stylistic:style_transfer, structural:expansion, linguistic:paraphrasing, quality:correction
Dating and provenance

The dating of The Garden of Earthly Delights is uncertain. Ludwig von Baldass (1917) considered the painting to be an early work by Bosch. However, since De Tolnay (1937) consensus among 20th-century art historians placed the work in 1503–1504 or even later. Both early and late datings were based on the "archaic" treatment of space. Dendrochronology dates the oak of the panels between the years 1460 and 1466, providing the earliest date (terminus post quem) for the work.

The wood used for panel paintings during this period customarily underwent a lengthy period of storage for seasoning purposes, so the age of the oak might be expected to predate the actual date of the painting by several years. Internal evidence, specifically the depiction of a pineapple (a " New World " fruit), suggests that the painting itself postdates Columbus' voyages to the Americas, between 1492 and 1504. The dendrochronological research brought Vermet to reconsider an early dating and, consequently, to dispute the presence of any "New World" objects, stressing the presence of African ones instead.

The Garden was first documented in 1517, one year after the artist's death, when Antonio de Beatis, a canon from Molfetta, Italy, described the work as part of the decoration in the town palace of the Counts of the House of Nassau in Brussels, the Nassau palace. The palace was a high-profile location, a house often visited by heads of state and leading court figures. The prominence of the painting has led some to conclude that the work was commissioned and not "solely... a flight of the imagination". A description of the triptych in 1605 called it the "strawberry painting," because the fruit of the strawberry tree (madroño in Spanish) features prominently in the center panel. Early Spanish writers referred to the work as La Lujuria ("Lust").

The aristocracy of the Burgundian Netherlands, influenced by the humanist movement, were the most likely collectors of Bosch's paintings, but there are few records of the location of his works in the years immediately following his death. It is probable that the patron of the work was Engelbrecht II of Nassau, who died in 1504, or his successor Henry III of Nassau-Breda, the governor of several of the Habsburg provinces in the Low Countries. De Beatis wrote in his travel journal that "there are some panels on which bizarre things have been painted. They represent seas, skies, woods, meadows, and many other things, such as people crawling out of a shell, others that bring forth birds, men and women, white and blacks doing various activities and poses."

Because the triptych was publicly displayed in the palace of the House of Nassau, it was visible to many, and Bosch's reputation and fame quickly spread across Europe. The work's popularity can be measured by the numerous surviving copies — in oil, engraving and tapestry — commissioned by wealthy patrons, as well as by the number of forgeries in circulation after his death. Most are of the central panel only and do not deviate from the original. These copies were usually painted on a much smaller scale, and they vary considerably in quality. Many were created a generation after Bosch, and some took the form of wall tapestries.

The De Beatis description, only rediscovered by Steppe in the 1960s, cast new light on the commissioning of a work that was previously thought — since it has no central religious image — to be an atypical altarpiece. Many Netherlandish diptychs intended for private use are known, and even a few triptychs, but the Bosch panels are unusually large compared with these and contain no donor portraits. Possibly, they were commissioned to celebrate a wedding, as large Italian paintings for private houses frequently were. Nevertheless, The Garden ' s bold depictions do not rule out a church commission, such as the contemporaneous fervor to warn against immorality. In 1566, the triptych served as the model for a tapestry that hangs at El Escorial monastery near Madrid.

Upon the death of Henry III, the painting passed into the hands of his nephew William the Silent, the founder of the House of Orange-Nassau and leader of the Dutch Revolt against Spain. In 1568, however, the Duke of Alba confiscated the picture and brought it to Spain, where it became the property of one Don Fernando, the Duke's illegitimate son and heir and the Spanish commander in the Netherlands. Philip II acquired the painting at auction in 1591; two years later he presented it to El Escorial. A contemporaneous description of the transfer records the gift on 8 July 1593 of a "painting in oils, with two wings depicting the variety of the world, illustrated with grotesqueries by Hieronymus Bosch, known as 'Del Madroño'".

After an unbroken 342 years at El Escorial, the work moved to the Museo del Prado in 1939, along with other works by Bosch. The triptych was not particularly well-preserved; the paint of the middle panel especially had flaked off around joints in the wood. However, recent restoration works have managed to recover and maintain it in a very good state of quality and preservation. The painting usually is on display in a room with other works by Bosch.