Caseiokey
@caseiokey.bsky.social
For your questions on riddles of #HieronymusBosch #latemedieval
#earlyrenaissance #art #symbolism .
Images can be enhanced for visibility.
(Generally no content warning for 500+ years old works of art.)
#earlyrenaissance #art #symbolism .
Images can be enhanced for visibility.
(Generally no content warning for 500+ years old works of art.)
BOSCH’S VISIONS OF THE HEREAFTER~1500
are 4 panels of a further lost polyptych, likely a Last Judgment.
The heavenly assumption of redeemed is linked to literature about cleansing spheres of souls.
Here part of the panel + the tunnel center underpainting.
Imo it shows also a Near Death Experience
are 4 panels of a further lost polyptych, likely a Last Judgment.
The heavenly assumption of redeemed is linked to literature about cleansing spheres of souls.
Here part of the panel + the tunnel center underpainting.
Imo it shows also a Near Death Experience
November 11, 2025 at 11:49 AM
BOSCH’S VISIONS OF THE HEREAFTER~1500
are 4 panels of a further lost polyptych, likely a Last Judgment.
The heavenly assumption of redeemed is linked to literature about cleansing spheres of souls.
Here part of the panel + the tunnel center underpainting.
Imo it shows also a Near Death Experience
are 4 panels of a further lost polyptych, likely a Last Judgment.
The heavenly assumption of redeemed is linked to literature about cleansing spheres of souls.
Here part of the panel + the tunnel center underpainting.
Imo it shows also a Near Death Experience
TREE-MEN & OTHERS WITH BRANCHES
can be found several times in Hieronymus Bosch’ oeuvre of ca.1500AD.
*They are all demonic
*16c Rhetoricians called sinners “barren trees” and
“withered branches”
*it has a link to biblical passages like Luke 23:31 etc.
can be found several times in Hieronymus Bosch’ oeuvre of ca.1500AD.
*They are all demonic
*16c Rhetoricians called sinners “barren trees” and
“withered branches”
*it has a link to biblical passages like Luke 23:31 etc.
November 10, 2025 at 10:52 AM
TREE-MEN & OTHERS WITH BRANCHES
can be found several times in Hieronymus Bosch’ oeuvre of ca.1500AD.
*They are all demonic
*16c Rhetoricians called sinners “barren trees” and
“withered branches”
*it has a link to biblical passages like Luke 23:31 etc.
can be found several times in Hieronymus Bosch’ oeuvre of ca.1500AD.
*They are all demonic
*16c Rhetoricians called sinners “barren trees” and
“withered branches”
*it has a link to biblical passages like Luke 23:31 etc.
Reposted by Caseiokey
November 3, 2025 at 8:14 PM
A MOON CRESCENT
is present on a majority of Bosch’s works, generally with negative meaning:
*it stands for Middle East (originated fm. army flags)
*anti-christian/heathen
*even linking to the Devil/Evil.
Except on St.John on Patmos
*where St.Mary is seated on it
*it’s symbol for the Church.
is present on a majority of Bosch’s works, generally with negative meaning:
*it stands for Middle East (originated fm. army flags)
*anti-christian/heathen
*even linking to the Devil/Evil.
Except on St.John on Patmos
*where St.Mary is seated on it
*it’s symbol for the Church.
October 27, 2025 at 9:55 AM
A MOON CRESCENT
is present on a majority of Bosch’s works, generally with negative meaning:
*it stands for Middle East (originated fm. army flags)
*anti-christian/heathen
*even linking to the Devil/Evil.
Except on St.John on Patmos
*where St.Mary is seated on it
*it’s symbol for the Church.
is present on a majority of Bosch’s works, generally with negative meaning:
*it stands for Middle East (originated fm. army flags)
*anti-christian/heathen
*even linking to the Devil/Evil.
Except on St.John on Patmos
*where St.Mary is seated on it
*it’s symbol for the Church.
