Caricature and Other Comic Art Part 6

[Ill.u.s.tration: Papa, Doctor Theologiae et Magister Fidei.

"A long-eared a.s.s can with the Bagpipes cope As well as with Theology the Pope."--Germany, 1545.]

Finding this weapon of caricature ready-made to his hands, he used it freely, as did also his friends and his foes. He was himself a caricaturist. When Pope Clement VII. seemed disposed to meet the reformers half-way, and proposed a council to that end, Luther wrote a pamphlet ridiculing the scheme, and, to give more force to his satire, he "caused a picture to be drawn" and placed in the t.i.tle-page. It was not a work describable to the fastidious ears of our century, 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." The picture annexed, in which the Pope is exhibited with an a.s.s's head performing on the bagpipes, was entirely in the taste of Luther. "The Pope's decretals," he once said, "are naught; he that drew them up was an a.s.s." No word was too contemptuous for the papacy. "Pope, cardinals, and bishops," said he, "are a pack of guzzling, stuffing wretches; rich, wallowing in wealth and laziness, resting secure in their power, and never thinking of accomplishing G.o.d's will."

[Ill.u.s.tration: The Pope cast into h.e.l.l. (Lucas Cranach, 1521.)]

The famous pamphlet of caricatures published in 1521 by Luther's friend and follower, Lucas Cranach, contains pictures that we could easily believe Luther himself suggested. The object was to exhibit to the eyes of the people of Germany the contrast between the religion inculcated by the lowly Jesus and the pompous worldliness of the papacy. There was a picture on each page which nearly filled it, and at the bottom there were a few lines in German of explanation; the engraving on the page to the left representing 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 att.i.tude and simple raiment, refusing honors and dignities, and on the page opposite the Pope, cardinals, and bishops, with warriors, cannon, and forts, a.s.suming 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 object of adoration to his court. On another was shown Christ washing the feet of his disciples, in contrast to the Pope presenting his toe to an emperor to be kissed. At length we have Christ ascending to heaven with a glorious escort of angels, and on the other page the Pope hurled headlong to h.e.l.l, accompanied by devils, with some of his own monks already in the flames waiting to receive him. This concluding picture may serve as a specimen of a series that must have told powerfully on the side of reform.[11]

[Footnote 11: From "A History of Caricature," p. 254, by Thomas Wright, London, 1864.]

[Ill.u.s.tration: "The Beam that is in thine own Eye," A.D. 1540.]

These pictorial pamphlets were an important part of the stock in trade of the colporteurs who pervaded the villages and by-ways of Germany during Luther's life-time, selling the sermons of the reformers, homely satiric verses, and broadside caricatures. The simplicity and directness of the caricatures of that age reflected perfectly both the character and the methods of Luther. One picture of Hans Sachs's has been preserved, which was designed as an ill.u.s.tration of the words of Christ: "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 stands the Lord, with a halo round his head, inviting a humble inquirer to enter freely.

Nothing was farther from the popular caricaturists of that age than to allegorize a doctrine or a moral lesson; on the contrary, it was their habit to interpret allegory in the most absurdly literal manner.

Observe, for example, the treatment of the subject contained in the words, "How wilt thou say to thy brother, Let me pull out the mote out of thine eye, and, behold, a _beam_ is in thine own eye?"

[Ill.u.s.tration: Luther Triumphant. (Paris, 1535.)]

The marriage of Luther in 1525 was followed by a burst of caricature.

The idea of a priest marrying excited then, as it does now in a Catholic mind, a sense of ludicrous incongruity. It is as though the words "married priest" were a contradiction in terms, and the relation implied by them was a sort of manifest incompatibility, half comic, half disgusting. The spectacle occasionally presented in a Protestant church of a clergyman ordained and married in the same hour is so opposed to the Catholic conception of the priesthood that some Catholics can only express their sense of it by laughter. Equally amazing 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 Melanchthon, while doing his best to restore his leader's self-respect, expressed the hope that the "_accident_"

might be of use in humbling Luther a little in the midst of a success perilous to his good sense. Luther was not long abased. We find him soon justifying the act, which was among the boldest and wisest of his life, as a tribute of obedience to his aged father, who "required it in hopes of issue," and as a practical confirmation of what he had himself taught. He speaks gayly of "my rib, Kate," and declared once that he would not exchange his wife for the kingdom of France or the wealth of Venice.

