"Knight, Death and Devil. " Engraving by Albrecht Durer, Nuremberg, 1513.
Devils, Demons, and Witchcraft 244 Illustrations for Artists and Craftspeople ERNST AND JOHANNA LEHNER
DOvm PUBUCAnONS, INC, MMoIa, New YQrI<
Copyright Copyright © 1971 by Dover Publications, Inc. All rights reserved. Bibliographical Note Devils, Demons and Witchclc'1ft: 244 I1ll1stlc'1tions for Artists is a new work, first published by Dover Publications, Inc., in 1971. The first three printings appeared under the title Devils, Demons, Dealh and Damnalion.
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Table of Contents Title Page Copyright Page INTRODUCTION Devils and Demons Casus Luciferi Faust and Mephistopheles Hell and Damnation The Apocalyptic Horsemen Witches and Warlocks Witch-Hunting Ars Moriendi Danse Macabre Memento Mori Resurrection and Reckoning Religio-Political Devilry
1. Mars, the AngeJ of Death. After a miniature in an Anglo-Saxon manuscript, tenth century.
2. The Evil Spirit figured as a black bird whispering into the ear of a magician. From a French manuscript Hortus Deliciamm, eleventh century.
3. The Tempter in the form of a winged selpent whispering into the ear of St. Martin. After a Saxon manuscript Legend of St. Martin, eleventh century.
4. Demonic grotesque initial T. After a French calligraphic manl1scIipt, twelfth century
5. Demonic grotesque initial T. After a French calligraphic manuscript, the Rouleau mortuaire de Saint Vital, twelfth centl1lY.
6. The Evil Spirit swallowed by the Dragon ofHell. After a miniature in an English manuscript, twelfth century.
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7. jesl1s Christ breaking down the gates of Purgatory. After a miniatlJre in a French manuscript, thirteenth centUlY.
8. Possessed woman, praying, is redeemed from the Demons of the Seven Deadly Sins. After a miniatlJre in an English manuscript Bible, thirteenth century.
9. Demons drowning a monk in the Tiber. After a miniatlJre in an Italian manl1scIipt "Moral Bible, " thirteenth centwy.
lO. Condemned souls of sinners are carIied by Demons to their place of punishment. After a miniatlJre in a Milanese manuscIipt, fourteenth centUlY.
INTRODUCTION Throughout history, artists have grappled with the problem of depicting clearly and forcefully the principles of evil and suffering in human existence. Religion, folk beliefs and individual imagination, independently or in fertile combinations, have provided powerful visual realizations of these themes.
11. English alewives carried by Demons to Ile11, in punishment for selling had ale. After a carved tablet on a miserere seat at Ludlow Church, England, fourteenth centUlY. Collected in this volume are a wealth of symbols and scenes portraying the appearance, history and activities of the Devil, the embodiment of temptation and vice in the Christian world; his host of demon helpers; the human witches who have placed themselves in his service; the awesome phenomenon of death
(according to the Bible, a punishment for yielding to the Devil's blandishments); the tortures of Hell and the terrors of the Last Judgment. Centuries of artistic endeavor, particularly in graphics, are represented here. Alongside the ingenious concepts of many little-known and anonymous creators, figure works by Durer, Holbein, Rembrandt, Cranach, Baldung Grien and other titans. The conduding chapter, "Religio-Political Devilry," shows how inventively artists at different times in the past have used some of these motifs for their own contemporary purposes of
protest or publicity. It is hoped that the scores of bold images in this volume, over and above the esthetic delight they afford, will offer many new suggestions for further work. E. L.
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12. Angel and Devil vying for the soul of a dying man. After a miniature in an English manuscript, fourteenth centUlY.
Devils and Demons
* Meet the Devil. Nowadays he usually appears as a suave, sly man with telltale horns, hooves and tail; but in the past his bestial nature was emphasized and he cropped up in a wide variety of animal and mixed forms-usually loathly, since (in most artistic conceptions) he had sacrificed his angelic beauty when he disobeyed and rebelled against God. (As shown in some illustrations in this chapter, animal forms for supernatural beings and demons were common in ancient Egyptian and Mesopotamian art.)
13. The lion-headed, eagle-footed AssyIian-Babylonian demon of disease and evil, holding the mace of wounding and the dagger of killing. After a wall carving at Nineveh. The Devil's main objective is to tempt man and lead him away from God. Two of the most famous temptations are illustrated in this chapter: the temptation of Jesus in the desert of Palestine and
that of St. Anthony in the desert of Egypt. But every human being must be assailed, and the Devil needs many demon helpers, such as Belial and Beelzebub, who go about the world spreading disease and madness (by "possessing" their victims) and instigating all sorts of vice. The vice-ridden may not even be aware that they are playing into the Devil's hands: witness the vain woman who looks into her mirror expecting to see her face and sees-something else.
14. Amam (the devourer), demon orthe nether world. After an ancient Egyptian papyras illustration.
15. A Cynocephalus baboon as demon of the nether world. After an illustration in an ancient Egyptian papyms.
16. The fight of the City of Satan (Babylon) against the City of God (Syon). From Aarelias Aagastinas' De Trinitate. De Civitate Dei, printed by Johann Amerbach, Basle, 1489.
17. The demon Belial appearing with his entoarage of foar lesser demons before King Solomon.
18. The demon Belial presenting his credentials to Solomon. From Jacobus de Teramo's Das Buch Belial, printed at AugsbUlg, 1473.
19. The demon Belial dancing before King Solomon.
20. The demon Belial retlJrning to the gates of Hell. From Jacobus de Teramo's Das Buch Belial, printed at Augsburg, 1473.
21. Demon causing women to gossip during Mass.
22. Demons keeping score on the babbling of women daring Mass. From Geoffroy pIinted by Michael Fartel� Basle, 1493.
23. Demon canying off a child promised to the Devil.
24. The Demon of Vanity and the coquette. From Geoffroy de Latour Landry's Ritter vom Turn, printed by Michael Furter, Basle, 1493.
