"Knight, Death and Devil.

" Engraving by Albrecht Durer,

Nuremberg, 1513.

Devils, Demons, and Witchcraft

244 Illustrations for Artists and Craftspeople
ERNST AND JOHANNA LEHNER

DOvm PUBUCAnONS, INC,

MMoIa, New YQrI<

Copyright
Copyright 1971 by Dover Publications, Inc.
All rights reserved.
Bibliographical Note
Devils, Demons and Witchclc'1ft: 244 I1ll1stlc'1tions for Artists is a
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The first three printings appeared under the title Devils, Demons,
Dealh and Damnalion.

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Table of Contents
Title Page
Copyright Page
INTRODUCTION
Devils and Demons
Casus Luciferi
Faust and Mephistopheles
Hell and Damnation
The Apocalyptic Horsemen
Witches and Warlocks
Witch-Hunting
Ars Moriendi
Danse Macabre
Memento Mori
Resurrection and Reckoning
Religio-Political Devilry

1. Mars, the AngeJ of Death. After a miniature in an Anglo-Saxon

manuscript, tenth century.

2. The Evil Spirit figured as a black bird whispering into the ear
of a magician. From a French manuscript Hortus Deliciamm,
eleventh century.

3. The Tempter in the form of a winged selpent whispering into

the ear of St. Martin. After a Saxon manuscript Legend of St.
Martin, eleventh century.

4. Demonic grotesque initial T. After a French calligraphic

manl1scIipt, twelfth century

5. Demonic grotesque initial T. After a French calligraphic

manuscript, the Rouleau mortuaire de Saint Vital, twelfth centl1lY.

6. The Evil Spirit swallowed by the Dragon ofHell. After a

miniature in an English manuscript, twelfth century.

7. jesl1s Christ breaking down the gates of Purgatory. After a

miniatlJre in a French manuscript, thirteenth centUlY.

8. Possessed woman, praying, is redeemed from the Demons of

the Seven Deadly Sins. After a miniatlJre in an English
manuscript Bible, thirteenth century.

9. Demons drowning a monk in the Tiber. After a miniatlJre in an

Italian manl1scIipt "Moral Bible, " thirteenth centwy.

lO. Condemned souls of sinners are carIied by Demons to their

place of punishment. After a miniatlJre in a Milanese manuscIipt,
fourteenth centUlY.

INTRODUCTION
Throughout history, artists have grappled with the problem of
depicting clearly and forcefully the principles of evil and
suffering in human existence. Religion, folk beliefs and
individual imagination, independently or in fertile combinations,
have provided powerful visual realizations of these themes.

11. English alewives carried by Demons to Ile11, in punishment

for selling had ale. After a carved tablet on a miserere seat at
Ludlow Church, England, fourteenth centUlY.
Collected in this volume are a wealth of symbols and scenes
portraying the appearance, history and activities of the Devil, the
embodiment of temptation and vice in the Christian world; his
host of demon helpers; the human witches who have placed
themselves in his service; the awesome phenomenon of death

(according to the Bible, a punishment for yielding to the Devil's

blandishments); the tortures of Hell and the terrors of the Last
Judgment.
Centuries of artistic endeavor, particularly in graphics, are
represented here. Alongside the ingenious concepts of many
little-known and anonymous creators, figure works by Durer,
Holbein, Rembrandt, Cranach, Baldung Grien and other titans.
The conduding chapter, "Religio-Political Devilry," shows
how inventively artists at different times in the past have used
some of these motifs for their own contemporary purposes of

protest or publicity. It is hoped that the scores of bold images in

this volume, over and above the esthetic delight they afford, will
offer many new suggestions for further work.
E. L.

.-'"

'J

.,

12. Angel and Devil vying for the soul of a dying man. After a
miniature in an English manuscript, fourteenth centUlY.

Devils and Demons

*
Meet the Devil. Nowadays he usually appears as a suave, sly man
with telltale horns, hooves and tail; but in the past his bestial
nature was emphasized and he cropped up in a wide variety of
animal and mixed forms-usually loathly, since (in most artistic
conceptions) he had sacrificed his angelic beauty when he
disobeyed and rebelled against God. (As shown in some
illustrations in this chapter, animal forms for supernatural beings
and demons were common in ancient Egyptian and
Mesopotamian art.)

13. The lion-headed, eagle-footed AssyIian-Babylonian demon of

disease and evil, holding the mace of wounding and the dagger of
killing. After a wall carving at Nineveh.
The Devil's main objective is to tempt man and lead him away
from God. Two of the most famous temptations are illustrated in
this chapter: the temptation of Jesus in the desert of Palestine and

that of St. Anthony in the desert of Egypt. But every human being
must be assailed, and the Devil needs many demon helpers, such
as Belial and Beelzebub, who go about the world spreading
disease and madness (by "possessing" their victims) and
instigating all sorts of vice. The vice-ridden may not even be
aware that they are playing into the Devil's hands: witness the
vain woman who looks into her mirror expecting to see her face
and sees-something else.

14. Amam (the devourer), demon orthe nether world. After an

ancient Egyptian papyras illustration.

15. A Cynocephalus baboon as demon of the nether world. After

an illustration in an ancient Egyptian papyms.

16. The fight of the City of Satan (Babylon) against the City of
God (Syon). From Aarelias Aagastinas' De Trinitate. De Civitate
Dei, printed by Johann Amerbach, Basle, 1489.

17. The demon Belial appearing with his entoarage of foar lesser
demons before King Solomon.

18. The demon Belial presenting his credentials to Solomon.

From Jacobus de Teramo's Das Buch Belial, printed at
AugsbUlg, 1473.

19. The demon Belial dancing before King Solomon.

20. The demon Belial retlJrning to the gates of Hell. From

Jacobus de Teramo's Das Buch Belial, printed at Augsburg,
1473.

21. Demon causing women to gossip during Mass.

22. Demons keeping score on the babbling of women daring

Mass. From Geoffroy
pIinted by Michael Fartel Basle, 1493.

23. Demon canying off a child promised to the Devil.

24. The Demon of Vanity and the coquette.

From Geoffroy de Latour Landry's Ritter vom Turn, printed by
Michael Furter, Basle, 1493.

25. The Demon of Creed and the treasl1rehl1nting fool.

26. The Demon of Pride and the conceited woman.

From Sebastian Brant's Navis Swltifera (Ship of Fools), printed
by Bergman de Dlpe, Basle, 1494; attributed to Albrecht DOrer.

27. The author tempted by the Devil, from Johannes

Lichtenberger's Prognosticatio, printed by Bartholomaeus
Kistler, Stlc'1ssbwg, 1500.

28. The LOld and Satan vying for the soul of man, who is
navigating the ocean of vices and sin. From Le grant kalendrier
et compost des Bergiers, printed by Nicolas Le Rouge, Troyes,
1496.

29. The demons of Antichrist, from La vie de I'Antechrist,

showing the seducing of men by bribe and the destruction of
sacred images. Printed at Lyons, late fifieenth century.

30. The Temptation ofSt. Anthony. After a design by Lucas

Cranach the Elder, 1506.

31. Angels defending the Citadel of Heaven against the hordes of

the Devil. From Celifodina's Scripwrae Thesaarus, printed by B.
M. Lantzberg, Leipzig, 1510.

32. Grotesque representation of the demons of the Seven Deadly

Sins. Designed by Hans Baldung Gden, from the Buch
Granatapfel, 1511.

qe purgatoire
alnct l.aatrt

33. The Devil tempting St. Patrick. From Le purgatoire Sainet

PatIiee, Paris, 1530.

34. Lucifer with a tIiple face devoUling Judas and two other
sufef rers.
Stagnino, Venice, 1512.

35. Demons, designed by Hans Holbein the Younger, from

Histor iarum Veteris Testament" ieones, printed by lahan and
Franciseus Frelilon, Lyons, 1543.

36. Allegoric representation of the Demon of the Plague. From H.

voin Gieirsdod's Feldtbuich deir Wundairzney, printed by
Johann Schott, Strassbwg, 1540.

37. Lower demons canying out minor chores for their human
masters.

38. Minor devils, demons, satyrs and hobgoblins. From Glaus

Magnus' Historia de gentibus septentrionalibus, Rome, 1555.

39. Demon leaving the body of a possessed woman.

40. The DeviJ tempting St. jerome.

41. Witch and waIlock attending on Satan.

From Pierre Boaistuau's Histoires prodigieuses, PaIis, 1597.

