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263:. The Sabbath contains elements of bestiality and adultery. The devil, in the form of an animal or a human, would copulate with all of the witches at the Sabbath. It was also thought that the witches would perform these sexual acts in front of their children. The children would also be given to the devil, presumably as a
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356:
Witches' flight was later used in witch trials, specifically to discredit the husband's testimony. The husband could testify that he had spent the entire night in bed at his wife's side, but witches' flight made it possible for the supposed witch to leave while the husband shut his eyes, fly away to
270:
It is important to note that the witches in
Baldung's image are not actually at a Sabbath. The witches here are preparing a flying potion that will allow them to travel to the Sabbath, a larger gathering of witches. There is a lack of feasting and dancing as a group, essential elements of a Sabbath.
571:
Margaret
Sullivan, also an art historian, asserts that Baldung's image was not necessarily intended to accurately depict official witch-hunting ideas. Witches were almost unknown by the public at large before the year 1500. Sullivan points out that in early 1500s Germany witch trials and executions
331:
Although originally considered an impossibility, witches' flight was essential to making the
Witches' Sabbath and the subsequent witch hunts possible. Sabbaths were generally thought to take place far away from where witches lived. Therefore, in order to attend a Sabbath, witches needed to be able
576:
circles in
Strasbourg, and humanists mostly considered witchcraft as "'lustig,' a matter that was more amusing than serious." Baldung being a humanist, the witches' appearance could be a reference to classical mythology. It's plausible that Baldung was inspired to create this by the publication of
274:
At the time of the image's creation in 1510, the
Sabbath was largely considered a fictional idea and not widely considered to be a legitimate threat. Most peasants did not know about it, and even among theologians and witch hunters, the Sabbath did not necessarily play a large role in demonology.
463:
On the upper-left of the image, to the left of the witch flying on a goat, there is a figure obscured by the vapors coming out of the unguent jar. It's not possible to determine the identity or sex of this individual as only their legs and feet can be seen sticking out of the vapors. There is a
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Church inquisitors recognized the goat as a form the devil may take, so it's possible that the goat in this image may be the devil in animal form. The flying witch's backward posture on indicates she is not in control of the goat, or where he is going.
111:
Surrounded by human bones and animal familiars, a group of witches engage in naked revelry as they soar through the air and prepare food for the
Sabbath. The image also contains references to a blasphemy of mass and the witches' libidinous nature.
352:
to
Babylon from Judea in only a few minutes, carrying the prophet by his hair. The devil, as a fallen angel, would still have the ability to fly. Therefore, flight was a power witches would be able to use due to their connection with the devil.
332:
to cross large distances in a short amount of time. Witch hunters needed a way to circumvent the Cannon
Episcopi and popularize the idea of witches' flight as feasible in order to better prosecute and convict people of being witches. The
547:. The cat is on the right by the base of the tree, and has its back turned to the viewer. The second goat, to the center-left behind the seated witches, bleats and uses one leg to grab a pitchfork holding sausages and a cooking pot.
487:. A partially hidden cauldron can be seen behind the middle witch. The accused witch also mentioned that the boiled solids can be made into an unguent that assists in pleasure and transportation specifically.
555:
Scholars are in dispute on whether these witches are meant to be interpreted as humorous exaggeration of witch hunters' beliefs or a startling depiction meant to frighten
Baldung's audience.
599:
Bohn, Babette, and Saslow, James M., eds. A Companion to
Renaissance and Baroque Art. Hoboken: John Wiley & Sons, Incorporated, 2013. Accessed November 15, 2020. ProQuest Ebook Central.
151:. This new technology allowed for Baldung's scene to be set at night. This print was made from two woodblocks, one key block for black lines and a color block. There are two versions of
467:
Various bones surround the witches, including a human skull and a horse's skull. The bones suggest cannibalism and infanticide, both referenced in Question XI of the first part of the
521:. Two of the witches sitting on the ground have their legs spread out, and the witch riding a goat poses in such a way that the pitchfork emerges from between her legs, suggesting a
294:
Early witch hunters did not believe it possible for witches to fly or levitate. The idea of witches' flight, sometimes referred to as "transvection," was officially denounced by the
612:
Hoak, Dale. "Art, Culture, and Mentality in Renaissance Society: The Meaning of Hans Baldung Grien's Bewitched Groom (1544)." Renaissance Quarterly 38, no. 3 (1985): 488-510.
