WITH A BORDER BEARING THE INSCRIPTION "VERBUM DOMINI MANET IN ETERNUM." AN ILLUMINATED VELLUM LEAF WITH A FULL-PAGE MINIATURE DEPICTING THE HARROWING OF HELL, AFTER ALBRECHT DÜRER Manuscripts, Medieval, Leaves - with Miniature or Historiation

183 x 133 mm. (7 1/8 x 5 1/4"). WITH A FULL-PAGE MINIATURE DEPICTING THE HARROWING OF HELL, featuring a naked Adam and Eve on the left, and on the right Christ bending down to rescue John the Baptist, the figures framed by a stone archway supporting a hairy creature who aims the point of a spear directly at Adam and Eve, the miniature in a thin brown frame with gilt lines, surrounded on two sides by the words "VERBUM DOMINI MANET IN ETERNUM" in gilt, all framed in gray and red washes with double rules of black and gilt. Light soiling to frame, a little flaking to the gray border and a couple of small scuffs and smudges elsewhere, verso with spotting, but the miniature vibrant and well preserved with only very trivial imperfections. A close copy of an early 16th century engraving by Albrecht Dürer, this powerful miniature depicting the Harrowing of Hell is an intriguing artifact that ties together manuscript art, print culture, and the Reformation. The image depicts an apocryphal tale in the Gospel of Nicodemus in which Christ, following his death but before his Resurrection, descends into Limbo in order to save righteous souls who had passed away before him (particularly figures from the Old Testament). Christ appears here in pale pink robes carrying a long staff with a cross and banner adorning the top. Having just brought down the gates of Hell, he stoops to rescue John the Baptist (here dressed in furs) from its depths. A naked Adam and Eve, covering their loins, stand at the left of the composition--Adam now a gray-bearded old man as a reflection of sin and mortality, but Eve still as she was at the Expulsion, in keeping with the period's inclination to retain the classically idealized youthful feminine form. Above them is a stone arch upon which a dog-like demon perches stealthily, aiming a spear directly at the oblivious couple. Another demon snaps its jaws at the feet of Christ, and we can see a lick of flames below the broken gate as more captive souls clamor to escape. The painting is skillfully done, showing the artist's facility with anatomy, proportion, and foreshortening. The bodies of Adam and Eve are particularly excellent, with lovely skin tones and convincing molding. The composition is clearly based on an engraving by Dürer published in 1513 as part of a major series of 16 images known as the "Engraved Passion." In translating a black & white print into a full-color painting, the artist here dispensed with a few details seen in Dürer's work, such as the shadowy figure behind Adam and Eve, and the stigmata on Christ's hand; however, the overall composition deviates little from the original, suggesting that the artist may have been working from an actual engraving. Although this leaf contains just a few words in the form of a border inscription--"Verbum Domini manet eternum" ("the Word of the Lord endures forever")--they are monumentally important. This line from Isaiah 40:8 and 1 Peter 1:25 became the motto of the Lutheran Reformation, appearing on art, clothing, coins, and even armor of the 16th century. The Schmalkaldic League, an influential group of allied Lutheran principalities in the Holy Roman Empire at the time, also adopted it as their motto. Given the dominance of print materials during the Reformation period, our hand-painted miniature--possibly produced as a frontispiece--must have been a very special commission. It is also an object that is prime for further study, touching on aspects of book production, religious art, and the transmission of images and ideas in the early modern period.