But the caricaturists were not soon weary of the theme. Readers at all familiar with the manners of that age do not need to be told that few of the efforts of their free pencils will bear reproduction now. Besides exhibiting the pair carousing, dancing, romping, caressing, and in various situations supposed 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 credit to the story of six thousand infants' skulls having been found at the bottom of a pond near a convent, as well as to that of "twelve great pots, in each of which was the carca.s.s of an infant," discovered under the cellars of another convent. But, then, Luther was among the most credulous of men.

The marriage of the monk and the nun gave only a brief advantage to the enemies of reform. The great German artists of that generation were friends of Luther. No name is more distinguished in the early annals of German art than Albert Durer, painter, engraver, sculptor, and author.

He did not employ his pencil in furtherance of Luther's cause, nor 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 truth, and because he has reprehended the abuses of unchristian papacy, which strives to fetter Christian liberty with the inc.u.mbrance of human ordinances, that we may be robbed of the price of our blood and sweat, and shamefully plundered by idlers, while the sick and needy perish through hunger." These words go to the heart of the controversy.

Holbein, nearly thirty years younger than Durer, only just coming of age when Luther nailed his theses to the castle church, did more, as the reader has already seen, than express in words his sympathy with reform.

The fineness and graphic force of the two specimens of his youthful talent given on pages 72, 73,[12] every reader must have 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 cla.s.sic authors so highly esteemed by Erasmus. They are in a peculiar sense Lutheran pictures, and they give expression to the reformer's prejudices and convictions. A third wood-cut of Holbein's is mentioned by Woltmann, dated 1524, in which the Pope is shown riding in a litter surrounded by an armed escort, and on the other side Christ is seen on an a.s.s, accompanied by his disciples. These three works were Holbein's contribution to the earlier stage of the movement.

[Footnote 12: From "Holbein and his Time," p. 241-243, by Alfred Woltmann; translated by F. E. Bunnett, London, 1872.]

This artist was soon drawn away to the splendid court of Henry VIII. of England, where, among other works, he executed his renowned paintings, "The Triumph of Riches" and "The Triumph of Poverty," in both of which there is satire enough to bring them within our subject. Of these stupendous 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 descriptions of them that it is almost as if we still possessed the originals. Holbein's sketch is now in the Louvre at Paris. It will convey to the reader some idea of the harmonious grandeur of the painting, and some notion of the ingenious and friendly nature of its satire upon human life.

[Ill.u.s.tration: The Triumph of Riches. (Holbein, about 1533.)]

In accordance with the custom of the age, the painting bore an explanatory motto in Latin: "Gold is the father of l.u.s.t and the son of sorrow. He who lacks it laments; he who has it fears." Plutus, the G.o.d of wealth, is an old, old man, long past enjoyment; but his foot rests upon sacks of superfluous coin, and an open vessel before him, heaped with money, affords the only pleasures left to him--the sight and conscious possession 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 Sichaeus, Dido's husband, the richest of his people; Themistocles, who stooped to accept wealth from the Persian king; and many others noted in cla.s.sic story for the part gold played in their lives. Croesus, Midas, and Tantalus follow on horseback, and, last of all, the unveiled Cleopatra. The careful driver of Plutus's chariot is Ratio--reason. "Faster!" cries one of the crowd, but the charioteer still holds a tight rein. The unruly horses next the chariot, named Interest and Contract, are led by the n.o.ble maidens Equity and Justice; and the wild pair in front, Avarice and Deceit, are held in by Generosity and Good Faith. In the rear, hovering over the triumphal band, Nemesis threatens.

