Iconology of the Wayfarer Triptych – Detail

…a barrel in the boat, a fish dangling from the right branch and a jug hanging upside down at the end of a long branch rising diagonally upwards on the left: a symbol of Lust. (p. 191)

The allusion to the sin of Lust is reinforced by other details drawn from the traditional Garden of Love – the plate of cherries and the metal wine jug suspended over the side of the boat – which Bosch had employed for the same sin in the Prado Tabletop [Bosch, ca. 1505-1510]. (p. 41)

The allusion to the sin of Lust is reinforced by other details drawn from the traditional Garden of Love – the plate of cherries and the metal wine jug suspended over the side of the boat – which Bosch had employed for the same sin in the Prado Tabletop [Bosch, ca. 1505-1510, “The Seven Deadly Sins and the Four Last Things”]. (p. 30)

Bosch parodiert in seinem «Narrenschiff» diese Maibräuche durch den Maibaummit der Gans, den herabhängenden Karnevalskuchen («mop»), das Weinfaßund den umgedrehten Krug. (p. 167)

The Louvre Ship, decked with greenery, filled with tipplers and barrels, and trailed by thirsty swimmers, is matched in the Rabinowitz panel [Bosch, ca. 1495-1500] by a burly trumpeter astride a barrel. He holds a branch of the same greenery and is escorted by swimmers who resemble those who follow the Louvre bark. Moreover, the hint of amorous relations between the two central figures in the Ship, a lute-playing nun and a monk bobbing for a pancake on either side of a board that bears a plate of cherries, is made more explicit in the Rabinowitz painting by a couple drinking within a tent [Cuttler, 1969, 272-276]. (p. 295)

A flask is placed beside the inscription in the foreground of the scene, and the gallant who sprawls on the skirts of the seated lady offers her a drinking cup. (p. 301:note 34)

More drinks fills out the spaces in the Paris panel’s boat… a metal wine container cools more drink in the water at the bow. (p. 250)