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In page Hieronymus Bosch:

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Latterly art historians have added a further dimension to the subject of ambiguity in Bosch's work, emphasising ironic tendencies, for example in The Garden of Earthly Delights, both in the central panel (delights),[6] and the right panel (hell).[7] They theorise that the irony offers the option of detachment, both from the real world and from the painted fantasy world, thus appealing to both conservative and progressive viewers.[citation needed] According to Joseph Koerner, some of the cryptic qualities of the artist's work are due to his special focus on social, political, and spiritual enemies, whose symbolism is, by nature, disguised because it is intended to conceal the artist from criticism and harm.[8]