THE PICTORIAL LANGUAGE OF HIERONYMUS BOSCH
Fig. 1. QUENTIN METSYS (MASSYS), 1465/6-1530: Portrait of a Notary. Edinburgh, National Gallery of Scotland.
Plate A. HIERONYMUS BOSCH: The Prodigal Son. Rotterdam, Museum Boymans-van Beuningen.
Fig. 2. Christ at the centre of the four elements (i.e. here "In the body of Jesus").
Fig. 3. The ground plan of Baptisteries -- Octagon.
Fig. 4. HIERONYMUS BOSCH: St. Jerome. Ghent, Museum voor Schone Kunsten.
Fig. 5. HUGO VAN DER GOES, 1440-1482: Adoration of the Shepherds. Portinari Altar (detail). Florence, Uffizzi Gallery.
Fig. 6. Nativity Showing the gate to "the other world" from the small Book of Beels (9).
Fig. 7. JOACHIM PATINIR: Christophorus. Joachim Patinir, 1480?-1524, shows evidence in his picture of Christophorus that he was one of the few contemporaries of Bosch who understood something of what Master Bosch was trying to show. The soul house in the tree, the gate, the tree as the vegetative growth forces of the physical body, the holy white egret or heron, the iris, symbol of purity and resurrection, even the hound which has intruded into the mystic area and is persecuting the white lambs, these symbols which are nearly all to be found in Bosch, are also here employed quite correctly. Madrid, Escorial, reproduction authorized by El Patrimonio Nacional.
Fig. 8. Bull's heads with the signs of the life-force (10).
Figs. 10 and 11. Two old pictures on which the Signs of the Zodiac appear assigned to the various parts of the body on which they were held to have an influence.
A general view of The Prodigal Son. Rotterdam, Museum. Boymans van Beuningen.