The Seven Deadly Sins and the Four Last Things

The Seven Deadly Sins and the Four Last Things: Introduction

The Seven Deadly Sins and the Four Last Things is one of the most direct moral images associated with Hieronymus Bosch, and also one of the most disputed. The Museo Nacional del Prado catalogues the work as Table of the Seven Deadly Sins, by Bosch, dated 1505-1510, painted in oil on poplar panel and measuring 119.5 by 139.5 cm. It is in the Prado in Madrid as a permanent loan from Patrimonio Nacional, connected with the Monastery of San Lorenzo de El Escorial. ^[1]

The painting is not a triptych like The Garden of Earthly Delights or The Haywain Triptych. It is a moral diagram arranged across a broad panel, with the seven sins circling around the eye of God and four smaller roundels showing the final destiny of the soul. Its structure makes Christian teaching visual: God sees, human beings choose, death arrives, judgement follows, and Heaven or Hell gives the choice its consequence.

Attribution note: The Prado attributes Table of the Seven Deadly Sins to Hieronymus Bosch and dates it to 1505-1510. The Bosch Research and Conservation Project, presented through BRCP-linked scholarship and the Closer to Bosch corpus, has raised serious doubts about Bosch's own hand and has connected the work instead with Bosch's workshop or a follower. This article discusses the painting as a major Bosch-associated object, while keeping that attribution debate visible. ^{[1] [2] [3] [4]}

Contents

1. Annotated Details
2. At a Glance
3. What The Painting Shows
4. The Eye Of God
5. The Seven Deadly Sins As Everyday Scenes
6. The Four Last Things
7. A Tabletop, A Moral Diagram, Or Both?
8. Philip II, Felipe De Guevara And The Attribution Problem
9. Why The Painting Still Matters
10. How To Read It Today

At a Glance

• DetailInformation
• TitleTable of the Seven Deadly Sins, often called The Seven Deadly Sins and the Four Last Things
• Artist attributionPrado: Hieronymus Bosch; BRCP-linked scholarship: disputed, possibly workshop or follower
• DatePrado: 1505-1510
• Medium and supportOil on poplar panel
• Dimensions119.5 x 139.5 cm
• CollectionMuseo Nacional del Prado, Madrid, on permanent loan from Patrimonio Nacional
• Main structureCentral eye of God, seven scenes of sin, four corner scenes of the Last Things
• Related Bosch pagesHieronymus Bosch, paintings, symbolism, Hell and workshop and attribution

Compare these works across Bosch’s career

These date ranges are estimates, not a documented year-by-year sequence. These works provide context for the article; none is highlighted as the object discussed here.

Approximate dates

14801490150015101520

Saint Jerome at Prayer

Circa 1485–1495 ^[5]

Crucifixion with a Donor

Circa 1490–1500 (BRCP) ^[5]

Hermit Saints Triptych

Circa 1495–1505 ^[5]

Saint Liberata Triptych

Circa 1495–1505 ^[5]

The Hearing Forest and the Seeing Field

Circa 1500–1505 (Berlin exhibition) ^[6]

The Haywain Triptych

1510–1516 (BRCP) ^[5]

Annotated Details from The Seven Deadly Sins and the Four Last Things

The numbered details move from the all-seeing centre through individual sins and outward to the final consequences pictured at the corners.

What The Painting Shows

The design is immediately legible even before its details are understood. At the centre is a large circular form resembling an eye. Inside its blue pupil, Christ appears as the divine witness. Around him, in the outer ring of the same great circle, the seven deadly sins are shown not as abstract emblems but as episodes from everyday life. The four corner roundels then show the Four Last Things: Death, Judgement, Heaven and Hell. ^{[1] [7]}

This arrangement gives the painting its force. Bosch, or an artist working very close to his visual and moral world, does not place sin far away in myth, courtly allegory or remote history. The sins appear in taverns, domestic rooms, dining interiors, streets and social exchanges. Wrath erupts in violence. Pride appears in the mirror. Lust is staged as amorous idleness and entertainment. Sloth neglects prayer. Gluttony consumes food and drink. Greed distorts justice. Envy looks toward what another person possesses. The viewer is not asked to admire distant monsters first, but to recognise ordinary behaviour under moral pressure. ^[7]

The central inscription intensifies that recognition. The Latin words beneath Christ, Cave cave dominus videt, warn that the Lord sees. The sentence makes the circular eye more than a clever compositional device. It turns looking into judgement. The viewer looks at sin, while Christ looks at the viewer and at the world represented around him. ^{[1] [3]}

The larger Latin inscriptions above and below the central circle draw on Deuteronomy and sharpen the theme of spiritual blindness. They warn against a people without counsel, without understanding, unable to consider their end. The painting's entire structure is built around that problem. People do not merely behave badly. They fail to see where their behaviour leads.

