Luther Visualized 18 – Physical Appearance

Martin Luther’s Physical Appearance

Luther historian E. G. Schwiebert wrote that Lucas Cranach’s “zeal in reproducing the Reformer outstripped his talent,” and called it “most regrettable” that Luther was never sketched or painted by a more talented artist like Albrecht Dürer or Hans Holbein the Younger (p. 571). However, while Cranach’s reproductions are not exactly photographic, he and the members of his studio were certainly not lacking in skill.

Apart from Cranach’s reproductions of the man, which began in 1520, there was, to our knowledge, only one earlier depiction of him, an anonymous woodcut (#9 below) on the title page of Ein Sermon geprediget tzu Leipßgk uffm Schloß am tag Petri un pauli ym .xviiij. Jar / durch den wirdigen vater Doctorem Martinum Luther augustiner zu Wittenburgk (A Sermon Preached at the Castle in Leipzig on the Day of Sts. Peter and Paul in the Year [15]19 by the Worthy Father, Doctor Martin Luther, Augustinian in Wittenberg), printed by Wolfgang Stöckel in Leipzig. Both this woodcut, originally printed in reverse, and another anonymous woodcut, not included in this post, are consistent with Schwiebert’s assertion that for “the first thirty-eight years of his life [up until 1521] he was extremely thin” (p. 573). The latter woodcut is consistently depicted but erroneously cited in Luther biographies (e.g. Schwiebert, p. 574, where he calls it the “earliest known likeness” without citation or proof, and Brecht, vol. 1, p. 412, where he gives an erroneous source, as evidenced from the actual source he cites, whose woodcut is based on #1 below).

As for the reproductions originating with Cranach and his studio in Wittenberg during Luther’s lifetime (#8 excepted), they can be classified into 8 groups (medium and year[s] that the depictions originated and flourished in parentheses):

  1. Luther the Monk (copper engraving, 1520; variously copied and embellished by a number of artists)
  2. Luther the Doctor of Theology (paintings, c. 1520; copper engraving, 1521)
  3. Luther as Junker Jörg (paintings and woodcut, 1521-1522)
  4. Luther the Husband (paintings, 1525 & 1526)
  5. The Classic Luther (paintings, 1528-1529)
  6. Luther the Professor (paintings, 1532-1533)
  7. Luther the Aging Man (paintings, 1540-1541)
  8. Luther on His Deathbed (painting based on Lukas Fortennagel’s sketch of the dead Luther, 1546)

The other three visual depictions included below are the already mentioned anonymous woodcut (#9), a sketch of Luther lecturing by Johann Reifenstein (#10), and Fortennagel’s already mentioned painting (#11). Scroll down beneath the engravings, woodcuts, and paintings for more on Luther’s appearance.

1. Lucas Cranach, Martin Luther as an Augustinian Monk, copper engraving, 1520. The caption reads: “The eternal images of his mind Luther himself expresses, while the wax of Lucas expresses the perishable looks.”

2. Lucas Cranach, Martin Luther with Doctor’s Cap, copper engraving, 1521. The caption reads: “The work of Lucas. This is a transient depiction of Luther; the eternal depiction of his mind he himself expresses.”

2. Lucas Cranach, Martin Luther as an Augustinian Monk with Doctor’s Cap, oil on panel, c. 1520 (erroneous “1517” in the upper left-hand corner); housed in a private collection. These paintings circa 1520 are lesser known and therefore both are included here.

2. Lucas Cranach, Martin Luther, oil on panel, c. 1520, since transferred to canvas; housed in the Lutherhaus Museum in Wittenberg.

3. Lucas Cranach, Martin Luther as Junker Jörg [Squire George], oil on beechwood, 1521-1522; housed in the Weimar Classics Foundation. Martin Luther likely posed for this painting during his secret trip to Wittenberg in the first half of December 1521, but cf. next image.

3. Lucas Cranach, Martin Luther as Junker Jörg, woodcut, 1522. The Latin superscription accompanying this woodcut read: “The image of Martin Luther, portrayed as he appeared when he returned from Patmos [Luther’s own biblical nickname for the Wartburg Castle] to Wittenberg.”

4. Lucas Cranach, Portraits of Martin Luther and Katharina von Bora, oil on beechwood, 1525; housed in the Basel Art Museum.

4. Lucas Cranach’s Studio, Portraits of Martin Luther and Katharina von Bora, oil on beechwood, 1525-1526; housed in the LWL-Museum für Kunst und Kultur, Münster.

5. Lucas Cranach, Martin Luther, oil on panel, 1528; housed in the Art Collections of the Veste Coburg. Cf. the similar painting in the Lutherhaus Museum.