My collage of ca.24 Arma Christi (=Passion elements). Like
*a lantern of the arrest in the dark
*30 coins that Judas got for his betrayal.
An other often seen Arma
*3 dice of soldiers’ gamble.
From the manuscript made by the Netherlandish scribe
Theodericus Werken >1450.
At the @britishlibrary .
*a lantern of the arrest in the dark
*30 coins that Judas got for his betrayal.
An other often seen Arma
*3 dice of soldiers’ gamble.
From the manuscript made by the Netherlandish scribe
Theodericus Werken >1450.
At the @britishlibrary .
October 24, 2025 at 6:11 PM
My collage of ca.24 Arma Christi (=Passion elements). Like
*a lantern of the arrest in the dark
*30 coins that Judas got for his betrayal.
An other often seen Arma
*3 dice of soldiers’ gamble.
From the manuscript made by the Netherlandish scribe
Theodericus Werken >1450.
At the @britishlibrary .
*a lantern of the arrest in the dark
*30 coins that Judas got for his betrayal.
An other often seen Arma
*3 dice of soldiers’ gamble.
From the manuscript made by the Netherlandish scribe
Theodericus Werken >1450.
At the @britishlibrary .
A contemporary of Hieronymus Bosch was Leonardo da Vinci.
Da Vinci's Last Supper features one knife, belonging to Peter.
Imo this could refer to John 18:10-11, where Peter -later!- cut off Malchus' right ear with his sword during Jesus' arrest.
Now compare Bosch's Ears-War Machine-
Peter’s knife?!
Da Vinci's Last Supper features one knife, belonging to Peter.
Imo this could refer to John 18:10-11, where Peter -later!- cut off Malchus' right ear with his sword during Jesus' arrest.
Now compare Bosch's Ears-War Machine-
Peter’s knife?!
October 18, 2025 at 12:49 PM
A contemporary of Hieronymus Bosch was Leonardo da Vinci.
Da Vinci's Last Supper features one knife, belonging to Peter.
Imo this could refer to John 18:10-11, where Peter -later!- cut off Malchus' right ear with his sword during Jesus' arrest.
Now compare Bosch's Ears-War Machine-
Peter’s knife?!
Da Vinci's Last Supper features one knife, belonging to Peter.
Imo this could refer to John 18:10-11, where Peter -later!- cut off Malchus' right ear with his sword during Jesus' arrest.
Now compare Bosch's Ears-War Machine-
Peter’s knife?!
BOSCH'S HIERONYMUS PANEL
on the Hermit Triptych is dedicated to the painter's namesake.
Bosch preferred meditating hermits as models for the Imitation of Christ.
The saint receives support against the evil pagan world from the crucifix before him.
(In the original design, he held it? ILL. in B&W.)
on the Hermit Triptych is dedicated to the painter's namesake.
Bosch preferred meditating hermits as models for the Imitation of Christ.
The saint receives support against the evil pagan world from the crucifix before him.
(In the original design, he held it? ILL. in B&W.)
October 3, 2025 at 11:02 AM
BOSCH'S HIERONYMUS PANEL
on the Hermit Triptych is dedicated to the painter's namesake.
Bosch preferred meditating hermits as models for the Imitation of Christ.
The saint receives support against the evil pagan world from the crucifix before him.
(In the original design, he held it? ILL. in B&W.)
on the Hermit Triptych is dedicated to the painter's namesake.
Bosch preferred meditating hermits as models for the Imitation of Christ.
The saint receives support against the evil pagan world from the crucifix before him.
(In the original design, he held it? ILL. in B&W.)
BOSCH’ HELL & FLOOD WING PANELS
have 4 tondi on their back.
The painter seems to follow Thomas à Kempis' book the “Imitatio Christi”.
While standing strong and distancing from earthly life,
following Christ & saints is the path to salvation.
The last medaillon shows the Redeemer.
have 4 tondi on their back.