The Eye Of God

The eye is the painting's governing invention. It gathers doctrine, composition and viewer experience into one form. Christ is not placed above the sins in a distant heavenly zone. He sits at the centre of the image as the divine pupil, the point from which every action is seen. The seven sins rotate around him like examples in a moral mirror.

That shape matters because it changes the viewer's role. A narrative painting usually asks the viewer to move through a story. A devotional image may ask for prayer before a sacred figure. This work does both, but it also asks for self-examination. The eye looks back. The sins are arranged as if they could be read one after another, but the central Christ prevents them from becoming mere anecdotes. They are being witnessed.

The image belongs to the same moral universe as Bosch's accepted triptychs, even if the question of authorship remains unsettled. In the Haywain, Christ appears above a world too absorbed in hay to notice him. In the Seven Deadly Sins, Christ is not ignored by the composition; he is made unavoidable. Yet the sinners around him still act as if no eye were watching. The two works are different in format, but they share a central Boschian concern: human beings live under divine sight while failing to understand what they are doing. ^{[8] [1]}

The eye also makes the painting more severe than a simple vice catalogue. The sins are not only listed. They are enclosed within vision. Pride, lust, wrath and the rest become failures of perception as much as failures of conduct. The sinner does not see God, does not see the neighbour rightly, does not see death clearly, and does not see the final consequences of the soul.

The Seven Deadly Sins As Everyday Scenes

The most striking feature of the seven sins is their ordinariness. Bosch's fame rests partly on astonishing demons and hybrid monsters, but here moral danger is largely social, domestic and recognisable. The sins happen around furniture, food, clothing, mirrors, officials, household objects and small groups of people.

Pride is especially pointed because it turns sight inward. A woman studies herself in a mirror held by a devil. Vanity becomes a trap of looking: the person who should recognise divine sight gazes instead at her own surface. It is an image of spiritual misdirected attention, compact enough to be remembered after only a glance. ^[7]

Wrath is given bodily force. Two men fight at the entrance of a tavern, with weapons and bystanders turning anger into public disorder. The sin is not a private mood. It spills into the street. Envy is quieter but no less corrosive, centred on desire for what another person has. Greed appears through corrupt judgement, where money or favour bends justice. The social dimension is crucial: sin damages relationships, institutions and communities, not only the individual soul.

The bodily sins of gluttony, lust and sloth are equally concrete. Gluttony becomes excessive eating and drinking. Lust is shown through leisure, music, couples and theatrical distraction. Sloth appears as a failure to rise to spiritual duty, a refusal of prayer or attentiveness. These scenes are not sensational in the manner of Bosch's Hell imagery. Their danger is that they look near at hand.

This everyday register connects the painting with Bosch's broader symbolism. His images are most convincing when symbols behave like actions. The mirror does not simply "mean" pride; it makes pride happen. Food and drink do not simply "mean" gluttony; they show appetite overtaking order. The bribe does not simply "mean" greed; it reveals justice being corrupted in the act. Boschian symbolism often begins with behaviour before it becomes allegory.

The Four Last Things

The corner roundels give the painting its theological frame. The Four Last Things are Death, Judgement, Heaven and Hell: the final realities toward which human life moves in late medieval Christian teaching. Their placement in the corners is not secondary. They surround the field of sin as the future surrounds the present.

Death appears not as an abstraction but as an event at the bedside. The dying person is attended by human and spiritual figures, making the end of life a moment of contest and decision. Judgement then turns death into accountability. Heaven and Hell complete the sequence, showing the two ultimate destinations of the soul. ^[7]

This framework is essential because it prevents the seven sins from being read merely as social satire. The painting certainly observes human behaviour, and at moments it can feel comic. But the Four Last Things make comedy dangerous. A tavern fight, a mirror, a meal or a corrupt official might look small in worldly terms. Seen from the corners of the panel, each belongs to the path toward death and judgement.

