Graverson 1 Emilee Graverson HAVC 137 Regan 6 June 2012 Witches in Northern Europe The conception of witches and

witchcraft is deeply rooted in the human response to power discrepancies between man and woman. Folklore about witches was mainly focused on demon possessed women, more specifically, a women who has consorted with the devil. The cause of the explosion of witch accusations in the 15th century is attributed to the Catholic Reformation, and the insecurities it caused within society. The Reformation left many Catholics constantly questioning their neighbors, for Reform ideas could live silently in anyones heads, without them knowing. Texts such as the Malleus Maleficarum were not widely accepted, however definitely contributed to the insecurities around women. Just as texts were widely circulated, art prints were also a major form of information distribution. Drer and Balding both used witches as the subject in many their prints. Their depiction of witches in Witches Sabbath (Baldung) and Four Witches (Drer) are not an actual representation of witches, but rather a collection of ideas promoted during their time, collected in a satirical way. Basing their prints off of classical satire, as well as common folklore demonizing women, these prints not only show the fear men had for bold women, but also the taboo nature of a sexuality in a changing society. Artists with exceptional skill such as Baldung and Drer were both artistically innovative, as well as classically educated in humanist theory and classic philosophy. Although many people in modern times and in the time of Drer and Baldung thought their foray into the subject of witchcraft was in response to societys fear of witches, it is possible that there was classic motivation. In Margaret Sullivans article she corroborates her argument by saying, they

Graverson 2 are more plausible as poetic constructions motivated by artistic goals and a fascination with the underside of the ancient world rather than an interest in witch manuals or a compelling concern with witchcraft as a punishable offense. (Sullivan 334) In disagreement with this opinion, some argue that the Malleus Maleficarum, a treatise on witches, written in 1486 by Heinrich Kramer and Jacob Sprenger, was the main source of knowledge regarding witch activities and witchcraft. It is not proven weather or not Drer or Baldung had access to the Malleus Maleficarum, I find Sullivans argument very convincing. Specifically Drer was a scholar of classic literature, and even visited Italy several times. He is known for being innovative in the themes behind his art, and I find it highly possible that Drer, rather than comment on the witch obsession in his own day, seek information from classic literature and create a satirical image of witches. Baldung as well was highly trained, and worked under Drer. Regardless of the source of information on witches, the notion of witches and the fear they cause in society in undoubtedly related to an overwhelming fear of the dominant female sexuality. Drers print Four Witches, (1497) depicts the figures of four naked women standing in a circle. From first glance, it is not obviously a depiction of witches, but with further examination there is a skull at their feet, as well as a cleverly hidden devil on the left. His female forms are clearly a study of classical bodies, in both pose and body shape. Drer was very focused on proportions in his figures, and even though these women might look strange to a modern eye, Drers focus was to adhere to these classical and ideal proportions. In regards to these womens witch identities, it is much more subtle than images such as Baldungs Witches Sabbath. However, that is because Drer was extremely clued in to classical notions of witchcraft, as

Graverson 3 Sullivan says, For Drer's audience the print was more evocative of the world of temptation and dreams rather than the courtroom, more plausible as a poetic fantasy representing the dark but fascinating underside of the ancient world," (Sullivan 355) The courtroom she refers to is the way in which witches were tried in Drers time, although she comments later that few witch trials were happening in the late 15th century. Sullivan hints at a fixation with temptation, and a dark underworld. Branching off of this, witches were always heavily associated with promiscuity and unbridled sexuality. In fact, one of the indicators of a witch was an unnatural sexual drive. In the Malleus Maleficarum, the three great sins that mark a woman susceptible to witchcraft are infidelity, ambition, and lust. The authors go on say, Therefore they are more than others inclined towards witchcraft, who more than others are given to these vices. Again, since of these three vices the last chiefly predominates, women being insatiable,...women are more deeply infected who are more hot to satisfy their filthy lusts (Kramer/ Sprenger 47) The Malleus Maleficarum was obviously projecting various uncorroborated ideas about witches, meant to thoroughly scare and intimidate the masses. Even if the Church genuinely believed these words, the grotesque description and precise detail of witch behavior was also a propaganda tactic to encourage good behavior in women. Because women did not want to be seen as a witch, sexual deviancy and promiscuity was taboo. The subjects that are taboo in society always seem to be of most interest to artists. Drer and Baldung both took a blatant approach in their depiction of sexuality in their prints of witches. Baldungs Witches Sabbath(1510). It is hard to argue that Baldung wasnt aiming for some sort of satirical message with this highly dynamic and ridiculous print. Differing greatly

