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Common base

In electronics, a common-base (also known as grounded-base) amplifier is one of three basic single-stage bipolar junction transistor (BJT) amplifier topologies, typically used as a current buffer or voltage amplifier.

In this circuit the emitter terminal of the transistor serves as the input, the collector as the output, and the base is connected to ground, or "common", hence its name. The analogous field-effect transistor circuit is the common-gate amplifier.

Applications
This arrangement is not very common in low-frequency discrete circuits, where it is usually employed for amplifiers that require an unusually low input impedance, for example to act as a preamplifier for moving-coil microphones. However, it is popular in integrated circuits and in high-frequency amplifiers, for example for VHF and UHF, because its input capacitance does not suffer from the Miller effect, which degrades the bandwidth of the common-emitter configuration, and because of the relatively high isolation between the input and output. This high isolation means that there is little feedback from the output back to the input, leading to high stability.

This configuration is also useful as a current buffer, since it has a current gain of approximately unity (see formulae below). Often a common base is used in this manner, preceded by a common-emitter stage. The combination of these two form the cascode configuration, which possesses several of the benefits of each configuration, such as high input impedance and isolation.

Low-frequency characteristics
At low frequencies and under small-signal conditions, the circuit in Figure 1 can be represented by that in Figure 2, where the hybrid-pi model for the BJT has been employed. The input signal is represented by a Thévenin voltage source vs with a series resistance Rs and the load is a resistor RL. This circuit can be used to derive the following characteristics of the common base amplifier.

 * Note: Parallel lines (||) indicate components in parallel.

In general, the overall voltage/current gain may be substantially less than the open/short-circuit gains listed above (depending on the source and load resistances) due to the loading effect.

Active loads
For voltage amplification, the range of allowed output voltage swing in this amplifier is tied to voltage gain when a resistor load RC is employed, as in Figure 1. That is, large voltage gain requires large RC, and that in turn implies a large DC voltage drop across RC. For a given supply voltage, the larger this drop, the smaller the transistor VCB and the less output swing is allowed before saturation of the transistor occurs, with resultant distortion of the output signal. To avoid this situation, an active load can be used, for example, a current mirror. If this choice is made, the value of RC in the table above is replaced by the small-signal output resistance of the active load, which is generally at least as large as the rO of the active transistor in Figure 1. On the other hand, the DC voltage drop across the active load has a fixed low value (the compliance voltage of the active load), much less than the DC voltage drop incurred for comparable gain using a resistor RC. That is, an active load imposes less restriction on the output voltage swing. Notice that active load or not, large AC gain still is coupled to large AC output resistance, which leads to poor voltage division at the output except for large loads RL ≫ Rout.

For use as a current buffer, gain is not affected by RC, but output resistance is. Because of the current division at the output, it is desirable to have an output resistance for the buffer much larger than the load RL being driven, so large signal currents can be delivered to a load. If a resistor RC is used, as in Figure 1, a large output resistance is coupled to a large RC, again limiting the signal swing at the output. (Even though current is delivered to the load, usually a large current signal into the load implies a large voltage swing across the load as well.) An active load provides high AC output resistance with much less serious impact upon the amplitude of output signal swing.

Overview of characteristics
Several example applications are described in detail below. A brief overview follows.

 * The amplifier input impedance Rin looking into the emitter node is very low, given approximately by

 * $$ R_\text{in} = r_E = \frac{V_T}{I_E}, $$
 * where VT is the thermal voltage, and IE is the DC emitter current.

 * For example, for VT = 26 mV and IE = 10 mA, rather typical values, Rin = 2.6 Ω. If IE is reduced to increase Rin, there are other consequences like lower transconductance, higher output resistance and lower β that also must be considered. A practical solution to this low-input-impedance problem is to place a common-emitter stage at the input to form a cascode amplifier.

 * Because the input impedance is so low, most signal sources have larger source impedance than the common-base amplifier Rin. The consequence is that the source delivers a current to the input rather than a voltage, even if it is a voltage source. (According to Norton's theorem, this current is approximately iin = vS / RS). If the output signal also is a current, the amplifier is a current buffer and delivers the same current as is input. If the output is taken as a voltage, the amplifier is a transresistance amplifier and delivers a voltage dependent on the load impedance, for example vout = iin RL for a resistor load RL much smaller in value than the amplifier output resistance Rout. That is, the voltage gain in this case (explained in more detail below) is

 * $$ v_\text{out} = i_\text{in} R_L = v_s \frac{R_L}{R_S} \Rightarrow A_v = \frac{v_\text{out}}{v_S} = \frac{R_L}{R_S}. $$

 * Note that for source impedances such that RS ≫ rE the output impedance approaches Rout = RC || [gm (rπ || RS) rO].

 * For the special case of very low-impedance sources, the common-base amplifier does work as a voltage amplifier, one of the examples discussed below. In this case (explained in more detail below), when RS ≪ rE and RL ≪ Rout, the voltage gain becomes

 * $$A_v = \frac{v_\text{out}}{v_S} = \frac{R_L}{r_E} \approx g_m R_L, $$

 * where gm = IC / VT is the transconductance. Notice that for low source impedance, Rout = rO || RC.

 * The inclusion of rO in the hybrid-pi model predicts reverse transmission from the amplifiers output to its input, that is the amplifier is bilateral. One consequence of this is that the input/output impedance is affected by the load/source termination impedance, hence, for example, the output resistance Rout may vary over the range rO || RC ≤ Rout ≤ (β + 1) rO || RC, depending on the source resistance RS. The amplifier can be approximated as unilateral when neglect of rO is accurate (valid for low gains and low to moderate load resistances), simplifying the analysis. This approximation often is made in discrete designs, but may be less accurate in RF circuits, and in integrated-circuit designs, where active loads normally are used.

Voltage amplifier

For the case when the common-base circuit is used as a voltage amplifier, the circuit is shown in Figure 2.

The output resistance is large, at least RC || rO, the value which arises with low source impedance (RS ≪ rE). A large output resistance is undesirable in a voltage amplifier, as it leads to poor voltage division at the output. Nonetheless, the voltage gain is appreciable even for small loads: according to the table, with RS = rE the gain is Av = gm RL / 2. For larger source impedances, the gain is determined by the resistor ratio RL / RS, and not by the transistor properties, which can be an advantage where insensitivity to temperature or transistor variations is important.

An alternative to the use of the hybrid-pi model for these calculations is a general technique based upon two-port networks. For example, in an application like this one where voltage is the output, a g-equivalent two-port could be selected for simplicity, as it uses a voltage amplifier in the output port.

For RS values in the vicinity of rE the amplifier is transitional between voltage amplifier and current buffer. For RS ≫ rE the driver representation as a Thévenin source should be replaced by representation with a Norton source. The common base circuit stops behaving like a voltage amplifier and behaves like a current follower, as discussed next.

Current follower

Figure 3 shows the common base amplifier used as a current follower. The circuit signal is provided by an AC Norton source (current IS, Norton resistance RS) at the input, and the circuit has a resistor load RL at the output.

As mentioned earlier, this amplifier is bilateral as a consequence of the output resistance rO, which connects the output to the input. In this case the output resistance is large even in the worst case (it is at least rO || RC and can become (β + 1) rO || RC for large RS). Large output resistance is a desirable attribute of a current source because favorable current division sends most of the current to the load. The current gain is very nearly unity as long as RS ≫ rE.

An alternative analysis technique is based upon two-port networks. For example, in an application like this one where current is the output, an h-equivalent two-port is selected because it uses a current amplifier in the output port.

title: Common base


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John Stockton

John Houston Stockton (born March 26, 1962) is an American former professional basketball player. Regarded as one of the greatest point guards of all time, he spent his entire NBA career (1984–2003) with the Utah Jazz, and the team made the playoffs in each of his 19 seasons. In 1997 and 1998, together with his longtime teammate Karl Malone, Stockton led the Jazz to the franchise's only two NBA Finals appearances, both of which were losses to the Chicago Bulls.

Stockton was a ten-time NBA All-Star and holds the NBA records for most career assists and steals by wide margins. He was inducted into the Naismith Memorial Basketball Hall of Fame in 2009 for his individual career, and again in 2010 as a member of the 1992 United States Olympic basketball team. In 1996, he was named one of the 50 greatest players in NBA history. In October 2021, Stockton was again honored as one of the league’s greatest players of all-time by being named to the NBA 75th Anniversary Team.

Early years
Born in Spokane, Washington, to Clementine (Frei) and Jack Stockton. He attended grade school at St. Aloysius and moved on to high school at Gonzaga Prep and graduated in 1980, after breaking the city record for points scored in a single basketball season.

College career
After considering offers from Don Monson at Idaho and Mike Montgomery at Montana (both in the Big Sky Conference), Stockton decided to stay in Spokane and play college basketball for Dan Fitzgerald at Gonzaga University. He became the third generation in his family at GU; grandfather Houston Stockton was a well-known football player for the Bulldogs in the 1920s. Fitzgerald was also the athletic director; he stepped away from coaching for four years after Stockton's freshman year and promoted assistant Jay Hillock to head coach.

During his senior year for the Bulldogs in 1984, Stockton averaged 20.9 points per game shooting 57% from the field. The Zags posted a 17–11 record, their best in 17 years, and Stockton led the West Coast Athletic Conference in scoring, assists, and steals. For his performance, he was named WCAC Player of the Year, the first-ever Gonzaga player to earn the award.

He was one of 74 college players invited to the spring tryouts for the 1984 U.S. Olympic team and coached by Bob Knight. Stockton made the initial cut in April to the final 20, but was one of four released in May (with Charles Barkley, Terry Porter, and Maurice Martin) in the penultimate cut to 16 players. Though not selected, the experience led him to meet his future teammate and friend, Karl Malone.

Utah Jazz (1984–2003)
In June 1984, Stockton was selected by the Utah Jazz in the first round of the 1984 NBA draft with the 16th overall pick. Though he was relatively unknown during his college career, his stock rose significantly in the months before the draft. Nevertheless, the announcement of his selection to the thousands of Jazz fans gathered at the Salt Palace on draft day was met with a stunned silence. On November 10, 1984, Stockton had his highest scoring game as a rookie, with 19 points in only 19 minutes of playing time, during a loss against the Denver Nuggets.