25. The Demon of Creed and the treasl1rehl1nting fool.
26. The Demon of Pride and the conceited woman. From Sebastian Brant's Navis Swltifera (Ship of Fools), printed by Bergman de Dlpe, Basle, 1494; attributed to Albrecht DOrer.
27. The author tempted by the Devil, from Johannes Lichtenberger's Prognosticatio, printed by Bartholomaeus Kistler, Stlc'1ssbwg, 1500.
28. The LOld and Satan vying for the soul of man, who is navigating the ocean of vices and sin. From Le grant kalendrier et compost des Bergiers, printed by Nicolas Le Rouge, Troyes, 1496.
29. The demons of Antichrist, from La vie de I'Antechrist, showing the seducing of men by bribe and the destruction of sacred images. Printed at Lyons, late fifieenth century.
30. The Temptation ofSt. Anthony. After a design by Lucas Cranach the Elder, 1506.
31. Angels defending the Citadel of Heaven against the hordes of the Devil. From Celifodina's Scripwrae Thesaarus, printed by B. M. Lantzberg, Leipzig, 1510.
32. Grotesque representation of the demons of the Seven Deadly Sins. Designed by Hans Baldung Gden, from the Buch Granatapfel, 1511.
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33. The Devil tempting St. Patrick. From Le purgatoire Sainet PatIiee, Paris, 1530.
34. Lucifer with a tIiple face devoUling Judas and two other sufef rers. Stagnino, Venice, 1512.
35. Demons, designed by Hans Holbein the Younger, from Histor iarum Veteris Testament" ieones, printed by lahan and Franciseus Frelilon, Lyons, 1543.
36. Allegoric representation of the Demon of the Plague. From H. voin Gieirsdod's Feldtbuich deir Wundairzney, printed by Johann Schott, Strassbwg, 1540.
37. Lower demons canying out minor chores for their human masters.
38. Minor devils, demons, satyrs and hobgoblins. From Glaus Magnus' Historia de gentibus septentrionalibus, Rome, 1555.
39. Demon leaving the body of a possessed woman.
40. The DeviJ tempting St. jerome.
41. Witch and waIlock attending on Satan. From Pierre Boaistuau's Histoires prodigieuses, PaIis, 1597.
42. Satan tempting jesl1s (LlIke, 4:5-7). After an engraving by johann Sad1el� PaIis, 1582.
43. The Mercurial demon of the alchemic philosophers. From Giovanni Battista Nazari's Della transrnutatione metallica, Brescia, 1589.
44. The Demon of Counterfeit. From a German handbill against the Kipperer und Wipperer (coiners and distributors of inferior coins), Munich, 1620.
45. Asmodeus, the Biblical demon of anger and lust (Tobit, 3:8).
46. Belphegor, the Biblical demon of evil, worshipped by the Moabites (Numbers 25:3). By L. Breton, in Collin de Plancy's Dictionnaire infernal, PaIis, 1863.
47. Beelzebub, the Biblical demon prince, Lord of the Flies (Matthew 12:24).
48. Behemoth, the Biblical demon of animal strength (Job 40:1524). By L. Breton, in Collin de Plancy's Dictionnaire infernal, Paris, 1863.
49. BOllc de la goetie Basphomet, the goat incarnation of the Devil. After Eliphas Levi, from a pen drawing in a French occult manl1scIipt La Magie Noire (Black Magic), nineteenth centl1lY.
Casus Luciferi
* This is the Fall of Lucifer (the Lightbringer), chief of the
rebellious angels. The battle in Heaven, with St. Michael leading the loyal forces against the future Devil (Satan) and demons, is alluded to in the Revelation of St. John the Divine, and has captured the imagination of many creative men. In literature its fullest elaboration is found in Milton's Paradise Lost. In art it has inspired innumerable works, including Durer's Apocalypse woodcuts.
50. Casus Luciferi (the fa ll of Lucifer). From Biblia Pauperum (the poor man's Bible), a block-book printed at Bamberg, 1470.
51. St. Michael evicting Lucifer and the fallen angels from Heaven. From Albrecht Durer's Apocalypse, Nuremberg, 1498.
52. Title page from Thomas Heywood's The Hierarchie of the blessed Angells, engraved by T. Cecill, pIinted by Adam Islip, London, 1635.
53. Lucifer beginning to reign over the souls of sinners. Illustration by John Baptist Medina [or John Milton's Paradise Lost, London, J 688.
Faust and Mephistopheles
* In some versions of medieval demon lore, Mephistopheles was second only to Lucifer among the fallen archangels. In the Faust story. a German Renaissance folk legend which gained literary prominence with Marlowe and Goethe, Mephistopheles is the devil who is summoned by the aged scholar-magician Faust and heaps all pleasures on him in return for his soul. It was Goethe's Faust especially which inspired an incredible number of literary. theatrical and musical adaptations, as well as a host of illustrations, including those by Delacroix shown in this chapter. It was the figure of Faust as a scholar thirsting for knowledge which inspired the unforgettable etching by Rembrandt.
54. Mephistopheles, the popular sophisticated devil. From a pen drawing in a French occult manuscript, La Magie Noire, Paris, nineteenth century.
HISTORIA
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55. Title page from the oldest extant book about Dr. Johannes Faust, HistOlY of Dr. Johannes Faust, the Notorious Sorcerer and Master of Black Magic, printed by Johann Spies, Frc"'mkf11l1, 1587.
The Tragicall Hifiorie of the Life and Death of Doc1or Faufius. With new Additions. Written by C H. M u.
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56. Title page from the oldest extant English chapbook edition of Christopher MaIlowe's The Tra.gicall Historie of the Life and Death of Doctor Faustus, published by John Wright, London, 1631.
57. Dr. Johann Faust watching a magic disc in his study. Engraving by Rembrandt Hannensz van Rijn, 1652.
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58. Playbill for the oldest German Faust comedy, The Life and Death of the Great Arch-Sorcerer Dr. Johannes Faustlls, Bremen, 1688.
