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299:(greed) upon his deathbed, with his wealth shown by expensive treasures, similar to the trunk at the foot of the bed in Bosch's painting. In chapter ten, an angel warns him of the dangers of avarice, telling the miser, "Protect yourself against the putrid and deadly words of the devil, for he is nothing but a liar… In the end everything he does is deceitful." Here we see the angel with one hand upon the miser's shoulder, lifting his other to the light of Christ, imploring him to make the Christian decision rather than succumb to temptation and sin. The crucifix in the window seen in the miser's room is also a key feature of the
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but they were never painted. The scan also revealed that the miser's left hand held a goblet while the right, as it appears today, is gesturing toward the money bag. This has been interpreted as an offering to Death. The meaning of the change is unclear, but it has been hypothesized that it could mean an offer of ransom; take my money, don't take me, or an appeal to Death to allow the miser to take his riches with him when he dies.
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demanded a specific type of repentance. According to the Church, reparations for damages or reimbursement of monetary loss must be paid for this crime, but this is not something a miser on his deathbed would be able to do. He could, however, rectify this at the moment of death by providing this indemnity in his will, though this particular man shows no intention of doing so.
260:(mount of piety), which stated that charitable institutions were allowed to issue low interest rate loans to the poor. This law implies that usury was not often practiced, but the opposite is true, and many people, poor and well-to-do alike, could not survive without a loan at some point in their lives. It became so common that authorities developed a
191:), and envelopes, notes, or letters. Discarded garments and a winged demon figure are closer in the foreground, with other weapons and pieces of the suit of armor. The room is seen through a pointed archway flanked with columns, but the foreground appears to be outdoors. It is unknown what sort of structure the room is attached to, if any.
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The objects represent an evil or malevolent force, the vanity of earthly goods, and the folly of earthly desires. They are placed there to be traps by the devil, to tempt you away from the
Christian path, but their disregard in the scene shows that these earthly goods cannot help you against death.
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does not contain a depiction of armor, or even pieces of it, and no other influence has satisfactorily explained their presence. Most hypotheses fall into two schools of thought; the fabric, weapons, and armor are of symbolic significance, or they represent the miser's former life, before Death came
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Another interpretation of the gesture between the man and the demon suggests that the man is not only tempted by wealth, but is offering it to Death as a ransom. Usury was not just a display of avarice as a sin that simply required the offender to confess and seek God for forgiveness internally, but
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Throughout the following verses, St. Paul mentions specific pieces of armor, assigning certain aspects of
Christianity to them; the helmet of salvation, the shield of faith, the hauberk of justice, and the sword of spirit, which represents the word of God itself. There are also other references to
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Several changes were made to the final painting as revealed by modern infrared analyses. A very faint remnant can be seen on a high resolution photo, but the items are not clear. Originally, a flask, rosary, and tumblers were intended to be part of the collection of items in the foreground,
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and
Christian burial. That this man is worried with at least an illusion of piety suggests that he may be a surreptitious pawnbroker rather than an obvious lombard. This concept is strengthened by the setting; an official lombard in Augsburg or Bruges, both hubs of Northern Renaissance merchants
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makes several mentions of the armor of God: "Put on the whole armor of God, that ye may be able to stand against the while of the devil" (Ephesians 6:11); "Whereupon take unto you the whole armor of God, that ye may be able to withstand in the evil day, and having done all, to stand" (Ephesians
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No single theory has been accepted as the most correct, with art historians themselves admitting that none of the proposed explanations are entirely appropriate or suitably thorough. SchlĂĽter and Vinken propose an alternate source to their predecessors in the form of biblical texts themselves,
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illustrations in these chapters, and reminds us how separate and disparate Christ is from all of the worldly troubles and possessions depicted in the room below. Even with the angel's intervention at his bedside, as Death looms, the miser's gaze and hand are directed downward, unable to resist
424:, who famously used his military sword to cut his cloak in half to give to a beggar who lacked sufficient clothing for the winter. The architecture serves as a line between Christian generosity, symbolized by St. Martin's items in the foreground, and greed, illustrated within the room.
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worldly temptations, reaching for the bag of gold offered by a tempting demon. Whether or not the miser, in his last moments, will embrace the salvation offered by Christ or cling to his worldly riches, is left uncertain. This is in stark contrast to the
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Gold is more useful than a knight's courage and bravery, implied by placing the gold as a central subject and part of the miser's final struggle while his knightly attire has been discarded in the foreground and outside the main events of the
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The conflict depicted here casts doubt on who exactly the man is supposed to portray. A lombard would not worry about his afterlife or any façade of piety, as they were excommunicated from the Church, publicly shamed, and denied
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where the angel successfully persuades him to embrace Christ. It implies that, rather than otherworldly creatures battling for the soul of a person, the decision lies in their own hand and no one else's.