Stockton became the starting point guard for the Jazz in the 1987–88 season. That season, despite eventually finishing tenth in MVP voting and being named to the All-NBA Second Team after averaging 14.7 points, 13.8 assists, and 3 steals a game, Stockton was not selected to play in the 1988 NBA All-Star Game. In 1988–89, he played in his first All-Star Game, and led the NBA in assists per game for the first of nine consecutive seasons.

On January 15, 1991, Stockton scored 20 points and dished out a career-high and franchise-record 28 assists in a 124–102 home win against the San Antonio Spurs. On February 12, Stockton nearly recorded a triple-double after putting up 19 points, 11 assists, and 9 steals in a 113–92 win over the Houston Rockets.

In 1992, Stockton and the Jazz reached the Western Conference Finals for the first time; however, they were defeated by the Portland Trail Blazers in six games. Along with Malone, Stockton was named co-MVP of the All-Star Game in 1993 and the game was held in Salt Lake City.

During the 1994-95 season, Stockton achieved many milestones. On February 1, 1995, he passed Magic Johnson (who had 9,921 assists) as the NBA's all-time leader in assists as he dished out 16 assists in a 129-98 victory over the visiting Denver Nuggets. His 16 assists gave him 9,937 assists for his career at that time. Magic Johnson, in an interview, said to Stockton, "John, from one assist man to another, you are the greatest team leader I have ever played against." Seventeen days later, Stockton dished out 15 assists in a 108-98 victory over the Boston Celtics. His 15 assists gave him a career total of 10,008 assists, the first-ever player to have dished out 10,000 assists in his career. On March 25, Stockton just became the second player in NBA history to have recorded 2,000 steals after recording 6 steals in a 117-110 loss to the Dallas Mavericks.

Stockton and the Jazz reached the Conference Finals again in 1994 and 1996, but lost to the Houston Rockets and the Seattle SuperSonics, respectively.

Utah set a franchise record and led the Western Conference with 64 wins in the 1996–97 season. The team again reached the Western Conference Finals. In Game Six of the Conference Finals, Stockton scored 25 points, dished out 13 assists, and made a buzzer-beating, game-winning three-point shot over the Rockets' Charles Barkley to send the Jazz to the first of two consecutive NBA Finals appearances. Stockton's game-winner became known as "The Shot". In Game 3 of the 1997 NBA Finals, Stockton recorded 17 points, 7 rebounds, and 12 assists in their first Finals' win in franchise history. The Jazz were defeated by the Michael Jordan-led Chicago Bulls in six games in the Finals.

Stockton missed the first 18 games of the 1997–98 season with a knee injury, but the Jazz returned to the NBA Finals and again faced the Bulls. In Game 6 of the 1998 NBA Finals, Stockton made a three-pointer with 41.9 seconds left to give the Jazz a lead, but Bulls guard Michael Jordan made two field goals to put his team ahead 87–86. Stockton missed a three-point attempt with 5.2 seconds left and said in a post-game interview that he felt confident the shot would go in. The Bulls again defeated the Jazz in six games.

The Jazz made the NBA playoffs every season during Stockton's 19-year NBA career.

Retirement
On May 2, 2003, Stockton announced his retirement with a released statement instead of the customary news conference. The Jazz later held a retirement ceremony for him, in which Salt Lake City renamed the street in front of the venue known as Delta Center, where the Jazz play, John Stockton Drive. Stockton would later declare that despite being still content with the game and how well he was playing, his growing family made him feel that "sitting in the hotel room waiting for games wasn't making up for what I was missing at home."

Stockton's number 12 jersey was retired by the Jazz during a game on November 22, 2004. A statue of Stockton can be seen in front of the Delta Center; an accompanying statue of Karl Malone was placed nearby on March 23, 2006. The Malone and Stockton statues stand on a bronze plaque commemorating their achievements together. Stockton was inducted into the Naismith Memorial Basketball Hall of Fame in 2009. Stockton was also inducted into the Hall of Fame along with the rest of the 1992 United States men's Olympic basketball team in 2010.

Player profile
Stockton missed only 22 games in his 19-season career. In his first 13 seasons, he missed only four games (all in the 1989–90 season) until he missed the first 18 games of the 1997–98 season due to an injured MCL in his left knee sustained in the preseason. That was the only major injury in his career, and he never missed another game after returning from that injury. Stockton earned the "old school" tag for his physical play; surveys of athletes and fans alike often judged him among the toughest players in the NBA, usually just behind teammate Karl Malone. Stockton's tenacity also earned him a reputation among some in the league as being a dirty player, as suggested by a poll Sports Illustrated conducted in 1997 where he was voted as the second dirtiest player in the league behind Dennis Rodman. His patented "short shorts" became known as "Stocktons"—since he continued to wear the style long after the rest of the league had adopted a baggier look.

Stockton's career is also notable for its consistency and longevity. He remained a starting NBA player until his retirement at age 41. Stockton avoided most endorsements and stayed loyal to Utah despite being offered more money by other teams. In 1996, he agreed to a deal that made salary-cap space available so the team could improve, but in exchange, he insisted on guaranteed Delta Center ice time for his son's hockey team.

For many years, Karl Malone and Stockton were the Jazz's one-two punch. The two played a record 1,412 regular season games together as teammates. Many of Stockton's assists resulted from passes to Malone. Stockton and Malone have been described as the greatest pick-and-roll combination of all time. Stockton and Malone are also considered two of the best players who never won an NBA championship.

Stockton holds a commanding lead for the NBA record for career assists with 15,806. He was the first player to reach the 10,000 through 15,000 career assist milestones. Stockton also holds the record for assists-per-game average over one season (14.5 in 1990) and is one of three players who have logged more than 1,000 assists in one season, joining Kevin Porter (1,099 in 1979) and Isiah Thomas (1,123 in 1985) in the exclusive list. Stockton did this seven times, with season totals of 1,164, 1,134, 1,128, 1,126, 1,118, 1,031 and 1,011 assists.

On defense, Stockton holds the NBA record for career steals with 3,265. Stockton was also a capable scorer (13.1 points per game career average and a 51.5 career shooting percentage) with a reliable three-point shot (38.4% lifetime average). As of February 2023, he is 55th on the all-time NBA scoring list with 19,711 career points.

Stockton was selected to the All-NBA First Team twice, the All-NBA Second Team six times, the All-NBA Third Team three times, and the NBA All-Defensive Second Team five times. He was selected to 10 All-Star Games. He was named one of the 50 Greatest Players in NBA history in 1996. On May 11, 2006, ESPN.com named Stockton the fourth best point guard of all time. In October 2021, Stockton was again honored as one of the league’s greatest players of all-time by being named to the NBA 75th Anniversary Team In 1999, Sports Illustrated named Stockton as the best athlete to come out of the state of Washington in the 20th century. In 2022, to commemorate the NBA's 75th Anniversary The Athletic ranked their top 75 players of all time, and named Stockton as the 25th greatest player in NBA history.

Regular Season

 * Only player in NBA history to record multiple games with at least 25 assists made. (3)
 * One of two players in NBA history to lead the league in steals and assists in the same season. (2)
 * Chris Paul achieved this 3 times

 * 1st place all-time in career assists with 15,806.
 * 1st place all-time in career steals with 3,265.

 * 1st place all-time for most seasons leading the league in assists for consecutive seasons with 9.

International play
Stockton, along with other NBA stars, played on the basketball team in the 1992 Olympics in Barcelona, Spain. The 1992 team was the first U.S. Olympic squad to feature NBA players. The team became known as the Dream Team; the Naismith Memorial Basketball Hall of Fame called it "the greatest collection of basketball talent on the planet". Stockton also played on the 1996 U.S. men's Olympic basketball team. Stockton won gold medals with both the 1992 and 1996 teams.

Post-retirement activities
Following his retirement, Stockton moved back to his hometown Spokane. He started coaching in youth teams, being "an assistant on seven or eight teams at once" in 2003. The Jazz also invited Stockton to train both Deron Williams and Trey Burke. Stockton also became involved in various businesses including construction projects.

In 2013, Stockton released an autobiography entitled Assisted. The book was written with the assistance of his junior high school coach, Kerry L. Pickett. Karl Malone wrote the foreword. Stockton was on the Jazz's long list of coaching candidates to replace Tyrone Corbin before the selection of Quin Snyder.

On October 28, 2015, Stockton joined Montana State University's women's basketball program as an assistant coach to replace Kellee Barney. Barney left the program to pursue a career in business, and Stockton had previously coached four of the players on the MSU women's team when they played for teams in Amateur Athletic Union leagues.

In 2021, Stockton appeared in a video series titled "V-Revealed, COVID Edition," raising doubt about the COVID-19 pandemic and warning against vaccines. Stockton said he had done a "significant amount of research" and determined, "This isn't a virus cheating us of these opportunities. It's the guys making decisions saying, 'No, no, we're too scared. We're going to shut everything down. He made the claim that "hundreds" of athletes had died due to receiving a COVID vaccine, which was found by PolitiFact to be a false statement. In January 2022, Gonzaga suspended his season tickets because of his refusal to comply with the university's mask mandate.

Personal life
Hust Stockton, Stockton's grandfather (born John Houston Stockton) played professional football for the Frankford Yellow Jackets in the nascent National Football League in the 1920s; Stockton was a member of the Yellow Jackets' 1926 NFL Championship team.

Stockton and his wife, the former Nada Stepovich (the daughter of Matilda Stepovich and Mike Stepovich, the last territorial governor of Alaska) reside in Spokane. They have two daughters (Lindsay and Laura) and four sons (Houston, Michael, David, and Samuel). Stockton and his family are Roman Catholics.

Houston Stockton played college football as a defensive back for the University of Montana Grizzlies. In 2011, Michael Stockton, who played basketball at Salt Lake City's Westminster College, signed with BG Karlsruhe in Germany's second basketball division. In 2017, Michael signed with BG Göttingen in Germany's first basketball division, the Basketball Bundesliga. David Stockton completed his college basketball career at Gonzaga in 2014 and, after playing for the Reno Bighorns in the NBA's Development League, played for the NBA's Sacramento Kings and Utah Jazz. Daughter Lindsay Stockton played basketball for Montana State University and daughter Laura Stockton played basketball at Gonzaga.

