Who would have guessed, for example, that Bosch's Seven Deadly Sins painting had so many hidden heretical symbols, or that his picture of life after death can also be seen on 15th century Bosnian tombstones? Who would have realized that Bosch's art contained so many Italian Renaissance features? All this is not what you'd expect, and it's the originality and excitement of discovery that makes this book so especially interesting.

Traditional Bosch fanciers may not agree with Harris's new interpretaton of Bosch's paintings, but original ideas often take a long time to sink in. For me, this well produced book, with its many illustrations, its sympathy with the spiritual side of the Gnostic Cathar religion, and its wide ranging subject matter, is a real eye opener.

The problem with this theory is that there is not a shred of evidence to support it, and Harris herself apparently isn't able to present any. Very little is known about the life of this artist. Harris tries to convince us that her theory is correct by interpreting the paintings as Cathar symbols -- an argument that goes something like: "Here is another Cathar symbol; that confirms my theory. Bosch was a Cathar, etc." The trouble is that most of the "Cathar" symbols are more generally Christian symbols and have been agreed to as such by most other Bosch scholars. There is no need to regard them as heretical. Most of the "anti-religious" symbols in Bosch's paintings are explanable as criticism of a corrupt Catholic clergy just before the advent of Martin Luther. Widespread discontent was understandably in the air.

An example of Harris's biased eye is her forced interpretation of Bosch's painting of "John the Baptist (JB) in the Wilderness", pages 155-156. The Cathars regarded JB as an agent of Satan who falsely set himself up as a divine messenger of God. To the Cathars JB was the Anti-Christ. If Bosch were the Cathar zealot that Harris portrays, one would expect to see demons and evil symbols covering this painting, both in the landscape and even on JB himself. After all, they are present in most of Bosch's paintings, even those of a less provocative topic to Cathars than JB. But I see nothing of the sort here. JB is portrayed benignly reclining on the earth and gently pointing to a lamb, the symbol of Christ, as if to say "Here lies the way". What Harris calls the "Tree of Death" is central to the painting and her argument, but it appears to be very much alive, bearing plentiful seeds or fruit which birds are finding delicious and hearty. This, she simply ignores. None of the satanic symbols that Harris herself describes in other paintings appear here. Where is the evil owl, the malignant crescent, the devilish toad, etc? Instead, there is a beautiful pastoral scene, with the gentle Saint lying in peaceful contemplation. There is no hint at all that JB is an agent of the Devil -- quite the contrary.

Despite this major flaw, one can obliquely glean interesting insights from this book. The writing is clear and the examples are relevant to the text. Harris probes the symbolism in detail and analyzes several paintings with interest. But, interpreting them as Cathar political statements is simply incredible. I'm not saying that Harris is necessarily wrong, but that the argument just doesn't support her theory. I find her argument to be less than convincing.