6. Lucas Cranach, Martin Luther, oil on beechwood, 1533; housed in the Germanisches Nationalmuseum, Nuremberg. The prototype for this painting, done on parchment in 1532 and housed in Drumlanrig Castle in Thornhill, Scotland, is one of Cranach’s boldest and finest depictions of Luther.

7. Lucas Cranach’s Studio, Martin Luther, oil on panel, c. 1541; housed in the Lutherhaus Museum, Wittenberg.

8. Lucas Cranach’s Studio, Martin Luther on His Deathbed, oil on oak, 1546; housed in the Lower Saxony State Museum, Hanover. See commentary above.

9. Anonymous, Doctor Martin Lutter [sic] Augustinian, woodcut, 1519. See commentary above.

10. Johann Reifenstein, Luther lecturing in the classroom, sketch, 1545. The inscription was added in 1546 by Melanchthon. It begins with oft-quoted words of Luther: “While alive, I was your plague; when I die, I will be your death, O pope.” After some obituary-esque information, it concludes: “Even dead, he lives.”

11. Lukas Fortennagel, The Dead Luther, sketch, February 19, 1546.

While Cranach did have a virtual monopoly on Luther with regard to visual depictions, there are also written depictions that help us to complete our image of the man. Schwiebert gives the most complete treatment on the subject that I have read:

Vergerio, the papal nuncio, noted that Luther had a heavy, well-developed bone structure and strong shoulders… The Swiss student Kessler accidentally met Luther at the Hotel of the Black Bear in Jena when Luther was returning to Wittenberg from the Wartburg, still dressed as a knight. Kessler wrote in his Sabbata that Luther walked very “erect, bending backwards rather than forwards, with face raised toward heaven.” Erasmus Alber, the table companion, described Luther as well-proportioned and spoke of his general appearance in highest praise. …

One important aspect of his general appearance, noted by every observer, was Luther’s unusual eyes. Melanchthon made a casual remark that Luther’s eyes were brown and compared them to the eyes of a lion or falcon. Kessler, when he became Luther’s pupil, observed that his professor had “deep black eyes and brows, sparkling and burning like stars, so that one could hardly bear looking at them.” Erasmus Alber also likened them to falcon’s eyes. Melanchthon added the observation that the eyes were brown, with golden rings around the edges, as in the case of eagles or men of genius. Nikolaus Selnecker also compared Luther’s eyes to those of a hawk, falcon, fox, and eagle, having a fiery, burning sparkle. …

[Roman] Catholics, on the other hand, saw in these eyes diabolic powers. After the first meeting with Luther at Augsburg, [Cardinal] Cajetan would have no more to do with this man, the “beast with the deep-seated eyes,” because “strange ideas were flitting through his head.” Aleander wrote in his dispatches to the Pope that when Luther left his carriage at Worms, he looked over the crowd with “demoniac eyes.” Johannes Dantiscus, later a [Roman] Catholic bishop, visited Wittenberg in 1523 and noticed that Luther’s eyes were “unusually penetrating and unbelievably sparkling as one finds them now and then in those that are possessed.” His enemies also commonly compared him to a basilisk, that fabulous reptile which hypnotizes and slowly crawls upon its helpless prey. …

Another attribute which greatly enhanced Luther’s physical qualifications as a preacher and professor was his voice. It was clear, penetrating, and of pleasing timbre, which, added to its sonorous, baritone resonance, contributed much to his effectiveness as a public speaker. … Luther’s students enjoyed his classroom lectures because of the pleasing qualities of his delivery. Erasmus Alber added that he never shouted, yet his clear, ringing voice could easily be heard.

Sources
Cranach Digital Archive, combined with the power of Google

E. G. Schwiebert, Luther and His Times: The Reformation from a New Perspective (St. Louis: Concordia Publishing House, 1950), pp. 571-576

Martin Brecht, Martin Luther: His Road to Reformation (Minneapolis: Fortress Press, 1985), pp. 318,412

Martin Brecht, Martin Luther: The Preservation of the Church (Minneapolis: Fortress Press, 1993), Plates between pp. 14 & 15, and p. 378

Advertisements

Luther Visualized 17 – Smalcald Articles

The Smalcald Articles

MS (employed in Lucas Cranach’s studio), The Eighteenth Figure, woodcut, 1534.

This figure was printed immediately above Revelation 13 in the first edition of Luther’s translation of the entire Bible (1534). That chapter first describes a seven-headed beast coming out of the sea, representing civil government in its antichristian aspect, and then a beast coming out of the earth with two horns like the Lamb but speaking like the Dragon, representing the Antichrist himself. About the second beast, the apostle John says, “He exercises all the authority of the first beast in his presence. And he makes the earth and its inhabitants worship the first beast… And he performs great signs so that he even makes fire come down from heaven to earth in the sight of men” (Rev 13:12,13). Notice that the artist portrayed the beast out of the earth wearing a monk’s cowl and cloak, as Lucas Cranach had in the 1522 New Testament.