Laura signed her first professional contract to play for Herner TC in Germany in 2020. In 2022 she signed a contract with the TK Hannover Luchse ("Lynxes") in Lower Saxony, Germany, where she soon became a fan favorite thanks to her powerful, aggressive playing style. In that season, Laura Stockton and the Lynxes won the German Cup and reached the championship finals, gaining home advantage as top seeded team after the regular season. After forward and scoring leader Angel Rizor suffered a broken hand in game 1, they lost 0-3 against the new champions, the Keltern Stars.

Stockton has a brother and three nephews who have played college basketball. Steve Stockton, his brother, played for the University of Washington. Steve Stockton's oldest son, Steve Stockton Jr. played at Whitworth College; another son, Shawn Stockton finished his college basketball career at the University of Montana in the 2011–12 season; and Steve's youngest son, Riley played for Seattle Pacific.

Stockton has appeared in television commercials for Foot Locker, State Farm Insurance, and Diet Pepsi.

In 2022 Stockton appeared in a documentary and expressed anti-vaccine views and his belief in COVID-19 conspiracies. Stockton later unsuccessfully sued the Washington attorney general and the executive director of the Washington Medical Commission, challenging the discipline of doctors who spread COVID-19 conspiracy theories as unconstitutional.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: John Stockton


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Miracle on Ice

The "Miracle on Ice" was an ice hockey game during the 1980 Winter Olympics in Lake Placid, New York. It was played between the hosting United States and the Soviet Union on February 22, 1980, during the medal round of the men's hockey tournament. Though the Soviet Union was a four-time defending gold medalist and heavily favored, the United States upset them and won 4–3.

The Soviet Union had won the gold medal in five of the six previous Winter Olympic Games, and they were the favorites to win once more in Lake Placid. The Soviet team consisted of professional players with significant experience in international play. By contrast, the United States team, led by head coach Herb Brooks, was composed mostly of amateur players, with only four players with minimal minor-league experience. The United States had the youngest team in the tournament and in U.S. national team history.

In the group stage, both the Soviet and U.S. teams were unbeaten; the U.S. achieved several surprising results, including a 2–2 draw against Sweden, and a 7–3 upset victory over second-place favorite Czechoslovakia.

For the first game in the medal round, the United States played the Soviets. Finishing the first period tied at 2–2, and the Soviets leading 3–2 following the second, the U.S. team scored two more goals to take their first lead midway in the third and final period, then held on and won 4–3. Two days later, the U.S. won the gold medal by beating Finland in their final game. The Soviet Union took the silver medal by beating Sweden.

The victory became one of the most iconic moments of the Games and in U.S. sports. Equally well-known was the television call of the final seconds of the game by Al Michaels for ABC, in which he declared: "Do you believe in miracles? YES!" In 1999, Sports Illustrated named the "Miracle on Ice" the top sports moment of the 20th century. As part of its centennial celebration in 2008, the International Ice Hockey Federation (IIHF) named the "Miracle on Ice" as the top international ice hockey story of the past 100 years.

The Soviet and American teams
The Soviet Union entered the Lake Placid games as the heavy favorite, having won four consecutive gold medals dating back to the 1964 games. In the four Olympics following their 1960 bronze-medal finish at Squaw Valley, Soviet teams had gone 27–1–1 (wins-losses-ties) and outscored their opponents 175–44. In head-to-head matchups against the United States, the cumulative score over that period was 28–7. The Soviet team had not lost a game in Olympic play since 1968.

The Soviets were led by legendary players in world ice hockey, such as Boris Mikhailov (a top line right winger and team captain), Vladislav Tretiak (the consensus best goaltender in the world at the time), the speedy and skilled Valeri Kharlamov, and talented, dynamic players such as defenseman Viacheslav Fetisov and forwards Vladimir Krutov and Sergei Makarov. From that team, Tretiak, Kharlamov, Makarov, and Fetisov were eventually enshrined in the Hockey Hall of Fame. Many of the Soviet players had gained attention in the Summit Series eight years before and, in contrast to the American players, were de facto professionals with long histories of international play, employed by industrial firms or military organizations for the sole purpose of playing hockey on their organization's team. Western nations protested the Soviet Union's use of full-time athletes, as they were forced to use amateur (mainly college) players due to the International Olympic Committee's (IOC) amateur-only policy. The situation even led to Canadian withdrawal from the 1972 and 1976 Olympics, but the IOC did not change the rules until the late 1980s.

U.S. head coach Herb Brooks held tryouts in Colorado Springs in the summer of 1979. Of the 20 players who eventually made the final Olympic roster, Buzz Schneider was the only one returning from the 1976 Olympic team. Nine players had played under Brooks at the University of Minnesota (including Rob McClanahan, Mike Ramsey, and Phil Verchota), while four more were from Boston University (Dave Silk, Jack O'Callahan, goaltender Jim Craig, and team captain Mike Eruzione). As Boston University and Minnesota were perennial rivals in college hockey (for instance, they had faced off in a bitter NCAA national semifinal in 1976), Brooks' selection process was a 300-question psychological test that would give him insight on how every player would react under stress; anyone who refused to take the test would automatically fail. Brooks had to select from 68 players who started the tryout.

The average age of the U.S. team was 21 years, making it the youngest team in U.S. history to play in the Olympics (in addition to being the youngest team in the 1980 Olympic tournament), but Brooks knew the limits of every player. As forward John Harrington said, "He knew exactly where to quit. He'd push you right to the limit where you were ready to say, 'I've had it, I'm throwing it in' — and then he'd back off." Brooks continued the organization by campaigning for the players' selection of Eruzione as the captain, and Craig had been the goalie for him in the 1979 World Championship tournament. Assistant coach Craig Patrick had played with Brooks on the 1967 U.S. national team.

The Soviet and American teams were natural rivals due to the decades-old Cold War. In addition, President Jimmy Carter was at the time considering a U.S. boycott of the 1980 Summer Olympics, to be held in Moscow, Russia, in protest of the December 1979 Soviet invasion of Afghanistan. On February 9, the same day the American and Soviet teams met in an exhibition game in New York City, U.S. Secretary of State Cyrus Vance denounced the impending Moscow Games at an IOC meeting. President Carter eventually decided in favor of the boycott.

Exhibitions
In exhibitions that year, Soviet club teams went 5–3–1 against National Hockey League (NHL) teams and, a year earlier, the Soviet national team had defeated a team of NHL All-Stars two games to one (by scores of 2–4, 5–4, and 6–0) to win the Challenge Cup. In 1979–80, virtually all the top North American players were Canadians, although the number of U.S.-born professional players had been on the rise throughout the 1970s. The 1980 U.S. Olympic team featured several young players who were regarded as highly promising, and some had signed contracts to play in the NHL immediately after the tournament.

In September 1979, before the Olympics, the American team started exhibition play. They played a total of 61 games in five months against teams from Europe and the United States. Through these games, Brooks instilled a European style of play in his team, emphasizing wide-open play with sufficient body contact. He believed it would be the only way for the Americans to compete with the Soviets. From the start of the exhibition matches, he conducted the team through skating wind sprints consisting of end line to blue line and back, then end line to red line and back, then end line to far blue line and back, and finally end line all the way down and back. Some of the players took to calling these "Herbies". On September 17, the team played to a 3–3 tie in Norway. Believing the team wasn't putting up sufficient effort, an angry Brooks had them skate Herbies after the game and, after a while, arena custodians turned the lights off and the Herbies continued in the dark. Brooks skated the team for over an hour. The two teams played again the next night, with the U.S. winning handily 9–0. Near the end of the exhibition season, Brooks, because of subpar play, threatened to cut Eruzione (the captain) from the team and replace Craig with Steve Janaszak as the starting goaltender, although he had supported them throughout.

In their last exhibition game, against the Soviets at Madison Square Garden on Saturday, February 9, the Americans were crushed 10–3. Soviet head coach Viktor Tikhonov later said that this victory "turned out to be a very big problem" by causing the Soviets to underestimate the American team. The game was also costly for the Americans off-ice, as defenseman Jack O'Callahan pulled a ligament in his knee; however, Brooks kept O'Callahan on the roster, which meant the U.S. was virtually playing with only 19 players throughout the tournament. O'Callahan eventually returned for the game against the Soviets, playing limited minutes.

Olympic group play
In Olympic group play, the Americans surprised many observers with their physical, cohesive play. In their first game, on February 12 against favored Sweden, Team USA earned a dramatic 2–2 draw by scoring with 27 seconds left after pulling goalie Jim Craig for an extra attacker. Then came a stunning 7–3 victory over Czechoslovakia, who were a favorite for the silver medal. With its two toughest games in the group phase out of the way, the U.S. team reeled off three more wins, beating Norway 5–1, Romania 7–2, and West Germany 4–2 to go 4–0–1 and advance to the medal round from its group, along with Sweden.

In the other group, the Soviets stormed through their opposition undefeated, often by grossly lopsided scores. They defeated Japan 16–0, the Netherlands 17–4, Poland 8–1, Finland 4–2, and Canada 6–4 to easily qualify for the next round, although both the Finns and the Canadians gave the Soviets tough games for two periods. In the end, the Soviet Union and Finland advanced from their group.

Game summary
Prior to the Friday game, ABC requested that it be rescheduled from 5:00 p.m. to 8:00 p.m. EST, so that it could be broadcast live in primetime. However, the IIHF declined the request after the Soviets complained that it would cause the game to air at 4 a.m. Moscow Time, as opposed to 1 a.m. As a result, ABC decided not to broadcast the game live for the U.S. audience and tape delayed it for broadcast during its primetime block of Olympics coverage. Before the game aired, ABC's Olympics host Jim McKay openly stated that the game had already occurred, but that they had promised not to spoil its results. In order to accommodate coverage of the men's slalom competition, portions of the game were also edited for time. ABC's 8 to 8:30 p.m. timeslot was instead devoted to the animated special The Pink Panther in: Olym-Pinks. To this day, some who watched the game on television in the United States still believe that it was live.

With a capacity of 8,500, the arena was packed. Before the game, Brooks read his players a statement he had written out on a piece of paper, telling them that "You were born to be a player. You were meant to be here. This moment is yours." Brooks believed they could win and later said, "The Russians were ready to cut their own throats. But we had to get to the point to be ready to pick up the knife and hand it to them. So the morning of the game I called the team together and told them, 'It's meant to be. This is your moment and it's going to happen.' It's kind of corny and I could see them thinking, 'Here goes Herb again....' But I believed it."