59.
Dungeon scene with Mephistopheles, Faust and Margaret. Lithograph by Eugene Delacroix for Johann Wolfgang von Goethe's Faust, printed by Goyer & Hermet, Paris, 1828.
60.
Garden scene with Mephistopheles, Faust, and Margaret. Lithograph by Eugene Delacroix for Johann Wolfgang von Goethe's Faust, printed by Goyer & Hermet, Paris, 1828.
61.
Prototype of the nineteenth-century romantic devil. From The Devil Walk by Thomas Landseer, London, 1831.
Hell and Damnation
* In Christian belief. Hell is the place where sinners are punished after death. Dante's Inferno contains the most vivid descriptions of the sufferings inflicted on the damned by the demons of Hell. Similar places of punishment in the afterlife form part of other religious beliefs, especially popular Buddhism in the Far East. Two illustrations in this chapter show a scene of judging of souls in ancient Egyptian religion and a modern depiction of the punishments in Hades of three arch-sinners of ancient Greek mythology: Tantalus was never allowed to taste of the fruit and water that were so near to him; Sisyphus had constantly to roll a huge rock to the top of a hill, from which it would just as constantly roll back; Ixion was fastened to a perpetually turning wheel.
62. Judgment
of souls before the nether-world court of Osiris. After an ancient Egyptian papyms illustration.
63. The punishment of Tantalus, Sisyphus and Ixion in Tartams, the hell of ancient Greek mythology. After an English engraving.
64. The demonic hordes of HeJJ catching the souls of sinners. Attributed to Albrecht Durer. From Warning vor der falschen Iieb dieser werlt. printed by Peter Wagner, Nuremberg, 1495.
INfERNO.
65. Inferno, from Dante Alighieri 's La Divina Commedia, printed by Boninus de Bonini, Brescia, 1487.
66.
PUlgatOlY, from Dante Alighieri's La Divina Commedia, pIinted by Boninus de Bonini, Brescia, 1487.
67. Infernal punishment for the Seven Deadly Sins: the prideful are broken on the wheel. From Le grant kalendrier et compost des Bergiers, printed by Nicolas Le Rouge, Troyes, 1496.
68. Infernal punishment for the Seven Deadly Sins: the envious are immersed in freezing water. From Le grant kalendrier et compost des Bergiers, printed by Nicolas Le Rouge, Troyes, 1496.
69. Infernal punishment for the Seven Deadly Sins: the angry are dismembered alive. From Le grant kalendrier et compost des Bergiers, printed by Nicolas Le Rouge, Troyes, 1496.
70. Infernal punishment for the Seven Deadly Sins: the slothful are thrown into snake-pits. From Le grant kalendIier et compost des Bergiers, pIinted by Nicolas Le Rouge, TIvyes, 1496.
71. Infernal punishment for the Seven Deadly Sins: the greedy are put into cauldrons of boiling oil. From Le gra.nt kalendrier et compost des Bergiers, printed by Nicolas Le Rouge, Troyes, 1496.
72. Infernal panishment for the Seven Deadly Sins: the gluttonous are forcefed on toads, rats and snakes. From Le grant kalendIier et compost des Bergiers, pIinted by Nicolas Le Rouge, Troyes, 1496.
73. Infernal punishment for the Seven Deadly Sins: the lustful are smothered in fire and brimstone. From Le grant kalendrier et compost des Bergiers, printed by Nicolas Le Rouge, Troyes, 1496.
74. Dives in Hell and Lazarus in Heaven. From Jacob Sprenger and H. Institor's Malleus Maleficarum (The Hammer of Witches), printed by Jean Patit, Paris, 1510.
75. The souls of sinners delivered into the mouth of Hell. From a xylographic blockbook, Opera, engraved and printed by Giovanni Andrea Vavassore, Venice, 1510.
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76. infernal demons. From The pariyament of deuylles, printed by Richard Faques, London, J 521.
77. Title page showing the jaws of Hell with Lucifer and Satan. From the Livre de la Deablerie. printed by Michel Le Nair. Pads. 1568.
The Apocalyptic Horsemen
Among the visions granted to 51. John on Patmas, as recorded in Revelations (or the Apocalypse), was that of four maleficent
horsemen, the last of whom is there identified as Death (chapter 6, verses 1-8). The others have been identified as Plague, Famine and War, let loose against mankind. The most famous of the many illustrations of the Four Horsemen of the Apocalypse is the one by DOrer.
78. The Four Apocalyptic Horsemen. From the Cologne Bible, printed by Bartholomaus von Uncle, 1479.
79. AllegOlic representation of the Four Horsemen of the Apocalypse: War, Hunger, Plague and Death. From Albrecht Diirer's Apocalypse, Nurembelg, 1498.
80. The Apocalyptic Horsemen. Woodcut by Hans Burgkmair, from Das Neue Testament, printed by Silvan Othmal� Augsburg, 1523.
81. The Four Horsemen. From Apoca1ypsis S. Joannis, printed by Hermann Giilfferichen, Frc"'mkfw1, 1553.
Witches and Warlocks
* The true practicing witches of the late Middle Ages, Renaissance and later periods (as distinguished from mentally ill or asocial people accused of witchcraft) were most likely stubborn adherents of pre-Christian pagan religious beliefs in which the deity or deities (for Christians, the Devil and his demons) partook
of animal forms. (The Celtic enchanter Merlin is included in this chapter as an example of a pre-Christian figure who remained alive in Christian memories.) Witches and warlocks (a special term for male witches) were supposed to be able to prophesy, cast spells, raise storms, change shape. and much more. They were aided by certain animal �familiars," often cats and toads. They assembled periodically at sabbaths, where they worshipped Satan. As shown in some of the sixteenth-century German illustrations in this chapter, female witches were not always thought of as withered crones.