At first Martin Luther was befuddled and frustrated about the refusal of the pope and his legates to hear him out and to join him in reforming the church on the basis of clear testimonies of Holy Scripture. But as he continued to study Scripture, he gradually came to a realization of what or whom he was actually up against. This growing suspicion was confirmed for him when on October 10, 1520, he received the pope’s bull (official decree) threatening his excommunication if he did not retract his teachings. The next day he wrote to his friend Georg Spalatin, the elector’s court secretary: “I feel much more free now that I am made certain that the pope is the Antichrist.”

Luther most clearly articulated his views on the Antichrist in the articles of faith he prepared in 1536 in preparation for a council that Pope Paul III had convoked, to be held in Mantua, Italy, in May 1537. Elector John Frederick had asked Luther to compose the articles on the Lutherans’ behalf. He wanted Luther to distinguish between articles of faith in which they could not yield anything without committing treason against God and his Word and articles in which they could perhaps yield something for the sake of Christian love without violating God’s word. But he also asked Luther for a confession that was clearer than the Augsburg Confession with respect to the pope.

Luther finished the rough draft in December 1536 and submitted it to seven other theologians. With very few changes it was unanimously adopted (though Melanchthon gave it a somewhat qualified subscription), and the elector was also pleased with it. The council never took place during Luther’s lifetime, but the confession Luther composed still gained widespread acceptance among Lutheran theologians in the following years. It became known as the Smalcald Articles because it was circulated and read at Schmalkalden by the large number of theologians and scholars that assembled there in February 1537. Even though it was never officially discussed or accepted there due to Melanchthon’s intrigues and Luther’s illness, Johannes Bugenhagen did present it to them for their voluntary, personal subscription after official business had been concluded, and 44 men signed it in all. It received official confessional status when it was included in the Book of Concord of 1580. (You can read it online here.)

MS (employed in Cranach’s studio), The Twenty-First Figure, woodcut, 1534. This image is based on Revelation 17. The great prostitute of Babylon, representing the unfaithful element within the visible Christian church, sits upon the seven-headed, ten-horned beast (Rev 13:1-10). In her left hand she holds “a golden cup…full of abominations and the filth of her adulteries” (17:4). Note also the triple-tiered papal tiara on her head.

The Smalcald Articles stand out in at least three ways. First, Luther presents the doctrine of justification by God’s grace alone through faith in Christ alone as the core of Scripture from which all other scriptural doctrine emanates and radiates. Second, he also gave a clearer confession about the Lord’s Supper than even the Augsburg Confession did. And third, he also gave a clear confession about the bishop of Rome. He wrote:

[T]here stand all [the pope’s] bulls and books, in which he roars like a lion…that no Christian can be saved without being obedient and subject to him in all that he wishes, all that he says, all that he does. … All of this powerfully demonstrates that he is the true christ of the end times or Antichrist, who has opposed and exalted himself over Christ [cf. 2 Thessalonians 2:4]. For he will not permit Christians to be saved apart from his power, even though his power is nothing, neither established nor commanded by God. … Finally, it is nothing but the devil himself at work when [the pope] pushes his lies about masses, purgatory, the monastic life, and human works and worship [cf. Mark 7:6-8] (which is in fact the essence of the papacy) over and against God, and condemns, kills, and harasses all Christians who do not exalt and honor this abomination of his above all things.

Lucas Cranach’s Studio, woodcut opposite Chapter 11 of Revelation in the September 1522 edition of Luther’s translation of the New Testament (left) and the December 1522 edition (right). Note the difference between the beast’s crown in each.

Once Luther was convinced that the Roman papacy was the Antichrist, he wasted no time making it known in his writings and using the artist at his disposal, Lucas Cranach, to reinforce it visually. He had Cranach portray “the beast that comes up from the Abyss” with the triple-tiered papal tiara to accompany Revelation 11 in the first edition (September 1522) of his translation of the New Testament. Probably at the complaint of the Imperial Council of Regency (Reichsregiment), the papal tiara had to be replaced in the second edition (December 1522) by a simple crown.

MS (employed in Cranach’s studio), The Fifteenth Figure, woodcut, 1534. This image corresponds to Cranach’s images from 1522 above.

However, when Luther’s translation of the entire Bible was being prepared for publication in 1534, and the as-yet-unidentified MS from Cranach’s workshop was preparing woodcuts for it based in large part on Cranach’s previous woodcuts, the triple-tiered papal tiara was restored. (See image on the right.)