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6:13); "Stand therefore having your loins girt about with truth, and having on the breastplate of righteousness; And your feet shod with the preparation of the gospel of peace" (Ephesians 6:14-15).
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The painting is believed to be the inside of the right panel of a triptych, which has since been divided and no longer exists as a whole. The other surviving portions of the triptych are
274:(named after the region of their origin). It became so common and legal that they were regulated by authorities until a more fair and stable public loan policy was established in 1618.
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to take him. Art historians' opinions have seem to run the gamut of possibilities just in the 20th century alone, which include the following by no less than a dozen art historians:
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does not have that, shown instead with pawned items scattered in his room and locked in a trunk, which indicate that he may want to keep these items and his activities a secret.
134:, a term that describes works of art that remind the viewer of the inevitability of death. The painting shows the influence of popular 15th-century handbooks (including text and
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could be Bosch's illustration of the sin of avarice, intended to be a part of this series, meant to depict each of the biblical deadly sins as shown through contemporary life.
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rate. It's widely accepted that the old man in green is a slightly younger version of the miser, in full health, storing gold in his money chest (which abounds with
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and artists, would have a normal place of business, akin to a small warehouse with a public facing office and storerooms to house and organize goods. The man in
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room that holds a man on his deathbed, similar to the unclothed, thin, and sickly representation of souls in other Bosch triptychs. The skeletal figure of
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painting, which is meant to remind the viewer of the inevitability of death and the futility of the pursuit of material wealth, illustrating the sin of greed.
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The meaning of the foreground is still unclear and debated by art historians, though they're reasonably certain about the symbolism inside the room. The
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The objects represent items that would have been pawned by knights, i.e. jousting equipment, or textile goods from the poor, as an allusion to usury.
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The depiction of such inorganic objects to symbolize earthly vanity, transience or decay would become a genre in itself among
Flemish artists.
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lays a hand on the man's shoulder, with a hand outstretched to the ray of light emanating from the window on the left, where a small
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It measures 93 x 31 cm (36 5/8 x 12 3/16 in) overall, and as framed 105.9 x 43.5 x 5.4 cm (41 11/16 x 17 1/8 x 2 1/8 in).
171:" offers the man a large sack of coin. These fantasy type creatures can be seen in many of Bosch's other paintings, most famously
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In the foreground, an old man dressed in green deposits coins into the sack of a demon in the trunk while gripping his cane and
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where a dying man is cautioned about his avarice in chapters nine and ten of the book. In chapter nine, the man is tempted by
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in his left hand. The trunk contains worldly possessions: a knife, money, armor, a gold weight (that looks similar to a
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There is still debate about the exact symbolism of the man and the objects in the foreground. Bosch was influenced by the
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Wecker, Menachem (April 22 - May 5, 2016). "Largest-ever retrospective underscores
Hieronymus Bosch's Catholic faith".
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painted on the external right panel. It is one of the five fragmented triptychs by Bosch that have survived.
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also hangs. There is a nefarious creature holding a lantern peeking down from the canopy of the bed, while a "
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armor with assigned moral attributes in non-religious texts of the time period, such as the pieces of
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The red fabric could be evil, but combined with the armor has also been interpreted as a symbol for
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The man might have been a knight, but he was also a dishonest steward and death has come for him.
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SchlĂĽter, Lucy; Vinken, Pierre (2000). "The foreground of Bosch's 'Death and the Miser'".
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6:35, where Christ recommends free lending rather than profiting from the issuance of a
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a hoarder of wealth, or an usurer, who gives loans while profiting from an often unfair
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can also be seen in the top left roundel (pictured) depicting the death of a sinner in
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They symbolize power, potentially even anger, and how the miser came to be wealthy.
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emerges from a closet on the left with an arrow pointed at the dying man. An
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Silver, Larry (December 2001). "God in the
Details: Bosch and the Judgment(s)".
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Académie Royale de
Belgique, MĂ©moires de la Classe des Beaux-Arts 15, I: 106-108
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2012:
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was considered immoral and a great sin (a "sin against justice") in the early
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1960:
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Cutler, D. (1969). "Bosch and the
Narrenschiff: A problem in relationships".