The companion picture, "The Triumph of Poverty," had also a Latin motto, to the effect that, while the rich man is ever anxious, "the poor man fears nothing, joyous hope is his portion, and he learns to serve G.o.d by the practice of virtue." In the picture a lean and hungry-looking old woman, Poverty, was 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, Diligence, Alertness, and Toil, of whom the last is the one most abounding in vigor and health. The reins are held by Hope, her eyes toward heaven.

Industry, Memory, and Experience sit behind, giving out to the hungry crowd the means of honorable plenty in the form of flails, axes, squares, and hammers.

These human and cheerful works stand in the waste of that age of wrathful controversy and irrational devotion like green islands in the desert, a rest to the eye and a solace to the mind.

When Luther was face to face with the hierarchy at the Diet of Worms, Calvin, a French boy of twelve, was already a sharer in the worldly advantage which the hierarchy could bestow upon its favorites. He held a benefice in the Cathedral of Noyon, his native town, and at seventeen he drew additional revenue from a curacy in a neighboring parish. The tonsured boy owed this ridiculous preferment to the circ.u.mstance that his father, being secretary to 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, devout lad, already thin and sallow with fasting and study, the light of the Reformation broke upon him. Like Luther, he long resisted it, and still longer hoped to see a reformation _in_ the Church, not outside of its pale. The Church never had a more devoted son. Not Luther himself loved it more.

"I was so obstinately given to the superst.i.tions of popery," he said, long after, "that it seemed impossible I should ever be pulled out of the deep mire."

He struggled out at length. Observe one of the results of his conversion in this picture, in which a slander of the day is preserved for our inspection.[13]

[Footnote 13: From "Musee de la Caricature en France," Paris, 1834.]

[Ill.u.s.tration: Calvin branded. (Paris.)]

Gross and filthy calumny was one of the familiar weapons in the theological contests of that century. Both sides employed it--Luther and Calvin not less than others--for it belonged to that age to hate, and hence to misinterpret, opponents. "Search the records of the city of Noyon, in Picardie," wrote Stapleton, an eminent controversialist on the Catholic side, and professor in a Catholic college of Calvin's 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 died of infamous diseases was another of the scandals of the time. In reading these controversies, it is convenient to keep in mind the remark of the collector of the Calvin pictures: "When two theologians accuse one another, both of them lie." One of these calumnies drew from Calvin a celebrated retort. "They accuse me," said he, "of having no children. In every land there are Christians who are my children."

Another caricature, shown on the following page, representing Calvin at the burning of Servetus, had only too much foundation in truth.

The reformer was not indeed present at the burning, but he caused the arrest of the victim, drew up the charges, furnished part of the testimony that convicted him, consented to and approved his execution.

Servetus was a Spanish physician, of blameless life and warm convictions, who rejected the doctrine of the Trinity. Catholic and Protestant equally abhorred him, and Protestant Geneva seized the opportunity to show the world its attachment to the true faith by burning a man whom Rome was also longing 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 G.o.d, 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 Servetus as it is to hold the Roman Catholic Church of the present day responsible for the Inquisition of three centuries ago. It was Man that was guilty of all those stupid and abominable cruelties. Luther, the man of his period, honestly declared that if he were the Lord G.o.d, and saw kings, princes, bishops, and judges so little mindful of his Son, he would "_knock the world to pieces_." If Calvin had not burned Servetus, Servetus might have burned Calvin, and the Pope would have been happy to burn both.

[Ill.u.s.tration: Calvin at the Burning of Servetus.]

One of the best caricatures--perhaps the very best--which the Reformation called forth was suggested by the dissensions that arose between the followers of Luther and Calvin when 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 of the two reformers holding the Pope by the ear, and with their other hands fighting one another, Luther clawing at Calvin's beard, and Calvin hurling a Bible at Luther's head.

