To Fränger, this explanation of a heretical cult resolved all conflicting elements. Even “the high pitched boundless frenzy” of the Earthly Delights Hell scene would be explicable. Because a secret society must risk possible discovery and persecution, it would tend toward self-justification and would direct the terrors of Hell toward others, not its own members. Because the members must flout established tradition, deep-rooted even in themselves, they would defend their society’s precepts all the more intensely. Obversely, they would deny its privileges to the uninitiated and would place the outsiders, not themselves, in Hell.

      For incontrovertible evidence of his theory Fränger offered the record of a trial in the Episcopal court at Cambrai in 1411, which charged the Carmelite friar, Willem van Hildernissen, with heresy. This man was one of the leaders of the Homines Intelligentiae of Brussels, a radical branch of a religious movement active in the territory from the Rhineland to the Netherlands. Because of inferences, which Fränger made from certain statements in the trial record, he assured himself that this was the group for which Bosch produced his altarpiece. Its members called themselves “Brothers and Sisters of the Free (or High) Spirit” in the belief that they were the incarnation of the Holy Ghost and through its power exalted to a state of spirituality that was immune from sin even in the flesh, with its subjection to lusts, so that on earth they lived in a state of paradisiacal innocence.” He suggested first, however, that the group’s constitution rested upon a tenet of equality of the sexes that is implicit in its very name. Since “the word homines means ‘men’ in the general sense of ‘human beings,’ which amounts to claiming for man a dignity that-since it is based on the fact that Adam was made in the image of God-admits no modification on the score of birth or class, rank or possessions… then the distinction between man and woman was also sublimated in the loftier concept of homo.”

      This must mean, Fränger thought, that the female enjoyed equal status with man in this society, and if she were thus exalted in position over the inferiority accorded her by the church, she must have lost her denigration as the “sinful vessel.” As to what this implies of the beliefs or activities of these men and women within the society, the writer answered by turning to the Cambrai record. One of the points of indictment stated: “Likewise they created among themselves a peculiar mode of discourse which they call the act of sexual union “the joy of Paradise” or, by another name, “the way to the heights” (acclivitas). And in this manner they speak of such a lustful act to others, who do not understand it, in a favorable sense.”[14]

      From this statement, Fränger surmised that the cult’s second principle was that its members lived together according to high moral values. To these brethren, “the strictest sanctification of love” was the way by which they could reach human perfection; this estate they saw embodied in Adam and Eve, who were themselves made in the image of God’s divine perfection. The converse became the second principle; that because man is made in the image of God, he can only endure in this highest of all estates by the practice of a sublimated act of love. As to the nature of this act, Fränger saw in the court record two possible answers. To indicate one of them, he quoted the following portion: “Secondly, that the natural sexual act could take place in such a manner that it was equal in value to a prayer in the sight of God.”

      In other words, it could mean the natural act so purified in the mind “that it should no longer be felt as a humiliating animal act, but as the expression of an exalting, divine, creative principle”. The scholar preferred to seek the clue in a statement pertaining to another leader of the Brethren (a man who was being tried posthumously), that “he exercises a special mode of sexual intercourse, yet not contrary to Nature, of which he says it was that of Adam in Paradise”. If this “special mode” refers to an act distinct from the animal one, “yet not contrary to nature,” then it is clearly sinless, and could be practiced in perfect innocence – providing pure pleasure not befouled by any sense of shame. In this statement, thought the writer, lay the real meaning of the Earthly Delights center section. It was an illustration of this “special mode” of sexual play, the “immortal expression to this Adamite eroticism,” that was revealed in the painting, not directly, but secreted in a mesh of symbolic communications. Having brought us to this conclusion, Fränger proceeded to his prime purpose-that of translating “…this Free Spirit ars amandi out of the secret code of symbolism into generally comprehensible language.”

      This is enough of Fränger’s argument to illustrate the nature of his interpretation and his characteristic mode of thought-a thoroughly rational, in fact, brilliantly logical analysis which on its surface was exceedingly convincing. Upon more careful scrutiny, however, it was the scholar’s logic, not Bosch’s, that he revealed. What Fränger did consistently here, was to follow a system of reasoning that set up a hypothesis as an arbitrary starting point and then, through misleading inferences, arrived at subsequent hypotheses and developed the conclusions implicit in them, ad infinitum. A construction of thought was created, no portion of which could be removed without damage to the whole, nor explained without reference to the whole. But the entire structure rested upon the original hypothesis, a