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A reconstruction of the left and right wings of the triptych: at upper left
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Chailley, J. (1978). "Jerome Bosch et ses symboles. Essai de decryptage".
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into a single scene. It depicts the final moments of man called a
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Jacobs, Lynn F. (Winter 2000). "The
Triptychs of Hieronymus Bosch".
1062:. National Gallery of Art, Washington. Oxford University Press, 1987.
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law followed these instructions and denounced usury as a practice and
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St. John the
Evangelist on Patmos/Scenes from the Passion of Christ
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The scene is highly reminiscent of an earlier illustration in the
281:"Bona inspiratio angeli contra avariciam,", Cologne, woodcut from
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Fiero, Gloria K. "The humanistic Tradition Fifth Edition". 130.
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Académie Royale de Belgique, Mémoires de la Classe des Beaux-Arts
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infrared reflectogram showing the miser with money bag and goblet
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Fiero, Gloria K. "The Humanistic Tradition Fifth Edition". 130
221:) while clutching his rosary, indicating both his desire for
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painting produced between 1490 and 1516 by the Dutch artist
391:; the weapons and armor are representative of his station.
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which would have been on the outside of the triptych.
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Bosch's familiarity with the visual tradition of the
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Death and the Miser". Studies in the History of Art.
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Jerome Bosch et ses symboles. Essai de decryptage."
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Attributs et symboles dans l'art profane 1450-1600.
1101:Morganstern, Anne M. (1982). "The Pawns in Bosch's
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Hieronymus Bosch: Death and the Miser, c. 1485/1490
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760:Attributs et symboles dans l'art-profane 1450-1600
640:"The foreground of Bosch's "Death and the miser""
557:. National Gallery of Art. Retrieved 23 Oct 2018.
254:members for it until the Council of 1516 passed
1024:Encyclopedia of Death and the Human Experience.
701:
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235:period, mentioned specifically in the Bible in
1501:The Seven Deadly Sins and the Four Last Things
339:The Seven Deadly Sins and the Four Last Things
325:The Seven Deadly Sins and the Four Last Things
1976:
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266:, or agreement to peaceful coexistence, with
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676:: CS1 maint: multiple names: authors list (
92:, but the center piece is missing. It is a
2411:Self-Portrait with Death Playing the Fiddle
1368:Saint Christopher Carrying the Christ Child
2418:Skull of a Skeleton with Burning Cigarette
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451:armor representing a knight's duty to the
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1617:Triptych of the Temptation of St. Anthony
2537:Paintings in the National Gallery of Art
315:
689:
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638:SchlĂĽter; Vinken, Lucy; Pierre (2000).
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109:how to live and die. It is now in the
2557:Allegorical paintings by Dutch artists
1940:Hieronymus Bosch, Touched by the Devil
1285:St. John the Baptist in the Wilderness
871:
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144:), intended to help Christians choose
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2501:Do not go gentle into that good night
1022:Bryant, Clifton D.; Peck, Dennis L.
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533:List of paintings by Hieronymus Bosch
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1587:The Crucifixion of Saint Wilgefortis
1096:Hieronymus Bosch, The complete works
937:Hieronymus Bosch: The Complete Works
1058:Hand, John Oliver; Wolff, Martha.
962:"The Triptychs of Hieronymus Bosch"
151:The scene takes place in a narrow,
148:over earthly and sinful pleasures.
2552:15th-century allegorical paintings
2487:Because I could not stop for Death
1948:Jheronimus Bosch—Visions of Genius
105:, religious texts that instructed
14:
1232:Christ Child with a Walking Frame
939:. Random House Value Publishing.
820:. Stockholm, Sweden. p. 266.
2480:And death shall have no dominion
2425:Sleep and His Half-Brother Death
27:
2453:The Three Ages of Man and Death
2376:Gather Ye Rosebuds While Ye May
1083:New York: H.N. Abrams, 1989.
960:Jacobs, Lynn F. (Winter 2000).
1632:The Garden of Earthly Delights
1074:The Sixteenth Century Journal.
1048:A problem in relationships."
907:10.1080/00043079.1969.10790282
174:The Garden of Earthly Delights
138:) on the "Art of Dying Well" (
1:
2527:Paintings by Hieronymus Bosch
2192:Capuchin catacombs of palermo
1902:
1866:
1833:
1829:Adoration of the Christ Child
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1338:Allegory of Gluttony and Lust
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966:The Sixteenth Century Journal
598:Studies in the History of Art
588:Morganstern, Anne M. (1982).