82. The Devil making Jove to a witch.
83. Demons riding to the Sabbath. From UiIich Molitor's Von den Unholden und Hexen. Constance. J 489.
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84. Witches brewing up a hailstorm. From the title page of UiIich Molitor's De lanijs et phitonicis mulieribus, pIinted by Cornelius de ZieIikzee, Cologne, 1489.
85. WaIlock riding to the Witches' Sabbath. From Ulrich Molitor's De laniis et phitonicis mulieribus, printed by Cornelius de Zierikzee, Cologne, 1489.
86. Witch "inoculating" a man by shooting a twig through his foot. From Ulrich Molitor's De lanijs et phitonicis mulieribus, Cologne, 1489.
8 7. The enchanter Merlin, magician of King Arthur's Round Table, meeting the fairy Viviane in the Forest ofBroceliande. After an enameled book covel� Limoges, early fifteenth century.
88. The four witches. Engraving by Albrecht Diirel� J497.
89. Witches concocting an ointment to be used for flying to the Sabbath. By Hans BaJdung Grien, Strassburg, 1514.
90. Witches celebrating. Woodcut by Hans Weiditz.
91. Witch tamed werewolf attacking travelers. Woodcut by Hans Weiditz. From Dr. Johann Geiler von Kaysersbelg's Die Emeis (The Ants), printed by Johann Griiningel� Strassburg, 1517.
92. Witch riding on the Devi1's he-goat to the Walpurgisnacht, goaded on by playful amoretti. By Albrecht Diirer.
93, 94. Witch and wizard riding to the Sabbath. From UlIich Molitor's Hexen Meysterey, 1545.
95. Witches' brew. From Abraham SaUl·'s Ein Kurtze Treue Warning (A Short, Tme Warning) , printed at Frankfurt, 1582.
96. Satan (plato) holding coal1 for newly anointed witches. From Gerard d'Eaphra.tes' Livre de 1'histoire & ancienne croniqae, printed by E. Groalleaa, Paris, 1549.
97. The Devil calTying a witch off to Hell.
98. The sorcerer Gilbert shackled by the warlock Catillum on the isle of WeteIlacas. From Glaus Magnus' Historia de gentibus septentrionalibus, Rome, 1555.
99. Sorcerer selling a bag of wind (tied up in three knots of a rope).
100. Sorcerer riding the waves on a piece of /Jots,am. From Glaus Magnus' Historia de gentibus septentrionalibus, Rome, 1555.
101. Witch conjUling up demons.
102. Witch brewing up a storm. From Glaus Magnus' Historia de gentibus septentrionalibus, Rome, 1555.
103. Satan rebaptizing young sorcerers.
104. Sorcerer exchanging the Gospels for a book of black magic. From R. P. Guaccius' Compendium Maleficarum, Milan, 1626.
105. Satan applying his claw malk to an apprentice sorcerer.
106. Witch giving the ritual kiss to Satan. From R P. Guaccius' Compendium Maleficarum, Milan, 1626.
107. Macbeth and the three witches (Act IV, Scene i). From N. Rowe's first illl1stra.ted edition of William Shakespeare's WOlkes, printed by Tonson, London, 1 709.
Witch-Hunting
* Witchcraft was combated fiercely by both Catholics and Protestants, with civil authorities lending a firm hand to the Church. The many executions of Protestants and Jews by the Catholic Inquisition is shown in several illustrations here as an analogous phenomenon. The most famous witch hunt in America (literally speaking) took place in Salem, Massachusetts, in 1692 and had Cotton Mather as its theorist.
108. Torturing of Jews accl1sed by the Inquisition as heretics and pelpetrators of black magic. From a woodcut, 1475.
109. Another scene of tortlJring of Jews. Woodcut, 1475.
110. Protestants and Jews accused by the Inquisition of heresy and witchcraft. From a contempOl"c7ry woodcut, Nuremberg, 1493.
111. Hanging of a fann woman declared by the Inquisition to be possessed by demons. From Rappresentatione della Passione, Florence, 1520.
112. Two Dominican monks burned at the stake by order of the inquisition for allegedly signing pacts with the Devil. From the Histoire veritable de quatre lacopins, Geneva, 1549.
113. Broadside newsletter about the public burning of three witches at Derneburg (Harz), October 1555.
114. Mass execution of citizens of HaaIlem as disciples of the Devil, under Fernando Alvarez de Toledo, Duke of Alba, after the conquest of HaaIlem in 1573.
115. Tol1ure of the inhabitants of Antwelp by Spanish troops under Fernando Alvarez de Toledo, Duke of Alba, after the conquest of the city in 1576. From Michael Aitsinger's De leone Belgico.
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116. Newsletter about the infernal deeds and the execution of the witch Anna EbeIlehIin, printed by Elias Wellhoffe, "Briefmaier" at Augsbwg, 1669.
117. The public burning of Father Urbain Grandier for signing a pact with the Devil. From a contemporalY drawing, Loudun, 1634.
118. The pact with the infernal powers allegedly signed by Father Urbain Grc"mdier and countersigned by Lucifer, Beelzebub, Satan, Elimi, Leviathan, Asteroth and BaalbaIith. Loudun, 1634.
119. Public hanging of witches. From Sir George Mackenzie's Law and Customs of Scotland in Matters Criminal, Edinburgh, 1678.
120. The public hanging of the three Chelmsford witches Joan Prentice, Joan Cony and Joan Upney. From an English pamphlet, 1589.