42. Satan tempting jesl1s (LlIke, 4:5-7). After an engraving by

johann Sad1el PaIis, 1582.

43. The Mercurial demon of the alchemic philosophers. From

Giovanni Battista Nazari's Della transrnutatione metallica,
Brescia, 1589.

44. The Demon of Counterfeit. From a German handbill against

the Kipperer und Wipperer (coiners and distributors of inferior
coins), Munich, 1620.

45. Asmodeus, the Biblical demon of anger and lust (Tobit, 3:8).

46. Belphegor, the Biblical demon of evil, worshipped by the

Moabites (Numbers 25:3). By L. Breton, in Collin de Plancy's
Dictionnaire infernal, PaIis, 1863.

47. Beelzebub, the Biblical demon prince, Lord of the Flies

(Matthew 12:24).

48. Behemoth, the Biblical demon of animal strength (Job 40:1524). By L. Breton, in Collin de Plancy's Dictionnaire infernal,
Paris, 1863.

49. BOllc de la goetie Basphomet, the goat incarnation of the

Devil. After Eliphas Levi, from a pen drawing in a French occult
manl1scIipt La Magie Noire (Black Magic), nineteenth centl1lY.

Casus Luciferi

*
This is the Fall of Lucifer (the Lightbringer), chief of the

rebellious angels. The battle in Heaven, with St. Michael leading

the loyal forces against the future Devil (Satan) and demons, is
alluded to in the Revelation of St. John the Divine, and has
captured the imagination of many creative men. In literature its
fullest elaboration is found in Milton's Paradise Lost. In art it has
inspired innumerable works, including Durer's Apocalypse
woodcuts.

50. Casus Luciferi (the fa ll of Lucifer). From Biblia Pauperum

(the poor man's Bible), a block-book printed at Bamberg, 1470.

51. St. Michael evicting Lucifer and the fallen angels from
Heaven. From Albrecht Durer's Apocalypse, Nuremberg, 1498.

52. Title page from Thomas Heywood's The Hierarchie of the

blessed Angells, engraved by T. Cecill, pIinted by Adam Islip,
London, 1635.

53. Lucifer beginning to reign over the souls of sinners.

Illustration by John Baptist Medina [or John Milton's Paradise
Lost, London, J 688.

Faust and Mephistopheles

*
In some versions of medieval demon lore, Mephistopheles was
second only to Lucifer among the fallen archangels. In the Faust
story. a German Renaissance folk legend which gained literary
prominence with Marlowe and Goethe, Mephistopheles is the
devil who is summoned by the aged scholar-magician Faust and
heaps all pleasures on him in return for his soul.
It was Goethe's Faust especially which inspired an incredible
number of literary. theatrical and musical adaptations, as well as a
host of illustrations, including those by Delacroix shown in this
chapter. It was the figure of Faust as a scholar thirsting for
knowledge which inspired the unforgettable etching by
Rembrandt.

54. Mephistopheles, the popular sophisticated devil. From a pen

drawing in a French occult manuscript, La Magie Noire, Paris,
nineteenth century.

HISTORIA

on.o6aft
aucn/bnn wcttbcfc6rroten
,HtbcrCt: \lttb Ed)\"l1(ut;fUnmCl"

gC!lcn bOll Xcuffd Cluff cine ( )(,

ntIrt 3ri[ 1"(1 (\i),ifbrn I t:(l.u- cr lcr3\l.irJ;.(n fut
(dG""t( ::1l'(l1I9,U'r (1('9'''/ (db" all\cri"
tel r'1I'l' crllf be n / f",iF rr cllb(!i (ei,
n"t IT,.:d t'crbirnccn itC'bIJ
era r (.1113 HI.
r:zlic

(f

fl(

memeil6 auS fctnen epgetten

f1lnbctrJlTcncn
t 1:1 'rt'tr I't'lrjl en

6 cf)ritfcc111 a[len cf)lr9(n'

l) C! It'l (11 r'l:' l 011 (II ,Ill rn ,d). (<1 u

(II <.' (tp ('\d' JH ((I\'I ic1> (Ill u: J (In r( II ron nt- t rcw ..
crt\lgcr W..Jfllllll-l 3ujJIIltmll gCj""
'nl rnD 10 vfucf pert" 1"I11

r""tI'"

IACOBI JIlL
eq' $crr n"rrrb,'ni n'1tI n,('"
;l:", tfd/(" (lIy" cr ron rll.
C, .'1 G

R.\ r

1.\

i r

PR 1

rn1

IL Ii C I O.

(BrDrud'fJlJ 4ndfurtlUDmnl
"'.].'/I/I t3pICS.

55. Title page from the oldest extant book about Dr. Johannes
Faust, HistOlY of Dr. Johannes Faust, the Notorious Sorcerer and
Master of Black Magic, printed by Johann Spies, Frc"'mkf11l1, 1587.

The Tragicall Hifiorie of

the Life and Death of
Doc1or Faufius.
With new Additions.
Written by C H. M u.

Ptint.d :at London for T(Jhl1 Wright. and:art to be fold:at his

Ibop whhoutNcwgat. 1631'

56. Title page from the oldest extant English chapbook edition of
Christopher MaIlowe's The Tra.gicall Historie of the Life and
Death of Doctor Faustus, published by John Wright, London,
1631.

57. Dr. Johann Faust watching a magic disc in his study.

Engraving by Rembrandt Hannensz van Rijn, 1652.

{1fU! !t'tMgJfn IB.maQ.

'ltIlrm WI'
offirllien -Doiji , tu!f!litn

COM OE D

(A NT

EN

.9nlfiOrrn 6i!iau,<plall bail unergleiIDfi!!le \ln mlelt.

rfilnDltesluctprJ.'tttt'-rml 9Cnll"111:

a6 eebellunb9o'Ot 'Dee groffen

riiaubfrer61

HANNESF AUSTUS
D.TO
)'/lt'llomljfl iiljer 'JMIIOr i ng 'u i9tf!t von
I,

.3n tlt,r"

9n(ang ID ium nbt,

J)llbpl.S!iIJtlhltlirb mit 'VtrlVlm'DrrUhIT3JI r(cn rrlt:

IJ3lultlurttnen '1l'l1cnctnl>rr tfl (((j1\ltbnOt.

. :l)t'(. 3"lUJfiu3m&txrtl:!unb Stri1}1M'lln DtriOrr.

'Pi<tdMr(Ag in lIfm cr"Jl>rQl1trn l\Iil/ 'mLlDbOnQ(fn1)auD bQau6mwmp).
,Jn in tr \7!nffi I:ItAm.
1)"u. :f@fnullJ)anqbltl 6rg I1lttcf)fn t \StUl1t! <F6m ill ttJunlltTJj( lii
.
gU!l:!llIarvanbr/l hlrrbtrr.
s 6flliQtTtwiTtl3U ii1\ frtln/ I'DirG\ltllinfl'')3a(rrtr'lnen(d}tnf.f)u.nbr(iru,h,
UTlbClnbtn'lfJirrrf)ttl:lorfort1mmUnDbUtd1 bit iufft us,n.
d, tfln3'tutrfprl;lmtl, !Rollt rOtn&rbur Nf lJfftSt1filS,\1 I Iln MnbiSd 3(1U!.
t1tntf1 tlt an,
,. C!:nbti ,rolrb 6llfhll'l bon tint 0rilimt tcot.9srclrt.
11IJFSJ ptdrmHttt
So 31ll,rt)t '\Tirb bit OUe mit fQnrn
.

!f

r(l

Itl{tklt.

!icumtlcf((m

3llm <.nrfhr!ifofbtnm J?t1ttf9ttnirbtJilDmlI loitfi 9_t.'lJctuml

flf
I!urd]cinrft 3lil1idm(dirn Sctjattmpta(tnn:ul twrl't ll/ftltJt\'l \IOrrrif
milt lunb bC'lfictttttld(lklb dttm't In f t'Cll r(lro llm(l' rim jqr.t.
("beben.'Dtrfonm{ IIrmlidn !p.tnitr I RI", UbitJ tiD eitllf.
I1ttffrrr I nn malin imb'!8dutrflll nxlc!Jt ark I1!JtG,,6Iii nMli2'.
Qbm' ltnfC:r Idafid) Will! lUIuftl}tn It1:!n.
.4iI'f'" (.llumllacfj,epl,'ogl,n..,,.,. I I, ."Iri/fll&fr. ...t ...
rU" fonlUI' iir6lifCtlfll 1n' ZtUtrdjtil6ftttutt Igtl14r\k:

Iton feill/t%r4Uen Itlobl itte0:bfll14nnl

Ceoge Dandia

Ullbrm: ,..r"cutl *r.{II& 1Tpnblletm ill I rofaq1bmfJi1lMif",cpfqnio:k IIIc6r

lA
I n 0Tf!UlllllkllrfllMlI IItJllr ..

e'llI.f(t.. e.<!o>p_\llIflloJ>.1!o(r/_l!"I'"
WI \Ia!!lo2ld. 2BirO ptC "'i-llbClUlj}lf.