510:Allegory of Gluttony and Lust
471:Allegory of Gluttony and Lust
1783:The Temptation of St Anthony
1673:Fall of the Damned into Hell
1531:The Temptation of St Anthony
1516:The Temptation of St Anthony
1060:Early Netherlandish Painting
924:. New York: Harry N. Abrams.
920:Brand-Philip, Lotte (1956).
413:, the items symbolic of the
130:belongs to the tradition of
16:Painting by Hieronymus Bosch
2264:The Masque of the Red Death
1923:Jheronimus Bosch Art Center
1160:National Catholic Reporter.
1044:Cutler, D. "Bosch and the
1026:Los Angeles: SAGE, 2009.
721:De Tolnay, Charles (1966).
2593:
1877:The Marriage Feast at Cana
1791:Christ Crowned with Thorns
1458:Christ Crowned with Thorns
1126:LXXXIII Number 4: 626–650.
935:Marijnissen, R.H. (1987).
748:Hand & Wolff, pp. 17-8
195:Subject and interpretation
2547:Christian art about death
2290:Death and Transfiguration
2078:Personifications of death
1799:Christ Carrying the Cross
1443:Christ Carrying the Cross
1353:Christ Carrying the Cross
1140:New York: Reynal, 1966.
758:de Tervarent, G. (1958).
26:
2065:Sic transit gloria mundi
1270:Crucifixion with a Donor
1153:National Gallery of Art.
816:Reuterswärd, P. (1970).
791:. New York. p. 166.
2297:Der Tod und das Mädchen
2134:Post-mortem photography
1943:(2015 documentary film)
1786:(Utrecht, c. 1525–1530)
789:National Gallery of Art
656:10.1163/187501701X00398
435:Letter to the Ephesians
111:National Gallery of Art
58:National Gallery of Art
1844:Death of the Reprobate
868:. Vienna. p. 236.
590:"The Pawns in Bosch's
493:
485:
401:The whole painting is
327:
286:
2542:Paintings about death
2040:Lamentation of Christ
1778:(Indianapolis, 1510s)
1737:Adoration of the Magi
1681:Ascent of the Blessed
1602:Adoration of the Magi
1217:Adoration of the Magi
1136:de Tolnay, Charles.
1076:31, No. 4: 1009-1041.
762:. Geneva. p. 34.
491:
461:
319:
280:
2460:The Triumph of Death
2362:Death and the Maiden
2034:Death and the Maiden
1994:and mortality in art
1794:(El Escorial, 1530s)
1755:(1490s – after 1500)
1752:Head of a Halberdier
1711:Terrestrial Paradise
1647:The Haywain Triptych
1240:St. Jerome at Prayer
1133:Geneva, 1958, I: 34.
1119:114, No. 2/4: 69–78.
1094:Marijnissen, R. H.
864:Baldass, L. (1943).
725:. New York: Reynal.
474:. Panel at right is
387:The miser died as a
285:chapter 10, c. 1450.
82:Northern Renaissance
2446:The Shadow of Death
2439:The Garden of Death
2383:La Calavera Catrina
2369:Death and the Miser
1854:Formerly attributed
1473:Death and the Miser
1013:Brand-Philip, Lotte
1004:Baldass, Ludwig von
787:Walker, J. (1995).
708:, Webmuseum, Paris.
592:Death and the Miser
476:Death and the Miser
422:St. Martin of Tours
361:Death and the Miser
344:Death and the Miser
321:Death of the Sinner
202:combines different
200:Death and the Miser
128:Death and the Miser
77:Death of the Usurer
71:Death and the Miser
22:Death and the Miser
2259:Hamlet's soliloquy
2182:Catacombs of Paris
2007:All flesh is grass
1814:Concert in the Egg
1729:Works by followers
1665:Triptych fragments
1129:de Tervarent, G.
988:– via JSTOR.
666:– via JSTOR.
612:– via JSTOR.
494:
486:
417:and their avarice.
328:
287:
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2397:Pyramid of Skulls
2330:Et in Arcadia ego
1958:
1957:
1951:(2016 exhibition)
1760:The Last Judgment
1696:The Last Judgment
1572:The Hermit Saints
1557:The Last Judgment
1323:Cutting the Stone
1211:List of paintings
1138:Hieronymus Bosch.
1110:Hieronymus Bosch.
1098:. Antwerp, 1987.
1081:Hieronymus Bosch.
