Iconology of the Wayfarer Triptych – Detail

#105

Coats of arms on the tent from An Allegory of Intemperance

Coats of arms on the tent (Yale) or wine tankard (Prado) point to titled nobles and the tradition of the courtly gardens of love. This class satire on the part of Bosch is reinforced in the Seven Deadly Sins [Bosch, ca. 1505-1510] through the presence of foppish archaic costume as well as a costumed fool (with ass’s ears and coxcomb, like the fool in Massys’s III-Matched Pair) [Massys, ca. 1520-1525]. (p.630)

Silver, 2001

God in the Details: Bosch and Judgment(s)

#257

Coats of arms on the tent from An Allegory of Intemperance

The coat of arms on top of the tent can be identified… as being that of the de Bergh family in ‘s-Hertogenbosch and The Hague [Renesse, 1900, 254; Rietstap, 1861, 172]. Brans [Brans, 1948, 44] believes the coat of arms is that of the young man shown in the tent and that it alludes to the corruption of nobility. (p. 208)

Detroit Institute Arts, 1960

Flanders in the fifteenth century: Art and civilization

#352

Coats of arms on the tent from An Allegory of Intemperance

The coat of arms on the roof suggests that these revellers belong to an afnuent or noble family. (p. 298)

Lammertse, 2017

Hieronymus Bosch: The pilgrimage of life triptych

#546

Coats of arms on the tent from An Allegory of Intemperance

The coat-of-arms on the tent is that of the Bergh family, eminent in ‘S-Hertogenbosch and in The Hague. (p. 93)

Cinotti, 1966

The complete paintings of Bosch