The relationship with Bosch's Hell imagery is clear. In the Garden, Haywain and Last Judgement, Hell often expands into a terrifying world of demons, fire, instruments, architecture and punishment. In the Seven Deadly Sins, Hell is compressed into a roundel, but the logic is the same. Human conduct is not weightless. It has an end.

Heaven matters just as much. Bosch is famous for visions of damnation, but late medieval moral art was not only designed to terrify. It was also meant to orient the soul. The contrast between Heaven and Hell gives the viewer a choice rather than a spectacle. The painting's severity depends on the possibility of turning.

A Tabletop, A Moral Diagram, Or Both?

The work's format has long encouraged the idea that it functioned as a tabletop or table-like moral object. The Spanish term mesa can mean table, and the broad, horizontal panel with circular scenes seems to invite a form of viewing different from a wall-mounted devotional panel. Rather than presenting one upright scene, it offers a field that can be read around, almost like a diagram for meditation. ^[3]

That does not mean its original function is settled. The commissioner is unknown, and scholars continue to discuss whether the object served as furniture, a tabletop image, a devotional aid, a moral conversation piece, or some combination of those possibilities. The safest description is that its composition is table-like and diagrammatic, and that its subject is ideally suited to private moral reflection.

The circular layout would have worked powerfully in such a setting. A viewer could move from sin to sin, from the central eye to the corner roundels, from worldly action to final destiny. The format makes doctrine spatial. Sin is not a list in a book but a map of conduct under divine sight.

This helps explain why the painting attracted Spanish royal attention. The Prado records that the work was acquired by Philip II before 1560 and was sent to El Escorial in 1574. Later accounts connect it closely with Philip's devotional world, even with the private space of the Escorial. ^{[1] [3]}

Royal ownership did not merely preserve the object. It shaped its reputation. Philip II's interest in Bosch helped secure some of the artist's most famous works in Spanish collections, including the Prado's Bosch holdings. For a ruler concerned with Catholic kingship, sin, judgement and salvation, a table-like image of divine sight and human moral failure would have had obvious devotional force.

Philip II, Felipe De Guevara And The Attribution Problem

The attribution debate is not a recent invention, although modern technical study has sharpened it. One of the key early sources is Felipe de Guevara, the Spanish humanist and collector whose writing around 1560 discusses Bosch, imitation and a gifted pupil. The passage is famously difficult because it refers to a pupil who could sign with Bosch's name, then describes a table with the Seven Deadly Sins. Some scholars have read this as evidence that the painting was by a disciple or follower. Others argue that the passage is ambiguous and may still support the traditional attribution to Bosch himself. ^{[1] [3]}

The Prado's position gives weight to the painting's historical prestige, royal provenance, signature and perceived relationship to Bosch's late manner. Its object record continues to catalogue the work under Bosch's name and dates it to 1505-1510. Prado controversy material also makes clear that the museum studied its Bosch holdings intensively in response to challenges around attribution, and that Table of the Seven Deadly Sins was one of the most difficult cases in that debate. ^{[1] [2]}

The BRCP-linked position is more sceptical. Matthijs Ilsink's CODART essay, written from the context of the Bosch Research and Conservation Project, explains why the painting is hard to settle. Because the support is poplar rather than oak, dendrochronology cannot offer the same kind of exclusionary test available for some Netherlandish panels. The work is signed and conceptually fits Bosch's moral world, but the handling of the figures and the relation to secure works raise doubts. The essay states that many experts do not accept the work as Bosch, and that the BRCP agrees with that scepticism. ^[3]

This is why the painting should be approached carefully. It is not responsible to call it simply "a Bosch masterpiece" without qualification. It is also too crude to treat it as unimportant because the attribution is disputed. The work remains a major Bosch-associated object: early, famous, morally powerful, deeply embedded in the Spanish reception of Bosch, and central to the modern debate about how Bosch's hand, workshop and followers can be distinguished.

For a fuller explanation of those categories, see Bosch workshop and attribution.

Why The Painting Still Matters

The painting matters because it condenses Bosch's moral world into one of its clearest forms. Many Bosch-associated works overwhelm the eye with forests, cities, demons, saints and crowds. This one is stricter. It gives the viewer a diagram of the soul's danger: sin around the eye of God, death and judgement at the corners, Heaven and Hell as the final alternatives.

It also shows why Bosch cannot be reduced to fantasy. The central inventions are not monsters but moral acts. A vain woman looks into a mirror. A sleeper neglects prayer. A judge accepts a bribe. People fight, feast, desire and covet. These are ordinary failures, not exotic nightmares. Their seriousness comes from the fact that Christ sees them.