504:The Ship of Fools
497:Physical analysis
468:; at lower left:
465:The Ship of Fools
67:
66:
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2248:Book of the Dead
2211:The Seventh Seal
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1481: 1490–1516
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1391: 1490–1500
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1346: 1490–1500
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1278: 1480–1485
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1197:Hieronymus Bosch
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1112:Stockholm, 1970.
1079:Linfert, Carl.
1009:. Vienna, 1943.
1007:Hieronymus Bosch
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972:(4): 1009–1041.
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807:
806:
800:
792:
784:
778:
777:
771:
763:
755:
749:
746:
737:
736:
723:Hieronymus Bosch
718:
709:
703:
694:
691:
682:
681:
675:
667:
635:
614:
613:
585:
558:
552:
455:, and chivalry.
270:, then known as
115:Washington, D.C.
86:Hieronymus Bosch
62:Washington, D.C.
40:Hieronymus Bosch
31:
19:
2592:
2591:
2587:
2586:
2585:
2583:
2582:
2581:
2532:1490s paintings
2517:
2516:
2515:
2506:
2465:
2432:The Ambassadors
2316:
2268:
2216:
2196:
2158:
2087:
1995:
1989:
1959:
1954:
1927:
1911:
1905:
1883:
1869:
1849:
1836:
1821:
1806:
1767:
1744:
1740:(Philadelphia,
1724:
1718:
1703:
1688:
1660:
1654:
1639:
1624:
1609:
1594:
1579:
1564:
1544:
1538:
1523:
1508:
1493:
1480:
1465:
1450:
1435:
1420:
1405:
1398:Head of a Woman
1390:
1375:
1360:
1345:
1330:
1307:
1292:
1277:
1262:
1247:
1224:
1199:
1194:
1164:
1155:New York, 1995.
1037:Chailley, J. "
1019:New York, 1956.
999:
994:
993:
978:10.2307/2671185
959:
958:
954:
947:
934:
933:
929:
919:
918:
914:
892:
891:
887:
870:
863:
862:
858:
844:
843:
839:
822:
815:
814:
810:
793:
786:
785:
781:
764:
757:
756:
752:
747:
740:
733:
720:
719:
712:
704:
697:
692:
685:
668:
637:
636:
617:
587:
586:
561:
553:
546:
541:
529:
499:
438:6:10-17, where
369:
257:montes pietatis
197:
125:
74:(also known as
17:
12:
11:
5:
2590:
2588:
2580:
2579:
2574:
2569:
2564:
2559:
2554:
2549:
2544:
2539:
2534:
2529:
2519:
2518:
2512:
2511:
2508:
2507:
2505:
2504:
2497:
2490:
2483:
2475:
2473:
2467:
2466:
2464:
2463:
2456:
2449:
2442:
2435:
2428:
2421:
2414:
2407:
2400:
2393:
2386:
2379:
2372:
2365:
2358:
2355:Death and Life
2351:
2348:Death and Fire
2344:
2343:
2342:
2337:
2326:
2324:
2318:
2317:
2315:
2314:
2307:
2300:
2293:
2286:
2278:
2276:
2270:
2269:
2267:
2266:
2261:
2256:
2251:
2244:
2239:
2232:
2224:
2222:
2218:
2217:
2215:
2214:
2206:
2204:
2198:
2197:
2195:
2194:
2189:
2187:Sedlec Ossuary
2184:
2179:
2177:Capuchin Crypt
2173:
2171:
2164:
2160:
2159:
2157:
2156:
2151:
2146:
2141:
2136:
2131:
2126:
2121:
2116:
2111:
2106:
2101:
2095:
2093:
2089:
2088:
2086:
2085:
2080:
2075:
2068:
2061:
2054:
2047:
2042:
2037:
2030:
2023:
2016:
2009:
2003:
2001:
1997:
1996:
1990:
1988:
1987:
1980:
1973:
1965:
1956:
1955:
1953:
1952:
1944:
1935:
1933:
1929:
1928:
1926:
1925:
1919:
1917:
1913:
1912:
1910:
1909:
1898:The Owls' Nest
1893:
1891:
1885:
1884:
1882:
1881:
1873:
1862:Two Male Heads
1857:
1855:
1851:
1850:
1848:
1847:
1840:
1825:
1810:
1795:
1787:
1779:
1771:
1756:
1748:
1732:
1730:
1726:
1725:
1723:
1722:
1707:
1692:
1677:
1668:
1666:
1662:
1661:
1659:
1658:
1643:
1628:
1613:
1598:
1583:
1568:
1552:
1550:
1546:
1545:
1543:
1542:
1527:
1519:(Kansas City,
1512:
1497:
1484:
1469:
1454:
1439:
1424:
1409:
1394:
1379:
1364:
1349:
1334:
1319:
1311:
1296:
1281:
1266:
1251:
1236:
1228:
1213:
1207:
1205:
1201:
1200:
1195:
1193:
1192:
1185:
1178:
1170:
1163:
1162:
1156:
1149:
1134:
1127:
1120:
1113:
1108:Reuterswärd.
