In contrast to his other depictions of the saint, and in an extremely original manner, Bosch shows him here absorbed in his thoughts among the wilds of nature, which is evoked by the brilliantly depicted hollow tree trunk that shelters him. Anthony is not even holding his book, which is closed and hangs from his belt. Nothing distracts him from his inner concentration, and this is also true for his attribute, the pig with a bell on its ear lying at his feet and oblivious to the assault of the devil that is about to hit it with a mallet. To maintain the unity of space and time Bosch only represents Anthony once, in the centre of the composition and on a reduced scale in relation to the landscape, which he expands by using a high horizon line. Another original feature of this work is the fact that Bosch does not show the devils as attacking the saint. Rather, they are scattered across the area enclosed by the wall on the right, as if preparing to launch their attack, carrying ladders or concealing themselves behind the grassy mounds or the shield. The confrontation has yet to take place, as is most clearly indicated by the fire that has started in the chapel, its glow barely visible through the doorway and behind the building. Also worth mentioning are the devils pouring water on a fire which has broken out on the rear side of the tree that shelters the saint. The fire was not visible prior to the restoration and can now only be discerned from the sparks and smoke. It undoubtedly refers to Saint Anthony’s fire.

(https://www.museodelprado.es/en/the-collection/art-work/the-temptations-of-saint-anthony/c1fb9065-66bd-4a6e-abd8-3b6a75431313)