Читать книгу Luther - Grisar Hartmann - Страница 82

“I had hoped at the commencement,” he wrote already in 1527 to Zasius in Freiburg, “that we might have obtained a certain degree of liberty, but of a purely spiritual character. Now, however, as we see with our own eyes, everything is perverted to the lust of the flesh, so that the last state is far worse than the first.”[98] He admitted his definite turning away from Lutheranism in a letter to Kilian Leib, Prior of the Rebdorf Monastery (1529), in which he at the same time relates the reason of his previous enthusiasm: “I hoped that [by Luther’s enterprise] the countless abuses would be remedied, but I found myself greatly deceived; for, before the former errors had been expelled, others, much more intolerable, and compared to which the earlier were mere child’s play, forced themselves in. I therefore began to withdraw myself gradually, and the more attentively I considered everything the more clearly I recognised the cunning of the old serpent.”[99]

His letter to his friend Tschertte in Vienna (1530) also contains a “loud lamentation and outburst of anger against Luther’s work.” We can see that he has entirely broken with it.[100] In this letter he says: “I admit that at first I too was a good Lutheran, like our departed Albert [Dürer]. We hoped thereby to better the Roman knavery and the roguery of the monks and parsons.” But the contrary was the result; those of the new faith were even worse than those whom they were to reform. Members of the Council had also hoped for a general improvement of morals, but had found themselves shamefully deceived. He knows for certain—a valuable admission in view of the unhistorical idea of some Catholics that Luther’s partisans were all frivolous men—that “many pious and honourable men” lent a willing ear to his teaching; “hearing beautiful things said of faith and the holy Gospel, they fancy all is real gold that glitters, whereas it is hardly brass.”[101]

Another statement against Luther, made by this same scholar in 1528, is still stronger: “Formerly almost all men applauded at the sound of Luther’s name, but now nearly all are seized with disgust on hearing it … and not without cause, for apart from his audacity, impudence, arrogance and slanderous tongue he is also guilty of lying to such an extent that he cannot refrain from any untruth; what he asserts to-day he does not scruple to deny to-morrow; he is instability itself.”[102]

We see also from the example of Albert Dürer of Nuremberg, who is rightly accounted one of the greatest masters of Art, how overwhelming an influence the stormy energy, the calls for reform and the religious tone of Luther’s writings could exert on the susceptible minds of the day. Of a lively temper,[103] full of imagination and religious idealism, as his sixteen wonderful illustrations to the Apocalypse proved in 1498, he, like his Nuremberg friend Willibald Pirkheimer, gave himself up from the very first to the influence of the Lutheran writings, with which to a certain extent he was in sympathy. In his enthusiasm for freedom he considered that Christianity was too much fettered by oppressive rules of human invention, and was profoundly troubled by the desecration of holy things introduced in many regions by the greed and avarice of a worldly-minded clergy.

In 1520 he wrote to Spalatin: “God grant that I may meet with Dr. Martinus Luther, for then I will make a careful sketch of him and engrave it in copper, so that the memory of the Christian man may long be preserved, for he has helped me out of much anxiety.” He believed that light had been brought to him by means of Luther’s spiritual teaching, and a little further on he calls him “a man enlightened by the Holy Ghost and one who has the Spirit of God”; these words, which came from the depths of his soul, are an echo of Luther’s writings. Altogether prepossessed in Luther’s favour, though he never formally abandoned the Church, he wrote in his Diary, on May 17, 1521; “The Papacy resists the liberty of Christ by its great burden of human commandments, and in shameful fashion sucks our blood and robs us of our sweat for the benefit of idle and immoral folk, while those who are sick are parched with thirst and left to die of hunger.”

Being at that time somewhat anxious with regard to his material position, he had gone to Holland, and had heard of Luther’s supposed capture and disappearance after the Diet of Worms. In the same Memorandum, therefore, he summons Erasmus to undertake a reform of the Church: “O Erasmus Roderdamus, why hangest thou back? Listen, O Christian knight, ride forth by the side of the Lord Christ and defend the cause of truth. … Then the gates of Hell, the Roman See, shall, as Christ says, not prevail against thee … for God is on the side of the holy Christian Churches.” And he adds in Apocalyptic tone: “Await the completing of the number of those who have been slain innocently, and then I will judge.”[104] Yet even on this journey through the Netherlands, Dürer showed interest in the manifestations of Catholic life, attended the Catholic services, and, with his wife, duly made his Easter Confession.