1106:
1099:
1092:
1077:
1070:
1056:
1053:
1042:
1035:
1020:
1010:
1000:
998:
995:
992:
991:
952:
945:
927:
912:
901:(3): 272–276.
885:
856:
837:
808:
779:
750:
738:
731:
710:
695:
683:
650:(2/4): 69–78.
615:
559:
543:
542:
540:
537:
536:
535:
528:
525:
498:
495:
429:
428:
425:
418:
399:
395:
392:
385:
382:
368:
367:The foreground
365:
252:excommunicated
196:
193:
124:
121:
65:
64:
55:
51:
50:
47:
43:
42:
37:
33:
32:
24:
23:
15:
13:
10:
9:
6:
4:
3:
2:
2589:
2578:
2577:Skulls in art
2575:
2573:
2572:Demons in art
2570:
2568:
2567:Angels in art
2565:
2563:
2560:
2558:
2555:
2553:
2550:
2548:
2545:
2543:
2540:
2538:
2535:
2533:
2530:
2528:
2525:
2524:
2522:
2502:
2498:
2495:
2491:
2488:
2484:
2481:
2477:
2476:
2474:
2472:
2468:
2462:
2461:
2457:
2455:
2454:
2450:
2448:
2447:
2443:
2441:
2440:
2436:
2434:
2433:
2429:
2427:
2426:
2422:
2420:
2419:
2415:
2413:
2412:
2408:
2406:
2405:
2401:
2399:
2398:
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2387:
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2384:
2380:
2378:
2377:
2373:
2371:
2370:
2366:
2364:
2363:
2359:
2357:
2356:
2352:
2350:
2349:
2345:
2341:
2338:
2336:
2333:
2332:
2331:
2328:
2327:
2325:
2323:
2319:
2313:
2312:
2308:
2306:
2305:
2301:
2299:
2298:
2294:
2292:
2291:
2287:
2285:
2284:
2283:Danse macabre
2280:
2279:
2277:
2275:
2271:
2265:
2262:
2260:
2257:
2255:
2252:
2250:
2249:
2245:
2243:
2240:
2238:
2237:
2233:
2231:
2230:
2226:
2225:
2223:
2219:
2213:
2212:
2208:
2207:
2205:
2203:
2199:
2193:
2190:
2188:
2185:
2183:
2180:
2178:
2175:
2174:
2172:
2168:
2165:
2161:
2155:
2152:
2150:
2147:
2145:
2142:
2140:
2137:
2135:
2132:
2130:
2127:
2125:
2122:
2120:
2117:
2115:
2114:Funerary text
2112:
2110:
2107:
2105:
2102:
2100:
2097:
2096:
2094:
2090:
2084:
2081:
2079:
2076:
2074:
2073:
2069:
2067:
2066:
2062:
2060:
2059:
2058:Mono no aware
2055:
2053:
2052:
2048:
2046:
2043:
2041:
2038:
2036:
2035:
2031:
2029:
2028:
2027:Danse Macabre
2024:
2022:
2021:
2017:
2015:
2014:
2010:
2008:
2005:
2004:
2002:
1998:
1993:
1986:
1981:
1979:
1974:
1972:
1967:
1966:
1963:
1950:
1949:
1945:
1942:
1941:
1937:
1936:
1934:
1930:
1924:
1921:
1920:
1918:
1914:
1900:
1899:
1895:
1894:
1892:
1890:
1886:
1879:
1878:
1874:
1864:
1863:
1859:
1858:
1856:
1852:
1846:
1845:
1841:
1831:
1830:
1826:
1816:
1815:
1811:
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1800:
1796:
1793:
1792:
1788:
1785:
1784:
1780:
1777:
1776:
1772:
1762:
1761:
1757:
1754:
1753:
1749:
1739:
1738:
1734:
1733:
1731:
1727:
1713:
1712:
1708:
1698:
1697:
1693:
1683:
1682:
1678:
1676:(before 1490)
1675:
1674:
1670:
1669:
1667:
1663:
1649:
1648:
1644:
1634:
1633:
1629:
1619:
1618:
1614:
1604:
1603:
1599:
1589:
1588:
1584:
1574:
1573:
1569:
1559:
1558:
1554:
1553:
1551:
1547:
1533:
1532:
1528:
1518:
1517:
1513:
1503:
1502:
1498:
1496:; attributed)
1488:
1485:
1475:
1474:
1470:
1460:
1459:
1455:
1445:
1444:
1440:
1430:
1429:
1425:
1415:
1414:
