Hieronymus Bosch, The Garden of Earthly Delights
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Hieronymus Bosch (Dutch: born Jheronimus van Aken c. 1450 — 9 August 1516), was a Dutch painter. His work is known for its use of fantastic imagery to illustrate moral and religious concepts and narratives.

By far the best known and most ambitious work, The Garden of Earthly Delights illustrates Bosch’s individual artistic style, containing the most vivid imagery and complexity of symbolic meaning. The triptych is generally thought to be a warning of the dangers of giving in to temptation, but has been subject to vast amounts of conjecture and scrutiny, and critics and historians are split in two directions. Whereas some believe that the middle panel, which depicts a fantastical world of nudes in sexual engagement, large fruits, and other suggestive elements, is simply an illustration of paradise lost, others believe that it is a moral warning, which will lead you to hell, as it is depicted in the third panel of the series. Although there are many contradictory explanations, it is generally thought to be a warning against lust, one of the seven deadly sins.

Some descriptions of Hieronymus Bosch’s painting

1) 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.
2) Detail from the left hand panel, showing God blessing Eve before she is presented to Adam.
3) Birds swarming through cavities of a hut-shaped form in the left background of the left panel
4) The central water-bound globe in the middle panel’s upper background is a hybrid of stone and organic matter. It is adorned by nude figures cavorting both with each other and with various creatures, some of whom are realistic, others are fantastic or hybrid.
5) A group of nude females from the center panel. The head of one female is adorned with two cherries—a symbol of pride. To her left a male drinks lustfully from an organic vessel. Behind the group a male carries a couple encased in a mussel shell.
6) A group of figures pluck fruit from a tree. A man carries a large strawberry tree fruit, while an owl looks on in the foreground.
7) Detail showing nudes within a transparent sphere, which is the fruit of a plant.
8) A scene from the hellscape panel showing the long beams of light emitted from the burning city in the panel’s background.
9) The “Tree-Man” of the right panel, and a pair of human ears brandishing a blade. A cavity in the torso is populated by three naked persons at a table, seated on an animal, and a fully clothed woman pouring drink from a barrel.
10) Gibson compares this ‘Prince of Hell’ to a figure in the 12th-century Irish religious text Vision of Tundale, who feeds on the souls of corrupt and lecherous clergy.