Iconology of the Wayfarer Triptych

Interprétant l’œuvre comme une satire de la gourmandise, voit dans le mât l’arbre symbolique du Paradis terrestre et dans la tête de squelette le serpent. Demonts [Demonts, 1919, 3-8; 296-298] mentionne aussi les sujets analogues traités par Bosch et connus par des gravures, la Barque bleue et l`Écaille voguant sur Veau, ou par des copies, le Concert dans l’œuf (p.22)

En 1957, Benesch [Benesch, 1957, 28, 33-34] accepte le rapprochement entre l’oeuvre littéraire de Sébastien Brant et le tableau [Bosch, ca. 1505-1510, “The Seven Deadly Sins and the Four Last Things”]. Celui-ci pourrait avoir fait partie d’une série des Péchés capitaux et signifier la gourmandise. L’auteur y verrait une transcription assez littérale du poème de Brant intitulé Dass Schluraffen Schiff car le peintre aurait transposé les jeux de mots de Brant : Nargon et Naragun dérivés du mot _ Aragon _, par allusion au mot germanique Narr, fou; de même Montflascun pour Montefiascone est une allusion à l’italien fiascone, grosse bouteille de vin… Benesch aussi avait d.j. constat. une certaine similitude entre la Nef des Fous et l’Allégorie dans laquelle il voit la peinture d’une nuit d’orgie. (p.25)

Il ne semble d’abord qu’une fantaisie satirique contre la gourmandise, plus spécialement contre la gourmandise des moines, et telle qu’on en trouve dans les manuscrits du xive siècle et surtout dans les sculptures sur bois : miséricordes, stalles et culs-de-lampe. (p.3)

In 1919 Demonts [Demonts, 1919, 4] related the painting to the illustrations in Josse Bade’s French edition of 1498, and interpreted the theme on gluttony. (p.272)

Gluttony was uppermost in Bosch’s mind; in the popular moralizing treatise La Somme le Roi [Laurent, ca. 1295 (Gluttony)] a man at table vomiting to the side characterized the sin, and Bosch too shows a vomiting man… Gluttony is a sin of the tongue: …the evil tongue is the tree God cursed in the gospels for he ne found nothing but leaves… [Francis, 1942, 55]. If the monk leads others into gluttony this is the first branch of the sin, and the twelfth branch of Lust is a man of religion with a woman of religion. The sixth state of Chastity demands that the priest keep clean because he serves at God’s table: Bosch’s dangling pancake suggests the Host, and the board suggests an altar table with cup and paten, though the cloth is lacking. The exact opposite of cleaniness at table, that is, before the altar, is presented here seemingly as an expression of monde monde renverse, which Bosch also symbolized on the left wing of his Lisbon triptych [Cuttler, 1957, 114]. (pp.274-275)

Although not a real ship, the barrel adrift at sea may refer to the ship of fools portrayed by Brant in the Prologue [Brant, 1498 (Frontispiece)] (p.18)

In Bosch’s painting, the vessel appears far too small partly because of the obesity of the seafarer [Brant, 1962, 58]. The barrel has room only for the Man sitting on top while his skinny companions push him along. The very image of gluttony, he seems as full as the barrel with his puffed-out cheeks and round paunch. Both the glutton and his round wine cask have reached the bursting point, for he spews music from a long trumpet just as the barrel spews wine. With eyes nearly popping out of his head and his stomach stretching tight the strings of his vest, he epitomizes the greedy, obese Christian. (p.18)

The smooth, generalized surface of his round face and stomach form an odd contrast with his delicate, insect-like hands and his spindly legs, which barely seem capable of supporting the huge burden above. Brant warns of the folly of gluttony.[Brant, 1962, 98] (p.20)

By his mere physical size he seems about to topple over into the sea. But he remains oblivious to the danger and unaware that his companions may pose a threat to his security. His fine and sleek paunch may incur the envy and jealousy of his retinue, whose partially hidden faces suggest a note of conspiracy. He appears unaware that they are already sneaking wine from the cask, right from under his nose [Brant, 1962, 283]. (p.20)

The glutton’s strange paraphernalia may signify another aspect of his corruption. He sports curious head-gear, an inverted funnel that often alludes to man’s madness or mere folly [Cuttler, 1957, 122]. The funnel signifies a make-shift fool’s cap as Brant suggests [Brant, 1962, 314]. (p.20)