Brooks wanted his team to play short shifts lasting 40 seconds or less to stay energized by the third period. He instructed team physician George Nagobads to track ice time for the players, who later joked that he never saw the game since he was focused on his stopwatch.

First period
As in several previous games, the U.S. team fell behind early. Vladimir Krutov deflected a slap shot by Alexei Kasatonov past U.S. goaltender Jim Craig at the 9:12 mark to give the Soviets a 1–0 lead. At the 14:03 mark, Buzz Schneider scored for the United States on a 50-foot shot from the left board to tie the game. The Soviets struck again when Sergei Makarov scored with 17:34 gone. With his team down 2–1, Craig improved his play, turning away many Soviet shots before the U.S. team had another shot on goal.

In the waning seconds of the first period, Dave Christian fired a slap shot on Tretiak from 100 ft away. The Soviet goalie saved the shot but misplayed the rebound, which bounced out some 20 ft in front of him. Mark Johnson sliced between the two defenders, found the loose puck, and fired it past a diving Tretiak to tie the score with one second left in the period. Confusion reigned immediately after as the game clock showed 0:00 since it could not be stopped in time after Johnson's goal. Referee Karl-Gustav Kaisla ruled that one second would be put back on the clock and the usual center ice faceoff would take place before the first intermission could begin. A lengthy delay followed as most of the Soviet team had already proceeded down the tunnel to their locker room. Eventually, three Soviet skaters along with backup goaltender Myshkin took the ice for the final faceoff. The first period ended with the game tied 2–2.

Second period
Tikhonov replaced Tretiak with backup goaltender Vladimir Myshkin immediately after Johnson's goal, a move that shocked players on both teams. Tikhonov later identified this as the "turning point of the game" and called it "the biggest mistake of my career". Years later, when Johnson asked Viacheslav Fetisov, now an NHL teammate, about the move, Fetisov responded with "Coach crazy." Myshkin allowed no goals in the second period. The Soviets dominated play in the second period, outshooting the Americans 12–2, but scored only once, on a power play goal by Aleksandr Maltsev 2:18 into play. After two periods the Soviet Union led, 3–2.

Third period

Vladimir Petrov was sent to the penalty box at the 6:47 mark of the third period for slashing. The Americans, who had managed only two shots on Myshkin in 27 minutes, had a power play and a rare offensive opportunity. Myshkin stopped a Mike Ramsey shot, then U.S. team captain Mike Eruzione fired a shot wide. Late in the power play, Dave Silk was advancing into the Soviet zone when Valeri Vasiliev knocked him to the ice. The puck slid to Mark Johnson. Johnson fired off a shot that went under Myshkin and into the net at the 8:39 mark, as the power play was ending, tying the game at 3. Only a couple of shifts later, Mark Pavelich passed to Eruzione, who was left undefended in the high slot. Eruzione, who had just come onto the ice, fired a shot past Myshkin, who was screened by Vasili Pervukhin. This goal gave Team USA a 4–3 lead, its first of the game, with exactly 10 minutes remaining to play.

In what many Americans considered "the longest 10 minutes of their lives", the Soviets, trailing for the first time in the game, attacked ferociously. Moments after Eruzione's goal, Maltsev fired a shot which ricocheted off the right goal post. As the minutes wound down, Brooks kept repeating to his players, "Play your game. Play your game." Instead of going into a defensive crouch, the United States continued to play offense, even getting off a few more shots on goal. The Soviets began to shoot wildly, and Sergei Starikov admitted that "we were panicking." As the clock ticked down below a minute, the Soviets got the puck back into the American zone, and Mikhailov passed to Vladimir Petrov, who shot wide. The Americans fully expected Tikhonov to pull the goalie in the waning seconds. To their surprise, Myshkin stayed in the game. Starikov later explained that "We never did six-on-five," not even in practice, because "Tikhonov just didn't believe in it." Craig kicked away a Petrov slap shot with 33 seconds left. Kharlamov fired the puck back in as the clock ticked below 20 seconds. A wild scramble for the puck ensued, ending when Johnson found it and passed it to Ken Morrow. As the U.S. team tried to clear the zone (move the puck over the blue line, which they did with seven seconds remaining), the crowd began to count down the seconds left.

Sportscaster Al Michaels, who was calling the game on ABC along with former Montreal Canadiens goaltender Ken Dryden, picked up on the countdown in his broadcast, and delivered his famous call:

11 seconds, you've got 10 seconds, the countdown going on right now! Morrow, up to Silk. Five seconds left in the game. Do you believe in miracles? YES!

As his team ran all over the ice in celebration, Herb Brooks sprinted back to the locker room and cried. In the locker room afterwards, players spontaneously broke into a chorus of "God Bless America".

Gold medal
The United States did not win the gold medal by defeating the USSR. In 1980, the medal round was a round-robin, not a single elimination format as it is today. Under Olympic rules at the time, the group game with Sweden was counted along with the medal round games versus the Soviet Union and Finland. It was mathematically possible for the United States to finish anywhere from first to fourth.

Needing to defeat Finland to secure the gold medal, Team USA faced a 2–1 deficit at the end of the second period. According to Mike Eruzione, coming into the dressing room for the second intermission, Brooks turned to his players, looked at them, and said, "If you lose this game, you'll take it to your fucking graves." He then walked towards the locker room door, paused, looked over his shoulder, and said to them again, "Your fucking graves." Team USA came back in the third period to defeat Finland 4–2.

At the time, the players ascended a podium to receive their medals and then lined up on the ice for the playing of the national anthem, as the podium was only meant to accommodate one person. Only the team captains remained on the podium for the duration. After the completion of the anthem, Eruzione motioned for his teammates to join him on the podium. Today, podia are not used for ice hockey; the teams line up on their respective blue lines after the final game.

After the gold medal-securing victory over Finland, the players received a congratulatory phone call from President Jimmy Carter.

The cover of the March 3, 1980, issue of Sports Illustrated was a photograph by Heinz Kluetmeier of the American players celebrating and waving an American flag; it did not feature any explanatory captions or headlines, because, as Kluetmeier put it, "It didn't need it. Everyone in America knew what happened." The U.S. team also received the magazine's "Sportsmen of the Year" award, and were also named Athlete of the Year by the Associated Press and ABC's Wide World of Sports. In 2004, ESPN, as part of its 25th anniversary, declared the Miracle on Ice to be the top sports headline moment and game of the period 1979–2004. The victory was voted the greatest sports moment of the 20th century by Sports Illustrated.

After the 1980 Winter Olympics
At the 1981 Canada Cup, the United States, with seven players from their 1980 Olympic team, again faced the Soviet Union. The Soviets took the opening round encounter 4–1 in Edmonton. At the 1982 World Championship in Finland, with Mike Ramsey, Mark Johnson, Buzz Schneider, and John Harrington, the Americans again met the Soviets, but once again the U.S. lost, 8–4.

Later careers
Of the 20 players on Team USA, 13 eventually played in the NHL. Five of them played over 500 NHL games, and three of them played over 1,000 NHL games.

 * Neal Broten played one more season for the Golden Gophers before moving on to the NHL, and he appeared in 1,099 NHL games over 17 seasons—992 of them with the Minnesota North Stars/Dallas Stars franchise. He captained the Stars before being traded midway through the 1994–95 season to the New Jersey Devils. A two-time All-Star, he tallied 923 career points (289 goals, 634 assists), became the first American player to record 100 points in a season, and he won a Stanley Cup as a member of the Devils in 1995. Broten had already won the NCAA championship in 1979 at the University of Minnesota; this, combined with the Olympic gold medal in 1980 and the 1995 Cup win (Broten scored the Cup-winning goal in Game 4 as Viacheslav Fetisov, playing for the opposing Detroit Red Wings, fell down), made him the first player in the history of the sport to win a championship at the collegiate, professional, and Olympic levels. The Dallas Stars have since retired number 7 for Broten.
 * Ken Morrow won the Stanley Cup in 1980 as a member of the New York Islanders, becoming the first hockey player to win an Olympic gold medal and the Cup in the same year. He played 550 NHL games and won three more Cups, all with the Islanders. Morrow later worked for the Islanders as Director of Pro Scouting.
 * Mike Ramsey played in 1,070 games over 18 years. Fourteen of those years were spent with the Buffalo Sabres, with whom he played 911 games and was a five-time All-Star, captaining the team from 1990 to 1992. In 1995, he played in the Stanley Cup Finals with the Detroit Red Wings, but his team was swept by Neal Broten and the New Jersey Devils. In 2000, Ramsey became an assistant coach for the Minnesota Wild.
 * Dave Christian spent 14 years in the NHL, the bulk of them for the original Winnipeg Jets (for whom he served as team captain) and Washington Capitals. In 1990, he played in the Stanley Cup Finals while with the Boston Bruins, but the Bruins lost in five games to the Edmonton Oilers. He ended his career with 783 points (340 goals, 443 assists) in 1,009 games and made the All-Star team in 1991.
 * Mark Johnson played for several teams in the NHL before finding a home in New Jersey, tallying 508 career points (203 goals, 305 assists) in 669 games over 11 seasons. Like Christian, Ramsey, and Broten, he became an NHL All-Star (in 1984) and served as Hartford Whalers team captain. In 2002, Johnson became the coach of the University of Wisconsin–Madison women's team, leading the Badgers to National Championships in 2006, 2007 (which the Badgers won in the same Lake Placid arena in which the Miracle took place), 2009, 2011, 2019, 2021 and 2023. Johnson also served as head coach of the women's ice hockey team that won the silver medal at the 2010 Winter Olympics.
 * Jack O'Callahan played 390 NHL regular season games between 1982 and 1989 for the Chicago Blackhawks and New Jersey Devils.
 * Mark Pavelich played 355 NHL regular season games in the NHL for the New York Rangers, Minnesota North Stars, and San Jose Sharks between 1981 and 1992.
 * Dave Silk played 249 NHL regular season games for the Boston Bruins, Winnipeg Jets, Detroit Red Wings, and New York Rangers between 1980 and 1985.
 * Jim Craig appeared in 30 NHL games for the Atlanta Flames, Boston Bruins, and Minnesota North Stars between 1980 and 1984.
 * Team captain Mike Eruzione did not play any high-level ice hockey after the 1980 Olympics, as he felt that he had accomplished all of his hockey goals with the gold medal win. He did work as a hockey television analyst in the 1980s and 1990s.
 * Craig Patrick, Brooks' assistant coach and assistant general manager, both managed and coached the New York Rangers and Pittsburgh Penguins. As a result of his success with the Penguins, who won two Stanley Cups while Patrick was general manager, he was enshrined in the Hockey Hall of Fame in 2002. During that same year, he served as general manager of the Herb Brooks-coached 2002 U.S. hockey team that won the silver medal at the Salt Lake City games.
 * Herb Brooks, the team coach, coached several NHL teams following the Olympics, with mixed results. He returned to the Olympics as coach of the French team in 1998, the first Olympics in which NHL players competed. Brooks then led Team USA to the silver medal in 2002, which included a 2–2 round-robin draw and a 3–2 semi-final victory over Russia (the successor to the Soviet Union), the semi-final match coming 22 years to the day after the "Miracle on Ice" game. Brooks died in a car crash near Forest Lake, Minnesota on August 11, 2003, at the age of 66. In 2005, the Olympic Center ice arena in Lake Placid where the Miracle on Ice took place was renamed in his honor. The following year, Brooks was posthumously enshrined in the Hockey Hall of Fame.
 * Al Michaels got the job as play-by-play announcer for ice hockey at Lake Placid because he was the only member of ABC's broadcasting team who had previously called the sport (at the 1972 Winter Olympics in Sapporo, Japan). Michaels was named "Sportscaster of the Year" in 1980 for his coverage of the event. Michaels spent 26 more years covering sports for ABC before moving to NBC to call Sunday Night Football alongside John Madden and then Cris Collinsworth after Madden retired.