Christoph Walther, a proofreader and typesetter in Hans Lufft’s print shop in Wittenberg, confirmed that Luther wasn’t just responsible for the translation, but also for much of the artwork:

Luther himself dictated to some extent how the figures in the Wittenberg Bible were supposed to be depicted and portrayed, and demanded that the content of the text be portrayed and depicted in the simplest way, and he would not tolerate anything superfluous or useless that did not benefit the text getting smeared in with the rest.

Lucas Cranach’s Studio, woodcut opposite Chapter 17 of Revelation in the September 1522 edition of Luther’s translation of the New Testament (left) and the December 1522 edition (right). Note the difference between the prostitute’s crown in each. These images were the basis for MS’s The Twenty-First Figure above.

Sources
Dr. Wilhelm Martin Leberecht de Wette, ed., Dr. Martin Luthers Briefe, Sendschreiben und Bedenken, erster Theil (Berlin: G. Reimer, 1825), pp. 238ff (no. 127), 419f (no. 204), 494f (no. 262)

Friedrich Bente, Historical Introductions to the Lutheran Confessions (St. Louis: Concordia Publishing House, 2005), pp. 109-138

Hans Lietzmann, Heinrich Bornkamm, et al., eds., Die Bekenntnisschriften der evangelisch-lutherischen Kirche, 2nd ed. (Göttingen: Vandenhoeck & Ruprecht, 1955), pp. xxiv-xxvii

Martin Brecht, Martin Luther: Shaping and Defining the Reformation (Minneapolis: Fortress Press, 1990), pp. 46-56

Martin Brecht, Martin Luther: The Preservation of the Church (Minneapolis: Fortress Press, 1993), pp. 95-102,178-185

Stephan Füssel, Die Luther-Bibel von 1534: Ein kulturhistorische Einführung (Cologne: Taschen, 2012), pp. 43-44,61

The September (New) Testament (1522)

The December (New) Testament (1522)

Biblia / das ist / die gantze Heilige Schrifft Deudsch: Das Newe Testament (Wittenberg: Hans Lufft, 1534)

“Die Schmalkaldischen Artikel” in the Weimarer Ausgabe, vol. 50, pp. 160ff, esp. pp. 213ff

Luther Visualized 15 – Treasures of the Reformation

The Law and the Gospel

Lucas Cranach the Elder, Allegory of Law and Grace, oil on panel, after 1529; housed in the Germanisches Nationalmuseum, Nuremberg

I am posting this out of order; it was originally intended to be the last post in this series. However, it is fitting to post it on this day commemorating the 500th anniversary of the Lutheran Reformation.

There are any number of treasures or hallmarks of the Reformation that could be highlighted on this day—the three solas, as just one example. But in 1549, three years after Luther’s death, when a young Martin Chemnitz accompanied his relative Georg Sabinus on a trip to Wittenberg and “in a letter written in Greek” asked Philipp Melanchthon “to show [him] a method of properly instituting and shaping the study of theology,” Melanchthon gave a response that bespoke Luther’s lasting influence on him. He “replied that the chief light and best method in theological study was to observe the distinction between the Law and the Gospel.”

If a person could only be given one piece of advice before opening and reading the Bible on his own, this would indeed be the best. There are two main teachings in the Bible, the Law and the Gospel. The Law shows us our sin and how we should live. It shows us that we can never measure up to God on our own, and therefore it threatens, terrifies, and condemns us and thereby prepares us for the Gospel. The Gospel shows us our Savior Jesus and how he has lived and died for us. It showcases God’s gracious promises to us, and so it comforts, assures, and saves us. This distinction is the single greatest aid for reading and understanding the Bible. As the apostle John wrote, “The law was given through Moses; grace and truth came through Jesus Christ” (John 1:17). And if there is one piece of artwork that correctly and beautifully captures that distinction, yes, encapsulates all of the Reformation’s and confessional Lutheranism’s theology, this painting by Cranach is it.

The left half of the painting depicts the Law. The defenseless sinner is driven by death and the devil towards eternal destruction in hell, having been judged guilty by Jesus, enthroned in heaven above as Judge of the world. The man was unable to keep God’s law and earn God’s favor because of original sin, inherited as a result of Adam and Eve’s fall into sin, portrayed in the background. In the foreground on the right, the chief prophet Moses, holding the two tables of God’s law, explains to the other Old Testament prophets that the Law can only condemn and hope must be sought elsewhere. The tree on the right is bare, representing how the Tree of Life is not accessible to fallen mankind by his own powers, or how fallen mankind is spiritually dead and can produce no good fruits (works pleasing to God).