At the same time, the painting is not dry doctrine. It has wit, compression and visual economy. Each sin is made into a scene small enough to hold in memory. The roundels create rhythm. The eye gives the whole surface an unforgettable centre. The panel teaches by arranging attention.

That teaching links the work to The Haywain Triptych, where humanity chases perishable goods toward Hell, and to The Garden of Earthly Delights, where delight and punishment are set in a vast triptych structure. The Seven Deadly Sins is smaller and more diagrammatic, but it belongs to the same late medieval imagination of moral consequence.

Its uncertain authorship may even make it more useful for understanding Bosch's afterlife. If Bosch painted it, it is a remarkably concise statement of his moral theology. If it came from his workshop or a follower, it shows how quickly Bosch's name and visual language could be attached to powerful moral inventions. Either way, the image reveals a world in which sin was not only preached about but organised for looking.

How To Read It Today

A modern reader should begin with two forms of caution. The first is interpretive. The painting is full of symbols, but it should not be treated as a mechanical code. Its details matter because they belong to scenes of action and to a larger Christian structure. The mirror, tavern, meal, bed, bribe and falcon gain force from what people do with them.

The second caution is attributional. Current sources do not speak with one voice. The Prado attributes the painting to Bosch. BRCP-linked scholarship gives strong reasons for doubt. A careful reading keeps both facts in view, because the authorship problem affects how the work sits within Bosch's corpus, but it does not erase the painting's moral and historical significance. ^{[1] [3] [4]}

From there, the painting is best read as an image of attention. Who is looking, and at what? Pride looks at the mirror. Envy looks at another person's possession. Greed looks at advantage. Lust and gluttony look toward pleasure. Sloth fails to look toward prayer. Wrath sees only conflict. At the centre, Christ sees all of them.

The viewer is placed between those forms of sight. Looking at the sins is not enough. The painting asks whether the viewer understands their end. That is the meaning of the Four Last Things around the corners, and it is the reason the panel remains powerful even after centuries of debate. It is a warning against spiritual blindness made in the form of an image that insists on being seen.

Artworks and related attributions

Browse paintings, drawings and related attributions. Records group triptychs, fragments and two-sided sheets where appropriate. Dates follow the cited museum records or catalogue headings and are generally estimates. Rows marked “2016 catalogue” report that publication’s attribution and collection information; these are dated opinions, rather than a claim that every work is an accepted autograph Bosch.

