The Prophetic Faith of Our Fathers, vol. 2

VII. Reformation Artists Illuminate the Prophecies

1. ARTIST PICTURES ANTICHRIST IN IMPRESSIVE SERIES

The printing press gave wings to the Reformation, and pamphlets and tracts were effectively illustrated by woodcuts. The early Passional Christi und Antichristi (1521) is a classic example. Illustrated by the noted Reformation artist Lucas Cranach, Senior, but with captions framed by Luther from the New Testament, and accompanied by appropriate texts, it brought the discussion of Antichrist to every lip. PFF2 263.1

Bluntly but cleverly and rather violently, as was the custom in those days, it presented a series of graphic contrasts. It showed how Christ fled from an earthly crown, whereas Antichrist ever seeks earthly dominion. Christ wore a crown of thorns; Antichrist wears a triple crown of gold. Christ washed the disciples’ feet; Antichrist requires all to kiss his foot. Christ paid taxes; the pope is exempt from taxes. Christ lived in humble poverty; Antichrist fares sumptuously. Christ was bowed to earth with the cross; the pope is carried about in state. Christ rode into Jerusalem on a humble ass; Antichrist rides a beautiful, caparisoned steed. Christ sought neither silver nor gold; Antichrist rules cities and empires. Christ’s kingdom was not with observation; Antichrist subjects the whole world. Christ drove the money changers out of the temple (see reproduction on page 276), but— PFF2 263.2

“The Antichrist sits in the temple of God and professes to be God, as Paul has proclaimed, and changes all divine order as Daniel says, and suppresses Holy Writ, sells dispensations, indulgences, pallia, bishoprics., tenures, takes taxes, dissolves marriages, burdens the conscience with his laws, makes and annuls laws for the sake of money.” ⁵² PFF2 263.3

The closing contrast in the series portrays Christ returning from heaven to establish His eternal kingdom, while Antichrist is cast into the bottomless pit, where he will be destroyed. And Luther’s appendix note, in a later edition, reads in summarized form: PFF2 264.1

“Christ and the pope are here presented opposite each other. Please note the case of each. It will not be difficult for you to decide whether or not the pope is the Antichrist, who is against our Lord Jesus Christ.” ⁵³ PFF2 264.2

2. PROPHETIC BEAST SYMBOLS VIVIDLY ILLUSTRATED

The woodcut illustrations of the prophetic symbols in Luther’s German translation of the Scriptures are vivid, and set the pattern for a remarkable group of illustrated commentaries to follow in Germany, Switzerland, England, and Scandinavia. Picturing Daniel 7, the four beasts have arisen in their approximately proper geographical locations around the Mediterranean basin—the lion in Babylon, the bear to the south of it, the leopard in Greece, and the fourth in Western Europe and Northern Africa—with the four winds of strife blowing upon the sea of nations from which they have arisen. ⁵⁴ (Reproduction on page 276.) The beast of Revelation 13 is portrayed by the artist as wearing an identifying triple crown. The dragon of Revelation 12 is pictured as pouring a flood out of his mouth to overwhelm the woman, symbolic of the pure church, clothed with the sun, and the moon under her feet, while the child Jesus has been caught up to God in heaven. In the background the earlier battle in heaven is presented, with Satan being cast out. PFF2 264.3

In contrast, the purple-clad woman of Revelation 17, with triple crown upon her head and golden goblet in her hand, is riding the dragon beast, with the kings of the earth on their knees doing obeisance. (Reproduced on page 276.) Again, portraying the two beasts of Revelation 13, the lamb-horned beast from the earth is pictured as drawing fire down from heaven, with mankind on bended knees, worshiping the seven-headed first beast from the sea. On another plate the angels, with their vials of wrath, pour them out upon the various objects specified, one in front pouring his upon the ornate, cushioned seat of the Beast, with the triple-crowned Beast receiving its full benefit. In the background church spires topple under the impact of a great earthquake. (Reproduced on page 276.) In Revelation 14 the two harvests of the wheat and the grapes are pictured, and in Revelation 20 the dragon is locked up in the abyss. ⁵⁵ Thus the talents of the artist played a vital part in the literature of the Reformation. PFF2 264.4