Portrait of John of Leyden

Heinrich Aldegrever

Summary

A reproduction produced by the Vasari Society of a drawing by Heinrich Alldegrever. It is a portrait of a man, facing towards the right and leaning against a ledge. The man is holding a scroll with the letters 'A B C' inscribes on it in his right hand and a book in his left hand. He has a series of chains around his neck, one of which has a cross on it, and several rings on his fingers. He is wearing a heavy gown and has a cap on his head. The man is bearded, and despite the formal nature of the portrait he has a sad expression. Text from the accompanying booklet produced by the Vasari Society: "No. 31 HEINRICH ALDEGREVER (b. 1502; d. after 1555) PORTRAIT OF JOHN OF LEYDEN British Museum, 1886.6.9.38. (From the Samuel Rogers and Marquess of Breadalbane Collections.) Black and red chalk. 26.6 x 23.3 cm. (10 ½ x 9 3/16 in.) (The dimensions given are those of the original paper, so far as it has been preserved; the drawing has been cut out along the outlines, and made up to a rectangle with modern paper.) The lips are entirely drawn with red chalk, except the line dividing the upper from the lower lip, which is black. Red is sparingly used on the ear, face and neck, but the hands are drawn entirely with black chalk. The colour of the original is a somewhat lighter grey throughout than that of the reproduction. In this finished study for the well-known engraving by Aldegrever, B. 182, Jan Beuckels, commonly called John of Leyden, is represented as King of the Anabaptists of Münster. On February 27, 1534, all inhabitants of the town who were not adherents of that fanatical sect were expelled from its walls. The siege of Münster by the bishop’s troops began on March 1. John of Leyden, chief ringleader of the Anabaptists after the death of Jan Mathyszoon on April 5, strengthened the fortifications of the city, round which the bishop’s forces drew an ever closer blockade from September onwards, in which month John assumed the title and insignia of King. The circumvallation was completed by February, 1535; famine thereupon ensued, and on June 24, 1535, Münster was surrendered by treachery, and John of Leyden fell into the bishop’s hands. Before his execution, which took place on January 22, 1536, he was sent about and exhibited as a monster at the court of the Duke of Cleves and elsewhere, and it is recorded that his portrait was taken during his captivity by the bishop’s order. Aldegrever appears to have been summoned for the purpose from Soest, art being for the time extinct in the territory of Münster, owing to the Anabaptist revolt and consequent civil war. There is no evidence or likelihood that Aldegrever came into contact with the Anabaptist leaders before the fall of Münster. He also drew the portrait of Knipperdolling, and that of Divara of Haarlem, the only one of John’s many wives who had borne the title of queen. Since Divara was executed on July 7, and Knipperdolling was soon sent to another place of imprisonment, it follows that Aldegrever, who drew all three, must have taken their portraits in the early days of their captivity. The elaborately-finished engraving is dated 1536, but Aldegrever put a different portrait, a woodcut, into circulation at a much earlier date, as is proved by the numerous copies that appeared on broadsides in various parts of Germany and Holland during the life of the prisoner. On comparing the engraved portrait with the drawing, it will be seen that in the print the direction is reversed; that a sceptre has been added, passing behind the book and the left (originally right) arm; that the book slants much more, and that the letters on the scroll, instead of A B C, are D E F, while the top of the next row H I K, is also visible. A fastening has been added to the left (right) sleeve, which was not shown in the drawing, and letters have been inserted upon the four (Anabaptist) coins bent round the smaller chain. All these alterations point to the priority of the drawing, in which, moreover, the expression of the eyes is greatly superior, and the hair on the brow is treated with less formality. It will be seen, too, that the mantle was originally carried over part of the chain on the left side of the drawing, traces of the pentimento being clearly visible; the engraving follows the correct outline. In spite of its priority, it is questionable whether this study was actually drawn from life. It bears no trace of hurry or excitement, while the costume and insignia show signs of Aldegrever’s invention, and do not tally with contemporary descriptions of the objects. In one detail of costume, Dr. Max Geisberg (p. 78) has even noticed a plagiarism from Barthel Beham’s portrait of Charles V (B. 60, 1531). That writer, who has discussed the whole subject minutely, thinks that the head is probably drawn from life, the use of red chalk being difficult to explain in a study made only for engraving, and that the costume was added when the engraving was actually being planned. The even finish and complete uniformity of treatment throughout the drawing render such an hypothesis improbable. It seems more likely that Aldegrever made various sketches from life, one of which, in profile, was used for the woodcut, while a sketch in three-quarter face served as a basis for the leisurely and elaborate drawing here preserved. Certain objects represented in the drawing and engraving need special comment. The meaning of the discs bent round the smaller chain has already been explained; they should be compared with the enlarged facsimile of the corresponding portion of the engraving on p. 21 or Dr. Geisberg’s monograph. On this chain hangs a hunting-whistle, to which is attached a nécessaire, or small case containing toilet implements. Such objects occur rather frequently on Aldegrever’s prints, and he probably designed them himself; the ornament of the sceptre and crown in the engraving is also in his taste. In the centre of the large chain will be seen an orb surmounted by a cross and pierced by two swords. This device, suggested, it seems, by an alleged supernatural vision beheld by John of Leyden while going the round of the sentries during the early days of the siege, was adopted by him as the arms of the kingdom. A contemporary drawing, preserved along with a rare woodcut of the Anabaptist king in the British Museum, and headed ‘Arma regis catabaptistarum monasteriensium’ (reproduced Geisberg, p. 1), gives an explanation of the two swords that is to be found nowhere else – Gladius spiritus, Gladius vindicate. The letters of the scroll have already been mentioned. In the engraving another scroll, unfolded, also showing a portion of the alphabet, will be seen behind the insignia of royalty to the left of the king’s head. The explanation of this alphabet is very curious. John reserved to himself the right of naming all children born in Münster during his reign, and the names he gave them were taken in alphabetical order from the words of an extraordinary rigmarole that he invented early in November, 1534, commencing: ‘Aver Alle Blide Coningk der Elent Froelich Geworden,’ &c. When he had gone once through the alphabet he changed his mind, and thenceforth gave the babies names from the Old Testament. At the date of this portrait John of Leyden was in his twenty-sixth year. The drawing, even more than the print, confirms contemporary tributes to his good looks. The calm features do not suggest the horrors of fanaticism, lust, and violence, that are associated with the short-lived Anabaptist kingdom. … C. D.”