The painter seems to follow Thomas à Kempis' book the “Imitatio Christi”.
While standing strong and distancing from earthly life,
following Christ & saints is the path to salvation.
The last medaillon shows the Redeemer.
September 26, 2025 at 8:31 AM
BOSCH’ HELL & FLOOD WING PANELS
have 4 tondi on their back.
The painter seems to follow Thomas à Kempis' book the “Imitatio Christi”.
While standing strong and distancing from earthly life,
following Christ & saints is the path to salvation.
The last medaillon shows the Redeemer.
have 4 tondi on their back.
The painter seems to follow Thomas à Kempis' book the “Imitatio Christi”.
While standing strong and distancing from earthly life,
following Christ & saints is the path to salvation.
The last medaillon shows the Redeemer.
Reposted by Caseiokey
Eerste waterstof-ionbatterij is een feit: wat jarenlang ‘onmogelijk’ leek, werkt nu écht tw.nl/eerste-water...
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tw.nl
September 25, 2025 at 11:47 AM
Eerste waterstof-ionbatterij is een feit: wat jarenlang ‘onmogelijk’ leek, werkt nu écht tw.nl/eerste-water...
A SURPRISING NUMBER OF PENTIMENTO’S
makes the Last Judgment/Wien an original, not a copy.
I even think that Bosch’s sketch can be discerned (purple arrow). Colors are my fantasy.
The person(s) that executed the work were wise in creating more empty spaces + making great scenes!
makes the Last Judgment/Wien an original, not a copy.
I even think that Bosch’s sketch can be discerned (purple arrow). Colors are my fantasy.
The person(s) that executed the work were wise in creating more empty spaces + making great scenes!
September 23, 2025 at 9:43 AM
A SURPRISING NUMBER OF PENTIMENTO’S
makes the Last Judgment/Wien an original, not a copy.
I even think that Bosch’s sketch can be discerned (purple arrow). Colors are my fantasy.
The person(s) that executed the work were wise in creating more empty spaces + making great scenes!
makes the Last Judgment/Wien an original, not a copy.
I even think that Bosch’s sketch can be discerned (purple arrow). Colors are my fantasy.
The person(s) that executed the work were wise in creating more empty spaces + making great scenes!
A STUDY OF CLOTHING FOLDS
helps in determining if an artwork is made by a Master.
LEFT a detail of The Entombment of Christ at the British Museum
(2nd illustration is the full drawing).
RIGHT a detail of The Haywain by Bosch at the Prado
The BRCP’s Catalogue Raissoné attributed the drawing to BOSCH
helps in determining if an artwork is made by a Master.
LEFT a detail of The Entombment of Christ at the British Museum
(2nd illustration is the full drawing).
RIGHT a detail of The Haywain by Bosch at the Prado
The BRCP’s Catalogue Raissoné attributed the drawing to BOSCH
September 22, 2025 at 10:24 AM
A STUDY OF CLOTHING FOLDS
helps in determining if an artwork is made by a Master.
LEFT a detail of The Entombment of Christ at the British Museum
(2nd illustration is the full drawing).
RIGHT a detail of The Haywain by Bosch at the Prado
The BRCP’s Catalogue Raissoné attributed the drawing to BOSCH
helps in determining if an artwork is made by a Master.
LEFT a detail of The Entombment of Christ at the British Museum
(2nd illustration is the full drawing).
RIGHT a detail of The Haywain by Bosch at the Prado
The BRCP’s Catalogue Raissoné attributed the drawing to BOSCH
Reposted by Caseiokey
lnkd.in/p/ewSU6yBJ Doodeng als je dit, hoe onze jeugd wordt vergiftigd en verslaafd gemaakt door big tabacco…
Vapes met synthetische drugs: in Engeland is het gebruik ervan al een paar jaar een groot probleem onder scholieren. Jongeren vallen erdoor flauw op school, moeten overgeven of belanden zelfs in het… ...