79 records

Search records Medium All media Drawing Painting Reset

Name	Date	Medium, attribution and collection
A Crossbowman	Second half of the sixteenth century	Oil on oak panel · Copy after Hieronymus Bosch · Museo Nacional del Prado, Madrid · P002695 Source 1. Source 2.
A Woman Spinning and an Old Woman	Museum estimates: about 1480–1490 for the women and 1500–1505 for the reverse; the precise chronology is disputed	Pen and brown and grey ink on the front; pen and brown ink on the reverse · Hieronymus Bosch · Museum Boijmans Van Beuningen, Rotterdam · N 190 recto and verso (PK) Source 1. Source 2.
Adoration of the Child in Cologne	Second half of the sixteenth century	Oil on oak panel · Imitator of Hieronymus Bosch, in the city collection record · Wallraf-Richartz-Museum & Fondation Corboud, Cologne · WRM 0474 Source 1. Source 2.
Adoration of the Magi in Philadelphia	Early sixteenth century in the museum record; around 1495–1520 in the BRCP catalogue	Oil on oak panel · Hieronymus Bosch in the museum record; workshop of Bosch in the 2016 BRCP catalogue · Philadelphia Museum of Art, John G. Johnson Collection, 1917 · 1321; museum object 103592 Source 1. Source 2.
Adoration of the Magi — New York	c.1470–1480	2016 catalogue: Bosch; oil on oak · Metropolitan Museum 13.26 2016 catalogue.
Adoration of the Magi — Prado triptych	c.1494	Oil on oak; grisaille exterior · Bosch · Prado P002048 Object source.
Adoration of the Magi — three associated fragments	c.1515–1535	2016 catalogue: Follower of Bosch · Two Shepherds / Retinue in Philadelphia; associated Adoration in private collection in 2016 2016 catalogue.
Ascent of the Blessed — Venice	c.1505–1515	Oil on panel · Bosch · Gallerie dell’Accademia; Visions of the Hereafter Object source.
Battle of the Birds and Mammals	Not specified in catalogue heading	2016 catalogue: Bosch; pen and brown ink · Berlin KdZ 14715 2016 catalogue.
Beggars and Musicians	Around 1530–1540	Ink and wash on paper · Unknown follower of Hieronymus Bosch · Albertina, Vienna · 7798 Source 1. Source 2.
Christ Carrying the Cross Drawing	Around 1470 in the museum catalogue	Black chalk or charcoal, pen and brush in brown ink, white corrections · Anonymous, workshop of Rogier van der Weyden · Museum Boijmans Van Beuningen, Rotterdam · N 81 recto and verso (PK) Source 1. Source 2.
Christ Carrying the Cross in Vienna	Around 1490–1510 in the current KHM record and BRCP catalogue	Oil on oak, painted on both sides · Hieronymus Bosch; possible workshop involvement in the Passion side discussed by the BRCP · Kunsthistorisches Museum, Vienna · Gemäldegalerie, GG 6429 Source 1. Source 2.
Christ Carrying the Cross — El Escorial	c.1495–1505	2016 catalogue: Bosch; oil on oak · Patrimonio Nacional 10014739 2016 catalogue.
Christ Carrying the Cross — Ghent	c.1510–1516 (museum)	Oil on panel · Bosch in museum listing; authorship disputed · MSK Ghent 1902-H Object source.
Christ Mocked — London	c.1510	Oil on wood · Bosch · National Gallery NG4744 Object source.
Concert in the Egg, After Hieronymus Bosch	Around 1561; third quarter of the sixteenth century	Oil on canvas · Anonymous, after Hieronymus Bosch · Palais des Beaux-Arts, Lille · P 816 Source 1. Source 2.
Conjurer / Comical Concert — Louvre drawing	Not specified in catalogue heading	2016 catalogue: Bosch (recto), follower (concert verso) · Pen and brown ink · Louvre INV 19197 2016 catalogue.
Conjurer / Cross-bearing and beggars — Liège sheet	Not specified in catalogue heading	2016 catalogue: Bosch (verso), follower (recto) · Pen and brown ink · Album d’Arenberg 534 2016 catalogue.
Crowning with Thorns — El Escorial	c.1530–1540	2016 catalogue: Follower of Bosch; oil on oak · Patrimonio Nacional 10014743 2016 catalogue.
Crucifixion with a Donor	Circa 1495–1505; Circa 1490–1500	Oil on oak panel · Hieronymus Bosch · Royal Museums of Fine Arts of Belgium, Brussels · 6639 Source 1. Source 2.
Death and the Miser Drawing	Not securely established; probably made after the painting	Pen and brush, dark ink and white highlights on prepared paper · Workshop of Hieronymus Bosch in the BRCP catalogue; alternatives recorded by the Louvre · Musée du Louvre, Department of Prints and Drawings, Paris · RF 6947, Recto Source 1. Source 2.
Death and the Miser — Washington	c.1485/1490 (NGA)	Oil on panel · Bosch · National Gallery of Art 1952.5.33 Object source.
Ecce Homo Triptych — Boston	c.1495–1500; wings c.1500/1503	2016 catalogue: Workshop of Bosch; oil on oak · Museum of Fine Arts Boston; several production phases 2016 catalogue.
Ecce Homo — Frankfurt	c.1490	Mixed technique on oak · Bosch · Städel 1577 Object source.
Fall of the Damned — Venice	c.1505–1515	2016 catalogue: Bosch; oil on panel · Visions of the Hereafter · Venice 2016 catalogue.
Garden of Earthly Delights	1490–1500 (Prado)	Oil on oak; grisaille exterior · Bosch · Prado; triptych Object source.
Gluttony and Lust / Allegory of Intemperance — Yale fragment	c.1500–1510 (group dating)	2016 catalogue: Bosch; oil on oak · Yale 1959.15.22; fragment associated with Ship of Fools 2016 catalogue.