\!lnR ,.,,'UIII1_rll-

errallt

58. Playbill for the oldest German Faust comedy, The Life and
Death of the Great Arch-Sorcerer Dr. Johannes Faustlls, Bremen,
1688.

59.

Dungeon scene with Mephistopheles, Faust and Margaret.

Lithograph by Eugene Delacroix for Johann Wolfgang von
Goethe's Faust, printed by Goyer & Hermet, Paris, 1828.

60.

Garden scene with Mephistopheles, Faust, and Margaret.

Lithograph by Eugene Delacroix for Johann Wolfgang von
Goethe's Faust, printed by Goyer & Hermet, Paris, 1828.

61.

Prototype of the nineteenth-century romantic devil. From The

Devil Walk by Thomas Landseer, London, 1831.

Hell and Damnation

*
In Christian belief. Hell is the place where sinners are punished
after death. Dante's Inferno contains the most vivid descriptions
of the sufferings inflicted on the damned by the demons of Hell.
Similar places of punishment in the afterlife form part of other
religious beliefs, especially popular Buddhism in the Far East.
Two illustrations in this chapter show a scene of judging of souls
in ancient Egyptian religion and a modern depiction of the
punishments in Hades of three arch-sinners of ancient Greek
mythology: Tantalus was never allowed to taste of the fruit and
water that were so near to him; Sisyphus had constantly to roll a
huge rock to the top of a hill, from which it would just as
constantly roll back; Ixion was fastened to a perpetually turning
wheel.

62. Judgment

of souls before the nether-world court of Osiris.

After an ancient Egyptian papyms illustration.

63. The punishment of Tantalus, Sisyphus and Ixion in Tartams,

the hell of ancient Greek mythology. After an English engraving.

64. The demonic hordes of HeJJ catching the souls of sinners.

Attributed to Albrecht Durer. From Warning vor der falschen Iieb
dieser werlt. printed by Peter Wagner, Nuremberg, 1495.

INfERNO.

65. Inferno, from Dante Alighieri 's La Divina Commedia, printed

by Boninus de Bonini, Brescia, 1487.

66.

PUlgatOlY, from Dante Alighieri's La Divina Commedia,

pIinted by Boninus de Bonini, Brescia, 1487.

67. Infernal punishment for the Seven Deadly Sins: the prideful
are broken on the wheel. From Le grant kalendrier et compost
des Bergiers, printed by Nicolas Le Rouge, Troyes, 1496.

68. Infernal punishment for the Seven Deadly Sins: the envious
are immersed in freezing water. From Le grant kalendrier et
compost des Bergiers, printed by Nicolas Le Rouge, Troyes,
1496.

69. Infernal punishment for the Seven Deadly Sins: the angry are
dismembered alive. From Le grant kalendrier et compost des
Bergiers, printed by Nicolas Le Rouge, Troyes, 1496.

70. Infernal punishment for the Seven Deadly Sins: the slothful
are thrown into snake-pits. From Le grant kalendIier et compost
des Bergiers, pIinted by Nicolas Le Rouge, TIvyes, 1496.

71. Infernal punishment for the Seven Deadly Sins: the greedy are
put into cauldrons of boiling oil. From Le gra.nt kalendrier et
compost des Bergiers, printed by Nicolas Le Rouge, Troyes,
1496.

72. Infernal panishment for the Seven Deadly Sins: the gluttonous
are forcefed on toads, rats and snakes. From Le grant kalendIier
et compost des Bergiers, pIinted by Nicolas Le Rouge, Troyes,
1496.

73. Infernal punishment for the Seven Deadly Sins: the lustful are
smothered in fire and brimstone. From Le grant kalendrier et
compost des Bergiers, printed by Nicolas Le Rouge, Troyes,
1496.

74. Dives in Hell and Lazarus in Heaven. From Jacob Sprenger

and H. Institor's Malleus Maleficarum (The Hammer of Witches),
printed by Jean Patit, Paris, 1510.

75. The souls of sinners delivered into the mouth of Hell. From a
xylographic blockbook, Opera, engraved and printed by Giovanni
Andrea Vavassore, Venice, 1510.

'1I:I}c pntlpatnmt of Iltllpllcs.

<Harp ,"RS grme Inll ab)pell

altO bome a dlPIDt

gOfrllemcof,,3!',,ofhrll
tCPI parlramm! of y mApOt mrlOC

mall baD laO IJer luombc 10 (lnll

temp: hIt pc rmDt to ("lOt

tt ebrlOeo faDIr 1n0 (,111 tell

bJ o opoe wit I)H rho II!rt(G IorID(

76. infernal demons. From The pariyament of deuylles, printed by

Richard Faques, London, J 521.

77. Title page showing the jaws of Hell with Lucifer and Satan.
From the Livre de la Deablerie. printed by Michel Le Nair. Pads.
1568.

The Apocalyptic Horsemen

Among the visions granted to 51. John on Patmas, as recorded in

Revelations (or the Apocalypse), was that of four maleficent

horsemen, the last of whom is there identified as Death (chapter

6, verses 1-8). The others have been identified as Plague, Famine
and War, let loose against mankind. The most famous of the
many illustrations of the Four Horsemen of the Apocalypse is the
one by DOrer.

78. The Four Apocalyptic Horsemen. From the Cologne Bible,

printed by Bartholomaus von Uncle, 1479.

79. AllegOlic representation of the Four Horsemen of the

Apocalypse: War, Hunger, Plague and Death. From Albrecht
Diirer's Apocalypse, Nurembelg, 1498.

80. The Apocalyptic Horsemen. Woodcut by Hans Burgkmair,

from Das Neue Testament, printed by Silvan Othmal Augsburg,
1523.

81. The Four Horsemen. From Apoca1ypsis S. Joannis, printed by

Hermann Giilfferichen, Frc"'mkfw1, 1553.

Witches and Warlocks

*
The true practicing witches of the late Middle Ages, Renaissance
and later periods (as distinguished from mentally ill or asocial
people accused of witchcraft) were most likely stubborn
adherents of pre-Christian pagan religious beliefs in which the
deity or deities (for Christians, the Devil and his demons) partook

of animal forms. (The Celtic enchanter Merlin is included in this

chapter as an example of a pre-Christian figure who remained
alive in Christian memories.)
Witches and warlocks (a special term for male witches) were
supposed to be able to prophesy, cast spells, raise storms, change
shape. and much more. They were aided by certain animal
familiars," often cats and toads. They assembled periodically at
sabbaths, where they worshipped Satan. As shown in some of the
sixteenth-century German illustrations in this chapter, female
witches were not always thought of as withered crones.

82. The Devil making Jove to a witch.

83. Demons riding to the Sabbath. From UiIich Molitor's Von

den Unholden und Hexen. Constance. J 489.

,--"

l.Jc lanile ct pbitonicit; JlU'

hcrioll& on lllnflnlTimwlII'lincipcnt t>ominii tGlfmfidllln

ard,lduccm Quflric irJ([ruol'uld)emmuo

84. Witches brewing up a hailstorm. From the title page of UiIich

Molitor's De lanijs et phitonicis mulieribus, pIinted by Cornelius
de ZieIikzee, Cologne, 1489.

85. WaIlock riding to the Witches' Sabbath. From Ulrich

Molitor's De laniis et phitonicis mulieribus, printed by Cornelius
de Zierikzee, Cologne, 1489.

86. Witch "inoculating" a man by shooting a twig through his

foot. From Ulrich Molitor's De lanijs et phitonicis mulieribus,
Cologne, 1489.

8 7. The enchanter Merlin, magician of King Arthur's Round

Table, meeting the fairy Viviane in the Forest ofBroceliande.
After an enameled book covel Limoges, early fifteenth century.

88. The four witches. Engraving by Albrecht Diirel J497.

89. Witches concocting an ointment to be used for flying to the

Sabbath. By Hans BaJdung Grien, Strassburg, 1514.