111:.,. _. or ije 111lllCtble Rl orlb.".,
OBSERVATIONS
_ _
As "ell Hij/"i,,1 as n.,r'8�'l, uponr},. NA.TURE, W NuMBER. 2nd tho OPERA.TJO!)lS o[!he
DEVILS· ,,�colnj):W'y d willi.
t. Some Accounts of the Grievo-ut MoldhtioruJo by D£ MONS.nd WITCHCRAFTS. ,,\Doh have Wely 'fU'Ino(d the Cot.lQtr�; and the TI Uls of rome eminc:nt M
RAng,ofEVIL SPIRITS, in Our Ntighboumoo
(0 �C\'m( tilt" W..�& which thoCe EtiiL A!Jgtll 1W.1 mtend ag.inn- aUlOrts ofpcople 8mon� U!. (fpcialJy 1ft A.cc:ufitiOns of the IMQ['ent, ID. Some Conj<{\u,,, upon 'he il"" EVENT'S. liktlY ro btfaIJ. the WORLD in OmenlJ and NEW tiN f GLAND in Panic:uiar; 2$:t!fo u ��the AdVll.D.ces of the TIME, wb", we lItalllle BEITER DAYES. IV A !hart NaTn live ofa late Ouc-age committed by 3�n(){ or WITCHES in S�;tkLmd2 \'cry much Rdmt Wing, and (0 tar Explbling, 7bqll.l21der which our pa..rt! of ATNrkn hi.\' C la� ! (he mahods
V. THE DEVIL D1SCOVEREI> � ]" a Brief' Dikouoc upon W£t TEMPTATlON�, wbicb are the nlOrC Ordmary Dt.O;IIS of the Wkked o�
JiYTotlCilgfa�-.•:.!:
___ _
BwOlt Printed ", Ba,J. H4rrjs for SI17f1, PRilll"-
r693.
121. Title page [rom one o[Cotton Mather's witch-hunt pamphlets, printed by Benjamin Harris [or Samuel Phillips, BostOI1,
1693.
-
The WO/lders
oj the In'Vifihle
World :
Being an Account of the
T R Y A L S OF
g'$cbcral ��ttcbCg. Lakl'j Exclltt'd iQ
NE W-ENGL
A N D:
An� of fcveral rcmark3bk.O.rnotiries therein CX�uuing. Togtther witb,
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By
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122. Title page from another edition of Cotton Mather's witch hant pamphlet, reprinted from the Boston edition for John Danton, London, 1693.
Ars Moriendi
* In medieval belief, demons lay in wait at the bedside of the dying
in hopes of snatching away their souls. The book Ars Moriendi (The Art of Dying), which appeared in many block-hook editions (both words and pictures cut on the same wood block) in the late fifteenth century. depicted the struggle between vices (and religious doubts) and virtues (religious certainty) in the mind of the dying man and the fight between externalized good and evil forces over his soul.
123. Death chamber. From an Italian Arte del Bene Mor ire, Florence, about 1495.
124. Temptation through AvaIice. From a xylographic French block-book edition of Ars moriendi, 1465.
125. Temptation through Impatience. From a Dutch block-book edition of Ars Moriendi, 1465.
126. Triumph over temptation. From a xylographic German block-book edition of Ars Moriendi, Augsburg, 1471.
127. Confession in church as a preparation for easy dying. From Dominicus Capranica 's De Arte bene moriendi, printed by Johann Clein and Piero Himel, Venice, 1490.
Pita morttnbi t� X"�rii9 r/i Ir(i1r�G colfeeta dim (i"lIri9 3D rcriltCllOO ill mOllie. Jl\Ol1ctlioboli(cfilg:;c1ti�111 ",leha mi "bet tCblillinocli\'1ili::; ac mulml1l necdfaria.
�
128. Dying man surrounded by his attendants. Attributed to Albrecht Durer,' from the t itle page of a Gelman edition of Ars Moriendi, printed by Johann Weyssenbergel� Nurembelg, 1509.
Danse Macabre
* A favorite medieval theme, connected with the view of the world as mere vanity. was the leveling of all social classes and ranks in death-with Death aptly personified as the bare, unidentifiable. universal skeleton. At first in church frescoes and then in dozens of books, the theme of Death seizing all men from emperors to peasants became popular throughout Europe. The woodcut illustrations of the Dance of Death by Hans Holbein the Younger (eight of which are reproduced in this chapter) are the most famous of alL
129 Death and the young man. From a Danse Macabre engraving by the Master of the Housebook, Germany, 1490.
130. Death and the hunting party, an allegoric representation of the might of Death. Engraving by Master H. W. (lVolf Hammer), Austria, 1482.
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131. Page from La dance Macabre des Femmes, printed by Guyot Marchant, Paris, 1486.
132. Pope and Emperor. From La dance Macabre des Hommes, pdnted by Antoine Verard, Pads, 1486.
133. Doctor and lover. From La dance Macabre des Hommes, printed by Guyot Marchant, Paris, 1486.
134. Pope and Emperor.
135. Astrologer and bourgeois. From La dance Macabre des Hommes, printed by Guyot Marchant, Paris, 1486.
136. Chambermaid and matron.
137. Blide and prostitute. From La dance Macabre des Femmes, plinted by Antoine Verard, Palis, 1486.
138,139. The townsman and Death.
140,141. The countryman and Death. From the Dance of Death by the Master of the Lubeck Bible, Lubeck, 1489.
142. Death and the gentleman. From Der Doten Dantz (Dance of the Dead), printed by Heinrich Knoblochzel� Heidelberg, 1490.
143. Death and the notables. From Der Doten Dantz, pIinted by Jacob Meydenbach, Mainz, 1492.
J44. The orchestra of Death. From Der Doten Dantz, printed by Heinrich Knoblochzer, Heidelberg, /490.
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145. Death and the landowner. From Der Doten Dantz, pIinted by Heimich Knoblochzel� Heidelberg, 1490.
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146. Orchestra orthe dead. Woodcllt by Michael Wolgemut, from Hartmann Schedel's Liber Chronicamm, printed by Anton Koberger, Nuremberg, 1493.
147. Death and the miserly fool.
148. Death and the poor fool. From Sebastian Brandt's Navis Stultifera (Ship of Fools); attributed to Albrecht Durer; printed by Bergman de Dlpe. Basle. 1494.
149. The physician's discussion with Death. From Strub's Orationes Dual, Vienna, 1511.
150. Three revelers meet three cOlpses who warn them to repent. From Horae, pIinted by Wynkyn de Worde, Westminstel� 1494.
grantlJanCe ntacab�et � btGftntntt.G :tOller � augmtntttbr lann.