The right half of the painting depicts the Gospel. Jesus is portrayed not as Judge of the world, but as the Savior of the world. John the Baptist points the defenseless sinner to Jesus, the Lamb of God, who takes away the sin of the world (John 1:29) through the atoning sacrifice of his life on behalf of sinners. Through this good news, the Holy Spirit, represented by a dove, instills faith in the sinner’s heart, and thus the sinner receives the benefits of Jesus’ sacrifice; the sinfulness of his heart is covered by Jesus’ blood. The rest of the panel depicts, for the most part, scenes from Jesus’ life. In the background, instead of judging from heaven, he comes down from heaven to share in our humanity and suffer our condemnation in our place (the incarnation in the womb of the virgin Mary). In the foreground, Jesus’ resurrection from the dead is portrayed as the ultimate proof of his victory over death, the skeleton under his left foot, and the devil, the dragon under his right foot. In the upper right hand corner, Jesus ascends into heaven, the nail-marks in his feet still showing. The counterpart to the serpent’s tempting and mankind’s fall into sin in the left half is the prefiguring or foreshadowing of Jesus’ redeeming work through the bronze serpent on the pole (Numbers 21:4-9) in the right half. “Just as Moses lifted up the snake in the desert, so the Son of Man must be lifted up, that everyone who believes in him may have eternal life” (John 3:14,15). The tree in this panel is leafy, representing how the Tree of Life is accessible to fallen mankind through faith in Jesus, or how the one who believes in Jesus has spiritual life and produces good fruits.

What God does in his law demand
And none to him can render
Brings wrath and woe on every hand
For man, the vile offender.
Our flesh has not those pure desires
The spirit of the law requires,
And lost is our condition.

Yet as the law must be fulfilled
Or we must die despairing,
Christ came and has God’s anger stilled,
Our human nature sharing.
He has for us the law obeyed
And thus the Father’s vengeance stayed
Which over us impended.

Since Christ has full atonement made
And brought to us salvation,
Each Christian therefore may be glad
And build on this foundation.
Your grace alone, dear Lord, I plead;
Your death is now my life indeed,
For you have paid my ransom. – Paul Speratus, 1523

Today is an anniversary celebration like none other. Happy Reformation Day, dear readers!

Sources
August L. Graebner, “An Autobiography of Martin Kemnitz” in Theological Quarterly, vol. 3, no. 4 (St. Louis: Concordia Publishing House, October 1899), p. 480

Cranach Digital Archive here and here

Christian Worship: A Lutheran Hymnal (Milwaukee: Northwestern Publishing House, 1993), #390

Quote of the Week – Commands and Promises

Similar Paintings

Hans Holbein the Younger, Allegory of Law and Grace, oil on oak panel, early 1530s; housed in the Scottish National Gallery

Hans Holbein the Younger (c. 1497-1543) was a renowned artist and contemporary and sympathizer of Luther. This painting, clearly influenced by Cranach’s above, is usually titled An Allegory of the Old and New Testaments or even The Old and the New Law, but the painting itself clearly identifies its contrast between the law (lex) and grace (gratia). (The painting correctly shows that both the Old and the New Testaments proclaim grace in Christ.) On the left the two tables of the law are given from heaven to Moses. The law makes us conscious of our sin (peccatum; Romans 3:20; 7:7-13), inherited from Adam as a result of the fall into sin (Romans 5:12-19). The wages of sin is death (mors; Romans 6:23). Nevertheless our justification was foreshadowed (mysterium justificationis) through the bronze serpent erected on the pole (Numbers 21:4-9), and Isaiah the prophet (Esayas propheta) foretold of salvation through the coming Christ (“Behold, a virgin will conceive and bear a son [Ecce virgo concipiet et pariet filium]” – Isaiah 7:14).

At the center of the painting is man (homo). “Wretched man that I am, who will deliver me from this body subject to death [Miser ego homo, quis me eripiet ex hoc corpore morti obnoxio]?” – Romans 7:24.

On the right, John the Baptist (Ioannes Baptista) points sinful man to Jesus, the Lamb of God (Agnus Dei), who takes away the sin of the world (Ecce agnus ille Dei, qui tollit peccatum mundi – John 1:29). His coming down from heaven to take on human flesh in the womb of the virgin Mary is the token of God’s grace. An angel announces Jesus’ birth to the shepherds in the valley below. Jesus as the living bread who came down from heaven (John 6:51) on the right side is the antitype to the bread that was rained down from heaven on the Israelite camp in the wilderness, depicted on the left side (Psalm 78:23-25). As an adult, Jesus is explaining to his disciples that he came to seek and to save what was lost and that he must suffer, die, and rise again in order to do so (Mark 8:31; Luke 19:10). His crucifixion is pictured as our justification or acquittal from sin (justificatio nostra) and his resurrection from the dead as our victory (victoria nostra) over death and the devil (Romans 4:25; 1 Corinthians 15:54-57).

