DOI issue:
Nr. 2
DOI article:Dobrzeniecki, Tadeusz: Tentatio Christi
DOI Page / Citation link: https://doi.org/10.11588/diglit.18940#0049
The fali of the Satan is likc a flash of lightning; lie lias fallcn to do wrong in the world. Jesus
has noticed the event, and considers it an anticipation of the Satan's hostile deeds.4'
Taking his leave of the Apostles during the Last Supper, Jesus says: ,Iam non multos loąuar
vobiscum. Venit enim princeps mundi huius, et in me non habet ąuidąuam'.48 (Fig. 12).
The Passion series deals "with the second stage of Jesus' battle with the Satan. The Passover
Festival was drawing ncar. The chief priests and scribes were seeking to devise a way of deceit-
fully seizing Jesus and killing him. Then ,,the Satan entered into Judas who went to the chief
priests and said: „What will you give me to betiay him to you?" They weighed him out thirty
silver pieces".
Seveial examples may be cited here: In the programme of the painting in the Scrovegni Cha-
pel in Padova, the Tcmpter-Satan's participation in the betrayal is shown. He is depicted stan-
ding behind Judas collccting the silver pieces from the High Priest.49
On seeing that Jesus has been condemned to death, Judas is seized wjth remorse, and returns
the thirty silver pieces to the priests. He throws the money and hangs himself.50 The Khludoi'
Psalter contains t%vo scenes: 1. the Satan tempting Judas, and, 2. Judas hanged on a tree with
the Satan holding the rope.51
In an architectural sculpture in the Autun Cathedral, Gilbertus (Gislcbertus) represented the
hanging Judas assisted by two devils pulling the strings.52
A wing of the altar retable created in Bernt Notke's workshop (Aarhus, Cathedral, 1479)
represents Pilate questioning Christ. The Satan, the main instigator of the death sentence passed
on Christ, is present.53
The Yiotoiy of the Crueified over the Satan.
The tradition, according to which the Satan seeks signs of a sinful fali in the Saviour, was pas-
sed down by Ludolf of Saxony. The Satan waits in vain till Jesus' death, standing on the beam
of the Cross, after which he departs confused: 'Notandum etiam ąuod sicut in Glossa Tobiae,
Domino in cruce passo, diabolus, quo procuranłe crucifixus erat, advenit, ąuerens si quid peccati
in ipso inveniret. Et dicit Magister in Historiis, ąuod stabat supra brachium crucis. Donec Christus
exspiravit, et tunc videns se confusum recessit',54
In the Frankfurter Passionsspiel of 1495, the Satan, who has failed to see the soul, fears that
the Deceased is the Son of God: 'der uns stos von dem obersten thron und daz licht in die helle
bracht'.
The Satan waiting for Christ's soul on the horizontal beam of the Cross appeared as a painting
subject between the 14th and the early I6th century. Among the examples are the mid-14th
century Wall paintings in St. Peter-und-Pauluskapelle of the Fribourg Cathedral (Fig. 13)55;
the cloister of the Schlcswig Cathedral; Hans Burgkma.ir the Elder's painting in San Salvator
Church in Augsburg56, and a woodcut by the same artist, dated at 1527 (Fig. 14)."
47. John XIV, 30.
48. Lukę X, 18.
m. Ci Gnudi, Giotta, Milan, 1959, Fig. 102.
50. Maltkew XXVI, 36—46; Mark XIV, 26—40.
51. V. Ścepkina, Miniatury Khludoeskni Psaltiri, Moscow, 1977, fig. 113.
52. D. Grivot et G. Żarnecki, Gislebertus, Sculpleur a"Autun, Trianon Press, 1960. Fig. 17.
53. A. Stange, Kritisches Verzeichnis der deutschen Tafelbilder vor Durer, 1, Miinchcn, 1967, No. 672.
54. E.M. Vetler, Die Kreuzigungsląfet des Isenheimer Ahars, Heidelberg, 1969, pp. 50, 51.
55. J. Sauer, Die Spatmiifełalterlichen KTeussigungsdaTstellungen: Ehrengabe deutscher Wissenscliaft dargeboten von kutholischen
Gelehrtcn, herausgegeben von Fr. Fischer, Freiburg, 1920.
56. V.C. Habicht,,,Die Wandnialereicn im Kreuzgang des Domes zu Schleswig1', Marburger Jahrbuch fiir Kunstwissenschaft
X, 1937, pp. 87—110, PI. X.