Group of Ten Spectators, a Follower of Bosch	Around 1510–1540 in the current museum record	Pen and two brown inks on paper, with a brown framing line · Follower of Hieronymus Bosch in the Morgan record; Bosch in the BRCP catalogue · Morgan Library & Museum, New York · I, 112 Source 1. Source 2.
Head of an Old Woman	About 1500	Oil on panel · Attributed to Jacob Cornelisz. van Oostsanen · Museum Boijmans Van Beuningen, Rotterdam · 2439 (OK) Source 1. Source 2.
Hell and the Flood — Rotterdam panels	Around 1515 in the museum records; around 1510–1520 in the BRCP catalogue	Oil on oak panels · Jheronimus Bosch in the museum records; workshop of Bosch in the BRCP catalogue · Museum Boijmans Van Beuningen, Rotterdam Source 1. Source 2.
Hermit Saints Triptych	Circa 1495–1505	Oil on oak panels · Hieronymus Bosch · Gallerie dell’Accademia, Venice · 2044 Source 1. Source 2.
Infernal Landscape	Not specified in catalogue heading	2016 catalogue: Bosch; pen and brown ink, red accent · Private collection in 2016 2016 catalogue.
Infernal Scene with Anvil / Monster Studies	Not specified in catalogue heading	2016 catalogue: Bosch; attribution debated in entry · Pen and brown ink · Berlin KdZ 548 2016 catalogue.
Infernal Scene with Tree-Man / Standing Man	Not specified in catalogue heading	2016 catalogue: Workshop of Bosch; pen and brown ink · Dresden C 1875; historical reverse title includes a proposed prophet 2016 catalogue.
Job Triptych — Bruges	c.1510–1520	2016 catalogue: Workshop of Bosch; oil on oak · Groeningemuseum / Hoeke loan in 2016 2016 catalogue.
Last Judgement — Bruges triptych	c.1495–1505	2016 catalogue: Bosch; oil on oak · Groeningemuseum 2016 catalogue.
Last Judgement — Munich fragment	c.1530–1540	2016 catalogue: Follower of Bosch; oil on oak · Alte Pinakothek 5752 2016 catalogue.
Last Judgement — Vienna triptych	c.1500–1505 (BRCP 2016)	Oil on oak · Bosch and workshop (BRCP 2016) · Academy of Fine Arts Vienna 2016 catalogue.
Man in a Basket and Comic Figures	Around 1500–1515 in the museum record	Pen and brown ink on paper; the reverse is catalogued as iron-gall ink · Hieronymus Bosch in the current Albertina record; attribution has been debated · Albertina, Vienna · 7797 recto and verso Source 1. Source 2.
Man Seen from Behind	About 1550–1569; About 1565–1570	Traces of black chalk, pen and brush in light brown ink · Anonymous, circle of Pieter Bruegel the Elder · Museum Boijmans Van Beuningen, Rotterdam Source 1. Source 2.
Mary and John at the Foot of the Cross	About 1440	Brush in grey and black · Unknown, possibly Netherlandish · Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden · C 815 Source 1. Source 2.
Model Sheet with ‘Witches’	Disputed; proposals depend on the attribution	Pen and brown ink; the BRCP also records underlying black chalk · Hieronymus Bosch; follower attributions also recorded · Musée du Louvre, Département des Arts graphiques, Paris · INV 19721 recto Source 1. Source 2.
Peasant and Three Bust-Length Figures	1401–1500	Brown pen over a black preliminary drawing · Attributed to the Master of the Drapery Studies; Bosch circle also recorded · Kupferstichkabinett, Staatliche Museen zu Berlin · KdZ 777 Source 1. Source 2.
River to Hell — Venice	c.1505–1515	2016 catalogue: Bosch; oil on panel · Visions of the Hereafter · Venice 2016 catalogue.
Saint Anthony and a Concert in an Egg	Around 1510–1525 in the museum’s 2016–17 exhibition texts	Pen in light and dark brown inks · Workshop of Hieronymus Bosch; underlying monsters: Bosch (BRCP), possibly Bosch (exhibition text) · Kupferstichkabinett, Staatliche Museen zu Berlin · KdZ 711 recto and verso Source 1. Source 2.
Saint Christopher Carrying the Christ Child	c.1500; 1490–1505 in restoration material	Oil on panel · Bosch · Boijmans St 26 Object source.
Saint James and Hermogenes	About 1551–1575 in the KIK-IRPA catalogue	Oil on wood, painted on both sides · Anonymous follower of Hieronymus Bosch · Musée des Beaux-Arts, Valenciennes · P.46.1.44; older number 176 Source 1. Source 2.
Saint Jerome at Prayer	Circa 1485–1495	Oil on oak panel · Hieronymus Bosch · Museum of Fine Arts, Ghent · 1908-H Source 1. Source 2.
Saint John on Patmos / Passion Scenes	c.1495–1505; estimates vary	Oil on oak · Bosch · Gemäldegalerie Berlin 1647A Object source.
Saint John the Baptist in Meditation	Late 15th century; c.1485–1510 (Prado exhibition)	Oil on panel · Bosch · Lázaro Galdiano 8155 Object source.
Saint Liberata Triptych	Circa 1495–1505	Oil on oak panels · Hieronymus Bosch · Gallerie dell’Accademia, Venice · 2045 Source 1. Source 2.
Seven Deadly Sins and the Four Last Things	1505–1510 (Prado)	Oil on poplar · Bosch (Prado); workshop/follower disputed · Prado Object source.
Ship of Fools — Louvre painting	1475–1500 (record); c.1505–1515 (exhibition)	Oil on oak · Bosch · Louvre RF 2218; fragment Object source.
Ship of Fools — Louvre workshop drawing	Not specified in catalogue heading	2016 catalogue: Workshop of Bosch · Pen, brush, grey-brown ink and white highlights on prepared paper · Louvre RF 3714 2016 catalogue.