Despite his position and propriety, the glutton must wear a funnel as if he, too, lacks the cloth for a cap. Using the same image, Brant attacks those who do not revere one true God while Bosch satirizes the selfish gluttony of all Christians [Brant, 1962, 314]. (p.20)

An image like the trumpet protuding from his mouthless, pneumatic face further parodies the glutton’s pomposity. A long, slender pipe appears frequently in Bosch’s art, usually connected with folly [Cuttler, 1957, 122]. The Man seems so preoccupied with his pipe that he fails to see where they are headed… His eyes bulging out from blowing, he cannot see past the end of his trumpet. His preoccupation leaves him oblivious to the men around him or the leak in the barrel. His folly represents that of all Christians who ignore the possibility of their own destruction while pursuing a vain and frivolous purpose [Brant, 1962, 187]. (pp.20-21)

The narrow pipe and the slender stick held delicately in his hand are as tooth- picks compared to his inflated face and body. Striking his formal pose, he carries the branch like a proper banner, recalling another fool from Brant’s poem… [Brant, 1962, 187] Unable to play a harp and evoke heavenly music, the man instead must play with toys such as pipe and branch. Supporting a ball (perhaps an apple) on a string, the branch may signify a distant relative of the Tree of Life which led to the fall of man; the ball hangs above the noses of the swimmers as if alluding to the first temptation. (p.21)

The relation of the fully-dressed Man to the naked skinny men pushing him suggests a proverbial contrast between the lesser and the greater in size, dress, and occupation. The glutton rides along while they toil away much like the peasants Brant describes [Brant, 1962, 242]. (p.21)

Though certainly no priest, the glutton appears to be the lazy leader of the crew. Flourishing wand and pipe, he seems content to play the lord, but never work while his minions strain to push him. But despite his lordly manner, the glutton is in a precarious position. He tempts fate by sitting fully clothed and balanced only by his spindly legs. His foolishness recalls Brant’s comment [Brant, 1962, 122, 273]. (p.21)

Whether he symbolizes a lord or a priest, he remains unprotected from the possible treachery of those accompanying him. Already his victimized crew seems on the verge of mutiny with their eyes on the wine spilling out and the ball dangling above them. The imagery illustrates Brant’s message that man can trust his fellow man only so far [Brant, 1962, 58]. (p.22)

The glutton allows the men to direct the rudderless ship wherever they please. He overlooks the possibility that his wealth or wine or position may arouse the envy of the others, a fatal oversight, according to Brant [Brant, 1962, 333]… The companions glance up at the Anti-christ with almost conspiratorial intent while one sneaks a bowl of wine from the barrel. But the glutton is unaware of their antics; even if he could see past the end of his trumpet, he could not distinguish between real friendship and deceit. (p.22)

The glutton appears oblivious to the intentions of his skinny friends, a dubious-looking crew at best. One untrustworthy type wears only a hood, perhaps that of an acrobat or jongleur. Another catches the leaking wine, while his companion chases an unseen object through the water. The latter merits particular attention, for he wears on his head a covered dish with a duck or goose underneath. Although he seems to be blinded by the hat and unable to see where he is, the man pursues his object with arms outstretched and groping, recalling Brant’s portrait of those who act like geese [Brant, 1962, 141]. (p.22)

By wearing odd and cumbersome headgear, the man seems as brainless as the bird on his head. Like him, all the other characters in the picture act blind and fail to realize where they are headed. Except for the glutton-who cannot see past the end of his trumpet anyway-their eyes remain dim brown shadows. They fail to recognize any possible danger, disregarding Brant’s warning in The Schluraffen Ship (Ship of Apes). (p.22)

Apart from the moral threat of damnation, Bosch creates a mute, uneasy feeling that man’s well-being is threatened. More subtle than Brant, he blurs the boundary between animate and inanimate forms. The similarity of the glutton’s sphere-like form to the round barrel almost dissolves the distinction between human and non-human. The glutton himself, with his expansive paunch and rigid, twig-like fingers, suggests not a human figure but some strange insect. The three men leaning against the barrel produce only a tiny wave, as if no human force attached to their actions. They seem to be mere shadows, their faces blurred and indistinct and their eyes unable to focus. Their lack of expression or muscular force deprives their actions of meaning or vitality. While they act their rôles, the figures threaten to drift away from each other like separate and unrelated marionettes. (p.22)

