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TRANSFORMATIONS of the RENAISSANCE ICONOGRAPHY of ANTICHRIST: Concept and Image

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TRANSFORMATIONS of the RENAISSANCE ICONOGRAPHY of ANTICHRIST: Concept and Image TRANSFORMATIONS OF THE RENAISSANCE ICONOGRAPHY OF ANTICHRIST: Concept and Image VOLUME I: TEXT JOHN BARNES A thesis submitted in partial fulfilment of the requirements of Birmingham City . University for the degree of Doctor of Philosophy. JUNE,2008 Birmingham Institute of Art and Design, Birmingham City University. ABSTRACT The thesis analyses the transformations of the image of Antichrist in European art during the Renaissance. Antichrist is defined as the false Christ, based on patristic writings and scriptural exegesis and the typological tradition established in mediaeval illustrated manuscripts and encyclopaedic literature. The introductory section defines the tradition and gives an account of the contrasting Protestant interpretation of Antichrist which developed later. An identification and analysis of Antichrist's typological make-up and mode of rule take up the four succeeding chapters. The further development of the imagery is then explored in a representative selection of influential 15th century illustrated manuscripts and block books. Bosch's Prado Epiphany (1500), Luca Signorelli's The Rule ofAntichrist (1499-1504), DUrer's 15 woodcuts of the Apocalypse (1498), and other selected material, are discussed in detail and generally indicate typological expansion, experimental processes in format and presentation and interpretational changes. An analysis of the total content of Bosch's Prado Epiphany adduces arguments supporting the presence of Antichrist depicted as a Jewish priest. Signorelli's, the Rule ofAntichrist, is a major endorsement of the traditional viewpoint, confirming the authority and doctrines of the Church of Rome which were re-affirmed during the Counter Reformation in terms which protestants could not accept. A distinct movement towards a clearer and more persuasive message in the block books develops further in the literature of the Lutheran reformation, and by the early 1520s the identification of Antichrist as the pope is sufficiently defined to constitute a second distinctive point of view. Lucas Cranach's Passional Christi und Antichristi (1521), which is based almost entirely upon episodes in Christ's ministry, sets Christ and Antichrist as the pope, in close antithesis. This seems to be a revival of the anti-papal arguments advanced by Nicholas of Dresden in . The Old Colour and th~ New (c.1412). The succeeding chapter tracks the crucial developments in Luther's translations of the September and December Testaments (1522), and other similar publications, which contain definitive anti-papal interpretations of recognised Antichrist chapters in the Apocalypse. A mid-16th-century Apocalypse commentary by Sebastian Meyer, illustrated by Matthew Gerung, adds substantially to the existing body of polemical imagery. Five sub-chapters present a selection of Antichrist themes from the Commentary, which develop notions of the false church, its doctrine and practice, and the differentiation of Protestant and Catholic in relation to truth and error, Christ and Antichrist. The obligation to separate from the false ecclesia was fulfilled at national level in the English Reformation, the subject of the final chapter, where a wide range of imagery