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was a printmaking technique where a color woodblock was used to add tone to the printed image. It was invented earlier in 1508 and had already seen success in the prints of
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bishop's hat on the ground, suggesting that it may belong to the obscured figure. If true, then this bishop would be the only male in this image, excluding the animals.
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and leaving Dürer's workshop, as well as the first to feature his initials. These initials can be seen hanging on a tree limb to the center-right edge of the print.
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and would later become an essential component of many witch trials, in Strasbourg at this time the legitimacy of the Sabbath's existence was in dispute.
568:. Baldung, who had an attorney for a father and a professor for a brother, likely had access to the Malleaus maleficarum through his family members.
622:
Martin, Thomas. "The Nude Figure in Renaissance Art." In A Companion to Renaissance and Baroque Art, 402-21. Oxford: John Wiley & Sons, 2013.
230:
218:
206:
590:. The witches' nakedness also served as an artistic opportunity for Baldung to show his prowess in anatomy by depicting a female nude.
602:
Cohn, Norman. Europe's Inner Demons: An Enquiry Inspired by the Great Witch-hunt. Columbus Centre Series. New York: Basic Books, 1975.
194:
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643:
Sullivan, Margaret A. “The Witches of Dürer and Hans Baldung Grien.” Renaissance Quarterly, vol. 53, no. 2, 2000, pp. 333–401
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were unexplained events that were attributed to witchcraft. According to Jane Schuyler, Baldung's image suggests two instances of
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in the medieval ages that explicitly stated how Satan and witchcraft functioned. Witches' flight was also dismissed as fantasy by
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255:(also called Witches' Sabbat) was an event where witches would assemble to worship the devil. This image is an inversion of the
543:
However, Jane Schuyler believes the multiple goats and a cat suggest that the goat is not a devil, but instead that these are
448:. The plate instead holds two chickens. The witch in the middle also holds a dirty cloth above her head, referencing both the
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or charms, to this end inquisitors would often order that a suspected witch's body be shaved of all hair preceding a trial.
325:
476:
421:
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states that witches are able to create storms and plagues with the help of Satan, citing the punishments inflicted on
625:
Nurse, Julia. "She-Devils, Harlots and Harridans in Northern Renaissance Prints." History Today 48, no. 7 (1998): 41.
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created several images throughout their careers that dealt with this theme of witches. Notable works include Dürer's
562:
illustrates the beliefs of church inquisitors, and that its imagery is directly informed by the writings of the
271:
The pot containing a flying potion and uneaten food also suggest they are carrying food to a larger gathering.
310:
996:
646:
Suzanne Boorsch, Nadine Orenstein "The Print in the North: The Age of Albrecht Durer and Lucas van Leyden."
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loose hair would draw the devil's fascination and distract men during worship. Long hair could also hide
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267:. Several of Baldung's other works that involve witches or witch-like figures do feature children.
259:. Rather than receive the body and blood of Christ, participants instead offered up human flesh to
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where Satan lifts Jesus onto a mountain top to tempt him into submitting to the devil. The
124:, where Hans Baldung was working. This is the first print made by Baldung after becoming a
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100:. This is the first woodcut produced by Baldung after leaving the studio of his mentor,
471:. In it, the supposed witch confesses that witches kill infants in a way that suggests
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Schuyler, Jane (1987). "The 'Malleus maleficarum' and Baldung's 'WITCHES' SABBATH.'"
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The unrestrained, flowing hair of the witches is also a sex symbol. According to the
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385:: the bones suggest a murder and the insects and toads in the jar vapors suggest a
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Hults, Linda C. "Baldung and the Witches of Freiburg: The Evidence of Images."
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155:, one printed with an orange tone-block and another with a gray-tone block.
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were actually relatively uncommon. Baldung and Dürer were both involved in
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38.9 cm × 27 cm (15.3 in × 11 in)
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650:. The Metropolitan Museum of Art, vol. 54, no. 4, Spring 1997, p. 34.
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provided biblical evidence for flight as a power of Satan, citing
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attend the sabbath, and then come back before the husband awoke.
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images to depict both witches that fly and a Witches' Sabbath.
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918:"Baldung and the Witches of Freiburg: The Evidence of Images"
852:"The "Malleus Maleficarum" and Baldung's "Witches' Sabbath""
609:. Amsterdam, 1954, cat. no. II.136.235 ii/ii, p. 136.