Vapes met synthetische drugs: in Engeland is het gebruik ervan al een paar jaar een groot probleem onder scholieren. Jongeren vallen erdoor flauw op school, moeten overgeven of belanden zelfs in het z...
lnkd.in
September 20, 2025 at 7:06 PM
lnkd.in/p/ewSU6yBJ Doodeng als je dit, hoe onze jeugd wordt vergiftigd en verslaafd gemaakt door big tabacco…
COMIC SCENES
A comical scene that Bosch used a few times, possibly going back to an old story, is that of the birds escaping from a man’s behind.
It also is a literal depiction of a Dutch proverb.
The drawing has secondary comical scenes,
of children who try to catch the birds!
A comical scene that Bosch used a few times, possibly going back to an old story, is that of the birds escaping from a man’s behind.
It also is a literal depiction of a Dutch proverb.
The drawing has secondary comical scenes,
of children who try to catch the birds!
September 18, 2025 at 10:10 AM
COMIC SCENES
A comical scene that Bosch used a few times, possibly going back to an old story, is that of the birds escaping from a man’s behind.
It also is a literal depiction of a Dutch proverb.
The drawing has secondary comical scenes,
of children who try to catch the birds!
A comical scene that Bosch used a few times, possibly going back to an old story, is that of the birds escaping from a man’s behind.
It also is a literal depiction of a Dutch proverb.
The drawing has secondary comical scenes,
of children who try to catch the birds!
FOX & COCKEREL
On the back of Bosch’s drawing “Two Old Women” is a sketch with a Cockerel & Fox, and some Duck parts.
Fortunately we have a painting that shows the outcome!
On the St.Jerome at Prayer, of the MSK Ghent, the Fox is sleeping satisfied, some Cockerel parts nearby.
On the back of Bosch’s drawing “Two Old Women” is a sketch with a Cockerel & Fox, and some Duck parts.
Fortunately we have a painting that shows the outcome!
On the St.Jerome at Prayer, of the MSK Ghent, the Fox is sleeping satisfied, some Cockerel parts nearby.
September 16, 2025 at 10:53 AM
FOX & COCKEREL
On the back of Bosch’s drawing “Two Old Women” is a sketch with a Cockerel & Fox, and some Duck parts.
Fortunately we have a painting that shows the outcome!
On the St.Jerome at Prayer, of the MSK Ghent, the Fox is sleeping satisfied, some Cockerel parts nearby.
On the back of Bosch’s drawing “Two Old Women” is a sketch with a Cockerel & Fox, and some Duck parts.
Fortunately we have a painting that shows the outcome!
On the St.Jerome at Prayer, of the MSK Ghent, the Fox is sleeping satisfied, some Cockerel parts nearby.
Author Fisher (Edition 2023) mentions that some of the Seven Deadly Sins are pictured on the Last Judgement/Wien by the Bosch Studio, of ca.1500AD.
They are with several examples, from left to right:
Sloth,
Lust,
Wrath,
and
Gluttony.
(I added the man on the bed also to Sloth.)
They are with several examples, from left to right:
Sloth,
Lust,
Wrath,
and
Gluttony.
(I added the man on the bed also to Sloth.)
September 15, 2025 at 9:16 AM
Author Fisher (Edition 2023) mentions that some of the Seven Deadly Sins are pictured on the Last Judgement/Wien by the Bosch Studio, of ca.1500AD.
They are with several examples, from left to right:
Sloth,
Lust,
Wrath,
and
Gluttony.
(I added the man on the bed also to Sloth.)
They are with several examples, from left to right:
Sloth,
Lust,
Wrath,
and
Gluttony.
(I added the man on the bed also to Sloth.)
NEAR DEATH EXPERIENCES
as painted by Hieronymus Bosch,
in circa 1500AD:
1.leaving the body
2.tunnel of light
3.meeting guiding beings
4.(life review)
5.presence of love, accepting
6.a boundary, f.i. like a gate
7.some experiences were haunting.