Silver medal
In the Soviet locker room, Tikhonov singled out first-line players Tretiak, Kharlamov, Petrov, and Mikhailov, and told each of them, "This is your loss!" Two days after the Miracle on Ice, the Soviet team defeated Sweden 9–2, winning the silver medal. The Soviet players were so upset at their loss that they did not turn in their silver medals to get their names inscribed on them, as is customary. The result stunned the Soviet Union and its news media.

After the 1980 Winter Olympics
Despite the loss, the USSR remained the pre-eminent power in Olympic hockey until its dissolution in 1991. The Soviet team did not lose a World Championship game until 1985 and did not lose to the United States again until 1991. Throughout the 1980s, NHL teams continued to draft Soviet players in hopes of enticing them to eventually play in North America. Soviet emigrant Victor Nechayev made a brief appearance with the Los Angeles Kings in the 1982–83 season and, during the 1988–89 season, the Soviet Ice Hockey Federation agreed to let veteran Sergei Pryakhin join the Calgary Flames.

NHL careers
In the 1989-90 season, Soviet authorities permitted six more 1980 Olympians – Helmuts Balderis, Viacheslav Fetisov, Alexei Kasatonov, Vladimir Krutov, Sergei Makarov, and Sergei Starikov – to join NHL clubs, but only after they agreed to play in their final World Championship (where they won gold). Makarov won the Calder Memorial Trophy as NHL Rookie of the Year in 1989–90, becoming the oldest player to win that award. Fetisov was a teammate of Mike Ramsey on the 1995 Detroit Red Wings team that lost the Stanley Cup Finals to Neal Broten and the New Jersey Devils. Fetisov completed his career by winning Cups with the Red Wings in 1997 and 1998; the first Cup win also made Fetisov a member of the Triple Gold Club, consisting of individuals who have won a Stanley Cup plus gold medals at the Olympics and World Championships.

Notable rematches
The U.S. and the Soviet Union next met at the Winter Olympics in 1988. As in 1980, the Soviets were represented by their star-studded veterans, while the Americans fielded a team of college players. The Soviets won the encounter 7–5 and won the gold medal, while the U.S. placed seventh.

The two teams met again at the 1992 Olympics in a semi-final match. There, the Unified Team (the successor to the Soviet Union) won 5–2. While some stars had left the Soviet Union to play in the NHL, the Unified Team still boasted many veterans from their domestic professional league, while the Americans were represented primarily by college players. The Unified Team eventually won the gold medal, while the U.S. placed fourth.

The U.S., coached by Herb Brooks, and Russia, coached by Viacheslav Fetisov, met twice in the 2002 Winter Olympics in Salt Lake City, which included a 2–2 round-robin draw and a 3–2 semi-final win for the Americans. The semi-final match was played 22 years to the day after the "Miracle on Ice" game. The U.S. eventually won silver, while Russia won bronze.

The U.S. and Russia played each other in a round-robin game at the 2014 Winter Olympics in Sochi. The game was tied 2–2 after overtime before the Americans prevailed in an eight-round shootout, with T. J. Oshie scoring on 4 of 6 attempts for the United States. The match has been dubbed by some as the "Marathon on Ice" due to its length. Both teams, however, failed to win a medal; the Americans finished fourth (losing to Canada in the semifinals), while the Russians placed fifth (losing to Finland in the quarterfinals).

Popular culture
A made-for-TV movie Miracle on Ice, starring Karl Malden as Brooks, Steve Guttenberg as Craig, and Andrew Stevens as Eruzione aired on ABC television in 1981. It incorporated actual game footage and original commentary from the 1980 Winter Games.

The documentary film Do You Believe in Miracles?, narrated by Liev Schreiber, premiered on HBO in 2001 and was subsequently released on home video.

In 2004, Walt Disney Pictures released the film Miracle, directed by Gavin O'Connor and starring Kurt Russell as Brooks. Al Michaels recreated his commentary for most of the games. The final ten seconds, however, and his "Do you believe in miracles? YES!" call, were from the original broadcast and used in the film since the filmmakers felt that they could not ask him to recreate the emotion he felt at that moment. The film was dedicated to Brooks, who died shortly after principal photography completed.

The documentary Of Miracles And Men, which was directed by Jonathan Hock, premiered on ESPN in 2015 as part of the channel's 30 for 30 series. The story of the 1980 matchup is told from the Soviet perspective.

In The X-Files (season 4, episode 7), Cigarette Smoking Man (aka Cancer Man) reveals that he rigged the game by injecting the goaltender with a small amount of novocaine, saying "What's the matter? Don't you believe in miracles?"

Soviet Union
* Starting line up

title: Miracle on Ice


text:
John Gould Fletcher

John Gould Fletcher (January 3, 1886 – May 10, 1950) was an Imagist poet (the first Southern poet to win the Pulitzer Prize), author and authority on modern painting. He was born in Little Rock, Arkansas, to a socially prominent family. After attending Phillips Academy, Andover, Fletcher went on to Harvard University from 1903 to 1907, but dropped out shortly after his father's death.

Background
Fletcher lived in England for a large portion of his life. While in Europe he associated with Amy Lowell, Ezra Pound, and other Imagist poets; he was one of the six Imagists who adopted the name and stuck to it until their aims were achieved. Fletcher resumed a liaison with Florence Emily "Daisy" Arbuthnot (née Goold) at her house in Kent. She had been married to Malcolm Arbuthnot and Fletcher's adultery with her was the grounds for the divorce. The couple married on July 5, 1916. The marriage produced no children, but Arbuthnot's son and daughter from her previous marriage lived with the couple, who later divorced.

On January 18, 1936, Fletcher married a noted author of children's books, Charlie May Simon. The two of them built "Johnswood", a residence on the bluffs of the Arkansas River, then outside Little Rock. They traveled frequently to New York for the intellectual stimulation, and to the American West and South for the climate, after Fletcher developed chronic arthritis.

Fletcher suffered from depression, and on May 10, 1950, died by suicide by drowning himself in a pond near his home in Little Rock, Arkansas. Fletcher is buried at historic Mount Holly Cemetery in Little Rock. A branch of the Central Arkansas Library System is named in his honor.

Poetry
In 1913 Ezra Pound in his New Freewoman review commended Fletcher for the individuality of rhythm in his first volume of poems. Those early works include Irradiations: Sand and Spray (1915), and Goblins and Pagodas (1916). Amy Lowell said of him, "No one is more absolute master of the rhythm of verse libre". Fletcher invented the term 'polyphonic prose' to describe some poetic experiments of Amy Lowell, a form he experimented with in Goblins & Pagodas. In later poetic works Fletcher returned to more traditional forms. These include The Black Rock (1928), Selected Poems (1938), for which he won the Pulitzer Prize for Poetry in 1939, "South Star" published by Macmillan (1941), and The Burning Mountain (1946). Fletcher later moved back to Arkansas to reconnect with his roots. The subject of his works turned increasingly towards Southern issues and traditionalism.

In the late 1920s and 1930s Fletcher was active with a group of Southern writers and poets known as the Southern Agrarians. This group published the classic Agrarian manifesto I'll Take My Stand, a collection of essays rejecting Modernity and Industrialism. In 1937 he wrote his autobiography, Life is My Song, and in 1947 he published Arkansas, a history of his home state.

Johnswood, his Little Rock home, is listed on the National Register of Historic Places.

