The title is not Bosch's own. The first description of the work is by Fray Jose de Siguenza in 16045: he desrcibes it as 'de la gloria vana v breve gusto de la fresa o madrono, the vain and shortlived taste of the strawberry, referring to the fruit consumed by the revellers in the ceentral panel. The painting has given rise to many different interpretations and in this century has been a happy huntiing-ground for psychoanalysts who have seen it as all an encyclopaedia of sexual fantasies. Bosch has even been thought to be a member of a heretical sect which advocated the joys of free love. In fact, Bosch appears to have had entirely conventional religious views and although his imagination was certainly richer than that of many of his contemporaries, there is nothing heretical about his iconography. The creation of woman led to the possibility of unbridled sexual self-indulgence or luxuria, one of the seven deadly sins, which is punished by hell-fire: this is the idea which underlies the triptych. The back of the wings show the creation of the world which is an overture to what is shown within. Such a work could not, of course, have been an atarplece in a church but was presurmably a private commission, perhaps to be hung in a chapel in a house or palace.