In recent years, a story about a detail in Jheronimus Bosch’s painting of 1495–1505, The Garden of Earthly Delights, has been repeatedly told: that a sinner on the hell panel of the triptych has real music painted on his bottom, only recently discovered. Periodically, articles and videos reappear on social media with a performance of the same attempt to make sense of it, created by Amelia Hamrick in 2014. Is this oft-repeated butt music credible?
To put Bosch’s painting in its historical context, a previous article, Performable music in medieval and renaissance art, examined the role of both faux music notation and playable music in medieval and renaissance art. This article explains why the paint on the sinner’s bottom does not represent real music, and why attempts to interpret the ‘music’ are based on erroneous assumptions and misunderstandings. A second article, available here, explains the rich symbolism of The Garden, including the meaning of musicians tortured by their own instruments, silenced by the demons of hell. A third and final article, available here, surveys the musical symbolism in all Bosch’s works, and asks why his depictions of music are always grotesque, associated with sin, punishment and hell.