Law and Gospel in Paint - Part 3
The Prague Panel (1529)
This post is a part of a series:
LAW AND GOSPEL IN PAINT - PART 1 (Gotha Panel)LAW AND GOSPEL IN PAINT - PART 2 (Gotha Panel)
LAW AND GOSPEL IN PAINT - PART 3 (Prague Panel)
LAW AND GOSPEL IN PAINT - PART 4 (Prague Panel)
LAW AND GOSPEL IN PAINT - PART 5 (The Dying Man)
LAW AND GOSPEL IN PAINT - PART 6 (Continuation of the Theme)
Presentation on Cranach's Law and Gospel Painting (Theological Symposium, Concordia Seminary St. Louis, 2022)
In the previous posts, I focused on the 1529 Gotha Panel. In this post, I am going to focus on the other major rendition completed by Lucas Cranach the Elder in 1529. This painting's provenance is the National Gallery in Prague, Czech Republic. Hence, it is referred to as the prime example of the "Prague type."[1] This type did not see as much continuation in paintings as the so-called Gotha type. Rather, it became most popular in the form of woodcuts (mostly title pages to theological works and the Bible).
At one time, this painting contained inscriptions near each of the elements. Unfortunately, due to a bad restoration in the beginning of the twentieth century, they have been mostly lost. However, there exists a copy of this painting created in the late-16th century (the painter is unknown) that retains all of the inscriptions. See this painting here. In fact, this is the reason why this painting is commonly called Law and Grace instead of Law and Gospel. The uppermost inscriptions on each side are "Gesecz (Law)" and "Gnad (Grace)." Moreover, the copy has four columns of Bible passages below it. It is believed that the original Prague panel painting may very well have contained these passages because at some point the panel was trimmed.
In this post, I am only going to lay out the main components of this version and save interpretation for the next post.
Here are the scenes according to the inscriptions (my translations from the German):
In the distance, Moses receives the tablets of the Law with trembling hands. While below him Adam and Eve commit the first sin.
Adam and Even commit the first sin at the Tree of the Knowledge of Good and Evil.
The bronze serpent is raised in the wilderness before the Israelites so that all who look upon it are saved. Here Cranach's inscriptions calls the viewer to see that it prefigures Christ's justification of sinners on the cross found on the Gospel side.
There is no running man as found in the Gotha panel. Rather, the man is dead and lying in the tomb.
Here an unnamed prophet stands on the Law side pointing across the scene to Christ on the cross.
The most obvious difference between the Prague type and the Gotha type has to do with the number of men through whom the viewer is to imagine themselves. Whereas the Gotha type has two separate men, one on each side of Law and Gospel, the Prague type has only one man seated. He is simultaneously experiencing Law and Gospel at the trunk of the tree that divides the scene. With his body turned toward the Law, he cranes his neck and head to the Gospel side while being guided by the pointing fingers of the prophet and John the Baptist. Here, there is no confusion about the fact that Law and Gospel both affect this man.
Mary receives the Christ child descending from heaven. Her hands are folded as in prayer.
Christ is crucified and here is named "our justification." His eyes look directly at the viewer.
The Lamb of God to whom John the Baptist points is the perfect sacrifice that brings innocence to all who believe in Him.
John the Baptist announces that Christ is "the Lamb of God who takes away the sin of the world" (John 1:29).
In comparison to the Gotha panel, here Christ resurrected Himself stands on top of death and the devil before the empty tomb. Even though death and the devil are not depicted on the Law side—like in the Gotha panel—here Christ shows his victory over them and gives the sign of blessing while looking into the eyes of the viewer.
Read the next post here:
LAW AND GOSPEL IN PAINT - PART 4 (Prague Panel)
Notes:
1. There is a little more scholarly debate around this type. Some scholars do not think that Cranach is the originator of this theme but Hans Holbein the Younger or Geoffrey Tory. If you are familiar with the theme you have probably seen Holbein's rendition. The problem with these theories, however is that both of those pieces are undated. However, there are two important woodcuts from 1525 and 1528 that are likely attributed to Cranach and/or his workshop.
2. The German here is "MENSCH AN GNAD." Some have understood this to be MENSCH [OHNE] GNAD (Human without grace). Writing and spelling conventions (orthography) were not completely standardized at this time. However, I believe that my translation better captures the intent of the painting and the place that the man plays in the painting. He is not without grace but is being pointed to it.
I refer you to sources found in part one. If you want details, contact me I will point them out to you.
At one time, this painting contained inscriptions near each of the elements. Unfortunately, due to a bad restoration in the beginning of the twentieth century, they have been mostly lost. However, there exists a copy of this painting created in the late-16th century (the painter is unknown) that retains all of the inscriptions. See this painting here. In fact, this is the reason why this painting is commonly called Law and Grace instead of Law and Gospel. The uppermost inscriptions on each side are "Gesecz (Law)" and "Gnad (Grace)." Moreover, the copy has four columns of Bible passages below it. It is believed that the original Prague panel painting may very well have contained these passages because at some point the panel was trimmed.
In this post, I am only going to lay out the main components of this version and save interpretation for the next post.
Here are the scenes according to the inscriptions (my translations from the German):
Law Side
"LAW"
In the distance, Moses receives the tablets of the Law with trembling hands. While below him Adam and Eve commit the first sin.
"SINNERS"
Adam and Even commit the first sin at the Tree of the Knowledge of Good and Evil.
"FIGURE OF JUSTIFICATION"
The bronze serpent is raised in the wilderness before the Israelites so that all who look upon it are saved. Here Cranach's inscriptions calls the viewer to see that it prefigures Christ's justification of sinners on the cross found on the Gospel side.
