Aert van den Bossche or the Master of the Crispinus and Crispinianus-Legend (also known as Aert Panhedel, Aert van Panhedel, Arnoul de Panhedel, Arnoul Vanden Bossche and Harnoult van den Boske) was an Early Netherlandish painter of altarpieces, active in Brussels and Bruges in the late 15th century. There is still doubt as to whether he should be identified with the Master of the legend of St. Barbara or was only one of the artists active in a workshop responsible for the works of that master.

Little is known about the life of Aert van den Bossche. It is believed that he was born ca. 1455 or earlier. He was possibly originally from Bruges although he or his ancestors may have come from the town of 's-Hertogenbosch. This can possibly be concluded from the fact that in Brussels where he was active from the 1490s he was recorded in 1499 as 'Aert van Panhedel alias van den Bossche, schilder' (painter). The town of 's-Hertogenbosch is colloquially referred to as Den Bosch (hence van den Bossche would mean "from 's-Hertogenbosch') and his name could therefore indicate he was originally from there. This assumption is further confirmed by the fact that when he registered in the Bruges Guild of Saint Luke he signed with the name 'Harnoult van den Boske'. It is also known that Aert's father, the painter Yanne van den Bossche, had received some orders from the Brussels shoe-makers' guild as well. Aert van den Bossche had a son Gielis, a.k.a. Gielis Panhedel, who signed Gilken van den Booeske and was an accomplished painter.

Aert van den Bossche became a city councillor of Brussels. There is speculation that he may have been a pupil or assistant of Hugo van der Goes.

There is uncertainty about which works can be attributed to Aert van den Bossche. The famous Virgin and Child in a Landscape, c. 1492-1498 on view at the Minneapolis Institute of Arts is currently attributed to: 'artist(s) unknown, possibly Master of the Madonna Grog or Aert van den Bossche, formerly Master of the Embroidered Foliage'. The St Augustine sacrificing to an idol of the Manichaeans is now attributed to the Master of the legend of St. Barbara. The name 'Master of the legend of St. Barbara' was created by the German art historian Max Jakob Friedländer to denote an anonymous painter or a group of painters who worked out of Bruges and Brussels.

The only written proof that a specific artwork had been commissioned from him personally is a receipt of 1490 for the remuneration paid by the Brussels shoemakers' guild for the triptych of the Martyrdom of the Saints Crispin and Crispinian. The triptych was intended for the guild's altar in the St Nicholas Church. The discovery of this receipt led to the identification of an extant painting depicting the saints in question, and to the identification of its artist earlier referred to as the 'Master of the Legend of St. Barbara' with Aert van den Bossche. Since this discovery the triptych has been removed from the oeuvre of the Master of the Legend of St. Barbara. There is yet no unanimous view as to Aert van den Bossche's exact relationship with the Master of the Legend of St. Barbara and whether Aert van den Bossche formed part of the workshop of the Master of the Legend of St. Barbara.

On stylistic grounds it is believed that Aert van den Bossche painted the right wing of the Triptych with the Miracles of Christ. Some specialists have claimed that he also collaborated with the Master of the Legend of St. Barbara: for example, in the panel of the Scenes of the Legend of Henry II, the figures in the section on the left could possibly be the work of van den Bossche.