1410:
1400:
1399:
1395:
1385:
1384:
1383:Ship of Fools
1380:
1370:
1369:
1365:
1355:
1354:
1350:
1340:
1339:
1335:
1325:
1324:
1320:
1317:
1316:
1312:
1302:
1301:
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1287:
1286:
1282:
1272:
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1257:
1256:
1252:
1242:
1241:
1237:
1234:
1233:
1229:
1219:
1218:
1214:
1212:
1209:
1208:
1206:
1204:Single panels
1202:
1198:
1191:
1186:
1184:
1179:
1177:
1172:
1171:
1168:
1161:
1157:
1154:
1150:
1147:
1146:9780517255254
1143:
1139:
1135:
1132:
1128:
1125:
1124:Art Bulletin.
1121:
1118:
1114:
1111:
1107:
1104:
1100:
1097:
1093:
1090:
1089:9780810907195
1086:
1082:
1078:
1075:
1071:
1069:
1068:0-521-34016-0
1065:
1061:
1057:
1054:
1051:
1050:Art Bulletin.
1047:
1046:Narrenschiff:
1043:
1040:
1036:
1033:
1032:9781412951784
1029:
1025:
1021:
1018:
1014:
1011:
1008:
1005:
1002:
1001:
996:
987:
983:
979:
975:
971:
967:
963:
956:
953:
948:
942:
938:
931:
928:
923:
916:
913:
908:
904:
900:
896:
889:
886:
881:
875:
867:
860:
857:
852:
848:
841:
838:
833:
827:
819:
812:
809:
804:
798:
790:
783:
780:
775:
769:
761:
754:
751:
745:
743:
739:
734:
732:9780517255254
728:
724:
717:
715:
711:
707:
702:
700:
696:
690:
688:
684:
679:
673:
665:
661:
657:
653:
649:
645:
641:
634:
632:
630:
628:
626:
624:
622:
620:
616:
611:
607:
603:
599:
595:
593:
584:
582:
580:
578:
576:
574:
572:
570:
568:
566:
564:
560:
556:
551:
549:
545:
538:
534:
531:
530:
526:
524:
520:
518:
517:
512:
511:
506:
505:
496:
490:
483:
482:
477:
473:
472:
467:
466:
460:
456:
454:
450:
444:
441:
437:
436:
426:
423:
419:
416:
412:
408:
404:
400:
396:
393:
390:
386:
383:
379:
378:
377:
374:
366:
364:
362:
357:
351:
347:
345:
341:
340:
335:
334:
326:
322:
318:
314:
312:
310:
304:
303:
298:
294:
293:
284:
283:Ars moriendi,
279:
275:
273:
269:
265:
264:
263:modus vivendi
259:
258:
253:
249:
246:
242:
238:
234:
230:
226:
224:
220:
216:
212:
209:
205:
201:
194:
192:
190:
187:
183:
178:
177:
175:
170:
166:
162:
158:
154:
149:
147:
143:
142:
137:
133:
129:
122:
120:
117:
116:
112:
108:
104:
103:
97:
95:
91:
87:
83:
79:
78:
73:
72:
63:
59:
56:
52:
48:
44:
41:
38:
34:
30:
25:
20:
2562:Memento mori
2458:
2451:
2444:
2437:
2430:
2423:
2416:
2409:
2402:
2395:
2388:
2381:
2374:
2368:
2367:
2360:
2353:
2346:
2329:
2309:
2302:
2295:
2288:
2281:
2246:
2236:Bardo Thodol
2234:
2229:Ars moriendi
2227:
2209:
2170:Architecture
2109:Funerary art
2070:
2063:
2056:
2051:Memento mori
2049:
2032:
2025:
2018:
2011:
1946:
1938:
1896:
1880:(after 1550)
1875:
1860:
1842:
1827:
1812:
1797:
1789:
1781:
1773:
1758:
1750:
1735:
1709:
1694:
1679:
1671:
1645:
1630:
1615:
1600:
1585:
1570:
1555:
1529:
1514:
1499:
1487:Flood Panels
1472:
1471:
1456:
1441:
1428:The Conjurer
1426:
1413:The Wayfarer
1411:
1396:
1381:
1366:
1351:
1336:
1321:
1318:(after 1490)
1313:
1298:
1283:
1268:
1258:(Frankfurt,
1253:
1238:
1230:
1215:
1159:
1152:
1151:Walker, J.