"DEATH"
There is no running man as found in the Gotha panel. Rather, the man is dead and lying in the tomb.
"PROPHET"
Here an unnamed prophet stands on the Law side pointing across the scene to Christ on the cross.
Center
"HUMAN AT GRACE"[2]
The most obvious difference between the Prague type and the Gotha type has to do with the number of men through whom the viewer is to imagine themselves. Whereas the Gotha type has two separate men, one on each side of Law and Gospel, the Prague type has only one man seated. He is simultaneously experiencing Law and Gospel at the trunk of the tree that divides the scene. With his body turned toward the Law, he cranes his neck and head to the Gospel side while being guided by the pointing fingers of the prophet and John the Baptist. Here, there is no confusion about the fact that Law and Gospel both affect this man.
Gospel Side
"GRACE"
Mary receives the Christ child descending from heaven. Her hands are folded as in prayer.
"EMMANUEL"
Here the Christ child is named "Emmanuel" (God with us)."ANGELS PUT TO THE SERVICE OF CHRIST"
Angels are depicted in the clouds that surround the opening of the heavens. An angel descends from heaven to announce to the shepherds that that Christ child has been born.
"OUR JUSTIFICATION"
Christ is crucified and here is named "our justification." His eyes look directly at the viewer.
"OUR INNOCENCE"
The Lamb of God to whom John the Baptist points is the perfect sacrifice that brings innocence to all who believe in Him.
"ANNOUNCER OF CHRIST"
John the Baptist announces that Christ is "the Lamb of God who takes away the sin of the world" (John 1:29).
"OUR OVERCOMING"
In comparison to the Gotha panel, here Christ resurrected Himself stands on top of death and the devil before the empty tomb. Even though death and the devil are not depicted on the Law side—like in the Gotha panel—here Christ shows his victory over them and gives the sign of blessing while looking into the eyes of the viewer.
The Bible Passages in the Copy:
The texts of the copy of the Prague panel are virtually the same as the Gotha panel with the exception of seven additional texts. In all of the additions, one can see how they relate to the differences found in this painting. Here again, is my translation of the German.
First Column
- “Romans 6:23: 'Death is the wages of sin.' 1 Corinthians 15:56: 'Sin is death’s spear but the law is the power of sin.' Romans 4:15: 'The law brings about wrath.' Romans 1:18: 'God’s wrath is revealed from heaven over all men living godlessly and unjustly.' Romans 3:23, 27: 'They are all sinners and fall short of the prize so that they are not able to boast before God.'”
Additional passage: Romans 6:23: This points to the man who lies dead in the ground.
Notice that the peculiar choice of "spear" remains in this text even though the image does not show death as a skeleton holding a spear. This may indicate that the Prague painting (not the general type) was done after the Gotha painting.
Second Column
- “Romans 3:20: 'Through the law comes knowledge of sin.' Matthew 11:13: 'The law and prophets go up to the time of John.' Romans 7:24: 'Wretched man I am! Who will redeem me from this body of death?' Romans 1:17: 'The just gladly live by faith. Romans 3:28: 'We hold that a man is justified through faith apart from work of the law.'”
Additional passage: Romans 7:24: This points to the man who is seated in the middle. He is calling out for mercy and finding it in Christ crucified.
Third Column
- “Mark 1:7: ‘One stronger than I will come after me.’ ~ Saint John the Baptist. John 1:29: 'Behold that is God’s Lamb that takes away the sin of the world.' 1 Peter 1:2: 'In the sanctification of the Spirit for obedience and sprinkling of the blood of Jesus Christ. Amen.' Isaiah 16:1: 'Send the Lamb to the rulers of the earth.' Exodus 12: 5: 'It will be a lamb without blemish.'”
Additional passages: Mark 1:7: This points to John the Baptist's role of pointing away from himself; Isaiah 16:1: This text alludes to the prophet depicted in the painting probably being Isaiah; Exodus 12:5: Furthermore, the purity of the lamb is emphasized, reinforced by the label, "our innocence."
Fourth Column
- “'Death is swallowed up in victory. Death, where is your spear? Hell, where is your victory? Give thanks to God who has given us the victory through Jesus Christ our Lord.' 1 Corinthians 15:54b-55, 57. Matthew 4:11: 'Angels have come near and ministered to him. For He has commanded His angels concerning you so that they guard you in all your ways. Psalm 91:11.'”
Additional passages: Matthew 4:11 and Psalm 91:11: Both of these passages point to the role of the angels in the painting. They are servants of Christ and frame the work of God.
In the next post, I will discuss some of the dynamics involved in this particular painting and what it teaches about the Christian faith.
LAW AND GOSPEL IN PAINT - PART 4 (Prague Panel)
Notes:
1. There is a little more scholarly debate around this type. Some scholars do not think that Cranach is the originator of this theme but Hans Holbein the Younger or Geoffrey Tory. If you are familiar with the theme you have probably seen Holbein's rendition. The problem with these theories, however is that both of those pieces are undated. However, there are two important woodcuts from 1525 and 1528 that are likely attributed to Cranach and/or his workshop.
2. The German here is "MENSCH AN GNAD." Some have understood this to be MENSCH [OHNE] GNAD (Human without grace). Writing and spelling conventions (orthography) were not completely standardized at this time. However, I believe that my translation better captures the intent of the painting and the place that the man plays in the painting. He is not without grace but is being pointed to it.
I refer you to sources found in part one. If you want details, contact me I will point them out to you.
