![]() ![]() His first publication was a translation of Rehgius’ Latin text, Novae doctrinae ad veterem collatio (A comparison betwene the Olde learnyng & the Newe) in 1537 (Jones,2000, p. Turner may have been inspired by similar iconography used by Urbanus Rhegius (1489-1541) in Wie man die falschen propheten erkennen ia greiffen magas (‘How to recognise false prophets’) as he was familiar with Rhegius’ work (Rhegius, 1539). Calvinist, William Turner (c.1508-1568), authored the polemical work, The huntyng of the romyshe vuolfe (1555), which featured the original Lambe Speaketh engraving as a fold-out while in exile in Emden (Turner, 1555 Jones, 2000, p. Notwithstanding the original target audience, the motif of the wolf-human hybrid clergy was distinctly German as wolves had become extinct in England by the sixteenth century (Pluskowski, 2006, p. Therefore, the original engraving based on English subject matter would have held special resonance with a German audience. An unfortunate consequence of the Peace of Augsburg was that it made reformed churches besides the Lutheran Church illegal within the Holy Roman Empire by excluding them from the peace deal, thus affecting the Calvinists of Emden (Bettenson and Maunder, 1999, pp. People were either forced to convert or move elsewhere (Smith, 2016, p. ![]() As territories changed religion, Protestants and Catholics unwilling to convert due to the whims of their rulers were persecuted. The changing state religion during the religious wars in the Holy Roman Empire was not dissimilar to the changing state religion of England. The engraving and woodcut copy was printed in the same year as the Peace of Augsburg of 1555, which led to electors and princes being able to determine the religion of their estates in the Germanic territories: ( Cuius regio, eius religio – ‘whose realm, his religion’) (Smith, 2016, p. Ein solch prophet uerwnrcket hat Sein leben/ Dis ist Gots gebot.’ Translation by Gerda Dinwiddie).’Īnonymous, Der Kirchen in Engelandt gelegenheit, c.1555,Ģ3.6 x 22.1 cm (image), 35 x 23.5 cm (sheet),ĮU directive copyright on public domain images: Hence, the accompanying text begins with a warning quote from Deuteronomy 18.20: ‘Will a prophet be presumptuous and speak in my name, when I have not told him to do so, or if he calls on foreign gods, such a prophet has ruined his life this is God’s command (‘ Wirdt ein prophet vermessen sein und reden in den Namen mein/Da ich im nichts gepotten han / Uder rufft frembde Götter an. One of the essential messages of the German print was to heed the direct word of God over this false prophet. Rather than naming and shaming members of the Catholic Church, the German language broadsheet used the example of England as a lesson to its German audience of the dangers of the Catholic Church more broadly (Smith, 1998, p. A coloured woodcut copy in German vernacular was also produced in 1555 in Nuremberg. The text in the engraving was initially written in Latin, and an English version soon followed in the same year thereby extending from a learned European audience to a local level (Jones, 2000, p. The engraving was widely disseminated, and its reproduction in multiple copies suggests that its appeal extended beyond an English audience. He was depicted as a beastly wolf-human hybrid with a wolf’s head, and human hands and feet revealed from beneath his robes.Īnonymous, ‘ The Lambe Speaketh’, illustrated in William Turner, The Huntyng of the Romyshe Vuolfe, by Wylliam Turner Doctor of Phisik, Emden: Egidius van der Erve, 1555, (English language). The central figure features Stephen Gardiner (c.1483-1555), Bishop of Winchester and Lord Chancellor, as the ravenous wolf who persecuted Protestant reformers. ![]() The engraving made in the northern Calvinist German city of Emden for a pamphlet written by an exiled English Calvinist depicts English subject matter amidst re-Catholicisation during the reign of Queen Mary I between 1553-55 (Harms, 1980, p. The anonymous engraving, The Lambe Speaketh (1555), represented Catholicism and explicitly named individuals within the Church in England. The wolf who was the natural enemy of sheep, not only represented the papacy but also the Devil and heresy (Tresidder, 2004, p. However, the reoccurring theme of a wolf-human hybrid devouring sheep was used to point to the violence of the Catholic Church against Protestants. The wolf motif was used to symbolise Catholic greed during the Protestant Reformation. ![]() Keywords: Protestant Reformation, Peace of Augsburg, wolf-human hybrid, Stephen Gardiner, Calvinism, Eucharist, Catholicism, Devil ![]()
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