The enormous head holding open his own mouth, for example, is found in other paintings from the artist's following, such as The Vision of Tundale, in the Denver Art Museum,6 but not in any of Bosch's own works, while the tent it wears as a hat appears in several autograph paintings, such as the triptych of The Last Judgement at the Akademie der bildenden Künste, Vienna.7 Dendrochronological analysis has identified the last annual growth ring in the present panel as dating to 1498. It is generally accepted, however, that they are most probably compilations of adapted motifs, rather than derivations of a lost original by Bosch himself. Early sources confirm that Bosch treated this or a similar subject in at least four paintings, all now lost, two of which were in the collection of King Philip II of Spain.1 This particular composition is known in a number of versions by followers of Bosch,2 such as the panel of slightly larger dimensions in the Kunsthistorisches Museum, Vienna,3 the painting at Hampton Court Palace,4 and the version in the Indianapolis Museum of Art.5 All these works are most likely North Netherlandish imitations, dating to the mid-sixteenth century, in the wake of high demand for such pictures in the style of Bosch. Indeed, the figure of Christ here, silhouetted in the glare of the Gate of Hell, appears somewhat secondary to the chaotic activity of the gruesome demons and sinners. The infernal subject matter clearly lent itself to the diabolical and outlandish creatures invented by Bosch, which were an inspiration and source of imitation for many generations of artists to come. The Harrowing of Hell, or Christ's Descent into Limbo, is described in the apocryphal Gospel of Nicodemus. Laverge, Rotterdam Thence by descent to his grandchildren. Made in the workshop of Bosch or by an unknown follower.
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