As far as mental anguish goes,
the old painters were no fools.
They understood how the mind,
the freakiest dungeon in the castle,
can effortlessly imagine a crab with the face of a priest
or an end table complete with genitals.

And they knew that the truly monstrous
lies not so much in the wildly shocking,
a skeleton spinning a wheel of fire, say,
but in the small prosaic touch
added to a tableau of the hellish,
the detail at the heart of the horrid.

In Bosch’s The Temptation of St. Anthony,
for instance, how it is not so much
the boar-faced man in the pea-green dress
that frightens, but the white mandolin he carries,
not the hooded corpse in a basket
but the way the basket is rigged to hang from a bare branch;