Two thoughts, the oppression of the Faithful by man-made commandments and the unjust extortion of their money, held him under the spell of Luther’s writings with their promise of deliverance.

“O God, if Luther is dead who will in future expound the Holy Gospel to us so clearly? What would he not have written for us in ten or twenty years!” “Never,” he says, “has anyone written more clearly during the last 140 years [i.e. since the death of Wiclif in 1381], never has God given to anyone so evangelical a spirit.” So transparent is his teaching, that “everyone who reads Dr. Martin Luther’s books sees that it is the Gospel which he upholds. Hence they must be held sacred and not be burnt.”[105]

The man who wrote this was clearly better able to wield the pencil or brush than to pass theological judgment on the questions under discussion. Dürer was already among the most famous men of the day. Led astray by the praise of the Humanists, he, and other similarly privileged minds, easily exceeded the limits of their calling, abetted as they were by the evil tendency to individualism and personal independence prevalent among the best men of the day.

On his return to Nuremberg in the autumn of 1521 he lived entirely for his art and remote from all else, clinging to the opinions he had already embraced, or at least suspending his judgment. How greatly the real or imaginary abuses in Catholic practice were capable of exciting him, especially where avarice appeared to play a part, is proved by his indignant inscription in 1523 to an Ostendorfer woodcut, representing the veneration of a picture of our Lady at Ratisbon: “This spectre has risen up against Holy Scripture at Regenspurg … out of greed of gain”; his wish is that Mary should be rightly venerated “in Christ.” In 1526 he presented his picture of the four Apostles, now the ornament of the Munich Pinacothek, to the Nuremberg bench of magistrates who had just established Protestantism in the city, exhorting them “to accept no human inventions in place of the Word of God, for God will not allow His Word to be either added to or detracted from.” The “warnings,” in the form of texts, afterwards removed, which he placed in the mouths of Peter, John, Paul and Mark in his celebrated picture, also refer to religious seducers and false prophets, more particularly those who seize on the possessions of the poor through avarice and greed. We can hardly do otherwise than apply these texts to the abuses which met with his disapproval, and alleged false teaching of the Catholic Church. It is plain that the Elector Maximilian I of Bavaria understood them in this sense when he ordered their removal. This view is also supported by Dürer’s letter in 1524 to Nicholas Kratzer, in which he says: “We are derided as heretics,” but this must be endured. At a later date Pirkheimer seems to have regarded him as merely “on the way to becoming a Lutheran” (p. 40). It cannot be affirmed with certainty that, when he died suddenly at Nuremberg, on April 6, 1528, he was either entirely convinced of the justice of Luther’s cause or had reverted to Catholicism.[106] At any rate, his art grew up on the soil of the Church.

Luther himself spoke of him after his death, on the strength of the reports received, and, perhaps, also from a desire to reckon him amongst his followers, in a letter to the Nuremberg Humanist Eobanus Hessus, as “the best of men,” and one to be congratulated “for that Christ allowed him to die so happily after such preparation” (“tam instructum et beato fine”), sparing him the sight of the evil days to come. “Therefore may he rest in peace with his fathers, Amen.”[107] Melanchthon says a few words of regret on the death of the great artist, but from them nothing definite can be gathered. Venatorius, the Lutheran preacher at Nuremberg, preached his panegyric.[108] In his letter to Tschertte, in 1530, on the other hand, Pirkheimer counts him, like himself, among those who were at first good Lutherans, but were afterwards disappointed in their hopes. “The close friendship which united Dürer to this passionate and conceited scholar, who could not brook the slightest contradiction, is, in fact, a proof which we must not undervalue, of a certain affinity in their views with regard to the cardinal question of faith and religious belief.”[109] It is not impossible that Dürer, like Pirkheimer, began to have doubts, and withdrew at last the open support he had previously given the Reformers.

The spiritual experiences of Pirkheimer and Dürer help to bring before our eyes typical instances of the false paths followed by many of their contemporaries and the struggles through which they went.