confirms yet again the continuing influence of Antichrist's typological make-up. Further issues of importance which are also addressed are the characteristically English traits and attitudes, the imperial principle upholding English sovereignty, and Italian humanist influences. VOLUME I CONTENTS List of Plates 1 Preface viii Part I Introduction 1. The Antichrist Tradition 1 2. The Protestant Interpretation of Antichrist 5 3. The Apocalypse 9 4. The Secondary Literature 11 Notes 20 Part II Antichrist's Typological Ancestry 5. Human, Semitic and Evil 24 6. Tyrant King, Warrior, False Priest 27 7. Leader of the Vices 34 8. Miracle Worker 36 Notes 37 Part III The Fifteenth Century: Depictions of Antichrist 9. Illustrated manuscripts and block-books a. Nicholas of Dresden: The Old Colour and the New. 42 b. MS Casanatensis 43 c. Wellcome MS 45 d. Block-books 48 e. The Netherland Apocalypse 51 f. The Preaching of Antichrist... Nuremberg Chronicle 52 g. Livre de la Vigne de nostre Seigneur 53 h. MS Vitrina 54 10. Hieronymous Bosch: the Prado Epiphany 56 11. Luca Signorelli: The Rule ofAntichrist 71 12. Albrecht Durer: The Apocalypse Woodcuts (1498) 82 Notes 86 Part IV The Sixteenth Century: The Papal Antichrist & the False Church 13. Lucas Cranach - Passional Cllristi und Anticllristi 96 14. Apocalypse illustrations in 16th century Bibles 105 15. Sebastian Meyer's Apocalypse Commentary a. The Word, Law and Grace 109 b. The Ship of the Church 114 c. The Witnesses and Antichrist Enthroned 117 d. Vices: the Revelling Clergy 119 e. Babylonian Links and the Destruction of the Catholic Church 122 16. Antichrist and the English Reformation 125 Notes 144 Conclusion 155 BIBLIOGRAPHY 163 Abbreviations 163 LIST OF PLATES Plate I. Antichrist Seated on Leviathan, Liber floridus (c. 111 0-20). Ghent, Rijksuniversiteit, Centrale Bibliotheek, MS 92, f. 62v. Plate 2. The City Babylon, Beatus of Liebana (1180-1220). Paris, Bibliotheque Nationale lat. 8878, f.2I7. Plate 3. The Devil rides Behemoth, Liber floridus (c.l I 10-20). Ghent Rijksuniversiteit, Centrale Bibliotheek, MS 92, f. 62r. Plate 4. Antichrist destroys Jerusalem and slays the Witnesses, Beatus MS (926 AD), New York Pierpont Morgan Library. MS 644, f.l5lr. Plate 5. Antichrist as Priest attacks Jerusalem, Beatus MS (c. 926) New York. Pierpont Morgan Library. MS 644, f. 2I5v. Plate 6. Antichrist as Priest attacks Jerusalem, Beatus Facundus (1047 AD). Madrid. BibIioteca Nacional Vitrina. 14-2 (B 3 I I), f. 247 v. Plate 7. Nebuchadnezzar attacks Jerusalem, Beatus Facundus (1047 AD). F.268v-269. Plate 8. The Emperor Augustus, Liber floridus (c. I I 10-20). Ghent Rijksuniversiteit, Centrale Bibliotheek,. MS 92, f.l38v . Plate 9. Abaddon Kills the Witnesses, Liber floridus (c.ll 10-20). Wolfenbiittel, Ducal Library, MS I, f. I4r. Plate 10. Antichrist slays the Witnesses; Rewards the Kings of the Earth; Performs Miracles, Hortus Deliciarum (c.lI75-I 185). Paris, Bibliotheque Nationale, Facsimile. Fol. 8 (XI), fol. 241v. Plate II. Antichrist sits in the Temple of Solomon, rewards and punishes. The Fall of Antichrist (2nd register). New York, Pierpont Morgan Library, MS 524 f. 7v. (c.l245). Plate 12. The Witnesses Confront Antichrist; The Execution of the Witnesses; The Fall of Antichrist and the Ascension of the Witnesses. Paris, Bibliotheque Nationale,. MS FR. 403, f.I7r, 17v, 18r. (c. Mid 13th century). Plate 13. Antichrist, Leader of the Vices. Lisbon, Museu Calouste Gulbenkian, MS L.A. 139, f. 