57. Hans Burgkmair, Das Graphisehe Werk. Katalog der AuSStellung, Stuttgart, 1973, No. 178, fig. 118 (Vienna, Graphische
Sammlung Albertina).
38
has noticed the event, and considers it an anticipation of the Satan's hostile deeds.4'
Taking his leave of the Apostles during the Last Supper, Jesus says: ,Iam non multos loąuar
vobiscum. Venit enim princeps mundi huius, et in me non habet ąuidąuam'.48 (Fig. 12).
The Passion series deals "with the second stage of Jesus' battle with the Satan. The Passover
Festival was drawing ncar. The chief priests and scribes were seeking to devise a way of deceit-
fully seizing Jesus and killing him. Then ,,the Satan entered into Judas who went to the chief
priests and said: „What will you give me to betiay him to you?" They weighed him out thirty
silver pieces".
Seveial examples may be cited here: In the programme of the painting in the Scrovegni Cha-
pel in Padova, the Tcmpter-Satan's participation in the betrayal is shown. He is depicted stan-
ding behind Judas collccting the silver pieces from the High Priest.49
On seeing that Jesus has been condemned to death, Judas is seized wjth remorse, and returns
the thirty silver pieces to the priests. He throws the money and hangs himself.50 The Khludoi'
Psalter contains t%vo scenes: 1. the Satan tempting Judas, and, 2. Judas hanged on a tree with
the Satan holding the rope.51
In an architectural sculpture in the Autun Cathedral, Gilbertus (Gislcbertus) represented the
hanging Judas assisted by two devils pulling the strings.52
A wing of the altar retable created in Bernt Notke's workshop (Aarhus, Cathedral, 1479)
represents Pilate questioning Christ. The Satan, the main instigator of the death sentence passed
on Christ, is present.53
The Yiotoiy of the Crueified over the Satan.
The tradition, according to which the Satan seeks signs of a sinful fali in the Saviour, was pas-
sed down by Ludolf of Saxony. The Satan waits in vain till Jesus' death, standing on the beam
of the Cross, after which he departs confused: 'Notandum etiam ąuod sicut in Glossa Tobiae,
Domino in cruce passo, diabolus, quo procuranłe crucifixus erat, advenit, ąuerens si quid peccati
in ipso inveniret. Et dicit Magister in Historiis, ąuod stabat supra brachium crucis. Donec Christus
exspiravit, et tunc videns se confusum recessit',54
In the Frankfurter Passionsspiel of 1495, the Satan, who has failed to see the soul, fears that
the Deceased is the Son of God: 'der uns stos von dem obersten thron und daz licht in die helle
bracht'.
The Satan waiting for Christ's soul on the horizontal beam of the Cross appeared as a painting
subject between the 14th and the early I6th century. Among the examples are the mid-14th
century Wall paintings in St. Peter-und-Pauluskapelle of the Fribourg Cathedral (Fig. 13)55;
the cloister of the Schlcswig Cathedral; Hans Burgkma.ir the Elder's painting in San Salvator
Church in Augsburg56, and a woodcut by the same artist, dated at 1527 (Fig. 14)."
47. John XIV, 30.
48. Lukę X, 18.
m. Ci Gnudi, Giotta, Milan, 1959, Fig. 102.
50. Maltkew XXVI, 36—46; Mark XIV, 26—40.
51. V. Ścepkina, Miniatury Khludoeskni Psaltiri, Moscow, 1977, fig. 113.
52. D. Grivot et G. Żarnecki, Gislebertus, Sculpleur a"Autun, Trianon Press, 1960. Fig. 17.
53. A. Stange, Kritisches Verzeichnis der deutschen Tafelbilder vor Durer, 1, Miinchcn, 1967, No. 672.
54. E.M. Vetler, Die Kreuzigungsląfet des Isenheimer Ahars, Heidelberg, 1969, pp. 50, 51.
55. J. Sauer, Die Spatmiifełalterlichen KTeussigungsdaTstellungen: Ehrengabe deutscher Wissenscliaft dargeboten von kutholischen
Gelehrtcn, herausgegeben von Fr. Fischer, Freiburg, 1920.
56. V.C. Habicht,,,Die Wandnialereicn im Kreuzgang des Domes zu Schleswig1', Marburger Jahrbuch fiir Kunstwissenschaft
X, 1937, pp. 87—110, PI. X.
57. Hans Burgkmair, Das Graphisehe Werk. Katalog der AuSStellung, Stuttgart, 1973, No. 178, fig. 118 (Vienna, Graphische
Sammlung Albertina).
38