90. Witches celebrating. Woodcut by Hans Weiditz.

91. Witch tamed werewolf attacking travelers. Woodcut by Hans

Weiditz. From Dr. Johann Geiler von Kaysersbelg's Die Emeis
(The Ants), printed by Johann Griiningel Strassburg, 1517.

92. Witch riding on the Devi1's he-goat to the Walpurgisnacht,

goaded on by playful amoretti. By Albrecht Diirer.

93, 94. Witch and wizard riding to the Sabbath. From UlIich
Molitor's Hexen Meysterey, 1545.

95. Witches' brew. From Abraham SaUl's Ein Kurtze Treue

Warning (A Short, Tme Warning) , printed at Frankfurt, 1582.

96. Satan (plato) holding coal1 for newly anointed witches. From
Gerard d'Eaphra.tes' Livre de 1'histoire & ancienne croniqae,
printed by E. Groalleaa, Paris, 1549.

97. The Devil calTying a witch off to Hell.

98. The sorcerer Gilbert shackled by the warlock Catillum on the

isle of WeteIlacas. From Glaus Magnus' Historia de gentibus
septentrionalibus, Rome, 1555.

99. Sorcerer selling a bag of wind (tied up in three knots of a

rope).

100. Sorcerer riding the waves on a piece of /Jots,am. From Glaus

Magnus' Historia de gentibus septentrionalibus, Rome, 1555.

101. Witch conjUling up demons.

102. Witch brewing up a storm. From Glaus Magnus' Historia de

gentibus septentrionalibus, Rome, 1555.

103. Satan rebaptizing young sorcerers.

104. Sorcerer exchanging the Gospels for a book of black magic.

From R. P. Guaccius' Compendium Maleficarum, Milan, 1626.

105. Satan applying his claw malk to an apprentice sorcerer.

106. Witch giving the ritual kiss to Satan. From R P. Guaccius'

Compendium Maleficarum, Milan, 1626.

107. Macbeth and the three witches (Act IV, Scene i). From N.
Rowe's first illl1stra.ted edition of William Shakespeare's WOlkes,
printed by Tonson, London, 1 709.

Witch-Hunting

*
Witchcraft was combated fiercely by both Catholics and
Protestants, with civil authorities lending a firm hand to the
Church. The many executions of Protestants and Jews by the
Catholic Inquisition is shown in several illustrations here as an
analogous phenomenon. The most famous witch hunt in America
(literally speaking) took place in Salem, Massachusetts, in 1692
and had Cotton Mather as its theorist.

108. Torturing of Jews accl1sed by the Inquisition as heretics and

pelpetrators of black magic. From a woodcut, 1475.

109. Another scene of tortlJring of Jews. Woodcut, 1475.

110. Protestants and Jews accused by the Inquisition of heresy

and witchcraft. From a contempOl"c7ry woodcut, Nuremberg,
1493.

111. Hanging of a fann woman declared by the Inquisition to be

possessed by demons. From Rappresentatione della Passione,
Florence, 1520.

112. Two Dominican monks burned at the stake by order of the

inquisition for allegedly signing pacts with the Devil. From the
Histoire veritable de quatre lacopins, Geneva, 1549.

113. Broadside newsletter about the public burning of three

witches at Derneburg (Harz), October 1555.

114. Mass execution of citizens of HaaIlem as disciples of the

Devil, under Fernando Alvarez de Toledo, Duke of Alba, after the
conquest of HaaIlem in 1573.

115. Tol1ure of the inhabitants of Antwelp by Spanish troops

under Fernando Alvarez de Toledo, Duke of Alba, after the
conquest of the city in 1576. From Michael Aitsinger's De leone
Belgico.

.I,,"'

tlfrl:"'6rf1('un' cr!lll 1669. trn "13. Utl'lIl /lrTNllnra:-rn "Xnqiore'JU Jrur9 e,

f/"'"'''L 1\'.,100 ., .."';"""<k..t.r",,'rf<flrMliJ:<,. ("'''tq"OL''""!n"
..... . 111".1)"'1."'",,",
"""'...ot-;","'"lib<,,,'Ob<tL1;-o....l>urd) ". ml"l1l1"'P'"'.t<.l-'L,1)0;IWJIu", ",,",,"J!t-rIOmLn Ib I I......."
1.)b:...,,;'\.ul.....I!"'IIi<1\'n...<1) ..., _ SCl"
..
t>< (lll"Ld)o/Dl'It>I'I<l.><"""\woII
l ....
",. ...

116. Newsletter about the infernal deeds and the execution of the
witch Anna EbeIlehIin, printed by Elias Wellhoffe, "Briefmaier"
at Augsbwg, 1669.

117. The public burning of Father Urbain Grandier for signing a

pact with the Devil. From a contemporalY drawing, Loudun,
1634.

118. The pact with the infernal powers allegedly signed by Father
Urbain Grc"mdier and countersigned by Lucifer, Beelzebub, Satan,
Elimi, Leviathan, Asteroth and BaalbaIith. Loudun, 1634.

119. Public hanging of witches. From Sir George Mackenzie's

Law and Customs of Scotland in Matters Criminal, Edinburgh,
1678.

120. The public hanging of the three Chelmsford witches Joan

Prentice, Joan Cony and Joan Upney. From an English pamphlet,
1589.

111:.,. _. or ije 111lllCtble Rl orlb.".,

OBSERVATIONS

_
_

As "ell Hij/"i,,1 as n.,r'8'l, uponr},. NA.TURE, W

NuMBER. 2nd tho OPERA.TJO!)lS o[!he

DEVILS
,,colnj):W'y d willi.

t. Some Accounts of the Grievo-ut MoldhtioruJo by D

MONS.nd WITCHCRAFTS. ,,\Doh have Wely
'fU'Ino(d the Cot.lQtr; and the TI Uls of rome eminc:nt
M<lif,a, Extrured upon accalion d,,,eof: whfcvonl
Rable Cllrlfilifl therein occW11ng.
IL Some Counfil Oi<t{ling. doe I""""""""" oFIhc 1
nbl tllings , taU!y done, by the UnI1(uaJ &: Arna:z.UfC'

RAng,ofEVIL SPIRITS, in Our Ntighboumoo<i'J<

(0 C\'m( tilt" W..& which thoCe EtiiL

A!Jgtll 1W.1 mtend ag.inn- aUlOrts ofpcople 8mon U!.
(fpcialJy 1ft A.cc:ufitiOns of the IMQ['ent,
ID. Some Conj<{\u,,, upon 'he il"" EVENT'S. liktlY
ro btfaIJ. the WORLD in OmenlJ and NEW tiN f
GLAND in Panic:uiar; 2$:t!fo u the AdVll.D.ces of
the TIME, wb", we lItalllle BEITER DAYES.
IV A !hart NaTn live ofa late Ouc-age committed by 3n(){ or WITCHES in S;tkLmd2 \'cry much Rdmt
Wing, and (0 tar Explbling, 7bqll.l21der which our pa..rt!
of ATNrkn hi.\' C la !
(he mahods

V. THE DEVIL D1SCOVEREI> ]" a Brief' Dikouoc upon

Wt TEMPTATlON, wbicb are the nlOrC Ordmary Dt.O;IIS
of the Wkked o

JiYTotlCilgfa-.:.!:

___
_

BwOlt Printed ", Ba,J. H4rrjs for SI17f1, PRilll"-

r693.

121. Title page [rom one o[Cotton Mather's witch-hunt

pamphlets, printed by Benjamin Harris [or Samuel Phillips,
BostOI1,

1693.

The WO/lders

oj the In'Vifihle

World :

Being an Account of the

T R Y A L S
OF

g'$cbcral ttcbCg.
Lakl'j Exclltt'd iQ

NE W-ENGL

A N D:

An of fcveral rcmark3bk.O.rnotiries therein CXuuing.

Togtther witb,

,. Obrtr.ltiom 1.lpon rhe NI!tt, the- NlIlllbH, lld tile Opt:lnifI of'chc Dc,ih.

I t A /hole Nlrw;w or ,btf outr'g<" t'om...irltd by t knot of

Wirchn in
j,..,,,It.l ..J, 'y "'II4.'h rtfcnl!Jlill(;. art
Co (ill (J(J>lJiniag, d\lr tinder "'ttih
lorIP'Iz(.I..n,j h'llboorcoi.
III. Some COttrrels tlirtl'lin rllI( Im totlnenl of
thr Tcniblt tllin!:, r1
p
.jo::ne h)
UIlII(WJ! and 1rn.alnG Rill,... 1;IJSlirit, in
"t"'-E"II. '
. Dj(CDlIrfc: upon
IV. A bIrd
cl\:>re Telll/uri""J whidl4lc t.hcrnorr O,<IitlllJ On;.
cn(i 'In.