…these ‘children of the moon’ are obsessed by the thought of food and drink… the whole digestive system, the stomach, stomach ailments and nausea were subject to the moon’s control [Agrippe, 1910, 1, 62; de Saint-Marc, 1880, 180-183; Saintyves, 1937,139, 149, 191]. ‘Picatrix’ [Ritter, Plessner & Mayriti, 212] records that ‘children of the moon’ are characterized by their gluttony and drunkenness, and Abraham Ibn Ezra [Abraham, Levy & Cantera, 1939, 201] also notes their gluttony… Of the seven deadly sins, each of which was associated with one of the planets, it was gluttony that fell to the moon [Boll, 1913, 37]. (pp.62-63)

The presence of monks and nuns in the Ship of Fools further underscores the hypocrisy and folly of wrong behavior and personal indulgence (emblematized in the center of the boat by the giant hanging pancake, the traditional indulgence food of carnival). (p.630)

…the Paris-New Haven wing embodies a deadly sin here, luxury, both of gourmandise (rather than the sin of gluttony, with its own segment on the circle of sins) and of sexuality (note that the scene of the punishment for luxury in the Hell roundel of the Prado sins consists of a fornicating couple in bed with demons[Bosch, ca. 1505-1510, “The Seven Deadly Sins and the Four Last Things”]). (p.630)

…it is a pig’s trotter, which can be explained by the image of the pig as a symbol of gluttony. Jews are often depicted in a disreputable way by being linked to the pig [Shachar, 1974, 5; Fabre-Vassas, 1997]. Pigs’ trotters always crop up in Bosch’s work wherever gluttony or impending poverty are concerned [Bosch, ca. 1505-1510; Cinotti, 1966, cin. 2, cin. 43; Follower of Pieter Bruegel, ca. 1550-1575; Bosch, ca. 1520-1545″; Lugt, 1968, 25; Koldeweij, Kooij & Vermet, 2001, 160], since it is this small residue of the pig that could be given away to the poor. (pp. 34-35)

The barrel-rider also belongs to this context of gluttony as a parody of Bacchus. But since he wears a funnel, a Jewish allusion is possible: Jews are depicted with a pointed hat. There could be an allusion to the “avarus” too, who, according to the ancients, was seen as a dropsy sufferer: the more he drank, the thirstier he became. In other words, the more money he has, the more he wants [Newhauser, 1986, 320 ff..]. (p. 36)

M. Camille Benoit, à Paris, possède un panneau en hauteur, peutêtre unvolet de triptyque, qui figure une barque voguant sur l’eau, pleine de passagers, incontestablement un souvenir de la Nef des fous de Sébastien Brandt [Brant, 1962]… grimpé sur une branche de cet arbre, absorbe gloutonnement le contenu… (pp. 79-80)

Under a pink pennon bearing the Crescent, corrupt humanity embarks in a nutshell and abandons itself to the pleasure of gluttony unaware that it is drifting to its doom. The clergy occupies the place of honour in this scapha gustationis, which was probably once part of a triptych made up of other ‘ships of fools’ depicting various sensual pleasures. (p. 92)

He again makes use of a crescent-bearing oriflamme, and the motley fool, perched on a spar with his cap, bells and bauble, is the twin brother of the mariners in Josse Bade’s work [Badius, 1498]. Each of the subsequent prints represents the folly of one or other senses and it has been suggested [Demonts, 1919, 1 ff] that Bosch, adopting this idea, depicted here the follies of ear and taste, and that the panel might well be one of the wings of a triptych illustrating the topic to a finish. (pp. 24-25)

Men meent de meesten terug te vinden in de bemanning van de Blauwe Schuit van Jacop van Oestvoren[van Oestvoren, 1413; Brant, 1962; Badius, 1498; Maeterlinck, 1907, 219; Gossart, 1907, 191; Demonts, 1919, 6 ff.; de Tolnay, 1937, 28, 64, note 65; van der Heyden, 1562; van der Heyden, 1559; Combe, 1946, 36, 66, note 128]… De nar en de naakte kerels ontbreken echter. Reeds bleek ons, dat vele leden van de bemanning, die volgens Jacops gedicht de Blauwe Schuit vullen moet, nooit tot het Brabantse Carnavalsgezelschap behoord zullen hebben, maar dat zij genoemd worden om de sfeer van losheid en dwaasheid weer te geven, welke de club nastreefde. Zij zijn geijkte typen, die voor de 15de-eeuwers zinnebeelden waren van het lichte en losse leven, en ook de sujetten van Bosch lijken zulke stereotiepe figuren. De vent „inden haselare, de nar met zijn marot, de zijn maag legende vraat, de man die de grote pollepel hanteert, zuster Lute en haar verlopen monnik, de jolige drinkebroer met de op een stok gestoken kan, de drank- en minlustige bagijn, de neergevallen dronkaard en de twee naakte boeven, die gaarne bij het nat zijn, zij allen waren voor van Akens tijdgenoten symbolen. Zo’n stelletje heeft men in werkelijkheid nooit te zamen gezien, evenmin als de bemanning van de Blauwe Schuit uit het gedicht, behalve dan wellicht in een schuit als die te Nijmegen of Bergen-op-Zoom, waarin men hen kan nagebootst en gehekeld hebben. Maar indien ooit echte fuifnummers in een schuit door een stad getrokken zijn, waren zij niet zulke symbolen als de pretmakers van Jeroen [Bax, 1949, 196:note 112]. (p. 194)

