DOI article:
Jurkowlaniec, Grażyna: Geneza i recepcja drzeworytów na kartach tytułowych kazań Lutra o sakramentach z 1519 roku
DOI Page / Citation link:https://doi.org/10.11588/diglit.39128#0042
42
GRAŻYNA JURKOWLANIEC
previously used for other works. The Wittenberg print features the images of the two ostensoria (monstrances) executed after the dra-
wings by Lucas Cranach the Elder, originally showing reliquaries from the collection of Frederick the Wise (the so-called Wittenberger
Heiltumsbuch, 1509 and 1510). The two Leipzig brochures open up with the picture of the Man of the Sorrows as the source of the
Seven Sacraments, which in 1514 illustrated the anti-Hussite treatise by Hieronymus Dungersheim, in 1520 belonging to one of Luther’s
most important opponents. The main purpose of this article is to demonstrate that despite the often repeated opinion to the contr ary, the
decorations on the title pages sometimes played a significant, although ambiguous role in the reception of a woodcut. In some cases, they
amplified or raised doubts about the doctrinal correctness of the author’s claims, as a result exposing him to troubles with censorship.
In others, on the contrary, the title pages decorations distracted the reader’s attention from the content of the work. All this entails the
issue of the later reception of these designs, characterised by considerable dur ability despite the changing historical, religious and artistic
circumstances, which were disseminated through printing medium.
trans. Katarzyna Krzyżagórska-Pisarek
GRAŻYNA JURKOWLANIEC
previously used for other works. The Wittenberg print features the images of the two ostensoria (monstrances) executed after the dra-
wings by Lucas Cranach the Elder, originally showing reliquaries from the collection of Frederick the Wise (the so-called Wittenberger
Heiltumsbuch, 1509 and 1510). The two Leipzig brochures open up with the picture of the Man of the Sorrows as the source of the
Seven Sacraments, which in 1514 illustrated the anti-Hussite treatise by Hieronymus Dungersheim, in 1520 belonging to one of Luther’s
most important opponents. The main purpose of this article is to demonstrate that despite the often repeated opinion to the contr ary, the
decorations on the title pages sometimes played a significant, although ambiguous role in the reception of a woodcut. In some cases, they
amplified or raised doubts about the doctrinal correctness of the author’s claims, as a result exposing him to troubles with censorship.
In others, on the contrary, the title pages decorations distracted the reader’s attention from the content of the work. All this entails the
issue of the later reception of these designs, characterised by considerable dur ability despite the changing historical, religious and artistic
circumstances, which were disseminated through printing medium.
trans. Katarzyna Krzyżagórska-Pisarek