IK"

By

COTToN MATHER.
-

-_.

rw,n,d y the 'J>(ciaIColnll1anoi (If hil 'EXCr;L.lECy tile GI)\CfIt'lll of

ttl.: I'ro.inee of the .'JfJr"h'!r,,,8.t, ill N.E''l.I''-

Printed firf1:,
J.}tI for

at R'1l1n in
J(J'''' ]'11("'0".

Nm'.f"gfntJ.

and

Ro!prlnrrd

it the' f\.. 'rn in tll,1",,,I,,,'I_

ilt

Lon.

H)II).

122. Title page from another edition of Cotton Mather's witch

hant pamphlet, reprinted from the Boston edition for John
Danton, London, 1693.

Ars Moriendi

*
In medieval belief, demons lay in wait at the bedside of the dying

in hopes of snatching away their souls. The book Ars Moriendi

(The Art of Dying), which appeared in many block-hook editions
(both words and pictures cut on the same wood block) in the late
fifteenth century. depicted the struggle between vices (and
religious doubts) and virtues (religious certainty) in the mind of
the dying man and the fight between externalized good and evil
forces over his soul.

123. Death chamber. From an Italian Arte del Bene Mor ire,
Florence, about 1495.

124. Temptation through AvaIice. From a xylographic French

block-book edition of Ars moriendi, 1465.

125. Temptation through Impatience. From a Dutch block-book

edition of Ars Moriendi, 1465.

126. Triumph over temptation. From a xylographic German

block-book edition of Ars Moriendi, Augsburg, 1471.

127. Confession in church as a preparation for easy dying. From

Dominicus Capranica 's De Arte bene moriendi, printed by
Johann Clein and Piero Himel, Venice, 1490.

Pita morttnbi t
X"rii9 r/i Ir(i1rG colfeeta dim (i"lIri9 3D rcriltCllOO
ill mOllie. Jl\Ol1ctlioboli(cfilg:;c1ti111 ",leha mi
"bet tCblillinocli\'1ili::; ac mulml1l necdfaria.

128. Dying man surrounded by his attendants. Attributed to

Albrecht Durer,' from the t itle page of a Gelman edition of Ars
Moriendi, printed by Johann Weyssenbergel Nurembelg, 1509.

Danse Macabre

*
A favorite medieval theme, connected with the view of the world
as mere vanity. was the leveling of all social classes and ranks in
death-with Death aptly personified as the bare, unidentifiable.
universal skeleton. At first in church frescoes and then in dozens
of books, the theme of Death seizing all men from emperors to
peasants became popular throughout Europe. The woodcut
illustrations of the Dance of Death by Hans Holbein the Younger
(eight of which are reproduced in this chapter) are the most
famous of alL

129 Death and the young man. From a Danse Macabre

engraving by the Master of the Housebook, Germany, 1490.

130. Death and the hunting party, an allegoric representation of

the might of Death. Engraving by Master H. W. (lVolf Hammer),
Austria, 1482.

1m ",Ji.""I1Urftlc:irr.fono trI4:
,r,,HoIcp(l'"l..
t: ,,"ro il "" pc-.mm uU.rDb ipfa
"'01_ "*' _ q_" II1I\I!'II"

lnmom:
JIoIlIt """" '" "'.. rour/,,,,
6cntc tt io'[IcUfr d lAOOrn.tnt:

:aaJlOc: pade gdt mahhr roarlJr

k)c'botIe m mmtr mdmtmant
ftrommc bitt!. d)Jfr dlIlltnnnt

Ccttrb4nrommmart50
h
. itn llmltt an mn:manf
qui"DiDf S aittfi fac5.
la il)}'11r

ftfttMnrr mCftbfmnomltllc

Etm"" Itrnrur bltll furp!ma

l)r'*": qn<Ic our, noullflk

1l !!IIM qui ntlotirPIlG Ilt'pi!1"

14mcr.tt
lfptcfl ma Mmc l4 1mmclTl

lJouOl bltnqunlr ct poUtt1)-4({n:

jlrpmfnptuo a lal(rlJcll'c

it: bitnonc 101'4tllr aln4tTtr.

1tua;mr!lur bl,ll.uJ ftlulmfpart'tr.

;2MIrquoop Or 'DoOn bit ret fait

lir CO:oc tdnt rmb!4dtT

Oil "cm",,:tr q\lcle bienr.,it.

la oucbce
]I' ":IV pllornrnrt' r" mft.4"8
1)d.19: tlltllttqllrrommmL't

]I: fOllo!t q1l( cca DC bon tm/X'

OJuf mr bitnr roll'E' ma plaifallCl

luml,mott ra tottt /'('lmFIII!l

r ana.
.i!.avlJoro amifl.d(R'"nt W

(.onhdlt moz( n:a poil1rlJo; :lyt.:

bt:ut\ltlfro r, Il1CUWunmre

.:.oonlll!).crb.o. crn(l A bc'U(!lI

r.Mmt4l'antuu Dftir
Ite plue graa (OCkoplTIl(tt\ p!itlr pom((1I011holl.1' m .pI:1ilt cruD4cr

r. iii.

131. Page from La dance Macabre des Femmes, printed by Guyot

Marchant, Paris, 1486.

132. Pope and Emperor. From La dance Macabre des Hommes,

pdnted by Antoine Verard, Pads, 1486.

133. Doctor and lover. From La dance Macabre des Hommes,

printed by Guyot Marchant, Paris, 1486.

134. Pope and Emperor.

135. Astrologer and bourgeois. From La dance Macabre des

Hommes, printed by Guyot Marchant, Paris, 1486.

136. Chambermaid and matron.

137. Blide and prostitute. From La dance Macabre des Femmes,

plinted by Antoine Verard, Palis, 1486.

138,139. The townsman and Death.

140,141. The countryman and Death. From the Dance of Death

by the Master of the Lubeck Bible, Lubeck, 1489.

142. Death and the gentleman. From Der Doten Dantz (Dance of
the Dead), printed by Heinrich Knoblochzel Heidelberg, 1490.

143. Death and the notables. From Der Doten Dantz, pIinted by
Jacob Meydenbach, Mainz, 1492.

J44. The orchestra of Death. From Der Doten Dantz, printed by

Heinrich Knoblochzer, Heidelberg, /490.

':o\.icRcr" ic
" I: rj! ..

"'J1IIII( tom
nm'l'ct b9it

itlcr lfu\'i6rc
8',)) nln(ortd!'<.

" ,.j

') IOl f Efhlf't

rlj.lln[ ollie
IN;t !lll3'rn.
"'(!Oll ot['my
non (uu'i1dl
c6"m !CFIR .. Stlftllk I I1Ir III
"tll l! B41 ilfnrt fi'rdt'!f't.... g."."
gc80it JCan t\!o(filll gr(1ldJr oft'"
b:nMrn fck lI'o[R-.!I (llte)1I 'b.rfl\'u:

bfn

"t toit

Baiundlbcc

145. Death and the landowner. From Der Doten Dantz, pIinted
by Heimich Knoblochzel Heidelberg, 1490.

ccLxt![[

I"\,e.nc n,Il,tmetiuII, t1fi n,l pdUII (n(qu

I..ue mJmole IiIll,rt4W (It'IlIaLJii

Zu fmde 'lJGIIm 00ItM0 \lotrnr.:rN.w
t;].IKtW'PIt! 5'":ItIfB mi$ctlU'-C( ""bal_
EnhllnlQ1Irulk
l" '-l1UTl"II1lIfrat\illl
fnp'l'I lItC!'Ij!I'J.luft(oo,u (!Ubtlecqul!I8
&1'1\ 1mltlCl nUn(s.nuIL:l t)'CI.lbliJlI JrT(
6.p"...opl'<'fiJ lOre. nl cuncl.1<l"'"'"
f<rn:mN9 m11f1(>. p:O!II,ifo tint IJboII1111

t:dl.-.:fuppba)un.'fIiJ d1UTdr_

146. Orchestra orthe dead. Woodcllt by Michael Wolgemut, from

Hartmann Schedel's Liber Chronicamm, printed by Anton
Koberger, Nuremberg, 1493.