1137:
1130:
1123:
1117:Oud Holland.
1116:
1109:
1102:
1095:
1080:
1073:
1059:
1052:51: 272-276.
1049:
1045:
1038:
1023:
1016:
1006:
969:
965:
955:
936:
930:
921:
915:
898:
895:Art Bulletin
894:
888:
865:
859:
850:
846:
840:
817:
811:
788:
782:
759:
753:
722:
706:A Moral Tale
672:cite journal
647:
643:
601:
597:
591:
521:
516:The Wayfarer
514:
508:
502:
500:
481:The Wayfarer
479:
478:. At bottom
475:
469:
463:
445:
433:
430:
373:Ars moriendi
372:
370:
360:
352:
348:
343:
337:
333:Ars moriendi
331:
329:
320:
309:Ars moriendi
307:
302:Ars moriendi
300:
292:Ars moriendi
290:
288:
282:
261:
255:
227:
225:and wealth.
210:
199:
198:
179:
172:
150:
141:Ars moriendi
139:
132:memento mori
127:
126:
118:
102:Ars moriendi
100:
98:
94:memento mori
76:
75:
70:
69:
68:
2404:Roman Widow
2242:Book of Job
1837: 1568
1822: 1561
1745: 1499
1704: 1486
1655: 1516
1625: 1501
1595: 1497
1580: 1493
1565: 1482
1541:; disputed)
1511:; disputed)
1509: 1500
1494: 1514
1466: 1510
1438:; disputed)
1436: 1502
1421: 1500
1406: 1500
1331: 1494
1308: 1489
1293: 1489
1248: 1482
1225: 1475
1220:(New York,
644:Oud Holland
415:aristocracy
268:pawnbrokers
233:Renaissance
123:Description
2521:Categories
2254:Left Ginza
2221:Literature
2099:Death mask
2020:Consolatio
2013:Carpe diem
1105:12: 33–41.
946:0517020386
853:: 106–108.
539:References
449:Lancelot's
107:Christians
2311:Totentanz
1775:Ecce Homo
1763:(Munich,
1699:(Bruges,
1605:(Madrid,
1560:(Vienna,
1549:Triptychs
1534:(Madrid,
1461:(London,
1446:(Madrid,
1356:(Vienna,
1255:Ecce Homo
874:cite book
826:cite book
797:cite book
768:cite book
604:: 33–41.
356:sacrament
204:timelines
49:1490–1516
2494:Erlkönig
2335:Guercino
2322:Painting
2304:Erlkönig
2124:Memorial
2072:Ubi sunt
1889:Drawings
1802:(Ghent,
664:42712016
610:42617947
527:See also
440:St. Paul
411:chivalry
407:nobility
272:lombards
245:Medieval
215:interest
165:crucifix
136:woodcuts
90:triptych
54:Location
2340:Poussin
2163:Artwork
2149:Tragedy
2139:Requiem
2083:Vanitas
2045:Macabre
1932:Related
1916:Museums
1235:(1480s)
997:Sources
986:2671185
513:, with
432:namely
297:avarice
153:vaulted
80:) is a
2471:Poetry
2390:Plague
2154:Wreath
2119:Lament
2000:Themes
1144:
1087:
1066:
1030:
1017:Bosch.
984:
943:
729:
662:
608:
453:Church
405:about
403:satire
398:scene.
389:knight
248:Church
219:demons
182:rosary
146:Christ
36:Artist
2274:Music
2129:Mummy
2104:Elegy
2092:Forms
1992:Death
982:JSTOR
922:Bosch
660:JSTOR
606:JSTOR
323:from
229:Usury
223:piety
208:miser
186:chess
169:devil
161:angel
157:Death
2202:Film
2144:Tomb
1315:Hell
1142:ISBN
1085:ISBN
1064:ISBN
1028:ISBN
941:ISBN
880:link
832:link
803:link
774:link
727:ISBN
678:link
507:and
409:and
241:loan
237:Luke
189:pawn
46:Year
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