Writings

 * Irradiations: Sand and Spray, Boston, Houghton Mifflin Co., 1915
 * Goblins and Pagodas, Boston, Houghton Mifflin Co., 1916
 * Japanese Prints, Four Seas, 1918, LC 18017484
 * The Tree of Life, London, Chattus Windus, 1918
 * Breakers and Granite, New York, MacMillan Co., 1921
 * Paul Gauguin, His Life and Art, N. L. Brown, 1921, LC 20114210
 * Preludes and Symphonies, Macmillan, 1930 ISBN 978-1-4255-0347-5
 * XXIV Elegies, Writers' Editions, Santa Fe, 1935
 * Life Is My Song: The Autobiography Of John Gould Fletcher, Farrar & Rinehart, 1937 ISBN 978-0-404-17098-1
 * South Star, New York, MacMillan Co., 1941

title: John Gould Fletcher


text:
Talk:Hieronymus Bosch

Spelling
Is it The Garden of Earthly Delight or The Garden of Earthly Delights? Both citations are used. [unsigned]
 * As far as I can tell both are after the fact titles not used in Bosch's own time. I assume as long as it's clear from context what work you are talking about, either title would be acceptable. -- Infrogmation
 * From what I read, the title is later. When received in El Escorial, it was noted as el de los madroños, "the one of the strawberry trees (Arbutus unedo)"

Portrait of Bosch
I lifted the portrait from the nl version of the article which describes it as "Een zelfportret", so I assumed it was a self-portrait. If someone has info that this is not the case, please share it. -- Infrogmation 16:05, 20 Nov 2003 (UTC) david

 * The impressing drawing is certainly not "een zelfportret" but at best a portrait drawn decades after Bosch's death. It stems from a compendium titled Recueil d'Arras (around 1560, Arras, Bibliothèke Municipale) which includes 275 drawings compiled by Jacques Le Boucq. The portrait of Bosch is captioned Jeronimus Bos painctre. Jacques Le Boucq, Herald at Arms and King of Arms to Emperor Charles V, who drew several portraits of his collection himself, could impossibly have known Bosch because he was much too young. Whether he worked on an original drawing by Bosch, seems to be more than doubtful. We should keep in mind that  Bosch had become extremely popular already during his lifetime. In the middle of the 16th century an astonishing number of imitators - among them Pieter Bruegel in his earlier years - were active in playing their role in the Bosch-myth and, accordingly, the still growing Bosch-business. As someone wrote: "The myth created a market, the rush for his paintings generated the supply".  In my opinion, exactly this was the case with the Arras-portrait, which was published in print in 1572 (although looking to the other side) by the widow of Bruegel's engraver Hieronymus Cock. --Peter Witte 20:10, 15 Apr 2004 (UTC)

 * I forgot to note that the caption of the drawing in the article shouls better read: Alleged portrait of Bosch (around 1560). --Peter Witte 20:16, 15 Apr 2004 (UTC)

Ship of Fools
Article needs information about Ship of Fools (painting). Kevyn 11:54, 23 Aug 2004 (UTC)

Signature
I ddn't bring my references, but his signature in several paintings reads Jheronymus Bosch. However everybody calls him by the regular Hieronymus. [unsigned]

Parody
His vision of Hell redux: AbuGhraib.

Wasn't the painting 'Garden of Earthly Delight/s' destroyed in a warehouse fire at Heathrow a year ago or so (as recently revealed?). Or am I confusing that with something else?

Oh, a couple of useful links maybe: http://www.bbc.co.uk/dna/ww2/A871391 (public domain?) http://www.artchive.com/artchive/B/bosch.html

Unexplained knowledge in Bosch paintings
Bosch is a favourite subject of many SF authors and not without reason. There are some problem with extra information in his paintings.

There is a fairly accurate giraffe shown in the Garden of Earthly Delights, The Earthly Paradise Garden of Eden. This animal was entirely unseen in Europe until the 18th century. It goes without saying that such a large, but delicate and fragile animal as a giraffe could not be imported to Europe in the age of hansa sailing ships, it couldn't survive the trip. Also, before the invention of photography, it was not possible to transfer accurate visual information, as drawings quickly degraded via repetitive copying.

Besides the giraffe, there is an elephant, more precisely a massive african elephant (loxodonta africanus) depicted in the background. That one is not fairly accurate, that one is dead accurate, as perfect as a photo. The only problem is, african elephants are very wild animals which cannot be semi-domesticated to obey like the asian working elephants. Even if you capture it as a baby it will become a beast when it grows. It would be impossible to ship a grown african elephant to Europe in the medieval ages, it would gut the crew. The first ever rideable african elephants were achieved in the Garamba national park in the late 1960's by way of behavioural biology and other modern science. Also an african elephant could not have survived in Europe during the medieval ages, when the "little ice age" made the climate much colder, so importing it as a baby dumbo is also out of question.

Based on the above, we must assume Bosch travelled to the heartland of Africa and saw these majestic animals with his own eyes and then returned to Europe. However, all bios of him state that he never left what is today's benelux area. Explain that! [unsigned]

 * Your allegation that animals couldn't survive long sailing ships is entirely unsupported. Remember such famous gifts as the giraffe that was shipped in good health all the way to delight the emperor of China, and the elephant of Charlemange's court. You might wish to choose a user name and log in if you plan to stay around Wikipedia. Cheers, -- Infrogmation
 * Furthermore, he could have seen pictures. -Branddobbe 18:11, 5 November 2005 (UTC)
 * The mentioned animals (and others) were well-known from Roman times, although some of the Medieval bestiaries got them wrong. Traveling circuses were also becoming popular in the 16th century. CFLeon (talk) 21:43, 30 July 2008 (UTC)

Jerome Bosch?!
Lets just stick to the dutch name, he was never called jerome bosch. [unsigned]

 * In fact, though he is commonly known as Hieronymus Bosch, I believe he signed most of his paintings and drawings as Jerome Bosch (or simply "Jer. Bosch"). Mike Hannon 22.05.06

 * I'm looking for references, I have one that says Jheronimus Bosch, and I think I have seen Jer. and Jeroen, but never Jerome (which is French, not Dutch). Fram 12:12, 23 May 2006 (UTC)

I could say that Bosch is a very common surname in Catalonia, the wealthiest european empire at that time. Jeroni is the catalan name and so that he could be an emigrated from Catalonia... —Preceding unsigned comment added by 83.37.86.229 (talk) 21:14, 14 October 2008 (UTC)

Plagiarism
this website either plagiarisied u or u plagiarised them http://www.all-about-renaissance-faires.com/Artists/Bosch/bosch.htm
 * Without question, they are plagiarising from Wikipedia. Or rather, since it is generally fine to copy from Wikipedia, they are failing to observe GFDL compliance by falsely claiming copyright and by failing to credit the original authors. You can see how this article grew from old edits like this one - that 'Born to a family of a Flemish painters' phrase appears just the same on the other website. If you check the article page history, you will be able to find many other examples.
 * You can find information how to report non-GFDL web sites that copy from Wikipedia without credit at Mirrors and forks. -- Solipsist 21:04, 27 April 2006 (UTC)

or from here: http://www.absoluteastronomy.com/topics/Hieronymus_Bosch there are sections that are also exact. —Preceding unsigned comment added by 87.60.166.152 (talk) 17:24, 19 April 2009 (UTC)

Pish, Posh said Hieronymus Bosch
the article says "girlfriend", when in the book the woman is clearly refered to as his "housekeeper". Freelancepolice 01:20, 31 August 2006 (UTC)

The Conjurer
The Conjurer is now found in the Israel Museum, Jerusalem (maybe on a long-term loan?), and according to the caption given there the painting is attributed to some other painter, probably Bosch's student. Can any art historian confirm this attribution? -- ED

list of works
the information to the left of the list of works should probably be removed and placed into the pages for the individual paintings. maybe just the title and date for his works would help clean the section up. also i think this section should be arranged into trypichs, paintings and drawings in order to prevent mix-up of translated names and general confusion. --AlexOvShaolin 21:27, 7 October 2006 (UTC)

pages added for what i believe is everything bosch has ever done, many of these need expansion into comprehensive articles, all of the drawings are grouped together. Alex Ov  Shaolin  20:20, 19 October 2006 (UTC)

The entries for Christ Crowned With Thorns and Christ Carrying The Cross are all very confusing. For example, Christ Crowned with Thorns (El Escorial version) starts off by talking about Christ Carrying the Cross, which is bolded and italicized, making me wonder what the real title of the work I'm looking at is. They need to be wikified, and have links to the other works with the same name. -- Norvy (talk) 06:05, 29 November 2006 (UTC)

 * theres two things you must consider when dealing with art this old, first off, the paintings are dutch so there is no "official" english title. also there is so much undocumented material involved. perhaps there was never an "official" title for any of his paintings, people merely a painting of Jesus carrying a cross and titled it "Christ Carrying A Cross" and that titled became a sort of generic titled for all Bosch images with Christ Carrying A Cross. As far as the "Christ Crowned with Thorns (El Escorial Version)" goes, i accidentally left the wrong titled bolded when i copied the template from another painting. fixed now. hopefully this will help clear things up and thank you for bringing it to my attention. please add any other information to the articles you believe is helpful. Alex  Ov  Shaolin  17:55, 29 November 2006 (UTC)

 * Great, thanks! I added see also references to the Christ Crowned With Thorns articles to help with navigation. -- Norvy (talk) 01:54, 30 November 2006 (UTC)

What's the general consensus about the Tree man drawing? I see it listed under Bosch but it says Bruegel on the drawing. Could Bosch have used Bruegel's character in a painting later on? Or was everything his to start with?

Popular culture section
Seems to be a bit of a revert war brewing. The popular culture section should be trimmed dramatically, perhaps removed entirely. Bosch is a very popular artist, and listing every time his work is mentioned is neither practical nor useful. Works that are substantially about Bosch (The book Pish Posh..., for example, might meet that criterion) should stay, but mere mentions do not merit inclusion. The edit warring needs to stop. Those who would prefer that the section stayed, please list your reasons. --Eyrian 22:21, 27 February 2007 (UTC)
 * It's a shame that when the article is relatively slight, effort is being put into, sigh, mentions in popular culture. At the very least - if anybody needs this section - it should be spun out into a seperate article. Ceoil 22:54, 27 February 2007 (UTC)
 * If any of the items are truly notable, and verifiably sourced, then integrate them in the text in a better way. The rest of the section should just go. Please see the guideline Avoid trivia sections in articles for more info. Fram 13:28, 2 March 2007 (UTC)
 * I see Eyrian went ahead and trimmed this. Perhaps what's left could be prosified and folded into an Influence section, along with his influence on Breugel and the Surrealists.  —Cel  ithemis  01:33, 3 March 2007 (UTC)

list of works given its own page
i combined it with the page of "Paintings of H. B." and given it its own page. since the last time i've visited this page i've found works delinked, misnamed and missing altogether. i couldnt revert do to other edits in main article. now it is easier to keep an eye on the list. -- Alex Ov  Shaolin  04:36, 27 July 2007 (UTC)

Portrait
The portrait is up for deletion on the commons... I uploaded a higher quality version of the original but have no idea of the source of it. If anyone knows anything about it or a way to prove that it's pre-1923 you might want to comment there. gren グレン 08:29, 22 July 2008 (UTC)

