towards the future”. The author’s more devastating conclusion was that since there was a personality behind the painter’s inventions, his “pictorial ideas were not his own at all, but were laid down for him by a mentor of encyclopaedic erudition, with an exquisite sense of detail, yet capable of planning on a magnificent scale and imperturbably sure of his purpose”.
It was not merely subject matter dictation that Fränger believed Bosch had received, but that the “mentor” had even designed the colour and formal composition. He had obviously designed the colour because it bears symbolic relationship in every instance to the idea involved, but he strongly influenced the composition by allowing Bosch to break with his previous practice of placing dominant ideas along the axes of the panels, as in the two “Paradise-panels”, and to disorganise the hell scene in a manner planned as a symbolic reverse of the very order of the other two “worlds”.
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