Lucas Cranach the Younger, Middle Panel of the Epitaph Altar for John Frederick the Magnanimous in the Parish Church of St. Peter and Paul in Weimar, oil on lindenwood panel, 1555.

Duke John Frederick I of Saxony commissioned the work to the left a couple years before his death. Lucas Cranach himself died the following year, so the project was taken up and completed by his son. 1 John 1:7; Hebrews 4:16; and John 3:14,15 are printed on the pages of Martin Luther’s open Bible. John the Baptist points to Christ with his finger; Luther points to him with his gaze. Cranach the Elder painted himself in between the two, with Christ’s blood spilling onto his head. (He has made himself the counterpart to “the defenseless sinner” of his earlier painting.) His gaze is directed at the viewer, inviting him or her to worship Christ as Savior with him. The other unique detail is the angel flying in midair in the background over the shepherds, which has a double allusion. The first allusion is to the angel who announced the birth of Christ. This second allusion, indicated by the scroll he holds, is to Revelation 14:6,7. Johannes Bugenhagen, the pastor of the parish church in Wittenberg, preached on those verses for Luther’s funeral and identified Luther as the angel or messenger mentioned there. (Subsequent Lutheran preachers have also not shied away from that identification, though they also apply it to any Christian who faithfully proclaims the gospel.) The words printed on the victory banner borne by the lamb beneath the cross are those of John 1:29. The other details correspond exactly to Cranach’s earlier painting above.

Luther Visualized 14 – Augsburg Confession

The Augsburg Confession

Left: Lucas Cranach the Elder, Elector John the Steadfast of Saxony, oil on panel, c. 1533; housed in the National Gallery of Denmark, Copenhagen. Right: Lucas Cranach’s Studio, Philipp Melanchthon, oil on panel, 1532; housed in the Staatliche Kunstsammlungen Dresden.

Around 3 p.m. on Saturday, June 25, 1530, Ferdinand, King of Hungary and Bohemia, and all the other electors, princes, and imperial estates assembled before Holy Roman Emperor Charles V “in the large downstairs room” or chapter hall of the episcopal palace in Augsburg, where the emperor was lodging for the duration of the diet he had convened that year. The Saxon chancellor Christian Beyer stepped forward with the German copy of the confession that Philipp Melanchthon (pictured above right) had prepared and that seven princes and representatives of two free imperial cities had signed. The chancellor read it “so clearly, distinctly, deliberately, and with a voice so very strong and rich that he could be clearly heard not only in that very large hall, but also in the courtyard below and the surrounding area.” It took him two hours to finish, and his copy and a Latin copy were then handed over to the emperor.

Because of how the Romanists received the confession, its presentation subsequently came to represent the birthday of the Lutheran Church and the official split from the Roman Catholic Church. Confessional Lutheran churches and church bodies still subscribe to its doctrine without qualification today. It covers a wide range of subjects from God to original sin to justification to the sacraments to free will to monastic vows. (You can read it online here.) Martin Luther, writing from the Coburg Fortress, where he stayed for the duration of the diet since he was still an outlaw, commented on an early draft of the confession, “It pleases me quite well and I know nothing to improve or change in it, nor would it work if I did, since I cannot step so gently and softly.”

The princes and representatives who signed the confession are as follows:

  • John, Duke of Saxony, Elector (pictured above left)
  • George, Margrave of Brandenburg
  • Ernest, Duke of Lueneberg
  • Philip, Landgrave of Hesse
  • John Frederick, Duke of Saxony (the son of Elector John; regarding the high esteem in which he held the confession, see here)
  • Francis, Duke of Lueneberg
  • Wolfgang, Prince of Anhalt
  • The City of Nuremberg
  • The City of Reutlingen

Sources
Georg Coelestin, Historia Comitiorum Anno M. D. XXX. Augustae Celebratorum (Frankfurt an der Oder: Johannes Eichorn, 1577), fol. 141

Dr. Wilhelm Martin Leberecht de Wette, ed., Dr. Martin Luthers Briefe, Sendschreiben und Bedenken, vierter Theil (Berlin: G. Reimer, 1827), p. 17

Carolus Gottlieb Bretschneider, ed., Corpus Reformatorum, vol. 2 (Halle: C. A. Schwetschke and Son, 1835), cols. 139ff, esp. col. 142

Theodor Kolde, Historische Einleitung in die Symbolischen Bücher der evangelisch-lutherischen Kirche (Gütersloh: Druck und Verlag von C. Bertelsmann, 1907), pp. xix-xx

Hans Lietzmann, Heinrich Bornkamm, et al., eds., Die Bekenntnisschriften der evangelisch-lutherischen Kirche, 2nd ed. (Göttingen: Vandenhoeck & Ruprecht, 1955)