Two names
I came by here and noticed that his birth name is given in the information box as Jheronimus, but in the article itself as Jeroen. Now that can't be right. Sorry I don't have a username. I just noticed this real quick and decided I should alert someone. 208.102.245.22 (talk) 05:46, 24 July 2008 (UTC)
 * Oh, yes it can - Latin and Dutch versions of Jerome. Now added. Johnbod (talk) 04:39, 16 September 2009 (UTC)

Man-made
I don't quite understand what we're getting at with the statement, "allowing the painting to seem almost man-made." It may be a dangling modifier issue, but why wouldn't a painting seem man-made? Antelan 01:54, 16 September 2009 (UTC)
 * Indeed, removed. Johnbod (talk) 04:41, 16 September 2009 (UTC)

Facts regarding Bosch's name
There seems to be some confusion about his name. Here's a list of facts regarding his name. Hopefully this will be of some help. Vincent Steenberg (talk) 22:46, 17 January 2010 (UTC)
 * 1) Hieronymus Bosch is a posthumous name. So is Jeroen Bosch. The first has been around since the 16th century. The second is a 20th century invention based on a an archival document where he is simply referred to as Jeroen (his real surname being Van Aken this should be Jeroen van Aken). In the art historian world of the Netherlands here is referred to as Jheronimus Bosch since the 60s. He signed his work with that name, so that's the name he wanted to be known as. However, I don't know if this name has been generally accepted in the Anglo-saxon world.
 * 2) Bosch did not have a birthname as such. His birth is not documented. In official documents he is referred to as Jheronimus van Aken or in full Jheronimus Anthonissoen van Aken. So you could say that Jheronimus van Aken was his official name.
 * 3) His given name was Jeroen as mentioned above. But in documents he is more frequently referred to as Joen. So you could say that to his immediate circle he was probably known as Joen (van Aken).

 * I just uploaded a document in which his full name is stated (see File:ILVB register 1485-1495 fol 42v line 26-35.jpg). As you can see it's not Jeroen Anthoniszoon van Aken, as the article states, but Jheronimus Anthonissoen van Aken. I would have changed this myself, but I'm not familiar with phonetic script. Vincent Steenberg (talk) 18:48, 29 January 2010 (UTC)
 * Per guidelines, we should follow WP:RS in this as in anything else, and not engage in WP:Original research. As I'm sure you know, there is really no concept of a correct spelling at this period, in Netherlandish names or any others. A very good source, which collates many other reference works and other sources is this (Bosch entry shown), and also the usage of major English-language museums, as the usual name in English may well be different from that in Dutch or Flemish. These are not always infallible or consistent, but are what we should normally use. What Dutch Wikipedia has is not in itself important; they are not an RS. It may be worth recording that there are variants, and perhaps giving some in a footnote, referenced to reliable sources, which do not include primary sources like a single document, or even several. Johnbod (talk) 15:02, 9 May 2010 (UTC)
 * Vincent, you are refering to a primary source, to a theory. Which is fine, but should be backed by secondary sources before we present as fact. Welcome to wikipedia by the way, always good to see new visual arts editors. Ceoil (talk) 15:09, 9 May 2010 (UTC)

I think issue 1 is resolved now. Apparently Dutch historians use Jheronimus Bosch, while English-speaking historians still call him Hieronymus Bosch. About issue 2, his ‘official’ name: In the Dutch edition of Hieronymus Bosch: the complete works by Roger H. Marijnissen (Hiëronymus  Bosch: het volledige oeuvre, ISBN 90-230-0651-8), on p. 11-14 Marijnissen lists the most important archival documents concerning Bosch. I'm sure the English version has a similar section. Although Marijnissen doesn't always transcribe these documents literally, the names given Bosch in these documents are quite consistent. Sometimes he is simply called Joen or (rarer) Jeroen (but never in combination with a surname!), but most of the time he is referred to as Jheronimus van Aken (Jheronimus sometimes spelled as Jeronimus) or (in full and still according to Marijnissen) Jheronimus Anthonissen van Aken. This information is public and I can't imagine that it can be considered OR. Regards, Vincent Steenberg (talk) 16:32, 10 May 2010 (UTC)
 * Thanks, I just wanted to state these facts, without immediately changing the article (one reason is that I am not familiar with phonetic script). In the meantime I read some books in English on Bosch (for example Hieronymus Bosch: The complete paintings and drawings, ISBN 0-8109-6735-9), which all spell his name as "Hieronymus Bosch". However, I think I can safely say the information stated above (which by the way is from Op zoek naar Jheronimus van Aken alias Bosch, ISBN 90-288-2687-4) are facts. So if these match whatever literature you are working with at the moment, it means you're on the right track. Regards, Vincent Steenberg (talk) 15:51, 9 May 2010 (UTC)
 * Vincent, by definition, what we do is present the majority view. I'm not stating an openion in this paticular case but for issues similar to this, the best you can hope for, generally is to place a note in the refs stating that according to. Truthseeking from a single or few sources, is frowned on, hard and wrong as that might seem - we are a teritory source. In this instance, as so little is known about Bosch and so much speculation is published, wiki editors are a more than a little bored by keeping original research out. To give context, and I dont see you in this light at all, but I was part of the team that put The Garden of Earthly Delights together, and you can imagine the type of projections people want to insert there. After a while you stop bothering to refute. There is a steep learning curve on wiki, and most people's initial expreience is negative, but thats the way it is. I hope this does not put you off, and will see you about. Ceoil (talk) 16:03, 9 May 2010 (UTC)
 * ok, fair enough.

Some of the arguments stated above are either irrelevant or simply wrong.
 * 1) Not all paintings by Bosch have a signature, but the ones that do clearly all spell 'Jheronimus bosch'. There are no exceptions. Of the 600 works of art known today in his style only some 20 are authentic. It is true that many of the works made by followers have other spellings, but that's obviously irrelevant for the discussion on his name.
 * 2) It is true that the Anglo-Saxon world and from it many other languages have adopted that latinized name 'Hieronymus'. It is therefore the most common spelling of his name throughout the world, but that does not mean it's right. Surely "presenting the majority view" is pointless if it is wrong.
 * 3) As for the variants 'Joen' and 'Jeroen' are only used by his fellow sworn members of the Brotherhood of Our Lady. They are therefore hardly suitable for encyclopedic writings. Besides, the correct pronunciation in Dutch would be 'Joon" resp. 'Jeroon', which in turn make far more logical abbreviations of the name Jheronimus. Sorry no phonetic spellings from me either.
 * 4) In all juridical entries in the archives on Bosch her is called Jheronimus or Jeronimus. The loss of the 'h' is logical since it cannot be heard in the pronunciation.  — Preceding unsigned comment added by Cabvriens (talk • contribs) 06:04, 4 August 2011 (UTC)

Changes to text
Before making major alterations to the text please reference your changes, per WP:OR thank you...Modernist (talk) 12:16, 9 May 2010 (UTC)

He was German
Why do you call him a "Dutch" painter? He was as German as he could be. The Netherlands at that time were still a part of the German Reich. They seperated a century later, in 1648. The Dutch language evolved as a German dialect. They have evolved into a people of their own between the late 17th and 19th century. But Hieronymus Bosch was clearly a German! 93.219.156.236 (talk) 08:18, 14 July 2011 (UTC)

I think technically he was Flemish according to most sources. You could check out this link (not reliable though): FactMonster website. Maybe his designation as German should be changed? Mar2194 (talk) 05:16, 23 September 2011 (UTC)
 * The man was dutch of course. Suggesting anything else is ridiculous. LeeGer (talk) 18:19, 26 September 2011 (UTC)

 * These problems are all caused by projecting modern ethnic concepts into a past where they simply cannot be applied. He was Dutch but not in the modern sense but in the 15th century sense when "Dutch" equalled "German". He was German but not in the modern sense but in the 15th century sense when "German" equalled "Dutch". However, he was not Flemish in any ethnic sense. He was Brabantian :o).--MWAK (talk) 18:42, 14 September 2015 (UTC)

The Conjurer
I have been trying to identify who the person the conjurer is talking to in Bosch's painting The Conjurer. He wears some sort of clergy garments. The article for the conjurer does not specify who this man is or what the garments signify (ie place in the church). I think it would be useful for one to know when reading the article. Any help here? Mar2194 (talk) 05:12, 23 September 2011 (UTC)

Birth name, etc.
I think I managed to solve the phonetic script problem now and I made sure to add enough references. Plus I added his signature name Jheronimus Bosch. So I hope it's ok like this. Regards, Vincent Steenberg (talk) 21:14, 21 December 2011 (UTC)
 * Looks very good to me. (Meanwhile, about 100 years later.. ) am surprised to see no mention in this article of his well-known Spanish name El Bosco. This Spanish site/project, which involves animation of one of his most famous works, looks quite interesting: . Martinevans123 (talk) 21:45, 21 December 2011 (UTC)
 * Thanks for your reply. True, in Spain he is known as "El Bosco", but in France he is called "Jérôme Bosch", in the Netherlands by many still "Jeroen Bosch", etc., etc. The list in fact goed on and on (see http://www.getty.edu/vow/ULANFullDisplay?find=Bosch&role=&nation=&prev_page=1&subjectid=500000759). So the question is should you mention all of these regional differences (most of them dating from after his death) or should you stick to his ‘English’ name plus his names as they appear in the actual archival sources from his lifetime? Vincent Steenberg (talk) 10:45, 22 December 2011 (UTC)
 * Perhaps we could put this in a footnote. Vincent Steenberg (talk) 12:26, 22 December 2011 (UTC)

Bosch's "Adoration of the Child" incorrectly dated
I am not an art historian and know little on this subject, but Heironymus Bosch is said to have died in 1516 and therefore could not have painted Adoration of the Child in 1568. Would someone with knowledge of art history or access to a more accurate database of 16th-century paintings please help answer the question of when this painting was really produced? — Preceding unsigned comment added by Spookypotato (talk • contribs) 05:57, 28 February 2012 (UTC)