(List after @thedarshakrana based on Dr.Raymond Moody)
as painted by Hieronymus Bosch,
in circa 1500AD:
1.leaving the body
2.tunnel of light
3.meeting guiding beings
4.(life review)
5.presence of love, accepting
6.a boundary, f.i. like a gate
7.some experiences were haunting.
(List after @thedarshakrana based on Dr.Raymond Moody)
September 8, 2025 at 8:56 AM
NEAR DEATH EXPERIENCES
as painted by Hieronymus Bosch,
in circa 1500AD:
1.leaving the body
2.tunnel of light
3.meeting guiding beings
4.(life review)
5.presence of love, accepting
6.a boundary, f.i. like a gate
7.some experiences were haunting.
(List after @thedarshakrana based on Dr.Raymond Moody)
as painted by Hieronymus Bosch,
in circa 1500AD:
1.leaving the body
2.tunnel of light
3.meeting guiding beings
4.(life review)
5.presence of love, accepting
6.a boundary, f.i. like a gate
7.some experiences were haunting.
(List after @thedarshakrana based on Dr.Raymond Moody)
MALTHUS,
while St.Peter cuts off an ear.
At RIGHT by Hieronymus Bosch ~1500. On the Outside of Anthony triptych Lisbon.
At LEFT in a Passion scene, ~1440-50. In Book of Hours of Katharina van Lokhorst.
Evil is hinted at by giving him a small body;
compare other deformed person from Anthony triptych
while St.Peter cuts off an ear.
At RIGHT by Hieronymus Bosch ~1500. On the Outside of Anthony triptych Lisbon.
At LEFT in a Passion scene, ~1440-50. In Book of Hours of Katharina van Lokhorst.
Evil is hinted at by giving him a small body;
compare other deformed person from Anthony triptych
August 26, 2025 at 11:19 AM
MALTHUS,
while St.Peter cuts off an ear.
At RIGHT by Hieronymus Bosch ~1500. On the Outside of Anthony triptych Lisbon.
At LEFT in a Passion scene, ~1440-50. In Book of Hours of Katharina van Lokhorst.
Evil is hinted at by giving him a small body;
compare other deformed person from Anthony triptych
while St.Peter cuts off an ear.
At RIGHT by Hieronymus Bosch ~1500. On the Outside of Anthony triptych Lisbon.
At LEFT in a Passion scene, ~1440-50. In Book of Hours of Katharina van Lokhorst.
Evil is hinted at by giving him a small body;
compare other deformed person from Anthony triptych
DECODING BOSCH
At first there’s no relationship between these images.
But painter Bosch let the Devil make an abomination to bully pious St.Anthony:
instead of the trad.Pelican feeding its young w blood (so it was thought), he made a Bittern eat its chicken- actually a real thing!
L.Art:Aron Bakker
At first there’s no relationship between these images.
But painter Bosch let the Devil make an abomination to bully pious St.Anthony:
instead of the trad.Pelican feeding its young w blood (so it was thought), he made a Bittern eat its chicken- actually a real thing!
L.Art:Aron Bakker
August 15, 2025 at 9:36 AM
DECODING BOSCH
At first there’s no relationship between these images.
But painter Bosch let the Devil make an abomination to bully pious St.Anthony:
instead of the trad.Pelican feeding its young w blood (so it was thought), he made a Bittern eat its chicken- actually a real thing!
L.Art:Aron Bakker
At first there’s no relationship between these images.
But painter Bosch let the Devil make an abomination to bully pious St.Anthony:
instead of the trad.Pelican feeding its young w blood (so it was thought), he made a Bittern eat its chicken- actually a real thing!
L.Art:Aron Bakker
SIMILARITIES
The Palacio Decanal of Tudela, Navarro, has an interesting Last Judgment work, once linked to a Bosch assistant.
It surely contains some elements to be found on Bosch Studio works.
As always: are they copied, but by whom and from what?
