Images and Relics: Theological Perceptions and Visual Images in Sixteenth-Century Europe (review)

Abstract

Early Modern European Images and Relics: Theological Perceptions and Visual Images in Sixteenth-- Century Europe. By John Dillenberger. [Oxford Studies in Historical Theology.] (NewYork: Oxford University Press. 1999. Pp. xii, 248; 85 halftones. $45.00.) In this new volume, John Dillenberger endeavors to present, in his words, an of nature and place... of visual in sixteenth-- century European religious reformations, an account which, rather than being summary, will offer way of whole from a theological perspective (p. vii). He begins pursuit of this goal through a general introduction, outlining major reforming movements of sixteenth century, with particular attention paid to place of relics, saints, and within movements, both Protestant and Catholic. The author then moves on to heart of book, a consideration of seven artists-Matthias Grunewald, Albrecht Diu-er, Lucas Cranach Elder, Michelangelo Buonarroti, Hans Holbein Younger, Hans Baldung Grien, and Albrecht Altdorfer-the first four of whom he accords individual chapters, last three he treats together in a single chapter. He situates these artists within their historical and theological contexts, offering interpretations of some of their most famous works in an attempt to elucidate their theological meanings. In a concluding chapter, entitled Iconoclasm and Beyond, he traces major iconoclastic developments of century, some of ways in which Catholic Church responded to attacks on images, and, finally, arguing that the wounds of reformations have not healed; appeals for a disciplined theory of images and a learned modality of seeing (p. 191) within our modern visual culture. In a number of ways, Dillenberger provides a provocative and highly thoughtful account of one of most complex and tormented centuries of image production. There are few scholars more capable than he in synthesizing historical roots and doctrinal controversies of Reformation, and he articulates them here in a remarkably cogent way in order to set stage for understanding work of seven artists he discusses. Ranging across media-from prints to paintings to sculpture-he is frequently eloquent in his description of works of art; he provides pertinent information on their patrons and intended function; and for some of under discussion-especially Lucas Cranach Elder's allegories of Law and Gospel-he offers subtle and convincing theological readings. But what is most laudable is his inclusion of an Italian artist-Michelangelo-within his study, which serves to bridge false and arbitrary divide between north and south, and allows reader to see how issues of reform were equally relevant to artists within and outside Catholic fold. Unfortunately, Images and Relics is also a disappointing book, especially with respect to fulfilling its stated goal, and depth and originality of its analysis of images. Given selective foci of his study, it is no wonder that book fails to live up to grand goal Dillenberger set for himself. What results from his discussions of seven artists is a rather fragmentary and summary picture, rather than a view of the whole. The vast majority of his readings of images, including Grunewald's Isenheim Altarpiece and Michelangelo's Last Judgment-simply reiterate other scholars' arguments; he ignores a number of important older and recent publications (among them, From a Mighty Fortress: Prints, Drawings and Books in Age of Luther, 1493-1546 [1983] and 0. Batschman and P. Griener, Hans Holbein [ 1997]); and elsewhere he offers seemingly endless descriptions of works with little or no analysis. The book is also marred by a number of factual errors. For example, Council of Trent did not last from 1542 to 1564, as he writes on page 10 (nor from 1543 to 1564, as he states on page 116), but instead actually convened in 1545 and ended in 1563; S. …