151. Dance orchestlc'1 of Death. From La grant danse macabre des hommes et des femmes, printed by Nicolas Le Rouge, Troyes, 1496.
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152. Typesetter, printer and bookseller. From La Grant Dance Macabre, printed by Matthias Huss, Lyons, 1499.
153. Death hunting the hunters. From Geiler von Kaiserspelg's Sermones, De arboH� humana, printed by Johann Gnlningel� Strassburg, 1514.
o
154. Pope and Cardinal. After a Dance of Death by Nikolaus Manuel, Berne, 1515.
155. Monk and mm. After a Dance of Death by Nikolaus Manuel, Berne, 1515.
J56. Death and the lansquenets. Woodcut by Urs Graf, J524.
157. First half of Dance of Death Alphabet. Designed by Hans Holbein the Younger and engraved on wood by Hans Liitzelburger, Basle, 1526.
158. Second half of Dance of Death Alphabet. Designed by Hans Holbein the Younger and engraved on wood by Hans Liitzelburger, Basle, 1526.
159-162. EmperOl� abbot, duchess and nun. From Imagines Mortis, designed by Hans Holbein the Younger and printed by J. Frellon, Lyons, 1547.
163-166. Rich man, old man, merchant and farmer. From Imagines Mortis, designed by Hans Holbein the Younger and pr inted by J FreJJon. Lyons. 1547.
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167. "The dalJnce of Machabree, " from John Lydgate's The Fall of PIinces, pIinted by Richard Toftel, London, 1554.
168. Religious fc'1natics dancing amid the graves in a churchyard, in defiance of civilian superstition and ecclesiastic ukases. From a Gelman engraving, about 1600.
169. Ghost cotillion of the souls of Black Death victims who were buried alive in 1347. From an engraving by A. Aubrey, Gelwany, 1604.
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1 70. Death and the artists. Designed by Conrad Meyer, from Rudolf Meyer's Sterbespiegel (Mirror of Dying), Zurich, 1650.
1 71. Death on the barricades in the March Revolution, 1848. From a Danse Macabre series by Alfred Rethel.
Memento Mori
* A memento mori (Latin for �remember that you must die") is an object or pictorial symbol associated with death. Such symbols include skulls, bones, coffins, urns, angels of death, upside-down torches, graves and gravestones, hourglasses, scythes, spades, toads, serpents, worms, owls, ravens, cypresses, weeping willows, tuberoses, parsley, and many more. A good number of these associations (and of our present-day funeral practices) can be traced back to antiquity. These emblems of mortality have long been used as items of adornment: Mary, Queen of Scots, owned a skull-shaped watch; Martin Luther had a gold ring with a death's head in enamel; even today skull motifs are used in all sorts of jewelry and brie-a.-brae.
172. Scribes counting the severed heads of slain enemies after a battle. Aller an Assyrian-Babylonian wall relief, Konyunjic Palace.
1 73. Page [rom an Egyptian papyrus Book of the Dead. which was placed into Ihe tomb with the mummies as a guide for the souls of the departed.
174. Death as mounted hunter and as reaper. From Der Ackermann aus Bahmen (The Ploughman from Bohemia), Bamberg, 1463.
1 75. A skull-watch.
176. One of the eaIliest extant printed labels for a poison bottle, representing Death as a WOlw-eaten corpse. By an unknown Rhenish artist, 1480-90.
1 77. Allegoric representation of Death. From Le grant kalendrier et compost des Bergiers, printed by Nicolas le Roage, Troyes, 1496.
178. The Tree of Death (barial tree on the Island of Caffolos). From Sir John Maandev ille's Trc"'lvels, pIinted by Wynkyn de Warde, London, 1499.
179. Death leaping from Hell on his charger with arrow and coffin, to claim his Jights over mortals. From Le grant kalendrieJ� printed by Nicolas le Roage, Troyes, 1496.
180. Emblem of Death, with the motto "EveJYbody afterwards. " Designed by Master A. F., from the Heiligtl1l11bl1ch {Book of Relics}, Vienna, 1502.
181. Death in the cloister. From Robert Gobin's Les LOl1ps Ravissans (The Ravishing Wolves), printed by Antoine Verard, Paris, 1503.
J 82. The AngeJ of Death taking the soul, in the form of a child, from a dying man. From Reiter '5 Mortilogus, printed by Oegelin and Nadler, Augsburg, J 508.
183. Coat-of-arms of Death. Engraving by Albrecht Durer, Nuremberg, 1503.
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184.
Death leaving the mouth of HeJJ and hunting a victim. From The Boke named the Royal, printed by Wynkyn de Warde for Wj}}jam Caxton, London, 1507.
185. Macabre printer's device, using selpents, skull and hourglass as symbols of Death. The mark of Andreas Gesnel� Zurich, 1550.
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186. Relic monstrance in the form of skull and sword, symbol of the Society of Mal1ricius. From Lucas Cranach the Elder's Heiligthwl1S Bach, Wittembelg, 1509.
187. Hamletesque design of a young man with a death's-head. Engraving by Lucas van Leyden, 1519.
188. The triumph of Dealh. From Geoffroy Tory's Horae, printed by Simon de CoJines, Paris, 1525.
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189. The triamph of Death. From Geoffroy Tory's HOlc'1e in laadem beatissime virginis MaIie, pIinted by Simon da Bois, Paris, 1527.
190. Death and his demonic helpers are laIiing everywhere. From Ellachasem Elimithar's Schachtafeln der Gesandheyt,
illustrated by Hans Weiditz, printed by Hans Schott, Strassburg, 1533.
191. Macabre monwnental brass plate from the vault of Bishop Schonberg, Nawnburg, 1576.
192. Macabre representation of the Tree of Knowledge and Death. Woodcut by Jost Amman, from Jacob Rueff's De conceptu et generatione hominis, pIinted by Peter Fabricius, Frankfurt, 1587.