 * Maybe this article is of help. Regards, Vincent Steenberg (talk) 14:03, 28 February 2012 (UTC)
 * That article seems to make it clear that it was painted "in the (manner of)" Bosch, i.e. by the school of Bosch. If the date is accurate, then it cannot have been painted by him. But the comment is relevant really, I think, not to this article, which does not mention the work at all, but to Adoration of the Child (Bosch). I see that the List of paintings by Hieronymus Bosch says this: "Bosch's authorship is disputed; possibly a copy after a lost Bosch original." The date, of course, makes this more than just "possible". So I think the article for the painting itself should also be corrected to say this. I don't think this article needs any changes. Martinevans123 (talk) 19:24, 28 February 2012 (UTC)
 * See "Manner of (art)" - its doesn't even mean by his "school", just in a similar, and perhaps imitative, style. Johnbod (talk) 13:32, 17 April 2014 (UTC)

Animation
I can't open the animation on http://hieronymus-movie.com/. And, why would I want to watch this animation? Vincent Steenberg (talk) 17:21, 5 February 2014 (UTC)
 * Removed now. Ceoil (talk) 23:04, 5 February 2014 (UTC)
 * Three times and counting. Unless I'm missing some relevant content, it appears to be promoting a fiction film featuring characters inspired by Bosch paintings, and a 48-second video of someone turning the first few pages of a Taschen book. One editor evidently thinks this belongs in the article; does anybody else agree? Ewulp (talk) 02:37, 26 February 2014 (UTC)
 * Agreed. It's WP:SOAP.  While the images are nice, it's trying to promote the book, which is for sale on a linked website.  Does not belong in EL. EvergreenFir (talk) 03:16, 26 February 2014 (UTC)
 * PS - User appears to have a history of promotional edits on this page. EvergreenFir (talk) 03:18, 26 February 2014 (UTC)

Netherlandish?
Shouldn't that be "Dutch"? Even my spell check is mad at that absurd word.Presidentbalut (talk) 06:33, 17 April 2014 (UTC)
 * It is the correct term. Deal with it. Johnbod (talk) 13:24, 17 April 2014 (UTC)
 * Early Netherlandish painting is the proper name for an art period/style. - Sum mer PhD  (talk) 13:54, 20 April 2014 (UTC)

Edits on death year
Hi JSoos! My understanding of the sentence An entry in the accounts of the Brotherhood of Our Lady records Bosch’s death is 1516 is that An entry in the accounts of the Brotherhood of Our Lady (the subject with prepositional phrase) records (the verb) Bosch’s death (the object) in 1516 (prepositional phrase). I think we could reword the entire sentence to the following so it is more clear:

Bosch's death in 1516 is recorded in an entry in the accounts of the Brotherhood of Our Lady

Would that make more sense to a non-native English reader?  Eve rgr een Fir  (talk) Please {{re}} 17:27, 24 February 2015 (UTC)

Interpretation
Though this was tagged as OR, most of the material had citations. I've added a citation for the para. which was not, and removed the tag. The section appears to me to reflect the modern scholarly view of Bosch (of which there is a great deal of documentation as he is an artist of much contemporary interest), whether or not it is referenced as well as it could be. Chrismorey (talk) 05:49, 7 March 2015 (UTC)

Heretic or not?
The article makes quite a strong statement regarding the interpretation of Bosch's work: In recent decades, scholars have come to view Bosch's vision as less fantastic, and accepted that his art reflects the orthodox religious belief systems of his age. The only source we have for the scholarly opinion in "recent decades" is a Basic Art book from Taschen which was published in 1987, i.e. a book with is more than a quarter of a century old. Also I couldn't find much by that author (Walter Bosing) I don't know what his credentials are.

I don't find similar statements in the German and Dutch versions, so I'm having my doubts regarding this claim - but if it's correct maybe a more current cite could be found, opinions could have changed in the last 28 years.

Stefanmuc (talk) 21:41, 14 March 2015 (UTC)

Number of works?
From the second paragraph of the article, 35 to 40 works are attributed to Bosch. The last section says 25. Cellmaker (talk) 12:31, 25 May 2015 (UTC)
 * You're right; I've attempted to fix the discrepancy and attribute the different estimates. Ewulp (talk) 03:19, 26 May 2015 (UTC)

Source

Thanks GreenC, I have used this source in a citation. Alexcalamaro (talk) 08:06, 12 April 2020 (UTC)

sanity
It'd be interesting to know if he ever spent time in an asylum. His paintings are frankly bizarre and disturbing. Clearly, he mostly wasn't into painting scenes of tranquility. — Preceding unsigned comment added by 209.252.183.253 (talk) 21:26, 22 April 2017 (UTC)
 * There is no published evidence that Bosch ever spent time in a 15th/ 16th century asylum or any other mental or physical health facility. While his works may seem strange and even "insane" to you, and while this strangeness may seem indicative of a mind in some kind of unhealthy state, Bosch, as near as I have been able to understand, was never considered anything other than a consummate painter whose works were highly sought after even during his own lifetime and which were unique in their style of presentation of their content.  Let's not mistake "insanity" for "genius", and let's not look at all "genius" painters as existing on some level of mental instability.  Bosch was not considered crazy, either by his contemporaries or by modern art historians. A loose noose (talk) 23:14, 14 January 2019 (UTC)
 * I recall his 'Hell' painting being used in the 70s/80s in British newspaper adverts aimed at encouraging recruit to mental health nursing in the NHS, so I wondered if his mental health has been pondered over retrospectively in medical journals. Had he been openly insane as perceived in his pre-Reformation world, it would have him being subject to quasi-imprisonment and sessions with an exorcist and it is doubtful he would have been commissioned by the pious Catholic Hapsburg family if that was known to them.Cloptonson (talk) 12:57, 30 January 2021 (UTC)
 * Mental health treatment in Bosch's day was not how it is today. That one-eared ginger Dutch guy was also bit loopy, wasn't he. Martinevans123 (talk) 13:25, 30 January 2021 (UTC)
 * See Rooth, Anna Birgitta. Exploring the garden of delights: Essays in Bosch's paintings and the medieval mental culture. California: Suomalainen tiedeakatemia, 1992. ISBN 951-41-0673-3. Ceoil  (talk) 13:38, 30 January 2021 (UTC)

pronunciation
According to the German WP, it's [jeɪˈɾoːnimʏs vɑn ˈaːkə(n)], not [jeːˈroːnimʏs fɑn ˈaːkə(n)]. --Espoo (talk) 14:11, 26 June 2019 (UTC)

Innacurate High Resolution Image
I just wanted to point out that the high resolution image for the Garden of Earthly Delights shows rough and black edges though the original had a gold and black frame and can be seen here: Museo del prado - The Garden of Earthly Delights — Preceding unsigned comment added by 2601:C1:C001:832F:488D:E875:65F9:AF12 (talk) 20:02, 5 October 2019 (UTC)

Hellscape painting: Templars/Freemasons/military industrial complex one side and JEWS the otherside
Has Hieronymus Bosch ever been said/branded as being antisemitic? anti-secret societies? 2A00:23C7:2B13:9001:C42:BA09:948B:B3BB (talk) 18:39, 26 November 2022 (UTC)

 * You could start with Edward Cohen (1984) Jheronimus Bosch and Victor van Carben. The controversy between church and synagogue in some of Bosch's paintings, [s.l.]: [s.n.]. I haven't read it, so I can't tell you if its any good. I'm curious as to why you are wondering why Bosch might have been "anti-secret societies"? Regards, Vincent Steenberg (talk) 13:20, 25 February 2023 (UTC)

Insane?
His paintings are so surreal/macabre/disturbing that they look like the product of someone who might've been mentally ill. They look like the later paintings of Richard Dadd. The article says not much is known about his life. So maybe he was committed at some point? Doesn't say where he died either. 47.138.95.221 (talk) 09:11, 28 January 2024 (UTC)

Usage of "Dutch/Netherlandish"
While the use of "Netherlandish" as an adjective referring to a person from the Netherlands is not technically incorrect, its use in the introductory paragraph to refer to Bosch's nationality is unnecessary. In this context, "Dutch" and "Netherlandish" refer to the same thing: that Bosch was Dutch. The word "Netherlandish" also appears in the next sentence in the name of the Early Netherlandish painting school, and should therefore not be used in order to avoid tautophony.

Additionally, the use of "Netherlandish" to refer to a person is not in accordance with modern English usage. To wit, Terminology_of_the_Low_Countries describes it as "somewhat dated", Netherlandish labels it "dated or jargon" and notes that it is "Almost exclusively used today in reference to early Netherlandish painting." Note that its use referring to the school of painting is correct, but referring to a person, even a painter of said school, is not.

In the interests of readability and proper language usage I've removed it from the leading paragraph. I'd appreciate discussion of differing viewpoints here instead of simple reversion.

2001:14BA:6E37:1A00:A40C:293A:5F41:B9CE (talk) 11:58, 12 March 2024 (UTC)

 * I'm not really fond of "Dutch/Netherlandish" either, and MOS:SLASH recommends avoiding such constructions. Your edit may be an improvement, but the sources you're citing, Wikipedia and Wiktionary, are (per WP:USERGENERATED) not considered reliable sources. "Netherlandish" is the preferred nationality for Bosch according to ULAN, and a quick check of other sources seems to confirm this: e.g., Britannica, The Metropolitan Museum of Art,  The National Gallery of Art, and The Wall Street Journal.  Ingrid Rowland calls him "Flemish" and later "the weird Netherlandish painter". Grove Art Online does not fear redundancy; their article starts with: "Netherlandish painter and draughtsman. The most distinctive and idiosyncratic of 15th-century Netherlandish artists ..."

 * It's not unanimous; "Dutch" is used by The New York Times and artnet. But Wikipedia generally follows sources and uses the most common descriptor. Ewulp (talk) 03:06, 13 March 2024 (UTC)

 * In general usage, Terminology_of_the_Low_Countries is correct to call "Netherlandish" "somewhat dated", but in art history it still reigns as the correct modern term (where it means Dutch and Flemish), as the references quoted above show. Johnbod (talk) 04:34, 13 March 2024 (UTC)
 * Terminology_of_the_Low_Countries is a problemmatic article, mostly not written by native English-speakers, I'd guess. It says that Flemish Primitives (echoing the French & Dutch terms) is still the dominant name in English for Early Netherlandish painting, which has been flat untrue for a good 50 years. You say "Note that its use referring to the school of painting is correct, but referring to a person, even a painter of said school, is not" - says who? Johnbod (talk) 15:39, 13 March 2024 (UTC)

title: Talk:Hieronymus Bosch