147. Death and the miserly fool.

148. Death and the poor fool.

From Sebastian Brandt's Navis Stultifera (Ship of Fools);
attributed to Albrecht Durer; printed by Bergman de Dlpe. Basle.
1494.

149. The physician's discussion with Death. From Strub's

Orationes Dual, Vienna, 1511.

150. Three revelers meet three cOlpses who warn them to repent.
From Horae, pIinted by Wynkyn de Worde, Westminstel 1494.

grantlJanCe ntacabet
btGftntntt.G
:tOller augmtntttbr
lann.

151. Dance orchestlc'1 of Death. From La grant danse macabre

des hommes et des femmes, printed by Nicolas Le Rouge, Troyes,
1496.

.n'I"ft"'_."_""'''.'''''V(ft.-u,
1\.""" f'f,_r_.twnllldNf.

I:.Ou'll IiOl ,u. I"" ""' "H iitI"" ,U...Uf... ,fll III(I,... ..,.'''''.r.tlr
'''
.... w..
E!CIllfII
C[1L"""1f
(;.::'IVl_rn ""ItoIu,tM...
tt.h.- ___.......
.tla,n.. rlllflln
l >llGJdlq_
j'n:'mr"'. rue r......nl
Dt" . .... ...br) .. ...... PJf'II
'Oc...,roll"lIt,UCMlrfllr..n
\l;Ie-urv .... ,1"thm" V'IV"1
'iM/fc)""" (
rw
,._CftWIII
-f..n.. ""(,,n &"&,"",,,1
bIn(" "DOlI''
""Itta ..d..",
CJrfJ..
.. \:Ie"lt""I, f",I1"
oq"""'upcnla
l:.,.ten",f,p!n"C'W"Ifn'
.mll'll"lll .....
. ,"....
;os tDu",_tIOI "",.,.,..,/Houu"",
!:imroltMW"lllllf" Farro
I!:fctoe,"m
cit.,mg,,,,,",,,
<l>oI f_n 1f1tltlUf91 11\tfNITil
CM"OI'-"''IH.ftO"'.
(Iu,. IU. (4 ""'11 110\11 .rllU
"It 110, ". '"'r '""'U
.
... " tf!'.
1,.,or,m. ....... ,..... r..... 1.0""
E-, .," lo""",,,"btnil OUoallUl
L'ff I'" .r
f1tlJr_ lI\jl. rtftfT,
L'I/Il Mrrr , 1'11<1....
\t:lrtlhul,..tfo4ll'l __ lI:f,
'""" , ",illl1 ,.(ul,nll" r_ 'II..... ,fnl
@-1 ...,IIoIltlIICIlr/DI1ft4I.t'
r-." " " pmllIIUltl1'dr.
I",.r<n,r! Ifn
{r \.O.f9"'t.r. fP" l.njMU(I'
J!tf,R euw _,.,.:I

,
...

152. Typesetter, printer and bookseller. From La Grant Dance

Macabre, printed by Matthias Huss, Lyons, 1499.

153. Death hunting the hunters. From Geiler von Kaiserspelg's

Sermones, De arboH humana, printed by Johann Gnlningel
Strassburg, 1514.

154. Pope and Cardinal. After a Dance of Death by Nikolaus

Manuel, Berne, 1515.

155. Monk and mm. After a Dance of Death by Nikolaus Manuel,

Berne, 1515.

J56. Death and the lansquenets. Woodcut by Urs Graf, J524.

157. First half of Dance of Death Alphabet. Designed by Hans

Holbein the Younger and engraved on wood by Hans
Liitzelburger, Basle, 1526.

158. Second half of Dance of Death Alphabet. Designed by Hans

Holbein the Younger and engraved on wood by Hans
Liitzelburger, Basle, 1526.

159-162. EmperOl abbot, duchess and nun. From Imagines

Mortis, designed by Hans Holbein the Younger and printed by J.
Frellon, Lyons, 1547.

163-166. Rich man, old man, merchant and farmer. From

Imagines Mortis, designed by Hans Holbein the Younger and
pr inted by J FreJJon. Lyons. 1547.

t[f)t nanuet of iIlrtaeabtt..

19ope,atio
fO[.\lJ't.

_ If:

(t)/g:nltlt
f OtcnretrnoDm lIIi\}

! g)fli tlllllUlu taltlj

rlI:uall.
lnDl'III11 ' pttflllljl
lbr roarnlntec,
- I S)Ll.CCII)H burrt) snit
'"

I 111111' trmpo;J.lI.
t!lnlbl!l baUnet pc flr[lbltn(J)\I.
39 mo{ll:lOlI1' 10!D anb -tetlUI1OUf,
101 Il lb( 'lJ:ll)lilJlp ofyourlOafe allatT.

'

;JnOofJl,.IIJoCljip lOgolHs lbfnOUf.

bc CPfma'!I 1Illll.lmm.

mebtbl'Ulb 1t)Iloaii, fOllolclX

F '"e'R
""bid) f<ll in e".th blqlrclt fn mf' fft,
ttl( Batc (ul pcrilua\:lltjofofallrtl:JlJlbt .
o oCfUpif!bUfU t'lIlnCtce,
Zill fll! 81 (!)at, Otilllj 1mar net fin,

JtlratlJ rPfalm!j to ttle mtt:OUr.

ml?)

tmrtl'1ltltioJbdal1btlltotlhbe

'[ cllettln! lInc c a bll!\Jf1i ofnoNelle.

Ft mOl mitekf of!Jolt! I(iI' aple nurtl
fapr,c Illlt! falctbt , a1 )'OUt blq:b pll)tccll"c
bEbfntt IIHI poUtmarIllU!lno !'OUt 00l11l

ilonlllidj ctbtt lomrllaUuceotJ!p.

3alnll my mrlIrIS Jttl nontl7acDlnilJ.

Jtlame. djtln.lfn ill lfF rr.utlbCpr.

fi;;e (t"mpe(out ma'ttlJ ou nf1l)tc.

\F1l1lf to Irtll 1U tbalJ" ma? a"t"ill.

couctJin,! lKat1J robIebnol me 10(oDufn

1t1m ll'lnOIiIn III ntlpul niP IntI.
bIUrDC n\J prelLo)'I mp g(lIUtto eln!"nc
l rnnlc llIf1c Ifltrt rtl nottoJr
t
10 f
eh,
to\'lj8ppen In tltpbaT1pllnll tllrolQf,
mbrtlipOn rOlt J me complrpnf,
lItal JL.o;i:lrs q.tr( aul Utle auatnragt.
JtHallJ

167. "The dalJnce of Machabree, " from John Lydgate's The Fall
of PIinces, pIinted by Richard Toftel, London, 1554.

168. Religious fc'1natics dancing amid the graves in a churchyard,

in defiance of civilian superstition and ecclesiastic ukases. From
a Gelman engraving, about 1600.

169. Ghost cotillion of the souls of Black Death victims who were
buried alive in 1347. From an engraving by A. Aubrey, Gelwany,
1604.

6,

29'

.;(ijaakr ltl1b Ull\ln'\tlattb,

1 70. Death and the artists. Designed by Conrad Meyer, from

Rudolf Meyer's Sterbespiegel (Mirror of Dying), Zurich, 1650.

1 71. Death on the barricades in the March Revolution, 1848.

From a Danse Macabre series by Alfred Rethel.

Memento Mori

*
A memento mori (Latin for remember that you must die") is an
object or pictorial symbol associated with death. Such symbols
include skulls, bones, coffins, urns, angels of death, upside-down
torches, graves and gravestones, hourglasses, scythes, spades,
toads, serpents, worms, owls, ravens, cypresses, weeping willows,
tuberoses, parsley, and many more. A good number of these
associations (and of our present-day funeral practices) can be
traced back to antiquity. These emblems of mortality have long
been used as items of adornment: Mary, Queen of Scots, owned a
skull-shaped watch; Martin Luther had a gold ring with a death's
head in enamel; even today skull motifs are used in all sorts of
jewelry and brie-a.-brae.

172. Scribes counting the severed heads of slain enemies after a

battle. Aller an Assyrian-Babylonian wall relief, Konyunjic
Palace.

1 73. Page [rom an Egyptian papyrus Book of the Dead. which

was placed into Ihe tomb with the mummies as a guide for the
souls of the departed.

174. Death as mounted hunter and as reaper. From Der

Ackermann aus Bahmen (The Ploughman from Bohemia),
Bamberg, 1463.

