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Cultural Shifts and Ritual Transformations in Reformation Europe

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Cultural Shifts and Ritual Transformations in Reformation Europe Cultural Shifts and Ritual Transformations in Reformation Europe Essays in Honor of Susan C. Karant-Nunn Edited by Victoria Christman Marjorie Elizabeth Plummer | For use by the Author only | © 2020 Koninklijke Brill NV Contents List of Abbreviations List of Figures Notes on Contributors Prologue 1 James J. Blakeley and Robert J. Christman The Early Reformation in Saxony 1 Simultaneously Bride and Whore: Martin Luther, the Bride of Christ, and the Limits of Hyperbole 15 David M. Whitford 2 Luther and Gender 33 Lyndal Roper 3 High Noon on the Road to Damascus: A Reformation Showdown and the Role of Horses in Lucas Cranach the Younger’s Conversion of Paul (1549) 68 Pia F. Cuneo 4 Aging and Retirement of Former Nuns after the Reforming of the Convent in Ernestine Saxony 90 Marjorie Elizabeth Plummer Devotional Ritual and Popular Religion 5 Streitkultur Meets the Culture of Persuasion: The Flensburg Disputation of 1529 117 Amy Nelson Burnett For use by the Author only | © 2020 Koninklijke Brill NV 6 How to Make a Holy Well: Local Practices and O cial Responses in Early Modern Germany 141 Ute Lotz-Heumann 7 Distinguishing between Saints and Spirits. Or How to Tell the Di ference between the Virgin Mary and Mary the Ghost? 169 Kathryn A. Edwards Cultural History and the Religious and Political Self 8 Advice from a Lutheran Politique: Ambassador David Ungnad’s Circular Letter to the Austrian Estates, 1576 193 James Tracy 9 Emblematic Strategies in the Devotions and Dynasty of Dorothea, Princess of Anhalt 210 Mara R. Wade 10 “Rebellious Sister?” Mary of Hungary, Queen-Regent of the Netherlands, 1531–1555 230 Victoria Christman Culture in Motion: Emotion, Space, and Gender 11 Compassion in Punishment: The Visual Evidence in Sixteenth-Century Depictions of Calvary 251 Charles Zika 12 Above the Skin: Cloth and the Body’s Boundary in Early Modern Nuremberg 284 Amy Newhouse 13 Masculinities in Sixteenth-Century Imagery: A Contribution to Early Modern Gender History 309 Helmut Puf For use by the Author only | © 2020 Koninklijke Brill NV 14 ‘One Must Speak the Truth Rather than Staying Silent’: Women, Scandal, and the Genevan Consistory 336 Karen E. Spierling Epilogue: A Festival of Festschriften 356 Merry Wiesner-Hanks Index 371 For use by the Author only | © 2020 Koninklijke Brill NV chapter 3 High Noon on the Road to Damascus: A Reformation Showdown and the Role of Horses in Lucas Cranach the Younger’s Conversion of Paul (1549) Pia F. Cuneo Of the myriad insights that the work of Susan Karant-Nunn offers us, it is her perspicacious demonstration of the enormous flexibility of Reformation theology and practice that has influenced my thinking the most.* Whether it concerns outward ritual or inward emotion, the configuring of female gender identity or male, Karant-Nunn has shown us again and again how reformers drew from the past with an eye to the future in order to shape the present. Her attentiveness to a supple yet sagacious pragmatism that could simultaneously encourage and accommodate a range of appropriate responses informs the analysis of a mid-sixteenth-century painting offered here. Looking with such attentiveness at Lucas Cranach the Younger’s Conversion of Paul (1549) (Fig. 3.1) reveals interrelated networks of visual, textual, theological, and political dis- courses that together create a subtle yet effective image of Lutheran identity at a critical time in the Reformation. In their accelerating and intensifying urgency, events in the German lands in the late 1540s could be seen as constituting what is so figuratively referred to in twentieth-century American cinematography as “High Noon,” a moment of decisive confrontation when either all is lost or all is won. As a significant parallel, the subject matter of the painting offers its own biblical variant of “High Noon” as Jesus confronts Paul on the road to Damascus in an encoun- ter that will change everything. The sixteenth-century showdown features adherents of the Roman Church led by the Holy Roman emperor and his al- lies battling the forces of various Protestant constellations for political and confessional control. This essay attends especially to the figures of horses in Cranach’s painting, arguing that they make decisive contributions to the image as a response to the dramatic and precarious situation in which Protestants found themselves around 1549. * The author gratefully acknowledges the critical reading and invaluable insights generously provided by the volume’s editors and by Jeff Tyler. © Koninklijke Brill NV, Leiden, 2020 | doi:10.1163/9789004436022_005 For use by the Author only | © 2020 Koninklijke Brill NV High Noon on the Road toDamascus High NoonontheRoad For use by the Author only |© theAuthor useby For 2020 Koninklijke Brill NV Koninklijke