By JL FilpoC
CC BY-SA 4.0
The Palacio Decanal of Tudela, Navarro, has an interesting Last Judgment work, once linked to a Bosch assistant.
It surely contains some elements to be found on Bosch Studio works.
As always: are they copied, but by whom and from what?
By JL FilpoC
CC BY-SA 4.0
August 13, 2025 at 1:40 PM
SIMILARITIES
The Palacio Decanal of Tudela, Navarro, has an interesting Last Judgment work, once linked to a Bosch assistant.
It surely contains some elements to be found on Bosch Studio works.
As always: are they copied, but by whom and from what?
By JL FilpoC
CC BY-SA 4.0
The Palacio Decanal of Tudela, Navarro, has an interesting Last Judgment work, once linked to a Bosch assistant.
It surely contains some elements to be found on Bosch Studio works.
As always: are they copied, but by whom and from what?
By JL FilpoC
CC BY-SA 4.0
THE COPPER SNAKE REVISITED
LEFT: in a Biblia Pauporum of ~1460-70, at the British Museum.
RIGHT: in a parody on Hieronymus Bosch’s Anthony triptych of ~1500, at the MNAA Lisbon.
The similarity is evident, even more so than with the Naarden Church version seen in my earlier postings on internet.
LEFT: in a Biblia Pauporum of ~1460-70, at the British Museum.
RIGHT: in a parody on Hieronymus Bosch’s Anthony triptych of ~1500, at the MNAA Lisbon.
The similarity is evident, even more so than with the Naarden Church version seen in my earlier postings on internet.
August 12, 2025 at 2:02 PM
THE COPPER SNAKE REVISITED
LEFT: in a Biblia Pauporum of ~1460-70, at the British Museum.
RIGHT: in a parody on Hieronymus Bosch’s Anthony triptych of ~1500, at the MNAA Lisbon.
The similarity is evident, even more so than with the Naarden Church version seen in my earlier postings on internet.
LEFT: in a Biblia Pauporum of ~1460-70, at the British Museum.
RIGHT: in a parody on Hieronymus Bosch’s Anthony triptych of ~1500, at the MNAA Lisbon.
The similarity is evident, even more so than with the Naarden Church version seen in my earlier postings on internet.
@mardealgo.bsky.social
Text and illustration have been supplemented!
Text and illustration have been supplemented!
No Bosch author noticed the similarity of the robbery with the (start of) the Parable of the Good Samaritan, Luke 10:25-37.
Accidentally? Not Bosch!
Compare the Good Samaritan, Chartres Cathedral,
left to right:
* A bandit prepares to attack the pilgrim
* The pilgrim is beaten, robbed and stripped.
Accidentally? Not Bosch!
Compare the Good Samaritan, Chartres Cathedral,
left to right:
* A bandit prepares to attack the pilgrim
* The pilgrim is beaten, robbed and stripped.
August 10, 2025 at 8:55 AM
@mardealgo.bsky.social
Text and illustration have been supplemented!
Text and illustration have been supplemented!
At LEFT a detail of Bosch’s Christ carrying the Cross/Wien, ~1500AD.
A contemporary group made enormous ceiling paintings in the St.Vitus Church of Naarden.
The detail RIGHT shows the same scene.
Interesting is that the wooden block(s) with pins are used differently.
~1510-18AD.
A contemporary group made enormous ceiling paintings in the St.Vitus Church of Naarden.
The detail RIGHT shows the same scene.
Interesting is that the wooden block(s) with pins are used differently.
~1510-18AD.
August 9, 2025 at 9:07 AM
At LEFT a detail of Bosch’s Christ carrying the Cross/Wien, ~1500AD.
A contemporary group made enormous ceiling paintings in the St.Vitus Church of Naarden.
The detail RIGHT shows the same scene.
Interesting is that the wooden block(s) with pins are used differently.
~1510-18AD.
