Delperée's "Luther at the Diet of Worms"

Most reproductions of the Belgian artist Emile Delperée's 1878 painting of Luther at the Diet of Worms that you will likely see are in black and white from an 1882 magazine print, which I have here. However, you can see a color photo of the painting here. The stark positioning of this painting reminded me of another famous painting. There is a close resemblance to Jacques-Louis David's Oath of the Horatii (1784), making it a likely reference. I am fully confident that someone has made this connection, though I have not found an example through my very limited search. David aligned himself with Napoleon but soon found himself in exile in Belgium after Napoleon's fall. Naturally, Delperée, nearly a century later in Belgium, was a benefactor of his lasting influence. David's famous painting is about the legend of three brothers, the Horatii, who are chosen to do battle for the sake of Rome against three brothers from the opposing city of Alba Longa, the Curiatti. The scene shows their declaration of loyalty to Rome while their father holds out their swords. Meanwhile in the background, one of the sisters weeps because she is to be wed to one of the Curiatti.

In Delperée's painting of the Diet of Worms, three papal leaders hold out their open hands in a similar gesture. In this rearrangement, Luther appears to be standing in the position of the father in David's work. However, this is where things are dramatically different. Other reformers and princes stand behind him. The papal leaders declare loyalty to Rome. However, this takes on a wholly different meaning in Delperée's painting. The pope (who appears to be Leo XIII, one of the popes during Delperée’s time from 1878 to 1903, or possibly his predecessor Pius IX) is front and center but appears to have been taken aback and on one knee. His ferula lies on the ground behind him. Is this to be seen as a declaration of loyalty to Rome that is an ill-fated one? Luther is not holding swords, but the sword of the Spirit, the Word of God. As Luther leans back, he is firm footed and anchored by the Scriptures that he holds. He will not let go of it for anyone, including those who have pledged loyalty to Rome. While everyone behind Luther is looking at the opposition, Luther is looking heavenward. Thus, in this painting, Luther is the one making a pledge of loyalty staked in the Word.