Studies of Monsters	About 1530–1550, according to the current Ashmolean record	Pen and brown ink on laid paper, both faces · Anonymous follower of Hieronymus Bosch · Ashmolean Museum, University of Oxford · WA1863.155 Source 1. Source 2.
Studies of Saint Anthony and Monsters	No execution date specified in the current Louvre records	Pen and brown ink on paper · Bosch listed; reverse questioned by Louvre; BRCP accepts both faces · Musée du Louvre, Département des Arts graphiques, Paris · INV 20871 recto and verso Source 1. Source 2.
Temptation of Saint Anthony — Kansas City fragment	c.1500–1510	2016 catalogue: Bosch; oil on oak · Nelson-Atkins 35–22 2016 catalogue.
Temptation of Saint Anthony — Lisbon triptych	c.1500	Oil on oak · Bosch · Museu Nacional de Arte Antiga 1498 Pint Museum.
Temptation of Saint Anthony — Prado panel	c.1530–1540	2016 catalogue: Follower of Bosch (2016 opinion); oil on oak · Prado P002049 2016 catalogue.
Terrestrial Paradise	Approximately 1505–1515	Oil on oak panel · Hieronymus Bosch · Gallerie dell'Accademia, Venice Source 1. Source 2.
The Burning Ship Drawing	1500–1520	Pen and iron gall ink on paper · Attributed to Hieronymus Bosch · Academy of Fine Arts Vienna, Graphic Collection · HZ-2554; numbered 2554 in the BRCP catalogue Source 1. Source 2.
The Comical Barber Scene	About 1550–1580, according to the British Museum	Pen and brown ink, grey and brown wash, over black chalk · Anonymous follower, after Hieronymus Bosch · British Museum, Department of Prints and Drawings, London · 1854,0628.46 Source 1. Source 2.
The Conjuror, After Hieronymus Bosch	Probably after 1525; around 1530–1540 in the BRCP technical report	Oil on oak panel · Anonymous follower of Hieronymus Bosch · Musée Ducastel-Vera, Saint-Germain-en-Laye · 872.1.87 Source 1. Source 2.
The Cure of Folly / Extraction of the Stone of Madness	1501–1505 (Prado)	Oil on oak · Bosch (Prado); workshop/follower disputed · Prado P002056 Object source.
The Entombment Drawing	About 1505–1515, current museum record	Brush and black and grey ink, with grey wash, over black chalk · Workshop of Hieronymus Bosch; drawn by the Master of the Prado Haywain Triptych; Hieronymus Bosch, argued by the BRCP in 2016 · British Museum, Department of Prints and Drawings, London · 1952,0405.9 Source 1. Source 2.
The Gathering of the Birds	Not specified in catalogue heading	2016 catalogue: Bosch; pen and brown ink · Berlin KdZ 13136 2016 catalogue.
The Haywain — Prado triptych	1510–1516 (BRCP 2016)	Oil on oak · Bosch (BRCP 2016) · Prado; separate Escorial version exists 2016 catalogue.
The Hearing Forest and the Seeing Field	Circa 1500–1505	Pen and brown ink on paper · Hieronymus Bosch; reverse: Bosch and workshop · Kupferstichkabinett, Staatliche Museen zu Berlin · KdZ 549, front and reverse Source 1. Source 2.
The Owl’s Nest — Rotterdam	Not specified in catalogue heading	2016 catalogue: Bosch; pen and brown ink · Boijmans N 175 2016 catalogue.
The Passion Triptych in Valencia	Workshop of Bosch, about 1510–1520; Follower of Bosch; centre about 1530–1540, wings about 1540–1550	Oil and gold on oak panels · Workshop of Bosch, about 1510–1520; Follower of Bosch; centre about 1530–1540, wings about 1540–1550 · Museu de Belles Arts de València Source 1. Source 2.
The Pedlar / Wayfarer — Rotterdam	c.1500 (museum)	Oil on panel · Bosch · Boijmans 1079 (OK); rejoined exterior Object source.
The Tree-Man — Vienna drawing	c.1505	Pen and brown ink · Bosch · Albertina, Vienna Object source.
The Wedding at Cana, After Hieronymus Bosch	Approximately 1560 in the current museum record	Oil on panel, 93 cm high × 72 cm wide · Anonymous, after Hieronymus Bosch · Museum Boijmans Van Beuningen, Rotterdam, St 25 Source 1. Source 2.
Two Fantastical Creatures — Berlin KdZ 550	Around 1505–1515 in the museum’s 2016 exhibition text	Pen in brown ink on reddish prepared laid paper · Hieronymus Bosch · Kupferstichkabinett, Staatliche Museen zu Berlin · KdZ 550, recto and verso Source 1. Source 2.
Two Figures Wearing Mitres	About 1480	Oil on panel · Anonymous (Boijmans); Bosch circle (RKD) · Museum Boijmans Van Beuningen, Rotterdam · 1177 (OK) Source 1. Source 2.
Two Men and the Temptation of Eve	About 1505–1515 in the Prado’s 2016 exhibition guide	Pen and grey-brown ink on paper · Hieronymus Bosch in the 2016 catalogues discussed here · Private collection, as recorded in 2016 Source 1. Source 2.
Two Men Fighting	Not specified in the current Louvre record	Pen and brown ink · In the manner of Hieronymus Bosch · Musée du Louvre, Département des Arts graphiques, Paris · INV 20660 recto; formerly NIII 8896 and MA 8400 Source 1. Source 2.
Two Men — Berlin KdZ 5210	Not specified in catalogue heading	2016 catalogue: Bosch questioned · Pen, brush, ink, chalk and white highlights · Berlin KdZ 5210; historical title Two Oriental Men 2016 catalogue.
Two Monsters — Berlin KdZ 547	Approximately 1500–1510 in Berlin's 2016 exhibition catalogue; an estimated range	Pen and brown ink on paper · Hieronymus Bosch · Kupferstichkabinett, Staatliche Museen zu Berlin · KdZ 547, drawn on both sides Source 1. Source 2.