1 75. A skull-watch.

176. One of the eaIliest extant printed labels for a poison bottle,
representing Death as a WOlw-eaten corpse. By an unknown
Rhenish artist, 1480-90.

1 77. Allegoric representation of Death. From Le grant kalendrier

et compost des Bergiers, printed by Nicolas le Roage, Troyes,
1496.

178. The Tree of Death (barial tree on the Island of Caffolos).

From Sir John Maandev ille's Trc"'lvels, pIinted by Wynkyn de
Warde, London, 1499.

179. Death leaping from Hell on his charger with arrow and
coffin, to claim his Jights over mortals. From Le grant kalendrieJ
printed by Nicolas le Roage, Troyes, 1496.

180. Emblem of Death, with the motto "EveJYbody afterwards. "

Designed by Master A. F., from the Heiligtl1l11bl1ch {Book of
Relics}, Vienna, 1502.

181. Death in the cloister. From Robert Gobin's Les LOl1ps

Ravissans (The Ravishing Wolves), printed by Antoine Verard,
Paris, 1503.

J 82. The AngeJ of Death taking the soul, in the form of a child,
from a dying man. From Reiter '5 Mortilogus, printed by Oegelin
and Nadler, Augsburg, J 508.

183. Coat-of-arms of Death. Engraving by Albrecht Durer,

Nuremberg, 1503.

lImImlbl:tftmlltsgtttt anDfmaIL
foJlII be r.dJpllJIjan DctljtDotljeraU.

hnollKanD

not

fpone
be!l8poealqurcM
1100 oneonelpfptmr.

:k.

184.

Death leaving the mouth of HeJJ and hunting a victim. From

The Boke named the Royal, printed by Wynkyn de Warde for
Wj}}jam Caxton, London, 1507.

185. Macabre printer's device, using selpents, skull and

hourglass as symbols of Death. The mark of Andreas Gesnel
Zurich, 1550.

Ois hnl(srhlllll9

f)11I11 .vii,. m ganr,baupt:l3no ill

!i!;cbwm von ocr gcfd(cbaffi:(gntau!i!;umma .ij. partickel

riC'f

186. Relic monstrance in the form of skull and sword, symbol of

the Society of Mal1ricius. From Lucas Cranach the Elder's
Heiligthwl1S Bach, Wittembelg, 1509.

187. Hamletesque design of a young man with a death's-head.

Engraving by Lucas van Leyden, 1519.

188. The triumph of Dealh. From Geoffroy Tory's Horae, printed

by Simon de CoJines, Paris, 1525.

]( ])Ilexi
11'
";;

quonii ex.uditt donunU$

vOCdll orationis mez.

iaitldinauit aurtm ruam mi

hi:&in diebusmqs inuocalx:,.

C itcundederUt mdolort:$mor
m<.

& dolorcm inueni: & nomen do:

189. The triamph of Death. From Geoffroy Tory's HOlc'1e in

laadem beatissime virginis MaIie, pIinted by Simon da Bois,
Paris, 1527.

190. Death and his demonic helpers are laIiing everywhere.

From Ellachasem Elimithar's Schachtafeln der Gesandheyt,

illustrated by Hans Weiditz, printed by Hans Schott, Strassburg,

1533.

191. Macabre monwnental brass plate from the vault of Bishop

Schonberg, Nawnburg, 1576.

192. Macabre representation of the Tree of Knowledge and

Death. Woodcut by Jost Amman, from Jacob Rueff's De conceptu
et generatione hominis, pIinted by Peter Fabricius, Frankfurt,
1587.

Chrifiian

.....I'>,!IJ' ,I

n ;,;
J/

pray, for my Cake diddefi mo! fall, for

my (akc: diddf(l mou perforO! thegre:t.t
nUlllber of ood worHes in this life:, for
my :(ake didd c:H thou (uffer (0 manic
bitCcrpangs,:md for my fakc didfi: mou
giue ouer thypretious life tOlhe dC:lth.
Ltt the thingcs profite mce ....lich
.
thouha/l goeucn me of thincownc free
will thou
whichc haflc giuen
dly
!'Ct rhy bloud
wafh 1\\':lic the
of my (innes.
thy
hide mine vnthy Gc(cfuings COO1me
iudge. As
and di(ea1e incrca{c ) Coin.
e,core thou thy SI:U"c . let not my
wauer . Let no,'"'Y 1>o , <I}',
,
gar. Let not my ch aritic W;I.:((
Let not my humane infirmitietice carl
downc: with the drc:lde of dc.nh.
when deathe lbaUhaue elared die
of my bodic

foueraignc

;:::::,

des

milld

193. Prayer for the dead. From A Book of Christian Prayers,

printed by Richard Yardley and Peter Short for Richard Day,
London, 1590.

194. The winged Angel of Death with skull and howglass.

PJinter's device of Johann Vogt, Goslar, 1607.

195. Relic monstrance in the shape of a skall and thighbone.

Engraving by Christoffel van Sichem, from Het geheele leven ons
Heeren jesa Christi, printed by P. 1. Paets, Amsterdam, 1648.

196. Title page with allegoric representation of the Judgment of

Fame after Death. From Herodian of Alexandria's Imperial
HistOlY, published by Hemy Taunton, London, 1635.

!D:''U.49

t,a4

f.,..,,,,

Mop.s fola
fint- _inUJll co::-pu[cula .
luvtnal.
----

197. Symbolic-emblematic representation of the t ra.nsitOliness of

might. From T Carey's The Mirrour which Flatters not,
published by R. Thale, London, 1639.

198.

199.

Macabre calligraphic page with emblems ofDeath. From a

work by Francesco pisani, Genoa, 1640

Symbol of Death with the motto "My glass runneth quickly. "
Plinter's device ofloost Hangers, Amsterdam, 1651 .

200. Alchemical allegOlY ofputrefaction. From Basil Valentine's

Azoth, PaIis, 1659.

201. The deadly demon of tobacco "drinking." From Jacob

Balde's anti-smoking pamphlet Die Truckene Trunckenheil (The
DIy Drunkenness), printed by Michael Endte/ Nuremberg. 1658.

of All the

0,. A C O L l t C T I O N

Bills of Mortality
Fol' thL.$ Prcfcnt Yc.ar :

Besjnnjr me 27'10 of '[)((emher I 4, and

(J'Ldlng-rhe 19fh. of 1)m,drr

followin g :
A$ .lifo, jbt 9 E lX E tIt A L or 1f(;olt lf4,j $ 1 t.L :

According to the Report

,K I" w o"s Moll

made [0
Elcdkm MJltftr.

the

-/

202. Title page in the fonn of a gravestone. From Bills of

Mortality. a printed report to the king about the people who died

of the plague from December 1664 to December 1665, printed by

E. Cotes, London, 1665.

203. "The Triumphal Arch of Death. " Engra.ving by Anders Trost

after Johann Koch, from Johann Vavasor's Theatrum mortis
humanae, Ljubljana, 1682.

204. The winged hourglass and the scythe, symbolizing the flight
of time and the certainty of death. From a Rosicmcian emblem
book, seventeenth century.

205. The skeleton on the casket and the broken tree stump
symbolize Death, and the burning candle represents the human
mind Iising to Heaven. From a Rosicmcian emblem book,
seventeenth centUlY.

206. The urn, the leafless branch and the weeping w illow as
symbols of Death. By the American wood engraver Alexander
Anderson (J 775-1870).

207. The toad of Death. From a pen drawing in an occult

manuscript La Magie Noire (Black magic), France, nineteenth
century.

I think

the Vessel, that with fugit ive

Articulation answer'd, once did live,
And MelTy-make; and the cold Lip I kiss'd
How many Kisses might it take-and give.
208. Macabre illustration by Edmund J. Sullivan for Quatrain
by Edward Fitzgera.ld,
London, l859.

XXXV of The Rllbaiyat of Omar Khayyam,

Oh, come with old Khayyam, and leave lhe Wise

To talk; one thing is certain, that Life flies;
One thing is certain, and the Rest is Lies:
771e Flower (hat once has blown for ever dies.

209. Macabre illustration by Edmund J. Sullivan for Quatrain

XXVI of The Rubaiyat of Dmar Khayyam, by Edward Fitzgerald,
London, 1859.

Resurrection and Reckoning

*
In Christian belief. Christ rose from the dead, and on Judgment
Day. the last day of the world. everyone who ever lived will
awaken from the dead and be tried by the Lord and His angels.
Many great works of art have been based on this theme.