Augusta iuxta figuram quam hisce temporibus habet delineata, woodcut, 1575 (coloring subsequent), based on Hans Rogel, Des Heiligen Römischen Reichs Statt Augspurg, woodcut, 1563

This famous bird’s-eye view woodcut of Augsburg by Hans Rogel was published in Georg Braun’s Civitates Orbis Terrarum (Antwerp: Aegidius Radeus, 1575). It is oriented with west on top. #105 marks the palace of the prince-bishop, where the Augsburg Confession was presented, just west of the Cathedral of Our Lady (#32). Only the tower from the original palace remains today, attached to a late-Baroque style building that now houses government offices for the district of Swabia. A single plaque on the outside of this building is the only tribute to the presentation of the Augsburg Confession. It reads:

Hier stand vordem die bischöfliche Pfalz in deren Kapitelsaal am 25. Juni 1530 die CONFESSIO AUGUSTANA verkündet wurde.

This is where the episcopal palace once stood, in whose chapter hall the AUGSBURG CONFESSION was delivered on June 25, 1530.

District Government of Swabia, Augsburg (© Red Brick Parsonage, 2018). Note the small, gray, rectangular plaque near the bottom of the building.

The plaque commemorating the reading of the Augsburg Confession (© Red Brick Parsonage, 2018).

Luther Visualized 7 – Trial and Excommunication

The Papal Bull Threatening Luther’s Excommunication

Manuscript of the papal bull Exsurge Domine in which Luther is threatened with excommunication (Vatican Secret Archives, Reg. Vat., 1160, f. 251r)

This is a manuscript of the infamous papal bull (edict) threatening to excommunicate Martin Luther, proclaimed on July 24, 1520. It begins:

Leo etc. For future memory of the matter. Arise, O Lord, and judge your cause. Recall to memory your reproaches of those things that are perpetrated by senseless men all day long. Bend your ear to our prayers, for foxes have arisen seeking to demolish the vineyard whose winepress you alone have trodden. … A wild boar from the forest is endeavoring to destroy it…

Luther had 60 days from September 29 to send a certified retraction of his errors to Rome. Instead, on December 10, Luther appeared with the bull, trembling and praying, before a pyre lit in the carrion pit at Holy Cross Chapel outside the eastern gate of Wittenberg. He cast the bull into the fire with the words, “Because you have confounded the Holy Place [or truth] of God, today he confounds you in this fire [or may eternal fire also confound you]. Amen.”

Pope Leo X issued the actual bull of excommunication, Decet Romanum Pontificem (It Is Proper for the Roman Pontiff), on January 3, 1521.

Sources
Vatican Secret Archives, “The Bull Exsurge Domine by Leo X with Which He Threatens to Excommunicate Martin Luther”

Weimarer Ausgabe 7:183ff

Max Perlbach and Johannes Luther, “Ein neuer Bericht über Luthers Verbrennung der Bannbulle,” in Sitzungsberichte der königlich preussischen Akademie der Wissenschaften (Berlin, 1907), 1:95ff

Luther’s Works 48:192

The Vineyard of the Lord

Lucas Cranach the Younger, The Vineyard of the Lord, oil on panel, 1569, on the grave slab for Paul Eber in the Wittenberg Parish Church (photo by the Stiftung Luthergedenkstätten in Sachsen-Anhalt).

When Paul Eber (8 Nov 1511 – 10 Dec 1569) was 13, his horse bolted, throwing him from the saddle and dragging him along on the ground for half an hour, leaving him somewhat crooked for the rest of his life. He went on to be professor of Latin at the University of Wittenberg (1541), head preacher at the Castle Church (1557), head pastor of the City Church and general superintendent of the district (1558), and the most influential hymn writer of the Reformation after Luther. When he died, his children commissioned an epitaph from Lucas Cranach the Younger, who chose a vineyard as the theme of the accompanying painting (pictured), which is still on display in the City Church (St. Mary’s) in Wittenberg. In the painting, Eber and his family, including 13 children, are kneeling at the fence on the right hand side. Eber, whose name means “wild boar” (from the Latin aper meaning the same), is holding an open Bible which he has helped to translate. Luther (called a “wild boar” in the papal bull above), Melanchthon, Bugenhagen, and other fellow reformers labor faithfully in the Lord’s vineyard, while the pope and his cardinals, bishops, monks, and nuns do their best to ruin the vineyard.

For more on this painting, read here.

