Bosch - Virginia Pitts Rembert Temporis

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from the French translation made by de Tolnay (76, note 9) of Siguença’s Spanish text (Fray Joseph de Siguença, Third Part of the History of the Order of St Jerome. Madrid, 1605, 837–841). This translation from the French was made by the author.

4

“Names and Armorial Bearings of the Sworn Brothers Both Spiritual and Temporal of the Most Ancient and Most Glorious Brotherhood of Our Dear City of ‘s-Hertogenbosch”. Title translated from Pinchart, Archives des arts, des sciences et des lettres, vol. I, 268.

5

Historian Jan Mosmans claims to have discovered Bosch’s birthdate as being October 2, 1453: “Der Geburtstag des Hieronymus Bosch,” Die Weltkunst 28, 20 (1958), 31.

6

Translated from the Dutch notation in the registry listed above in note 4, as quoted by de Tolnay from: J. Mosmans, De St. Janskerk to ‘s-Hertogenbosch, ‘s-Hertogenbosch, 1931 [de Tolnay, p.55, note 7, a].

7

The name Bosch is a shortened name derived from the Dutch name, ‘s-Hertogenbosch. The French name of the city is Bois-le-duc.

8

This material has been amplified in recent years and has been recently reported by Roger Marijnissen. Hieronymus’ father, three uncles, and a brother were all listed in the family records as being painters, and his nephew was a woodcarver. His father, Anthonius, the father of five, including two girls, bought a stone house on Bossche Markt, the main town square and repaid the amount of the purchase in nine years, bespeaking a relative monetary comfort. The references in the records that Hieronymus sold property on behalf of his wife suggest that she was also well off.

9

Since so much attention will be given to the Garden of Delights and The Hay-Wain triptychs in Chapter II, it is interesting to note the confusion that has existed concerning the dating of these paintings. According to De Tolnay, using the research of Baldass, “…the pictorial technique surpasses in perfection not only the ‘Hay-Wain,’ but also the ‘Temptation’ at Lisbon, and announces by its shading the last epoch of the artist. It is not to make a very great error to date it around 1500” (De Tolnay, p. 67, note 96). De Tolnay’s successor, Jacques Combe, followed de Tolnay’s suggested chronology. We must note that the most recent research (for example, that of Jos Koldeweij, who mentions the scientific dating of Bernard Vermet) disagrees with these observations.

10

Wilhelm Fränger’s The Millennium of Hieronymus Bosch, Chicago, Illinois: The University of Chicago, 1951, p. 6.

11

These major triptychs will be illustrated as Fränger takes up each in turn.

12

Fränger stated: “No other work of Bosch’s has been so consistently misunderstood as a result of this prejudiced approach as has the triptych, “The Millennium” [this is the title given the work by Fränger, who believed that the central panel represented the idealized estate of the Millennial existence].

13

Quoted from Combe, p.18.

14

Fränger, 21. There is no documentation of this Cambrai record in this translation of Fränger’s book.

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