The Ship of Fools in the Louvre has been rightly pointed out as an illustration to Sebastian Brant’s Narrenschiff, the Ship of Fools, and to the Dutch popular conception of The Blue Barge. It too may once have formed part of a series of deadly sins and have signified greed and gluttony. (pp. 33-34)

…dressed in red and holding a knife in one hand, is scaling the main mast in order to cut down a trussed and plucked chicken: a symbol of Gluttony. (p. 191)

Various material analyses have proved that this small oak panel, depicting allegories of the deadly sins of Gluttony (gula) and Lust (luxuria) (p. 256)

Various material analyses have proved that this small oak panel, depicting allegories of the deadly sins of Gluttony (gula) and Lust (luxuria) (p. 256)

In the upper part of the New Haven panel, a man is seated on a Floating barrel, which is being pushed along by several men. The dish on a swimmer’s head holds a meat pie decorated wiith a bird’s head. The bathers have left their clothes on the shore. These figures demonstrate an interest not only in singing, eating and drinking but also in love, as is evident from the couple in the tent, seated snugly at the table. (p. 298)

Whereas the left wing seems to depict mainly the sins of gluttony (gula) and lust (luxuria)… (p. 298)

In the upper part of the New Haven panel, a man is seated on a Floating barrel, which is being pushed along by several men. The dish on a swimmer’s head holds a meat pie decorated wiith a bird’s head. The bathers have left their clothes on the shore. These figures demonstrate an interest not only in singing, eating and drinking but also in love, as is evident from the couple in the tent, seated snugly at the table. (p. 298)

“Whereas the left wing seems to depict mainly the sins of gluttony (gula) and lust (luxuria)… (p. 298)”

“Whereas the left wing seems to depict mainly the sins of gluttony (gula) and lust (luxuria)… (p. 298)”

More depictions of fools were used in imagery, such as Bosch’s Ship of Fools, which, just like Concert in an egg [Follower of Jheronimus Bosch, ca. 1561], is a vilifying presentation of foolish behaviour, an allegorical scene that satirizes the gluttony of the clergy and rejects exuberance. It was a popular subject at around ,1550-60, of which Hieronymus Cock’s engraving of Musicians in a mussel shell [van der Heyden, 1562] is also an example. (p. 370)

Gluttony is undoubtedly represented not only by the peasant cutting down the roast goose tied to the mast… (p. 41)

Gluttony is undoubtedly represented… by the man who vomits over the side of the boat at the right… (p. 41)

Gluttony is undoubtedly represented… by the giant ladle which another member of the merry party wields as an oar. (p. 41)

The intimate association between Gluttony and Lust in the medieval moral system was expressed by Bosch… (p. 44)

Gluttony is personified by the swimmers at the upper left who have gathered around a large wine barrel straddled by a pot-bellied peasant. Another man swims closer to shore, his vision obscured by the meat pie balanced on his head. (pp. 44-46)

…on the right, by a pair of lovers in a tent, another motif reminiscent of the Lust scene in the Prado Tabletop [Bosch, ca. 1505-1510, “The Seven Deadly Sins and the Four Last Things”]. That they should be engaged in drinking wine is entirely appropriate: Sine Cerere et Liberto friget Venue (Without Ceres and Bacchus, Venus freezes); this tag from Terence was well known to the Middle Ages, and that Gluttony and Drunkenness lead to Lust was a lesson that the moralizers never tired of driving home to their audiences. (p. 46)

Gluttony is undoubtedly represented not only by the peasant cutting down the roast goose tied to the mast… (p. 30)

Gluttony is undoubtedly represented… by the man who vomits over the side of the boat at the right… (p. 30)

Gluttony is undoubtedly represented… by the giant ladle which another member of the merry party wields as an oar. (p. 30)