A contemporary group made enormous ceiling paintings in the St.Vitus Church of Naarden.
The detail RIGHT shows the same scene.
Interesting is that the wooden block(s) with pins are used differently.
~1510-18AD.
COMPARING ART
A background scene of Bosch’s “Afterlife” (misnamed Hell) on the Garden triptych is imo similar to a contemporary scene of Naarden’s Great Church ceiling paintings.
A group of people with light/white covering is welcomed by a figure in red at a gate:
St.Peter at the gate to Heaven.
A background scene of Bosch’s “Afterlife” (misnamed Hell) on the Garden triptych is imo similar to a contemporary scene of Naarden’s Great Church ceiling paintings.
A group of people with light/white covering is welcomed by a figure in red at a gate:
St.Peter at the gate to Heaven.
August 8, 2025 at 10:50 AM
COMPARING ART
A background scene of Bosch’s “Afterlife” (misnamed Hell) on the Garden triptych is imo similar to a contemporary scene of Naarden’s Great Church ceiling paintings.
A group of people with light/white covering is welcomed by a figure in red at a gate:
St.Peter at the gate to Heaven.
A background scene of Bosch’s “Afterlife” (misnamed Hell) on the Garden triptych is imo similar to a contemporary scene of Naarden’s Great Church ceiling paintings.
A group of people with light/white covering is welcomed by a figure in red at a gate:
St.Peter at the gate to Heaven.
“So I heard you’re a real glutton, eh?
Well you can taste some Toad on this dish.
And you had no table manners?
Get a taste right from the table now!”
L: Last Judgment/Vienna by H. Bosch Studio
~1500 at KHM Wien.
R: Naarden St.Vitus/Great Church ceiling painting,
An. ~1518
Well you can taste some Toad on this dish.
And you had no table manners?
Get a taste right from the table now!”
L: Last Judgment/Vienna by H. Bosch Studio
~1500 at KHM Wien.
R: Naarden St.Vitus/Great Church ceiling painting,
An. ~1518
August 6, 2025 at 10:48 AM
“So I heard you’re a real glutton, eh?
Well you can taste some Toad on this dish.
And you had no table manners?
Get a taste right from the table now!”
L: Last Judgment/Vienna by H. Bosch Studio
~1500 at KHM Wien.
R: Naarden St.Vitus/Great Church ceiling painting,
An. ~1518
Well you can taste some Toad on this dish.
And you had no table manners?
Get a taste right from the table now!”
L: Last Judgment/Vienna by H. Bosch Studio
~1500 at KHM Wien.
R: Naarden St.Vitus/Great Church ceiling painting,
An. ~1518
THE CRESCENT
is an ambiguous symbol, even related to Mary and the Church.
But with painter Bosch it’s 90% negative, hinting at stupidity, (Mid)eastern origin, unchristianity and diabolism.
LEFT ILL: <St.Anthony triptych.
An exception is the use combined with Mary as on St. John Baptist on Patmos;R.
is an ambiguous symbol, even related to Mary and the Church.
But with painter Bosch it’s 90% negative, hinting at stupidity, (Mid)eastern origin, unchristianity and diabolism.
LEFT ILL: <St.Anthony triptych.
An exception is the use combined with Mary as on St. John Baptist on Patmos;R.
August 4, 2025 at 8:04 AM
THE CRESCENT
is an ambiguous symbol, even related to Mary and the Church.
But with painter Bosch it’s 90% negative, hinting at stupidity, (Mid)eastern origin, unchristianity and diabolism.
LEFT ILL: <St.Anthony triptych.
An exception is the use combined with Mary as on St. John Baptist on Patmos;R.
is an ambiguous symbol, even related to Mary and the Church.
But with painter Bosch it’s 90% negative, hinting at stupidity, (Mid)eastern origin, unchristianity and diabolism.
LEFT ILL: <St.Anthony triptych.
An exception is the use combined with Mary as on St. John Baptist on Patmos;R.