. T here are a huge number of prints and drawings that represent the devil, the devil, a lucifer-as-ye during the Renaissance. As wearing a time collecting, I have found a good time to let some of them here. As always, to see the images to a size larger or to walk in high resolution without help from the text, the only thing you have to do is click on them. The comments and descriptions of them are on the head and not the end.
We can begin with the engraving on the Apocalypse that in the late fifteenth century Albrecht Dürer made. In the picture you can see in the lower left corner for an angel Lucifer to interact at the top, another angel teaches at San Juan a city that represents the new Jerusalem. The image is part of a series that Dürer made between 1497 and 1498 on the topic.
The next picture was made by an anonymous writer and printed by Dirk Jacobsz in 1525. Represents the temptation of Christ. The devil shown with angel wings, tails and pointy ears.
The representation of the devil served on numerous occasions, as we shall see, to illustrate political issues. In this picture, you see the celestial Protestant church confronted with the Catholic church on earth. Two Protestant priests and their congregations are surrounded by clouds in the foreground. In the background, the Antichrist is on his throne surrounded by clerics. The print is part of a series of 48 that they were prepared to accompany the translation that Lorenzo had made the Agricultural Commentary on the Apocalypse of St. Sebastian Meyer. Is dating in 1548 and his printer was Matthias Gerung.
The next picture is a revision of the engraving of Dürer that we have seen above. This shows two angels to chaining two devils and the New Jerusalem in the background. The number 21 is recorded in a series conducted between 1546 and 1555 by Jean duvet to illustrate the apocalypse (in this case, the chapter XX).
Duvet also printed a picture in 1555 out of the series, representing the revelation of St. John the Evangelist. At the center of the image can be seen taking a revelation to Evangelista, with a book with the first line of his gospel on his legs. At his feet is the devil falling to a moat. At the same height, on either side, are represented the other three evangelists. At the top of Trinidad. The devil appears represented as a winged snake and claws.
Between 1544 and 1558, Matthias Gerung printed a series of prints illustrating the life of the Antichrist, in 1565 they added ornaments and text to images of those who dispenses here. Gerung printed almost simultaneously with another series illustrating the Apocalypse; completely independent. Pick two images especially interesting. The first is the birth of the Antichrist. Appears in the center of the picture, sitting on a throne, a birth with her head covered and teaching the breasts of a devil leaves her vagina and a baby llama between two women attending the two sides and a midwife grab the child, while leaving the devil himself. To the right of the image we see two midwives holding another newborn, one of them as nurses on a brazier. The throne is the regional power, following in some way the text of Revelation.
The second image of this series that I have chosen is the baptism of the Antichrist. In clear key reformer, the Antichrist has in his head a papal tiara. It is surrounded by a group of demons dressed as priests and nuns. The baptismal font is in flames and the priest conducting the ceremony has donkey ears, legs and claws and wings holds a nerdiludium or backgammon table (no joke) that symbolizes the Anglican church.
The following two prints that bring you were made in 1584 and 1585 by Marten de Vos, printed and published by Hieronymus WIERIX in presses Justus Sadel. The reason for both is the same: the maturity of the devil. But it is interesting how the same writer represents two very different ways the devil. In the first image we have to San Miguel stepping on the tail of the devil remains in the soil. This is an angel with a snake tail. Of course, is directly dependent on the representation of the Apocalypse: "There was a great battle in the skies. Michael and his angels fought against the dragon. Also the Dragon and his angels fought, but no longer prevailed and there was no place in heaven for them. And he was throwing the Dragon, the Snake of old, called the Devil and Satan, the seducer of the world, was thrown to the ground and his angels with him. "(Revelation XII: 7-9)
The second image Marten de Vos is the Christ defeating the devil. In this case, instead of a hybrid between angel and serpent we are the most traditional of the devil. Christ on the cross stays with him at his crucifixion as a sign of redemption from the sins of Christianity, reflecting the maturity of original sin, next to the Diablo is a snake biting an apple. At the same time, the Devil shown with a skull that represents the mortal life and maturity.
The devil, of course, also has a direct role in everyday life. A good example, while a display of creative imagination, is in the three images that Hendrik Goltzius devoted to the topic of marriage (1595). In the image dedicated to the marriage of convenience, the liaison official who is Satan. Here is reflected with goat legs, eagle claws instead of hands, breasts of women, horns and a hood that covers her head.
In the same year that Goltzius conducts its engraving, an old acquaintance of ours, of Theodor Bry, makes his own alphabet, the New Kunstliches Alphabet, in line with the figurative alphabets of the Renaissance. Obviously, De Bry spent the letter A, being top of everything, the Genesis. Here you can see how Eva-appears on your right, for if there are doubts, handing the apple to Adam and the Devil at the top-to-face woman in line iconographic we saw in the first recorded by Marten de Vos.
Date and engraver unknown, but probably made between 1590 and 1604 is the engraving that accompanied the consent of A Scripture of Hugh Broughton. In the image can be seen to represent a woman crowned in Rome that gallops on a seven-headed beast who represents the Empire and with another seven-headed beast on the left representing Satan. The pope is represented by an animal beneath them and left a large insect can be crowned, representing the pope. At the bottom of the image reads: "The empire of Rome, that our Lorde and Crucified in serveth Satan might Hypocrisy and thus is pictured in God's word."
Besides all the prints that we have seen, confined to the realm of the moral, to the propaganda or symbols representing biblical, there are also in the Renaissance representations of monstrous Lucifer without any additional charge, except for recreation as horrific. The best known example is the engraving of Lodovico Cigoli, already made in the seventeenth century. Lucifer here is to be represented as a monstrous three-headed and three pairs of wings, submerged up to his chest in a lake devouring souls. The Lucifer tricéfalo reminded the Allegory of Prudence by Titian.
The image of Lucifer has an extensive devouring souls tradition, which started almost at the beginning of the Middle Ages. You can see another image similar to the previous, related to the representation of the seven deadly sins in the engraving of Andrea enhancements in the 60 century XV:
I can not close the series without referring to a series that is within my favorites. These are the illustrations that accompanied the 1674 edition of Milton's Paradise Lost. Hendrik Eland were printed and are true works of art. Just put three of them.
I hope you enjoy both the pictures as I do. Incidentally, the copyright of all of them belong to the British Museum. I leave it for you, as always, the comments box to do your recommendations, añadáis more images and resources on the subject or comentéis what you come into wins.
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Fantastic entry! Gradually, this blog is becoming a major hole in my favorites. Congratulations and continue leyéndonos.
A greeting.
Thank you very much for the comment and move on. We are still reading, no doubt.
... Very good entry or article, go.
Entry, entry ...
Congratulations on your page. I would like to send me links where to find pictures and articles on the matter.