The intimate association between Gluttony and Lust in the medieval moral system was expressed by Bosch… (p. 44)

The intimate association between Gluttony and Lust in the medieval moral system was expressed by Bosch… (p. 32)

The intimate association between Gluttony and Lust in the medieval moral system was expressed by Bosch… (p. 32)

Gluttony is personified by the swimmers at the upper left who have gathered around a large wine barrel straddled by a pot-bellied peasant. Another man swims closer to shore, his vision obscured by the meat pie balanced on his head. (p. 32)

…on the right, by a pair of lovers in a tent, another motif reminiscent of the Lust scene in the Prado Tabletop [Bosch, ca. 1505-1510, “The Seven Deadly Sins and the Four Last Things”]. That they should be engaged in drinking wine is entirely appropriate: Sine Cerere et Liberto friget Venue (Without Ceres and Bacchus, Venus freezes); this tag from Terene was well known to the Middle Ages, and that Gluttony and Drunkenness lead to Lust was a lesson that the moralizers never tired of driving home to their audiences. (p. 32)

Is the subject gluttony or lunacy? Certainly the small handful of cherries is more likely to exasperate the already desperate desire of these madmen than to satisfy their stomachs, as Cinotti [Cinotti, 1966] points out. (p. 66)

… was first published by Tolnay [de Tolnay, 1937], who suggested it might depict an episode concerning the Prodigal Son… Adhémar… believed it to have been a whole symbolising May or Spring) [Adhémar, 1962; Bosch, ca. 1475-1500, “La Nef des fous (The Ship of Fools)”]… Baldass believed it, instead, to be part of a panel illustrating the Deadly Sins [Baldass, 1959]. Bax (1949) viewed it as the summer feast of a merry party, and interpreted the various objects as symbols of forbidden love. The fragment depicts in a lively style akin to that of The Ship of Fools [Bosch, ca. 1475-1500, “La Nef des fous (The Ship of Fools)”] and with a delightful lightness of touch, Lust (a couple of lovers under a tent) and Gluttony, in the shape of a sort of Flemish Silenus [Seymour, 1961] bestriding a floating cask from which wine spills: this figure inspired the ‘Carnival’ of Bruegel’s Carnival and Lent in Vienna [Bruegel, 1559, “The Fight between Carnival and Lent”]. (p. 93)

… was first published by Tolnay [de Tolnay, 1937], who suggested it might depict an episode concerning the Prodigal Son… Adhémar… believed it to have been a whole symbolising May or Spring) [Adhémar, 1962; Bosch, ca. 1475-1500]… Baldass believed it, instead, to be part of a panel illustrating the Deadly Sins [Baldass, 1959]. Bax (1949) viewed it as the summer feast of a merry party, and interpreted the various objects as symbols of forbidden love. The fragment depicts in a lively style akin to that of The Ship of Fools [Bosch, ca. 1475-1500] and with a delightful lightness of touch, Lust (a couple of lovers under a tent) and Gluttony, in the shape of a sort of Flemish Silenus [Seymour, 1961] bestriding a floating cask from which wine spills: this figure inspired the ‘Carnival’ of Bruegel’s Carnival and Lent in Vienna [Bruegel, 1559 (The Fight between Carnival and Lent)]. (p. 93)

Bosch did not just take influences from Leonardo. He also gave some back. There is a good likelihood that the Italian artist based his undated drawing at Windsor called Allegory with a Wolf and Eagle [da Vinci, ca. 1591-1624] on an early version of Bosch’s frequently depicted Ship of Fools. In the painting at the Louvre, which is the best known best example of Bosch’s depictions of the Ship of Fools, the gluttonous and lustful figures ride on a boat which has a tree for a mast. Leonardo’s wolflike creature, which represent humanity;s animal side, rides on a similar boat. Leonardo’s version of the scene is more optimistic than Bosch’s, however. Bosch’s fools are determinedly unaware, but Leonardo’s animal steers its way by an eagle, a symbol of the higher self. (p. 79)