On the same sheet in the original drawing a second picture was given, in which a shepherd was seen on his knees, surrounded by his flock, addressing the Lord, who 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 French began to excel in caricature. In the German and English caricatures of that period there are no existing specimens which equal this one in effective simplicity.

[Ill.u.s.tration: Calvin, the Pope, and Luther. (Paris, 1600.)]

Perhaps the all-pervading influence of Rabelais in that age may have made French satire more good-humored. After all efforts to discover in the works of Rabelais hidden allusions to the great personages and events of his time, we must remain of the opinion that he was a fun-maker pure and simple, a court-fool to his century. The anecdote related of his convent life seems to give us the key both to his character and his writings. The incident has often been used in comedy since Rabelais employed it. On the festival of St. Francis, to whom his convent was dedicated, when the country people came in, laden with votive offerings, to pray before the image of the saint, young Rabelais removed the image from its dimly lighted recess and mounted himself upon the pedestal, attired in suitable costume. Group after group of awkward rustics approached and paid 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 disturbers of all civil conversation, as bees drive away the drones from their hives?" The hero answers this question in three pages of most Rabelaisan abuse, of which only a very few lines are quotable. "Your monk," he says, "is like a monkey in a house. He does not watch like a dog, nor plow like the ox, nor give wool like the sheep, nor carry like the horse; he only spoils and defiles all things. Monks disquiet all their neighborhood with a tingle-tangle jangling of bells, and mumble out great store of psalms, legends, and paternosters without thinking upon or apprehending the meaning of what they say, which truly is a mocking of G.o.d." There is no single theme to which Rabelais, the favorite of bishops, oftener returns than this, and his boisterous satire had its effect upon the course of events in Europe, as well as upon French art and literature.

The English caricatures that have come down to us from the era of the Reformation betray far more earnestness than humor or ingenuity. There is one in the British Museum which figures in so many books, and continued to do duty for so many years, that the inroads of the worms in the wood-cut can be traced in the prints of different dates. It 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 dignitary, is trying to get the Pope on his feet again. A monk is holding the Pope's horse, and other monks stand dismayed at the spectacle. This picture was executed in 1537, but, as we learn from the catalogue, the deterioration of the block and "the working of worms in the wood" prove that the impression in the Museum was taken in 1631.[14]

[Footnote 14: "Catalogue of Prints and Drawings in the British Museum,"

Division I., vol. i., p. 2. London, 1870.]

The martyrdom of the reformers in 1555, under Queen Mary of b.l.o.o.d.y memory, furnished subjects for the satiric pen and pencil as soon as the accession of Elizabeth made it safe to treat them. But there is no spirit of fun in the pictures. They are as serious and grim as the events that suggested them. In one we see a lamb suspended before an altar, which the Bishop of Winchester (Gardiner), with his wolf's head, is beginning to devour; and on the ground lie six slain lambs, named _Houperus_, _Cranmerus_, _Bradfordus_, _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 from the begynning was a murtherer._" On the altar lie two books, one open and the other shut. On the open book we read, "_Christ alone is not sufficient without our sacrifice_." The only window in the edifice, a small round one, is closed and barred. Many of the figures in this elaborate piece utter severe animadversion upon opponents; but none of them is scurrilous and indecent, except the mitred wolf, who is so remarkably plain-spoken that the compiler of the catalogue was obliged to suppress several of his words.

The English caricaturists of that age seem to have felt it their duty to exhibit the entire case between Catholic and Protestant in each broadside, with all the litigants on both sides, terrestrial and celestial, all the points in both arguments, and sometimes the whole history of the controversy 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 sermons of the following century, when preachers endeavored on each occasion to declare, as they said, "the _whole_ counsel of G.o.d;" so that if one individual present had never heard the Gospel before, and should never hear it again, he would hear enough for salvation in that one discourse.

Another of these martyrdom prints may claim brief notice. Two companies of martyrs are seen, one composed of the bishops, and the other of less distinguished persons, between whom there is a heap of burning f.a.gots.