Frequently Asked Questions

References

1. Museo Nacional del Prado, Table of the Seven Deadly Sins, Hieronymus Bosch, 1505-1510: View source
2. Museo Nacional del Prado, "Controversies Regarding Hieronymus Bosch," interview with Pilar Silva Maroto: View source
3. Matthijs Ilsink, "Jheronimus Bosch and Connoisseurship. Remarks Prompted by the Bosch Research and Conservation Project (BRCP)," CODART, December 2015: View source
4. Bosch Research and Conservation Project and Closer to Bosch, high-resolution corpus and technical research presentation: View source
5. BRCP Catalogue Raisonné (2016), object dates in catalogues 1, 2, 8, 15 and 20; catalogue 20 object metadata only for the Haywain comparison. View source
6. Staatliche Museen zu Berlin, 2016 exhibition wall texts, p. 3: approximate date of KdZ 549. View source
7. Museo Nacional del Prado, Table of the Seven Deadly Sins. Hieronymus Bosch, easy-to-read artwork guide: View source
8. Museo Nacional del Prado, The Haywain Triptych, Hieronymus Bosch, 1512-1515: View source
9. Matthijs Ilsink, Jos Koldeweij, Ron Spronk, Luuk Hoogstede, Robert G. Erdmann, Rik Klein Gotink, Hanneke Nap and Daan Veldhuizen, Hieronymus Bosch, Painter and Draughtsman: Catalogue Raisonne, Yale University Press, 2016: View source
10. Museo Nacional del Prado, The Garden of Earthly Delights Triptych, Hieronymus Bosch: View source