210. Detail from "The Last Judgment. " Engraving by Allard du

Hameel after Hieronimus van Aeken Bosch.

211. The Resurrection of ChIist. From Leiden Christi (The

Passion of Christ), printed by Albrecht Pfister, Bamberg, 1470.

2J2. The Last Judgment. Woodcut by Michael Wolgemut, from

Hartman Schedel's Libel' Cronicarum, printed by Anton
Koberger, Nuremberg. J 493.

213. The Last Judgment. From the Bambergische

Halsgerichtsordnung, 1510. The quotations are: "For with what
judgment ye judge, ye shall be judged" (Matthew 7:2) and "The
Lord executeth righteol1sness and jl1dgment for all that are
oppressed " (psalms 103:6).

214. Weighing of souls by the Archangel Michael. Xylographic

page from Ars Moriendi, printed by Johann WeissenbUlger,
Landshut, 1514.

T lFl iE

G lR A V E

m.
lzul?td&I ft )",chp d}cl7f
.A

Ex('cuted
8Y

LOUIS

S C H I AV O .N i: T T I ,

InveDl.ioTl!l

'Ir/I. i'. IA lJI

215. Allegoric representation of resl1rrection. From Robert

Blair's The Grave, engraved by Louis Schiavonetti after William
Blake, pIinted by T. Bensley, London, 1808.

Religio-Political Devilry

*
Devils, demons and similar infernal figures (including swine)
have been favorite material for religious and political
pamphleteers and caricaturists of all denominations and
convictions for centuries. Writers and artists attacking such real
and alleged abuses as drinking, dancing, smoking, gambling,
counterfeiting and usury have not hesitated to press Satan into
their service. This concluding chapter presents a wide panorama
of these polemic graphics with a smell of brimstone.

216. Jewish scholars, wearing the pointed hats forced upon them
by the law, are suckled by their wetnurse, the "Devil's pig. "
From the eaIliest extant anti-Semitic broadside, Germany, 1475.

217. Papist crowning the Devil's pig. Woodcut by Hans Weiditz,

from Ciceros Olficien, printed by Heinrich Steiner, Al1gsbl1lg,
1531.

lUit Otr wurlfd auff

I!l tommm

218. The Demon of Dice and the terrible fate of dice-players.

From a pamphlet How the Die Was Invented; attributed to
Albrecht Diirer, pIinted by Conrad Kacherofen, Leipzig, 1487.

219. The Dice-Demon tempting the gambler. Detail from a

broadside warning against dice-playing, France, 1490.

220. The Papist Devil, "Ego sum Papa" (I am the Pope). From a
Refol7nation handbill against Pope Alexander VI, Paris, late
fifteenth century.

221. George Zingel, one of the Papist adversaIies of the reformer

Jacob Lochner, depicted as an infernal monster. From Lochner's
polemic treatise Apologia contra. poetamm aceniml1ln Hostem
Georgium Zingel, pIinted by Johann Griininger, Stra.ssbl1lg,
1503.

222. Demonic anti-Papist caIicature. From the t itle page of

Opera Poetica by the refOlmer Ulrich van Hatten, printed by
Henri PetIi, Basle, 1538.

223. Title page from Thomas Marner's anti-RefOlwation

pamphlet Von dem grossen Latherischen Narren (On the Big
Lathera.n Fool), aboat 1518.

224. Reform minister officiating at the malTiage of the fool and

the she-devil. From Thomas Murner's anti-Lutheran pamphlet
Von dem grossen Lutherischen Narren, about 1518.

225. Martin Lather's tIiwnph over the monk's devil. From

Mattheus Gnidias' Dialogi, a Reform pamphlet against the
Papists Marner and Weddel, Gelwany, 1521.

Statua hcrrcticorum

226. The Column of Heresy. From an antiLutheran pamphlet

Catalogus Haereticomm omnium pene, Cologne, 1526.

A N N O M D LV

227. Title page from a conformist selmon by Andreas Musculus,

Yom Hosen Teuffel (the disordeI1y, inlc'111lOUS and audacious devil
of the long baggy breeches; an admonition and call to ordel),
printed byjohann Eichhorn, Frankfurt am Gder, 1555.

228. The "Devil's RotisseIie. " From a satiric Reformation

handbill depicting the larding, stuffing and roasting of jesuits by
the Devils, designed by F. Hildeberg, Gelmany, 1580.

StrlkD.:N TU1J'E.L
GODr 1TfU.U.

a. .

229. "Piramide papistique, .. satiric-allegoric representation of

the Roman Church hierarchy as the Serpents of He1/. From a
Protestant anti-Papist broadside, Holland, late sixteenth century.

230. The Goddess Heresy. From a satiric anti-Refol7nation

handbill designed by Anton Eisen, Paderborn, Gelwany, late
sixteenth centUlY.

231. The Papal hierarchy as mash in the Devil's vineyard. From

a German anti-Papist broadside, late sixteenth century.

232. Papist indulgence peddlers in the jaws of Hell. From a

satiric Reformation handbill, Gennany, late sixteenth century.

THE

S C O V R GE
OF
D RV N K E N N E S.
By William Hornby Gent.

L O N D O N,
Pdmcd "'yG.E L D.for T"hflwuJ 'B.,rt'r, and arc tobcfoldi
a
c his shop, in Ihe Middfr.Row in
cJelnto SI/lft,./"nt, 1 6 1

HolborOl'*
I.

233. The Devil of tobacco "drinking. " From William Hornby's

The Scourge of Dnmkennes, an anti-smoking pamphlet printed by
C. EJd for Thomas Baylie, London, 1618.

234. The Devil's mill of discord. From an anti-Huguenot handbill

printed by E. Moreau, Paris, 1630.

The Englilh Vfurer.

1 Ill l wi!! haue all
b(ithVfe principiI!.

,.,/"j" r'I. It Yf",a.

/. rqlllf.,t.,."Cujt" ., fill"" .'. ,./rr"J-jlb rfI.jil
._ "" " ;(uforn, b..iII.... "" :ie) : An V(uru
is nottolttablc in a "ell d1:ablilhed Common
weale,b...t \'ttcr!y {obe ieD:c:d 00[' of rh<: com.

panyofmen.

235. The Devil of Usury. From John Blaxton 's pamphlet against
loan sharks. The English Usurel printed by 10hn Norton [or
Francis Bowman of Oxford, London, 1634.

T H E

DEVIL TU RN 'D
R 0 U N D-H E A 0:
0 , ,

P L V T O brcome , ]I R Q W N I S T.

Bdne a jul1: comparifon. how rhe J)..:vil i h<-c0me 3 R,und

"lI:.u!! In wnJ[ m.l.nncr. nd how ,-cJlauLly( like [hm)
he is Jffc: wub [he moving of til(: Sp':rit.

W:th the hofy Sif ters dcre of C0puhri()n ( lf1W would

(cern Holy.SjllCe. and pure)were it wich lh'! Devil!
h'-mdf.
l
As

'/fo. th: Afltj1trdlfmmiwm dtfiif;1I! r" FA"';/'(r.

236. The Round-head Devil. From an anti-Puritan pamphlet by

John TaylOl The Devil Turn'd Round-Head, London, 1642.

237. The Money Devil. From a satiric handbill against loan

shaIfs, Frc"lflce, about 1650.

238. Pluto, the Papist Devil, falling sick over the order of the so
called Long Parliament to deface all Romanistic churches and to
destroy all their idolatrous images. From the pamphlet A
Dreame; Ol Newes from Hell, anonymously pIinted in London,
1641.

::J/,"4

'" ,\" ,
.

\'

....... .\
.
"
('
--- --

."

--:-

C O N V E NTIO N
C A N DIOAi E .

!"./

"', --
.- -

. ::.--

'-

239. The Hartford (Connecticut) Federalist Convention candidate

(the ImpeIial Devil). From an anti-British campaign leaflet for
james Monroe printed in New England, 1812.

240. Sf. Michael casting Lucifer, the power of sin, out of Heaven.
Ornamented tailpiece from a French book pIinted in 1650.

241. incubi inducing sweet sexual dreams in a sleeping girl.

Designed by S Tschechonin for the Russian peIiodical Satyricon,
St. Petersblllg, 1913.

242. Final page, "Finis corona t " (the end crowns (the work}).
From Jacob Cats' autobiographical poem An Eighty-Two-Year
Long Life, published by Jan van der Deyster, Leyden, 1 732.