Abstract
Hieronymus Bosch's 1495 Temptation of St Anthony in Lisbon was probably made for a hospital monastery of the Monks of St Anthony. The monastery in which the Temptation hung is unknown, but elements of its iconography and composition, as well as the chain of ownership, provide clues to the identity of the commissioning institution. By combining these clues into a set of parameters, the commissioning monastery comes into focus. The commissioning institution was wealthy, Dutch-speaking, and saw financial difficulties in the first quarter of the sixteenth century, while the monastery in which the painting hung was modestly sized, in the Gothic style, and did not use a choir screen. Cross-referencing these parameters with operating monasteries in the Low Countries during the sixteenth century, the monastery of the Monk of St Anthony in Maastricht comes to the forefront.
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