ng was an art which had been practiced nearly a century. He found also, as we have seen, a public accustomed to satirical writings illustrated by wood-cuts. The gr

ed by the "Ship of Fools," showing how the Pope had "fooled the whole world with his superstitions and idolatries." He showed it to the Prince Elector of Saxony at the time. The picture exhibited a little ship filled with monks, friars, and priests cast

ith." He had not reached the point when he could talk at his own table of the cardinals as "peevish milksops, effeminate, un

Theologi? et

ass can with t

Theology the Pop

, unless we leave part of the description in Latin. The Pope was seated on a lofty throne surrounded by cardinals having foxes' tails, and seeming "sursum et deorsum repurgare." In the "Table-talk" we read also of a picture being brought to Luther in which the Pope and Judas were represented hanging to the purse and keys. "'Twill vex the Pope horribly," said Luther, "that he whom emperors and kings have worshiped should now be figured hanging upon his own picklocks."

nto Hell. (Luca

ng an incident in the life of Christ, and the page to the right a feature of the papal system at variance with it. Thus, on the first page was shown Jesus, in humble attitude and simple raiment, refusing honors and dignities, and on the page opposite the Pope, cardinals, and bishops, with warriors, cannon, and forts, assuming lordship over kings. On another page Christ was seen crowned with thorns by the scoffing soldiers, and on the opposite page the Pope wearing his triple crown, and seated on his throne, an

is in thine own

ist: "I am the door. He that entereth not by the door into the sheepfold, but climbeth up some other way, the same is a thief and a robber." The honest Sachs shows us a lofty, well-built barn, with a very steep roof, on the very top of which sits the Pope crowned with his tiara. To him cardinals and bishops are directing people, and urging them to climb up the steep and slippery height. Two monks have done so, and are getting in at a high window. At the open door of the edifice sta

mphant. (Pa

ing and equally ludicrous to them is the more frequent case of missionaries coming home to be married, or young missionaries married in the evening and setting out for their station the next morning. We observe that some of Luther's nearest friends-nay, Luther himself-saw something both ridiculous and contemptible in his marriage, particularly in the haste with which it was concluded, and the disparity in the ages of the pair, Luther being forty-two and his wife twenty-six. "My marriage," wrote Luther, "has made me so despicable that I hope my humiliation will rejoice the angels and vex the devils." And

posed to be ridiculous, the satirists harped a good deal upon the old prophecy that Antichrist would be the offspring of a monk and a nun. "If that is the case," said Erasmus, "how many thousands of Antichrists there are in the world already!" Luther was evidently of the same opinion, for he gave full

r did he forsake the communion of the ancient Church, but he expressed the warmest sympathy with the objects of the reformer. A report of Luther's death in 1521 struck horror to his soul. "Whether Luther be yet living," he wrote, "or whether his enemies have put him to death, I know not; yet certainly what he has suffered has been for the sake of

e remarked. Only three copies of these pictures are known to exist. They appeared at the time when Luther had kindled a general opposition to the sale of indulgences, as well as some ill feeling toward the classic authors so highly esteemed by Erasmus. They are in a peculiar sense Lutheran pictures, and they give expression to the refor

pendous works, each containing seventeen or more life-size figures, every trace has perished except the artist's original sketch of "The Triumph of Riches." But they made a vivid impression upon the two generations which saw them, and we have so many engravings, copies, and descript

Riches. (Holbei

sion of the wealth he can never use. Below him Fortuna, a young and lovely woman, scatters money among the people who throng about her, among whom are the portly Sich?us, Dido's husband, the richest of his people; Themistocles, who stooped to accept wealth from the Persian king; and many others noted in classic story for the part gold played in their lives. Cr?sus, Midas, and Tantalus follow on horseback, and, last of all,

seen riding in the lowliest of vehicles, a cart, drawn by two donkeys, Stupidity and Clumsiness, and by two oxen, Negligence and Indolence. Beside her in the cart sits Misfortune. A meagre and forlorn crowd surround and follow them. But the slow-moving team is guided by the four blooming girls, Moderation

of wrathful controversy and irrational devotion like green isl

the bishop of the diocese, was sure to be at hand when the bishop happened to have a good thing to give away. In all probability Jean Calvin would have died an archbishop or a cardinal if he had remained in the Church of his ancestors, for he possessed the two requisites for advancement-fervent zeal for the Church and access to the bestowers of its prizes. At Paris, however, whither he was sent by his father to pursue his studies, a shy, intense, d

ts of his conversion in this picture, in which a sla

randed.