Nearly all the figures say something, and the s.p.a.ce 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, receive my spirit!_" Philpot, pointing to a book which he holds, says, "_I will pay my vowes in thee, O Smithfield!_" The other characters utter their dying words. The verses are rough, but full of the resolute enthusiasm of the age:

"First, Christian Cranmer, who (at first tho foild), And so subscribing to a recantation, G.o.d's grace recouering him, hee, quick recoil'd, And made his hand ith flames make expiation.

Saing, burne faint-hand, burne first, 'tis thy due merit.

And dying, cryde, Lord Jesus take my spirit.

"Next, lovely Latimer, G.o.dly and grave, Himselfe, Christs old tride souldier, plaine displaid, Who stoutly at the stake did him behave, And to blest Ridley (gone before) hee saide, Goe on blest brother, for I followe, neere, This day wee'le light a light, shall aye burne cleare.

"Whom when religious, reverend Ridley spide, Deere heart (sayes hee) bee cheerful in y{r} Lord; Who never (yet) his helpe to his denye'd, & hee will us support & strength afford, Or suage y{e} flame, thus, to the stake fast tide, They, constantly Christs blessed Martyres dyde.

"Blest Bradford also comming to the stake, Cheerfully tooke a f.a.ggott in his hand: Kist it, &, thus, unto a young-man spake, W{ch} with him, chained, to y{e} stake did stand, Take courage (brother) wee shal haue this night, A blessed supper w{th} the Lord of Light.

"Admir'd was Doctor Tailers faith & grace, Who under-went greate hardship spight and spleene; One, basely, threw a f.a.ggot in his face, W{ch} made y{e} blood ore all his face bee seene; Another, barberously beate out his braines, Whilst, at y{e} stake his corps was bound w{th} chaines."

In many of the English pictures of that period, the intention of the draughtsman is only made apparent by the explanatory words at the bottom. In one of these a friar is seen holding a chalice to a man who stretches out his hands to receive it. From the chalice a winged c.o.c.katrice is rising. There is also a man who stabs another while embracing him. The quaint words below explain the device: "The man which standeth lyke a Prophet signifieth G.o.dliness; the Fryer, treason; the cup with the Serpent, Poyson; the other which striketh with the sworde, Murder; and he that is wounded is Peace." In another of these pictures we see an a.s.s dressed in a judge's robes seated on the bench. Before him is the prisoner, led away by a priest and another man. At one side a friar is seen in conversation with a layman. No one could make any thing of this if the artist had not obligingly appended these words: "The a.s.se signifieth Wrathfull Justice; the man that is drawn away, Truth; those that draweth Truth by the armes, Flatterers; the Frier, Lies; and the a.s.sociate 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 G.o.dly zeale and a furtherer of the gospel; and the two which are plucking him out of his place are the enemies of G.o.d's Word, threatening by fire to consume the professors of the same; and that company which (sit) still are _Nullifidians_, such as are of no religion, not regarding any doctrine, so they may bee quiet to live after their owne willes and mindes." Another picture shows us a figure seated on a rainbow, the world at his feet, up the sides of which a pope and a cardinal are climbing. In the middle is the devil tumbling off headlong. The world is upheld by Death, who sits by the mouth of h.e.l.l. This is the explanation: "He which sitteth on the raynebowe signifieth Christ, and the sworde in his hand signifieth his wrath against the wycked; the round compa.s.se, the worlde; and those two climing, the one a pope, the other a cardinall, striving who shall be highest; and the Divell which falleth headlong downe is Lucifer, whiche through pride fel; he whiche holdeth the world is Death, standing in the entrance of h.e.l.l to receyve all superbious livers."

In another print is represented a Roman soldier riding on a boar, and bearing a banner, on which is painted the Pope with his insignia. A man stabs himself and tears 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 the flag Destruction, and the flag Uncertaine Religion, turning and chaunging with every blaste of winde; the man killing himselfe, Desperation; the woman, Madness."