The figure that is a both an apt translation of the text and a subtle tribute to Brant’s supplementary woodcut is Bosch’s image of the gluttonous man. This man reflects the qualities Brant describes in his chapter “Gluttony and Feasting,” where he addresses the issue of consuming wine in excess [Brant, 2011, 97]… The resulting character is not simply a glutton, but is commonly understood as an allegory of Gluttony itself [Morganstern, 1984, 300]. Here, Gluttony appears as an overweight man who is observably “round and staunch,” yet must be deduced to be one who “neglects his friends” through his expressed ignorance to those swimming beneath him. In a subtle dissonance of word against image, Gluttony recalls the “silly swine” through his pink garments and pig-like facial structure, yet fails to embody the literal visual translation for Brant’s line of text as he is not an actual swine [Brant, 2011, 97]. In further referential detail, Gluttony rides aboard a leaking barrel in a sea of wine, honoring Brant’s earlier description of the “wise man” Noah. Conversely to the sober Noah, this gluttonous man is entirely obedient to wine’s wiles, and is slowly sinking to his death in the very thing he desires, unable to navigate the wine-filled “ocean deep” [ [Brant, 2011, 97]]. In the hands of Bosch as mediator, Gluttony is at the complex intersection of a well-divined metaphor and a veritably human fool, the latter expected by the viewer, having read Brant. (pp. 29-30)

As the counterpart to the allegory of Avarice [Bosch, ca. 1485-1490], Bosch’s inclusion of The Ship of Fools [Bosch, ca. 1475-1500] places final emphasis on the allegory of Gluttony represented by the overweight barrel-rider. (p. 36)

The third figure representation at the inn is a man relieving himself. This figure is not represented inside the building as are the others, but appears outside. It seems to be similar to them also in its meaning and it, too, may refer to what the peddler has done in the activity of his does not seem to be a professional one in the the word but rather a typical vice which is characteristic connected with the profession of a peddler. A figure relieving himself frequently occurs in art in drinking [Philip, 1958, 19:note 39-40, 70:note 147; Lafond, 1914, 86-87; Hollstein, 1949, VI, 22; du Hameel, ca. 1478-1506; Donatello, ca. 1457-1464; Titian, 1518; Michelangelo, 1533]. Surely the peddler had had his share of drinks Many of his attributes point to this, and even the wound the result of a fall during drunkenness. That the peddler also been assumed by Bax [Philip, 1958, 70:note 148; Bax, 1949, 224f.; Hauber, 1916, 75; Panofsky, Giehlow & Saxl, 1923, 27]. It is again in this characterization ard that the figure corresponds to the conjurer [Bosch, ca. 1475], for distinctly characterized as a glutton [Philip, 1958, 34:note 66]. (pp. 69-70)

Mit den «Müßiggängerschiffen» (heißen sie nun «Narrenschiff»,«Leichtschiff», «Schluraffen Schiff», «Sint Reynuut» oder «Blauwe Schuit»)sollen die Müßiggänger satirisiert werden, die sich von der übrigen Gesellschaftabsondern. Das «Narrenschiff» wurde hauptsächlich gegen die Müßiggänger aufgerichtet. Die Passagiere dieser Fahrzeuge streben ein irdisches Paradies an, sie leben ms «Blaue» hinem [Leeber, 1939-1940; Enklaar, 1937, 35-85; Enklaar, 1940, 111], achten Jedoch nicht aufden «gemeinen Nutz» (res publica) und vergessen vor allem das Himmelreich. Sie ahnen nicht, daß die dünne Schale ihres Gefährtes sie nur wenigeZentimeter vom Tode trennt. Ihr sinnliches Treiben 1st Selbstbetrug, da ihr Ende naht. Diese – nach Meinung der Humanisten um 1500 – gottlosen Prasser und Schlemmer segeln ohne Steuer und Kompaß auf dem «Meerder Welt» ihrem sicheren Untergang entgegen. Die «Müßiggängerschiffe» sollen in satirisch-didaktischer Absicht sowohl vor dem persönlichenSchiffbruch wie vor dem «Schiffbruch» der Gemeinschaft und des Staateswarnen. Sie enthalten ein Gleichnis für «jedermann», um sich selbst zu erkennenund Maß zu halten. Diesem Impetus folgt auch Boschs «Narrenschiffo,das zu einem Laster-Triptychon gehört, das vor gefährlicher Armutund übertriebenem Reichtum warnen will. (pp. 167-168)

…Ship of Fools is a companion piece to the Miser ; it could have covered two additional sins, gluttony and lust [Benesch, 1957, 33f.; Baldass, 1943, 235; Baldass, 1968, 621; Gerlach, 1979, 14; Morganstern, 1982, 41:note 41-42]. (p. 38)

…Ship of Fools is a companion piece to the Miser; it could have covered two additional sins, gluttony and lust [Benesch, 1957, 33f.; Baldass, 1943, 235; Baldass, 1968, 621; Gerlach, 1979, 14; Morganstern, 1982, 41:note 41-42]. (p. 38)

