While Dürer transformed Biblical scenes with Renaissance style,
infused them with fantasy. His most famous work, The Garden of Earthly Delights
(1505–15), combines alternately comic and demonic vignettes into grotesque landscapes. A triptych, it depicts a progression of human sin across three panels, with the Garden of Eden at left, the imperfect human world at center, and the horrors of Hell at right. Each group plays out its own scene of gluttony, debauchery, and other fleshly transgressions.
One scene (right panel, left side, bottom third) imagines sonic retribution for those who, in life, used music as a means of seduction and temptation. Instruments here —harp, lute, hurdy-gurdy—have been transformed into huge instruments of torture. Two sinners are crucified on a hybrid lute-lyre, while, below, a choir of sinners and slithering things scream a score inscribed on buttocks, a song to the organ of lust it surrounds. Across many other alarming and alluring episodes, Bosch weaves realism, allegory, and fantasy together.