own day, "and read again that Jean Calvin, convicted of a crime" (infamous and unmentionable), "by the very clement sentence of the bishop and magistrate was branded with an iron lily on the shoulders." The records have been searched; nothing of the kind is to be found in them; but the picture was drawn and scattered over France. Precisely the same charge was made against Luther. That both the reformers die

ge, representing Calvin at the burning of Ser

ng to burn. It was a hideous scene-a virtuous and devoted Unitarian expiring in the flames after enduring the extremest anguish for thirty minutes, and crying, from the depths of his torment, "Jesus, thou Son of the eternal God, have mercy on me!" But it was not Calvin who burned him. It was the century. It was imperfectly developed human nature. Man had not reached the civilization which admits, allows, welcomes, and honors disinterested conviction. It were as unjust to blame Calvin for burning Serv

he Burning

n both of them were in the grave. It might have amused the very persons caricatured. We can fancy Lutherans, Calvinists, and Catholics all laughing together at the spectacle o

is visible in the sky. Underneath is written, "The Lord is my Shepherd; he will never forsake me." The work has an additional interest as showing how early the Fre

pe, and Luther

aid their homage. Rabelais at length, overcome by the ridiculous demeanor of the worshipers, was obliged to laugh, whereupon the gaping throng cried out, "A miracle! a miracle! Our good lord St. Francis moves!" But a cunning old friar, who knew when miracles might and might not be rationally expected in that convent, ran into the chapel and drew out the merry saint, and the brothers laid their knotted cords so vigorously across his naked shoulders that he had a lively sense of not being made of wood. That was Rabelais! He was a natural laugh-compeller. He laughed at every thing, and set his countrymen laughing at every thing. But there were no men who oftener provoked his derision than the monks. "How is it?" asks one of his merry men, "that people exclude monks from all good companies, calling them feast-troublers, marrers of mirth, and distur

represents King Henry VIII. receiving a Bible from Archbishop Cranmer and Lord Cromwell. The burly monarch, seated upon his throne, takes the book from their hands, while he tramples upon Pope Clement, lying prostrate at his feet, the tiara broken and fallen off, the triple cross lying on the ground. Cardinal Pole, with the aid of another di

Rydlerus, Rogerus, and Latimerus. Three reformers put a rope round Gardiner's neck, saying, "We will not this feloue to raigne over us;" and on the other side of him two bishops with wolves' heads mitred, and having sheepskins on their shoulders, are drinking from chalices. Behind Gardiner are several men attached by rings through their noses to a rope round his waist. The devil appears above, holding a scroll, on which is written, "Youe are my verye chyldren in that youe have slayne the prophetes. For even I fr

ersy from the beginning. The great expanse of the picture was obscured with the number of remarks streaming from the mouths of the persons depicted, and there was often at the bottom of the engraving prose and verse enough to fill two or three of these pages. Such extensive works call to mind

the figures say something, and the space under the picture is filled with verses. Cranmer, with the Bible in his left hand, holds his right in the fire, exclaiming, "Burne, unworthie right hand!" Latimer cries, "Lord, Lord, re

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y, Truth; those that draweth Truth by the armes, Flatterers; the Frier, Lies; and the associate with the Frier, Perjury." In another drawing the artist shows us the Pope seated in a chair, with his foot on the face of a prostrate man, and in his hand a drawn sword, directing an executioner who is in the act of beheading a prisoner. In the distance are three men kneeling in prayer. The explanation is this: "The Pope is Oppression; the man which killeth is Crueltie; those which are a-killing, Constant Religion; the three kneeling, Love, Furtherance, and Truth to the Gospel." In one of these crude productions a parson is exhibited preaching in a pulpit, from which two ecclesiastics are dragging him by the beard to the stake outside. Explanation in this instance is not so necessary, but we have it, nevertheless: "He which preacheth in the pulpit signifieth godly zeale and a furtherer of the gospel; and the two which are plucking him out of his place are th

rs his hair, and behind him is a raving woman. This picture has a blunt signification: "The bore signifieth Wrath, and the man on his back Mischief; the Pope in th

Museum, all executed and published in the early part of the reign of Elizabeth. As

ricature of

an. He drew a burlesque of the Laoco?n to ridicule a school of artists in Rome, who, as he thought, extolled too highly the ancient sculptures, and, because they could not succeed in c