…Ship of Fools is a companion piece to the Miser ; it could have covered two additional sins, gluttony and lust [Benesch, 1957, 33f.; Baldass, 1943, 235; Baldass, 1968, 621; Gerlach, 1979, 14; Morganstern, 1982, 41:note 41-42]. (p. 38)

Otto Benesch suggested that the Ship of Fools could have been part of a series of the Seven Deadly Sins and signify Gluttony [Benesch, 1957, 33f]. Baldass [Baldass, 1943, 235; Baldass, 1968, 621] has suggested that the Yale panel, represents Lust and Gluttony from a similar series, and this idea has been recently endorsed by Gerlach [Gerlach, 1979, 14]. (p. 41:note 41)

Otto Benesch suggested that the Ship of Fools could have been part of a series of the Seven Deadly Sins and signify Gluttony [Benesch, 1957, 33f]. Baldass [Baldass, 1943, 235; Baldass, 1968, 621] has suggested that the Yale panel, represents Lust and Gluttony from a similar series, and this idea has been recently endorsed by Gerlach [Gerlach, 1979, 14]. (p. 41:note 41)

Otto Benesch suggested that the Ship of Fools could have been part of a series of the Seven Deadly Sins and signify Gluttony [Benesch, 1957, 33f]. Baldass [Baldass, 1943, 235; Baldass, 1968, 621] has suggested that the Yale panel, represents Lust and Gluttony from a similar series, and this idea has been recently endorsed by Gerlach [Gerlach, 1979, 14]. (p. 41:note 41)

The panels appear to depict allegories of three of the Seven Deadly Sins [Bosch, ca. 1505-1510]. Both the Louvre and the Yale paintings have often been associated with Gluttony and Lust [Morganstern, 1984, 300:note 30; Benesch, 1957, 33-34; Adhémar, 1962, 28-29; de Mirimonde, 1971, 34-35; Cuttler, 1969, 274-275], and the reconstruction of these panels strengthens that association. (p. 300)

The panels appear to depict allegories of three of the Seven Deadly Sins [Bosch, ca. 1505-1510]. Both the Louvre and the Yale paintings have often been associated with Gluttony and Lust [Morganstern, 1984, 300:note 30; Benesch, 1957, 33-34; Adhémar, 1962, 28-29; de Mirimonde, 1971, 34-35; Cuttler, 1969, 274-275], and the reconstruction of these panels strengthens that association. (p. 300)

The panels appear to depict allegories of three of the Seven Deadly Sins [Bosch, ca. 1505-1510]. Both the Louvre and the Yale paintings have often been associated with Gluttony and Lust [Morganstern, 1984, 300:note 30; Benesch, 1957, 33-34; Adhémar, 1962, 28-29; de Mirimonde, 1971, 34-35; Cuttler, 1969, 274-275], and the reconstruction of these panels strengthens that association. (p. 300)

Otto Benesch suggested that the Ship of Fools could have been part of a series of the Seven Deadly Sins and signify Gluttony [Benesch, 1957, 33-34]. His suggestion was supported by Adhémar’s analysis of the theme [Adhémar, 1962, 28-29], and has been echoed recently by A. P. de Mirimonde [Mirimonde, 1971, 34-35]. Cuttler interpreted the Ship of Fools as a moralizing satire on Gluttony, with Lust possibly a subtheme [Cuttler, 1969, 274-275]. (p. 300:note 30)

The ship with its merrymakers remains the principal motif, but its theme is amplified by the glutton astride a barrel who seems to herald the vessel’s approach to those ashore, some of whom have already abandoned their clothing and taken to the water. Although the situation of the ship’s occupants seems less precarious when now seen close to land, the presence of the knight in the water adds a new threat to their security. In this panel, Bosch represents Gluttony and Lust as dangerous and also foolish, for an indifferent jester presides over all. That he chose to combine the two sins in one panel need not surprise us. Gregory the Great had put Gluttony and Lust at the end of his list of the Seven Cardinal Sins and labeled them carnal [Bloomfield, 1952, 72]. His example was followed by a frequent association of them in subsequent medieval commentary [Bloomfield, 1952, 73, 89, 140, 174f, 197, 215], and Bosch included allusions to gluttony in his illustration of Lust in the Prado Tabletop [Morganstern, 1984, 301:note 34; Baldass, 1968; Bosch, ca. 1505-1510]. (pp. 300-301)

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)

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)

