The structure of this publication is different from previous years. This time we are not presenting diverse scientific articles by researchers, but one single topic linking up with the previous publications by Dr Paul Vandenbroeck entitled 'A suspect paradise. Studies on the left panel and detail symbolism of Hieronymus Bosch?s so-called 'Garden of Earthly Delights''.00This contribution is divided into two parts: ?The Garden of Eden, the ?Work of Nature? and marriage? and ?Meaningful motifs on the centre panel?. The first part focusses on the paradise wedding, with the exotic and sinister and the animals and monstra in the Garden of Eden, the symbolism of the paradise fountain and the representation of the owl is unravelled. In the second part attention is paid to the crescent of the moon, the sphere, plants, animals, acrobats and flying people and the layered structure in the representation. Vandenbroeck poses the question whether here on the centre panel a paradise or a sinful situation is depicted. He provides arguments for the at least partially negative significance value of the symbolism, which renders it impossible to depict a fully positive reality such as Paradise. His study results find their way into this highly enthralling read.

Hieronymus Bosch left behind himself no correspondence or diaries, and not anything is identified of his character or his feelings on the significance of his paintings. His birthday has not been determined with confidence. He not at all dated his works and may have signed only few of them. In the past it was habitually supposed that Bosch's paintings was inspired by medieval heresies. In the 20-th century, researchers have come to sight Bosch's vision as fewer unbelievable, and acknowledged that his art reflects the conventional religious faith systems of his time. His images of sinning people, his view of Heaven and Hell are now perceived as consistent with late medieval didactic literature. It is in the main acknowledged that Bosch's art was produced to educate exact moral and spiritual norms, and that his images provide precise worth. Nerveless, some critics notice Bosch as example of medieval surrealist, and parallels are repeatedly made with the modern Spanish artist Salvador Dali.

Examines the life and art of Hieronymus Bosch, a Netherlandish painter from the fifteenth and sixteenth centuries, and includes reproductions of representative works.