Chrifiian
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pray, for my Cake diddefi mo�! fall, for my (akc: diddf(l mou perforO! thegre:t.t nUlllber of ood worHes in this life:, for my :(ake didd c:H thou (uffer (0 manic bitCcrpangs,:md for my fakc didfi: mou giue ouer thypretious life tOlhe dC:lth. Ltt the thingcs profite mce ....�lich . thouha/l goeucn me of thincownc free will thou whichc haflc giuen dly !'Ct rhy bloud wafh 1\\':lic the of my (innes. thy hide mine vnthy Gc(cfuings COO1me iudge. As and di(ea1e incrca{c ) Coin. e,core thou thy SI:U"c . let not my wauer . Let no,'"'Y 1>o ,
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193. Prayer for the dead. From A Book of Christian Prayers, printed by Richard Yardley and Peter Short for Richard Day, London, 1590.
194. The winged Angel of Death with skull and howglass. PJinter's device of Johann Vogt, Goslar, 1607.
195. Relic monstrance in the shape of a skall and thighbone. Engraving by Christoffel van Sichem, from Het geheele leven ons Heeren jesa Christi, printed by P. 1. Paets, Amsterdam, 1648.
196. Title page with allegoric representation of the Judgment of Fame after Death. From Herodian of Alexandria's Imperial HistOlY, published by Hemy Taunton, London, 1635.
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197. Symbolic-emblematic representation of the t ra.nsitOliness of might. From T Carey's The Mirrour which Flatters not, published by R. Thale, London, 1639.
198.
199.
Macabre calligraphic page with emblems ofDeath. From a work by Francesco pisani, Genoa, 1640
Symbol of Death with the motto "My glass runneth quickly. " Plinter's device ofloost Hangers, Amsterdam, 1651 .
200. Alchemical allegOlY ofputrefaction. From Basil Valentine's Azoth, PaIis, 1659.
201. The deadly demon of tobacco "drinking." From Jacob Balde's anti-smoking pamphlet Die Truckene Trunckenheil (The DIy Drunkenness), printed by Michael Endte/� Nuremberg. 1658.
of All the
0,. A C O L l t C T I O N
Bills of Mortality Fol' thL.$ Prcfcnt Yc.ar :
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202. Title page in the fonn of a gravestone. From Bills of Mortality. a printed report to the king about the people who died
of the plague from December 1664 to December 1665, printed by E. Cotes, London, 1665.
203. "The Triumphal Arch of Death. " Engra.ving by Anders Trost after Johann Koch, from Johann Vavasor's Theatrum mortis humanae, Ljubljana, 1682.
204. The winged hourglass and the scythe, symbolizing the flight of time and the certainty of death. From a Rosicmcian emblem book, seventeenth century.
205. The skeleton on the casket and the broken tree stump symbolize Death, and the burning candle represents the human mind Iising to Heaven. From a Rosicmcian emblem book, seventeenth centUlY.
206. The urn, the leafless branch and the weeping w illow as symbols of Death. By the American wood engraver Alexander Anderson (J 775-1870).
207. The toad of Death. From a pen drawing in an occult manuscript La Magie Noire (Black magic), France, nineteenth century.
I think
the Vessel, that with fugit ive Articulation answer'd, once did live, And MelTy-make; and the cold Lip I kiss'd How many Kisses might it take-and give. 208. Macabre illustration by Edmund J. Sullivan for Quatrain by Edward Fitzgera.ld, London, l859.
XXXV of The Rllbaiyat of Omar Khayyam,
Oh, come with old Khayyam, and leave lhe Wise To talk; one thing is certain, that Life flies; One thing is certain, and the Rest is Lies: 771e Flower (hat once has blown for ever dies.
209. Macabre illustration by Edmund J. Sullivan for Quatrain XXVI of The Rubaiyat of Dmar Khayyam, by Edward Fitzgerald, London, 1859.
Resurrection and Reckoning
* In Christian belief. Christ rose from the dead, and on Judgment Day. the last day of the world. everyone who ever lived will awaken from the dead and be tried by the Lord and His angels. Many great works of art have been based on this theme.
210. Detail from "The Last Judgment. " Engraving by Allard du Hameel after Hieronimus van Aeken Bosch.
211. The Resurrection of ChIist. From Leiden Christi (The Passion of Christ), printed by Albrecht Pfister, Bamberg, 1470.
2J2. The Last Judgment. Woodcut by Michael Wolgemut, from Hartman Schedel's Libel' Cronicarum, printed by Anton Koberger, Nuremberg. J 493.
213. The Last Judgment. From the Bambergische Halsgerichtsordnung, 1510. The quotations are: "For with what judgment ye judge, ye shall be judged" (Matthew 7:2) and "The Lord executeth righteol1sness and jl1dgment for all that are oppressed " (psalms 103:6).
214. Weighing of souls by the Archangel Michael. Xylographic page from Ars Moriendi, printed by Johann WeissenbUlger, Landshut, 1514.
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215. Allegoric representation of resl1rrection. From Robert Blair's The Grave, engraved by Louis Schiavonetti after William Blake, pIinted by T. Bensley, London, 1808.
Religio-Political Devilry
* Devils, demons and similar infernal figures (including swine) have been favorite material for religious and political pamphleteers and caricaturists of all denominations and convictions for centuries. Writers and artists attacking such real and alleged abuses as drinking, dancing, smoking, gambling, counterfeiting and usury have not hesitated to press Satan into their service. This concluding chapter presents a wide panorama of these polemic graphics with a smell of brimstone.
216. Jewish scholars, wearing the pointed hats forced upon them by the law, are suckled by their wetnurse, the "Devil's pig. " From the eaIliest extant anti-Semitic broadside, Germany, 1475.