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specifies that in women this carnal lust is "insatiable."
416:. The witch sitting on the left side of the image holds a
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in Strasbourg the year before, which features the witch
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German Engravings, Etchings and Woodcuts, ca. 1400–1700
955:
Bohn, Babette; Saslow, James M., eds. (2013-02-19).
408:The witches in this image are designed to mock the
287:In this image by Baldung, the witches are using an
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53:
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517:, saying that Eve seduced Adam in the creation of
495:Witchcraft was believed to specifically come from
405:who were able to recreate three of God's plagues.
291:contained in a jar that will be used for flight.
275:Although the Sabbath was first mentioned in the
693:"The Witches of Dürer and Hans Baldung Grien*"
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236:A colored interpretation of Baldung's print.
513:also connects the lust of these witches to
958:A Companion to Renaissance and Baroque Art
180:(1544). It is unknown if the 1506 drawing
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18:
617:The Journal of Interdisciplinary History
558:Art historian Jane Schyler asserts that
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648:The Metropolitan Museum of Art Bulletin
440:. This bread would be converted to the
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174:New Year's Greeting with Three Witches
120:This print was created in the city of
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432:. The middle witch holds aloft the
456:a priest would use to display the
322:De la demonomanie de les sorciers,
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483:so that they can be boiled in a
324:and in the speeches of preacher
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170:Witch Riding Backwards On A Goat
436:, a plate which would hold the
691:Sullivan, Margaret A. (2000).
135:Hans Baldung's monogram, "HB."
16:Woodcut by artist Hans Baldung
1:
326:Johann Geiler von Kaisersberg
172:(1500), as well as Baldung's
84:by German Renaissance artist
401:'s magicians in the time of
188:influenced Baldung's print.
551:Conflicting interpretations
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619:18, no. 2 (1987): 249-76.
92:preparing to travel to a
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916:Hults, Linda C. (1987).
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348:14:33-36, an angel flew
311:Gianfrancesco Ponzinibio
850:Schuyler, Jane (1987).
212:The orange-toned print.
158:Baldung and his mentor
145:Lucas Cranach the Elder
104:, and one of the first
88:. This woodcut depicts
444:during the miracle of
361:Description of imagery
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967:10.1002/9781118391488
697:Renaissance Quarterly
344:also mentions how in
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200:The gray-toned print.
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78:The Witches' Sabbath)
530:Malleus Maleficarum,
315:Tractatus de Lamiis,
605:F. W. H. Hollstein
565:Malleus Maleficarum
511:Malleus Maleficarum
504:Malleus maleficarum
469:Malleus Maleficarum
391:Malleus Maleficarum
371:Malleus Maleficarum
334:Malleus Maleficarum
277:Malleus Maleficarum
178:The Bewitched Groom
141:chiaroscuro woodcut
82:chiaroscuro woodcut
57:chiaroscuro woodcut
446:transubstantiation
420:in her hand. In a
308:Fortalicium Fidei,
186:Albrecht Altdorfer
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116:Historical context
756:www.metmuseum.org
438:sacramental bread
304:Alphonso de Spina
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1007:1510 in art
560:The Witches
454:altar cloth
338:Matthew 4:8
182:Hexensabbat
176:(1514) and
168:(1497) and
153:The Witches
106:Renaissance
73:The Witches
22:The Witches
991:Categories
761:2020-08-14
594:References
473:overlaying
458:monstrance
414:Eurcharist
318:Jean Bodin
122:Strasbourg
62:Dimensions
892:191404477
876:0737-4453
733:191545286
717:0034-4338
383:maleficia
378:Maleficia
367:Maleficia
300:canon law
265:sacrifice
96:by using
1012:Nude art
1002:Woodcuts
884:23202318
588:Erichtho
574:humanist
485:cauldron
450:corporal
412:and the
397:and the
369:and the
350:Habakkuk
725:2901872
579:Lucan's
523:phallus
418:chalice
399:Pharaoh
342:Malleus
289:unguent
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481:dug up
389:. The
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54:Medium
36:Artist
938:JSTOR
888:S2CID
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721:JSTOR
655:Notes
434:paten
403:Moses
261:Satan
80:is a
971:ISBN
872:ISSN
713:ISSN
638:ISSN
509:The
500:lust
491:Lust
452:and
147:and
139:The
49:1510
46:Year
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