Figure 3.1 Lucas Cranach the Younger, Conversion of Paul, 1549, oil on panel, Nuremberg, Germanisches National Museum, Gm 226 69 Courtesy of Germanisches Nationalmuseum, photo Jürgen Musolf 70 Cuneo The subject matter of Cranach’s painting derives from the story of Paul’s conversion found in Acts 9:1–19, but specifically it is the events from verses 3–7 that are depicted: Paul falls to the ground, struck by a flash of divine light and the sound of Jesus’ voice, while his travel companions mill around in confu- sion, unable to see the source of the sound.1 A contemporaneous German pamphlet published in 1553, just four years after the painting was completed, repeats the biblical narrative as related in Acts almost verbatim and thus al- lows us to relate the painting’s subject and narrative to the account in Acts with confidence.2 Scholarship on the painting is limited, both in terms of mass and scope. Scholars have identified the architectural structures in the background as the castle complex of the counts of Mansfeld and have linked the commission spe- cifically to Count Albert VII of Mansfeld-Hinterort (1480–1560), founder of one of the three branches of this noble family.3 Despite its uncritical reiteration in the literature, the suggestion that the painting was commissioned to serve as an epitaph for Albert’s son, Wolf, who died in 1546, is unconvincing due to 1 Kurt Löcher, Die Gemälde des 16. Jahrhunderts: Germanisches Nationalmuseum Nürnberg (Stuttgart: 1997), 164–66; Werner Schade, Die Maler Familie Cranach (Dresden: 1974), 389n65; Ingrid Schulze, Lucas Cranach d. J. und die Protestantische Bildkunst in Sachsen und Thüringen (Jena: 2004), 70–77. See also the Cranach Digital Archive: http://lucascranach.org/DE_ BStGS-GNMN_Gm226, accessed 1 July 2018. The provenance is traceable only to 1811 when the painting entered the collection of Prince Oettingen-Wallenstein from the Oettingen Castle in Hohenaltheim. 2 “Saulus aber schnaubete noch mit drewen un morden wider die Juenger des Herren. Und gieng zum Hohenpriester und bat in umb briefe gegen Damascon an die schulen/ auff das/ so er etliche dieses weges fuende/ Menner und Weiber/ er sie gebunden fuerete gen Jerusalem. Und do er auff dem wege war/ und nahe bey Damascon kam/ umbleuchtet in ploetzlich ein liecht vom himel/ und fiel auff die erden/ und hoeret eine stimme/ die sprach zu im/ Saul/ Saul was verfolgestu mich? Er aber sprach/ Herr/ wer bistu. Der Herr sprach/ ich bein Jhesus den du verfolgest. […] und er sprach mit zittern und zagen/ Herr/ was wiltu das ich thun sol? Der Herr sprach zu im/ stehe auff/ und gehe inn die stadt/ da wird man dir sagen/ was du thun solt. Die menner aber/ die sein geferten waren/ stunden und waren erstarret/ denn sie horeten seine stimme un sahen niemand. Saulus aber/ richt sich auff von der erden/ und als er seine augen auff that/ sahe er niemandts/ sie namen in aber bey der hand/ und fuereten in gen Damascon/ und war drey tage nicht sehend/ un ass nit/ un tranck nit.” Georg Maior, Ein Sermon von S. Pauli und aller Gottfuerchtigen menschen bekerung zu Gott/ Durch D. Georg: Maior. Hieraus […] wird hie angezeigt/ ob/ wie/ welchen/ und warumb gute wercke dennoch zur Seligkeit von noeten (Leipzig: 1553), H1r–H3v. 3 Irene Roch-Lemmer, “Schloß Mansfeld auf Cranach-Gemälden,” in Martin Luther und der Bergbau im Mansfelder Land, ed. Rosemarie Knape (Eisleben: 2000), 218–25. See also Robert J. Christman, Doctrinal Controversy and Lay Religiosity in Late Reformation Germany: The Case of Mansfeld (Leiden: 2012). For use by the Author only | © 2020 Koninklijke Brill NV High Noon on the Road to Damascus 71 the fact that the painting lacks the requisite depictions of family members in- cluded in paintings functioning in this way.4 Cranach’s painting is dated 1549 and was thus completed at a time as tu- multuous for the Reformation as it was for the painting’s patron and its artist. Martin Luther died in February 1546 and the Schmalkaldic War (1546–47) broke out only months afterwards. The decisive imperial victory over the Protestant princes of the Schmalkaldic League at the Battle of Mühlberg in April 1547 put Charles V (1500–58) in a strong position as Protestants attempted to reach settlements with the emperor about what would and would not be toler- ated. In the Augsburg Interim, which became imperial law on 30 June 1548, Charles conceded a temporary right for Protestant clergy to be married and for Protestant communities to receive the sacrament in both kinds.5 In the subsequent Leipzig Interim (December 1548), Protestants endeavored to reach even more concessions but their efforts essentially created a split between those who supported Philipp Melanchthon’s attempts to reach a compromise (the Philippists) and those who rejected those efforts as going too far (the Gnesio-Lutherans).6 Just at the time when Cranach the Younger was produc- ing the painting, Luther’s Reformation stood at the brink of failure.
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