217. Papist crowning the Devil's pig. Woodcut by Hans Weiditz, from Ciceros Olficien, printed by Heinrich Steiner, Al1gsbl1lg, 1531.
lUit Otr wurlfd auff I!l tommm
218. The Demon of Dice and the terrible fate of dice-players. From a pamphlet How the Die Was Invented; attributed to Albrecht Diirer, pIinted by Conrad Kacherofen, Leipzig, 1487.
219. The Dice-Demon tempting the gambler. Detail from a broadside warning against dice-playing, France, 1490.
220. The Papist Devil, "Ego sum Papa" (I am the Pope). From a Refol7nation handbill against Pope Alexander VI, Paris, late fifteenth century.
221. George Zingel, one of the Papist adversaIies of the reformer Jacob Lochner, depicted as an infernal monster. From Lochner's polemic treatise Apologia contra. poetamm aceniml1ln Hostem Georgium Zingel, pIinted by Johann Griininger, Stra.ssbl1lg, 1503.
222. Demonic anti-Papist caIicature. From the t itle page of Opera Poetica by the refOlmer Ulrich van Hatten, printed by Henri PetIi, Basle, 1538.
223. Title page from Thomas Marner's anti-RefOlwation pamphlet Von dem grossen Latherischen Narren (On the Big Lathera.n Fool), aboat 1518.
224. Reform minister officiating at the malTiage of the fool and the she-devil. From Thomas Murner's anti-Lutheran pamphlet Von dem grossen Lutherischen Narren, about 1518.
225. Martin Lather's tIiwnph over the monk's devil. From Mattheus Gnidias' Dialogi, a Reform pamphlet against the Papists Marner and Weddel, Gelwany, 1521.
Statua hcrrcticorum
226. The Column of Heresy. From an antiLutheran pamphlet Catalogus Haereticomm omnium pene, Cologne, 1526.
A N N O M� D� LV�
227. Title page from a conformist selmon by Andreas Musculus, Yom Hosen Teuffel (the disordeI1y, inlc'111lOUS and audacious devil of the long baggy breeches; an admonition and call to ordel), printed byjohann Eichhorn, Frankfurt am Gder, 1555.
228. The "Devil's RotisseIie. " From a satiric Reformation handbill depicting the larding, stuffing and roasting of jesuits by the Devils, designed by F. Hildeberg, Gelmany, 1580.
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229. "Piramide papistique, .. satiric-allegoric representation of the Roman Church hierarchy as the Serpents of He1/. From a Protestant anti-Papist broadside, Holland, late sixteenth century.
230. The Goddess Heresy. From a satiric anti-Refol7nation handbill designed by Anton Eisen, Paderborn, Gelwany, late sixteenth centUlY.
231. The Papal hierarchy as mash in the Devil's vineyard. From a German anti-Papist broadside, late sixteenth century.
232. Papist indulgence peddlers in the jaws of Hell. From a satiric Reformation handbill, Gennany, late sixteenth century.
THE
S C O V R GE OF D RV N K E N N E S. By William Hornby Gent.
L O N D O N, Pdmcd "'yG.E L D.for T"hflwuJ 'B.,rt'r, and arc tobcfoldi a c his shop, in Ihe Middfr.Row in �cJelnto SI/lft,./"nt, 1 6 1
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233. The Devil of tobacco "drinking. " From William Hornby's The Scourge of Dnmkennes, an anti-smoking pamphlet printed by C. EJd for Thomas Baylie, London, 1618.
234. The Devil's mill of discord. From an anti-Huguenot handbill printed by E. Moreau, Paris, 1630.
The Englilh Vfurer. 1 Ill l wi!! haue all b(ithVfe � principiI!.
,.,/"j" �r'I. £It Yf",a. /. rqlllf.,t.,."Cujt" .,• •••• fill"" .'. ,./rr"J-jlb rfI.jil ._•• "" " ;(uforn, b..iII.... "" :ie) : An V(uru is nottolttablc in a "ell d1:ablilhed Common weale,b...t \'ttcr!y {obe �ieD:c:d 00[' of rh<: com.
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235. The Devil of Usury. From John Blaxton 's pamphlet against loan sharks. The English Usurel� printed by 10hn Norton [or Francis Bowman of Oxford, London, 1634.
T H E
DEVIL TU RN 'D R 0 U N D-H E A 0: 0 , ,
P L V T O brcome , ]I R Q W N I S T.
Bdne a jul1: comparifon. how rhe J)..:vil i� h<-c0me 3 R,und· "lI:.u!! In wnJ[ m.l.nncr. �nd how ,-cJlauLly( like [h�m) he is Jffc:�� wub [he moving of til(: Sp':rit.
W:th the hofy Sif ters dc�re of C0puhri()n ( lf1W would (cern Holy.SjllCe�. and pure)were it wich lh'! Devil! h'-mdf. l As
'/fo. th: Afltj1trdlfmmiwm dtfi�if;1I! �r" FA"';/'(r.
236. The Round-head Devil. From an anti-Puritan pamphlet by John TaylOl� The Devil Turn'd Round-Head, London, 1642.
237. The Money Devil. From a satiric handbill against loan shaIfs, Frc"lflce, about 1650.
238. Pluto, the Papist Devil, falling sick over the order of the so called Long Parliament to deface all Romanistic churches and to destroy all their idolatrous images. From the pamphlet A Dreame; Ol� Newes from Hell, anonymously pIinted in London, 1641.
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239. The Hartford (Connecticut) Federalist Convention candidate (the ImpeIial Devil). From an anti-British campaign leaflet for james Monroe printed in New England, 1812.
240. Sf. Michael casting Lucifer, the power of sin, out of Heaven. Ornamented tailpiece from a French book pIinted in 1650.
241. incubi inducing sweet sexual dreams in a sleeping girl. Designed by S Tschechonin for the Russian peIiodical Satyricon, St. Petersblllg, 1913.
242. Final page, "Finis corona t " (the end crowns (the work}). From Jacob Cats' autobiographical poem An Eighty-Two-Year Long Life, published by Jan van der Deyster, Leyden, 1 732.