40v. (c.l255-65) Plate 14. Antichrist Preaching, Velislai Biblia Pieta (c. 1340). Prague University Library MS XXIII. C. I 24, vol. 132r. Plate 15. Antichrist's Prophecies, Birth, Rule and Fall. Rome, MS Casanatensis (1425-40), f. 30v., 3 I r. Plate 16. The good and the bad priest. Rome, MS Casanatensis (1425-40), f. 8v. Plate 17. Aurimons Civitas. Rome, MS Casanatensis (1425-40), f.32r. Plate 18. The Witnesses Slain. Wellcome MS (1420-25). London, Wellcome Institute for the History of Medicine. MS 49, f.IOr. Parchment 400 x 30. Plate 19. The Fall of Antichrist and the Aftermath. Wellcome MS (1425-40). London, Wellcome Institute for the History of Medicine. MS 49, f. I3r. Parchment. 400 x 30. Plate 20. Worshipping the Beast, Apocalypse 13. v.l4. Wellcome MS (1425-40). London, Wellcome Institute for the History of Medicine, MS 49, f.l6v. Plate 21. The Witnesses Slain. Block-book, Bodleian Auct. M.3.lS. Plate 22. Worshipping the Beast, Apocalypse 13. Unbound block-book. German (c.l470). 2 Sig. BB. London, British Library IB 14. Plate 23. Rewards, Slaying of Opponents and Antichrist's Fall. Coloured block-book of the Apocalypse (c.1470). Modena, Biblioteca Estense. AD S.22. 181. Plate 24. Sham death, Resurrection and Bizarre Miracles. Nuremberg block-book (c.1467). fS, f.l3r H.T. Musper, Der Antichrist und die funfzehn Zeichen (Munich: Prestel.1970, facsimile volume). Plate 2S. Paris, Bibliotheque Nationale neerlandais 3 (c. 1400-1420). Antichrist Scenes, XII, Apocalypse 11. Plate 26. The Preaching 0/ Antichrist and 0/ Enoch and Elias. Hartmann Schedel's Liber chronicarum, Nuremberg. Woodcut. Published by Anton Koberger, Nuremberg (1493), f.cclix v. London, British Museum. Plate 27. Antichrist Walks the Earth, Livre de la Vigne de Nostre Seigneur (c.l4S0-70). MS Douce 134, f. 4r. Oxford, Bodleian Library. Plate 28. Death of Antichrist on the Mount of Olives, Livre de la Vigne de Nostre Seigneur (c. 14S0-70). MS Douce, 134, f. 36r. Oxford, Bodleian Library, Plate 29. Antichrist supervises tortures. Livre de la Vigne de Nostre Seigneur (c. 14S0-70). MS Douce 134, f. 30r. Oxford, Bodleian Library, Plate 30. Antichrist Preaching. Cod. MS Vitrina, I, folio 23v. (1430 to late ISth century). Madrid, Biblioteca del Monasterio de San Lorenzo de El Escorial. Plate 31. Hieronymus Bosch, Epiphany triptych (c.lSOO). Central Panel. Oil on panel (138 x 72cm). Prado, Madrid. Plate 32. Hieronymus Bosch, Epiphany triptych (c.lS00). Detail, Central Panel. Plate 33. Hieronymus Bosch, John Baptist in the Wilderness (c.lS04-S). Oil on panel (48.S x 40cm). Madrid, Museo Lazaro-Galdiano .. Plate 34. Hieronymus Bosch, Epiphany, triptych. Left and Right Wings, Oil on panel (138 x 133 cm). Prado, Madrid. Plate 3S. Hieronymus Bosch, Epiphany, triptych. Detail, Central Panel. Plate 36. Hieronymus Bosch, earlier Epiphany: (c.1470-8S). Adoration o/the Magi. Oil on panel (77 x S4 cm) John G. Johnson Collection, Philadelphia. Plate 37. Hieronymus Bosch, Epiphany, triptych. Detail, Central Panel. Plate 38. Hieronymus Bosch, Epiphany, triptych. Detail, Central Panel. Plate 39. Hieronymus Bosch, Epiphany, triptych. Detail, Right Wing. Plate 40. Hieronymus Bosch, Temptation of St. Anthony, triptych (IS0S-6). Detail from Left Wing. Oil on panel (131.S X S3 cm) Lisbon, Museu Nacional de Arte Antiga. Plate 41. Journey of Magi, Master of the St. Bartholemew altar-piece. Plate 42. Hieronymus Bosch, Epiphany triptych (c.lS00).
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