, who published his research into the historic documents of the period of Johanna and her times, in 1868. He is of the opinion that Johanna was of sane and sound mind, but was taken prisoner on behalf of the Inquisition for heretical ideas. (On the death of her husband, she was deprived of her royal rights, first by her father, the Emperor Ferdinand, and then her grandson, Philip II. She died aged 75 in 1555, having been kept a prisoner at Tordesillas because of her alleged madness since 1509!)

From the known facts Bergenroth deduces that Johanna early showed an aversion to the traditional Roman Catholic Church, because of her belief in a new form of ritual; also that she was an enemy of the Inquisition because of its inhuman exercise of political and judicial power. Her husband, Philip, had entertained Protestant views which Johanna took up, and he also had wished to restrict the judicial power of the Inquisition.

In our view, the thread of Rosicrucian ideas and concepts can be followed throughout this history and it can be shown that others have also come to this conclusion, as in Chapter 10 of Johanna de Waanzinnige by J. Brouwer [16].

There is today a growing interest in the genius who was a "painter of little devils" [3], [19]. There is a comprehensive literature on Bosch. But Bosch does not merely need to be understood and appreciated as a painter; he is also a prophet. One can only understand a prophet if one knows his terms of reference -- his spiritual background and world philosophy. For this reason, this Introduction was essential. What follows is an attempt to contribute to the appreciation of this great Master who, standing at the threshold of a new age, painted his "confessions" in order to show to man, who was developing into a modern natural scientific thinker, a new road to knowledge.

As was said earlier all real imaginations are indications of spiritual links and connections, and for that reason their "meaning" is inexhaustible. This is so also in the imaginations which form the pictures of Bosch. We have tried to show a consistent thread of thought in this abundance of meaning. If this stimulates the student of the paintings to enter more deeply into the pictures and imaginations which they present, our task has been achieved, it was to bring Bosch and his imaginations closer to the reader by giving him a key to their unravelling.

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