Of the various interpretations that have gradually seen the paintings of Hieronymus Bosch the product of an eccentric inventor of monsters and chimeras, the result of wonderful and unique patterns more repugnant than pleasant, the reflection of esoteric practices inspired by the heretical movements devoted to alchemy and witchcraft, or, in more recent times, the depiction of the most disturbing forms arised from the depths of the unconscious, then by the great Flemish painter, a kind of anachronistic follower of Surrealism and even of the psychoanalytic theories of Freud, had already justice done, if we see, the English priest Fray Jose de Siguença, the which, in 1605, stated that if other artists depicted the man as ever, Bosch had had the audacity to paint it as it is internally bringing to light, we must add, the tangle of good and evil in man to sublimate it into high poetry and create one of the most charming views of European painting.
The mentality was that Bosch's common to men of his time, that autumn of the Middle Ages in which the terror of the Apocalypse was still present and I live in the conscience, and il suo universo catastrofico e convulso si alimenta interamente delle ansie e delle angosce di quell’epoca. Lo sgomento della fine del mondo e del Giudizio Divino si rispecchia nella proliferante selva di ossessioni e simbologie mistiche e infernali, coi suoi risvolti di orrore per il peccato e di anelito all’ascesi, che appare nel cosmo urlato e straziato del pittore, in cui l’ordine delle cose è scardinato e sconvolto e dove si assiste ad orrende metamorfosi e ad oscene congiunzioni. La flora e la fauna, antropomorfizzate e talvolta metalizzate, ridotte comunque a forme aliene e inquietanti, braccano un’umanità spaventata e derelitta, quando non sono gli stessi diavoli ad afferrarla e punirla mentre è dedita solace to the most vile, or any kind of violence, and could not fly in the skies sulfur birds but wild fish swim and sail boats threatening.
We moderns have forgotten the fantastic and symbolic language of the past and that is why we can not easily understand the world of Hieronymus Bosch, to the point that some, in recent times, have gone so far as to feel it the result of a condition caused by taking hallucinatory drugs, possibly because contemporary poverty of imagination, the imagination can conceive only associated with the disruption the mind and senses corresponding to the so-called state of trance produced by drugs. Instead that was easily accessible to the contemporary world of the painter in his time because the reality was visible for all symbols and images often hyperbolic, and it was a reality of religious feeling nurtured very strong and almost violent, where the sense of implacable struggle between good and evil, between God and Satan was reflected in a deadlock between the strong uncompromising sensuality and mysticism of the Flemings. At that time preachers visionary represented the sins with the image of animals with horrible genitalia, from which flowed streams of fire and brimstone, the men led a relentless attack on the esoteric and magical practices (which, incidentally, eliminates any possibility of a Bosch dedicated to witchcraft, because his clients were always members of the clergy or religious factions, one of which, moreover, he belonged ), storyteller and towels used by acrobats who appeared before the crowds showed a taste for the grotesque and the monstrous was supposed goats and donkeys able to sing, wolves intent on playing the flute, birds fly away from the mouths of dragons and men vomited from the belly of the whale as it did in the days of Jonah in the Bible: the same images born from the imagination of Bosch, in short, except that he was able to translate everything in great painting, of a richness and subtlety of colors ed'una formal objectivity that gives these fantasies, then as now, a wonderful truth that, while impressive and alarming, seduce, and often enchanting.
On the other hand never failed to Bosch's capacity for accurate observation and realistic humanity in a way that could be observed in daily crowds of cripples and beggars who roamed everywhere, and find inspiration in order to represent their faces that appeared often grotesque and repulsive if only for the early toothless mouths, because at the time the dentistry was not even started the first steps. We see, for example, in the table of Christ carries the cross , a set of faces in the foreground and most vociferous imbestiate, cruel attitudes grimaces and grins, and where only Christ and Veronica who wiped his face has just been imprinted in the cloth retain human features and painful.
Mind you, this world is so distorted and not at all reassuring is not free, not if we examine the surface of the volcanic production bosciana, a hint of irony or sarcasm, not because the careful eye can escape in his work, the delight in giving substance to a phantasmagorical universe and surprising, il piacere di confezionare una pittura con estrema sapienza e perizia, e la ilare vivacità di spirito d’un artefice che, mentre ammonisce i suoi simili a temere il giudizio dell’Altissimo, non disdegna di sciorinare davanti ai loro occhi, col gesto sornione del prestidigitatore, i frutti multicolori del suo ingegno e di abbagliarli con la magia della sua prodigiosa fantasia. Basta guardare, per capirlo, i grandi trittici bosciani che il tempo ci ha restituiti intatti (perché si sa che, purtroppo, buona parte della produzione di questo artista è andata distrutta o perduta), primo fra tutti quel Giardino delle delizie che, volendo raffigurare e stigmatizzare la lussuria, appare come una vera e propria festa di colori and images where the eye is lost 
ito stunned and charmed, and where, especially in the central panel, you can breathe, yes, erotic atmosphere and a widespread sense of sensuality, it is populated by an infinite number of nudes male and female, but so icy and goticizzati to make it completely asexual and, attitudes in various poses alluding to the sexual act (as when biting together huge strawberries or cherries surround themselves with symbols of carnal pleasure, while they are observed by robins representing lust and owls that refer to the sin of lust) appear purified from any suspicion of disease. The side panel on the left is a glimpse of the Garden of Eden to Adam and Eve next to the Creator in benign attitude, while the animals already in the foreground are addicted to violence and threatening landscape surrounded by mountains behind them unnatural, and the strange plant-fountain I 
zza way between a reptile and a coral inside which still lurks the owl, clearly allude to the next expulsion. In the panel on the right, meanwhile, is now dark and fetid air of hell, with murmurs of a glowing fire and the representation of the various tortures that exposes the unbridled lust, as being possessed by a pig or torn to pieces by dogs, while on the whole dominates the mysterious figure Human tree with the phallic symbol of the bagpipe head and round belly that might be alluding to the heresy primordial egg from which we sprung us humans at the dawn of time, houses a tavern in which a person climbs on his ass pierced by an arrow.
not chase the endless inventiveness bosciana except to say again that, in both large-scale works, both in the tables of medium and small scale, the chromatic beauty and happiness that always allows the layout of the scenes, even where the plant appears monumental, the reading of every minute detail, often reaches heights of painterly virtuosity that rivals, if not exceeds, the unbridled imagination of the artist charged. Perhaps from the point of view of the purely pictorial, first place goes, of all others, the triptych of 'Epiphany , who kidnaps especially for the beauty of the details, like her dress valuable Melchiorre with spiny acanthus that decorate the collar and the shoulder, the second king of the mantle with ornate friezes representing episodes from the Bible, the gifts of the three magi carefully chiseled and the quiet solemnity of the landscape with a pale blond in the background the city, bristling with towers fantastic. At first glance, a quiet, almost idyllic scene, but, again, to remind us that the salvation of the soul is difficult to achieve and even the coming of the Savior is enough to redeem man from his hardness of heart and the inclination to violence and sin, the landscape seems clear path by armies on the march towards war and the nativity scene, so familiar serene is marred by the presence of malignant and suspicious-looking shepherds who keep the Adoration of the Magi with boldness and suspicion, while the door of the old hut peeps a bizarre character half naked and left full of gold trinkets barbaric, a clear symbol of paganism that will be hard to eradicate. 
Dionisio
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