Luther Visualized 4 – The 95 Theses

Luther Posts the Ninety-Five Theses on Indulgences

Anonymous, Elector Frederick the Wise of Saxony’s Dream in Schweinitz on October 31, 1517, woodcut, 1717

This scene, itself a recasting of an earlier one from 1617, depicts a later tradition (dating to 1591), supposedly related thirdhand, that, on the night before Martin Luther nailed his 95 Theses to the door of the Castle Church in Wittenberg, Elector Frederick the Wise had a dream which he related to his brother John the following morning. In the dream, a monk wrote something on the door of his Castle Church with a pen whose quill stretched all the way to Rome and threatened to knock the tiara from the pope’s head.

Source
Johann Georg Theodor Gräße, Der Sagenschatz des Königreichs Sachsen (Dresden: Verlag von G. Schönfeld’s Buchhandlung, 1855), pp. 29-32

Lucas Cranach the Elder, Church of the Foundation of All Saints (Castle Church), woodcut, 1509 (coloring subsequent)

On the evening of October 31, 1517, Martin Luther nailed his Theses on the Power and Efficacy of Indulgences on the door of the Castle Church in Wittenberg. Or did he? Philipp Melanchthon was the first to report on the posting of the theses as we commonly depict it, but he was not in Wittenberg in 1517 and he didn’t report on the posting of the theses until after Luther’s death. The closest report we get that may have been recorded during Luther’s lifetime is a handwritten note by Georg Rörer in a 1540 copy of the New Testament that was also used by Luther for making translation revisions, but that note says that Luther posted his theses on October 31 on the doors of both churches in Wittenberg. Plus, Rörer later wrote another note that matched Melanchthon’s information, apparently after he had read Melanchthon’s account. We do know that Luther included a copy of the theses with a letter to Archbishop Albrecht of Mainz on October 31, and that he himself reckoned the “treading underfoot” of indulgences from that day, but his own correspondence from 1518 strongly implies that he did not immediately make the theses public. Historian Martin Brecht suggests that Luther did not post the theses until perhaps the middle of November 1517. This woodcut of the Castle Church appeared in Das Wittenberger Heiltumsbuch of 1509, which depicted Elector Frederick the Wise’s extensive relic collection and was illustrated with numerous woodcuts by Lucas Cranach. In 1760 the Castle Church, including the wooden doors on which Luther had allegedly posted the theses, was destroyed by fire. In 1858 commemorative bronze doors inscribed with the original Latin theses were mounted where the old wooden doors stood.

Sources
Philipp Melanchthon’s preface to Tomus Secundus Omnium Operum Reverendi Domini Martini Lutheri, Doctoris Theologiae, etc. (Wittenberg: Hans Lufft, 1546), par. 24 (third par. on the linked page)

Volker Leppin and Timothy J. Wengert, “Sources for and against the Posting of the Ninety-Five Theses,” Lutheran Quarterly, vol. 29 (Winter 2015), pp. 373-398

Martin Brecht, Martin Luther: His Road to Reformation (Minneapolis: Fortress Press, 1985), pp. 190-202

Quote of the Week – Rubbing God’s Ears

Philipp Melanchthon traveled to a colloquy in Hagenau after Philip of Hesse’s bigamy became known and was causing a scandal for the Lutherans. (Luther had actually recommended this bigamy for pastoral reasons—definitely not his finest moment.) The sensitive Melanchthon was so troubled by the scandal that by the time he reached Weimar he had already become so sick that he could not continue the trip. He contracted a bad fever and was bedridden.

Luther personally went to see him and arrived in Weimar on June 23, 1540. He found Melanchthon deathly ill, unrecognizable, and unable to hear or speak. Luther later said in one of his table talks that Melanchthon’s eyes had already dimmed like a dead person’s. After Luther expressed his shock, Matthaeus Ratzeberger, court physician for Duke John Frederick I of Saxony and eyewitness to what happened, says that Luther went to the window in the room and prayed an especially bold and earnest prayer. Luther himself seems to have felt the need to explain the boldness of the prayer afterwards either to everyone in the room or privately to Ratzeberger:

Our Lord God had to stand there and take it from me there, for I threw the sack at his door and rubbed his ears with all the promises to hear and answer prayers that I could recount from Holy Scripture, so that he had to hear and answer me if I was going to trust his promises in other matters too.

Luther then took Philipp by the hand and said, “Cheer up, Philipp, you are not going to die.” He then gave him a short address.

Philipp seemed to regain his breath at this. When Luther ran to get him something to eat, Philipp refused it, so Luther threatened him: “Listen here, Philipp, here’s how it is: You are going to eat for me or I am going to put you under the ban.”

Melanchthon gave in, and from then on he began to recover.

Sources
Christian Gotthold Neudecker, ed., Die handschriftliche Geschichte Ratzeberger’s über Luther und seine Zeit (Jena: Druck und Verlag von Friedrich Mauke, 1850), pp. 103,104

Weimarer Ausgabe, Tischreden 5:129, no. 5407