In the section depicting Ira in Bosch’s Seven Deadly Sins tabletop [Bosch, ca. 1505-1510], there is a tavern behind the scene of the men fighting. There is a demonic tavern in the center panel of the Vienna Last Judgment [Bosch, ca. 1504-1508; de Tolnay, 1966, 174] with gluttons and drunkards around it and lechers on the roof. There are also taverns, with lechers on the roofs, in the Bruges Last Judgment and in the Hell panel of the Garden of Earthly Delights [Bosch, ca. 1500; Bosch, ca. 1490-1500]. In the Bruges painting sinners who were apparently guilty of excessive drinking are gathered around a barrel in front of the tavern. A similar tavern that is in even worse condition than that of the Rotterdam tondo appears in the background of a scene of revelry in a 16th-century woodcut by Sebald Beham [Beham, 1535]. (p. 93:note 47)

The hoof appears to be associated with gluttony and lust – sins that were known to prosper in public houses. Within Bosch’s own oeuvre, hooves are shown in contexts that seem to establish this association. A hoof is portrayed on a banner flying above a tent that serves as a tavern and brothel in the fragment of a painting at Yale, Allegory of Gluttony and Lust [Bosch, ca. 1495–1500; de Tolnay, 1966, 94]. Another hoof is shown clutched in the greedy hand of the jug-holding glutton in the Seven Deadly Sins tabletop [Bosch, ca. 1505-1510; de Tolnay, 1966, 66]. The Rotterdam poor man’s hoof would thus suggest that he is guilty of similar carnal indulgences. (pp. 94-95)

…the Paris-New Haven wing presents a consistent enactment of another deadly sin: luxuria, sensuous self-indulgence featuring lust and gluttony in combination. In some respects, this fleshly weakness can be seen as the same kind of product of prosperity that provoked the image of Death and the Usurer [Bosch, ca. 1485-1490]… Bosch exploring such lustful and gluttonous impulses in me central panel of his Garden of Earthly Delights [Bosch, ca. 1490-1500]… its giant fruits and sexually cavorting nudes display a more extreme form of the same behavior as Bosch represents in his Ship of Fools and Allegory of Gluttony wing. (p. 245)

…the Paris-New Haven wing presents a consistent enactment of another deadly sin: luxuria, sensuous self-indulgence featuring lust and gluttony in combination. In some respects, this fleshly weakness can be seen as the same kind of product of prosperity that provoked the image of Death and the Usurer [Bosch, ca. 1485-1490]… Bosch exploring such lustful and gluttonous impulses in me central panel of his Garden of Earthly Delights [Bosch, ca. 1490-1500]… its giant fruits and sexually cavorting nudes display a more extreme form of the same behavior as Bosch represents in his Ship of Fools and Allegory of Gluttony wing. (p. 245)

…the Paris-New Haven wing presents a consistent enactment of another deadly sin: luxuria, sensuous self-indulgence featuring lust and gluttony in combination. In some respects, this fleshly weakness can be seen as the same kind of product of prosperity that provoked the image of Death and the Usurer [Bosch, ca. 1485-1490]… Bosch exploring such lustful and gluttonous impulses in me central panel of his Garden of Earthly Delights [Bosch, ca. 1490-1500]… its giant fruits and sexually cavorting nudes display a more extreme form of the same behavior as Bosch represents in his Ship of Fools and Allegory of Gluttony wing. (p. 245)

…the Paris-New Haven wing [Bosch, ca. 1475-1500; Bosch, ca. 1495–1500] presents a consistent enactment of another deadly sin: luxuria, sensuous self-indulgence featuring lust and gluttony in combination. In some respects, this fleshly weakness can be seen as the same kind of product of prosperity that provoked the image of Death and the Usurer. Yet instead of the middle-class money economy of the cities that shapes the Washington panel, this imagery emerges from a court culture, whose private pleasures remained potentially unchecked. (p. 245)

… the New Haven fragment, we find mere a mixture of both gluttony and lust [Eisler, 1961, 44-48]. (p. 245)

… the New Haven fragment, we find mere a mixture of both gluttony and lust [Eisler, 1961, 44-48]. (p. 245)

Both the giant pancake and the giant spoon used as the boat’s rudder are images of gluttony. (p. 250)

Both the giant pancake and the giant spoon used as the boat’s rudder are images of gluttony. (p. 250)

the Concert in an Egg [Follower of Jheronimus Bosch, ca. 1561]… and its composition most closely resembles the New Haven Allegory of Gluttony… (p. 320)