Graverson 4 from the subtlety of Drers witches, Baldungs witches are engaging in many activities branded witch by the Malleus Maleficarum. Both artists take inspiration from classical and humanist literature, however Baldungs mischievous witches embody the very eroticism and satire that classic texts referred to. It is arguable that since Baldungs print is 13 years later that Drers, that the Malleus might have been more well circulated by that time. Despite this, Sullivan still argues that there are "only a handful" of witch trials for Germany in the fifteenth century and first half of the sixteenth" (Sullivan 337) More convincingly, Sullivan outlines Baldung as a classical enthusiast: Baldung treats his witches humorously, an attitude that reflects the dominant viewpoint of the humanists in Strasbourg at this time who viewed witchcraft as "lustig," was more amusing than serious. (Sullivan 374-5) Baldungs witches were not meant to accurately portray witches, but more likely to show his classical knowledge of satire and his artistic prowess. Rather than his image acting as an illustration for the Malleus, Baldung is personifying many of the negative sentiments surrounding female sexuality in the early 16th c. Baldung shows witches riding backwards on a goat, a reference to animal carnality and the backwards view of the world witches have. Other naked women figures are shown releasing wild smoke into the air, screaming devilishly and holding up a platter with flesh ready to eat. These gruesome acts were simply a manifestation of the fear society had for the free-thinking women. Women who were too ambitious or lustful (two of the vices associated with witchcraft according to Malleus) would according to the Church be deemed likely of being a witch. A lot of this skepticism stemmed from the Catholic Reformation. The Catholic Reformation caused a commotion in many towns, for it was one of the first widespread upheaval of Catholicism. What caused the outbreak of witch-hunts was a

Graverson 5 combination of two things: one being that the reform caused suspicion amongst townsfolk, and two being the widespread mistrust of women. Since ancient times women were always the seductress or the virgin, with little room in between. Women were associated with Eve, the temptress of Adam, and ultimately original sin. In many cultures the female was always the one driving men crazy, and making men do anything for love and affection. In accord with the Reform, ideas regarding sexuality were a topic of interest for reformers. Sullivan articulates that, Catholics had, the need for an antifigure (the Devil and his protg, the witch) to vouchsafe the existence of God (Sullivan 338). Moreover, the demonization of some women accused of witchcraft was simply a response to an unknown and perhaps scary religious upheaval. This debate between licit and illicit worship is what causes many of the witch myths to begin. (Sullivan 338) If a neighbor would see someone worshipping differently than they do, then that person would be suspicious to them. And because it was accepted that women were more susceptible to witchcraft than men, it was much easier to get a woman accused than a man. While the prints of Drer and Baldung both show female witches, there is more underneath than just a humanist satire. Both Baldung and Drer were fascinated with classical literature. In turn, classical literature (involving witchcraft) was captivated with the dark but fascinating underside of the ancient world (355) and eroticism, liveliness, and ribald humor (378). Therefore, Drer and Baldung were using this classical eroticism to portray women in a modern way. The objectification and sexualization of women has always been a tool of men to control society. Specifically in the 15th 16th centuries, women were more accepted (given a more active role in religion) in the Protestant Reform, adding more conflict between religion and

Graverson 6 society. Men have always feared the feminine wiles, and on top of that, I believe that men inherently fear womens ability to create life. This discord at the root of humanity is what causes the demonization of women in most art traditions. Witchcraft was simply an outlet to express fears about the unbridled feminine sexuality and to keep control over women who were strong willed and ambitious. Prints were very important for circulating ideas and images to a vast amount of society. Widely popular prints usually reflected a set of commonly accepted ideals of the people of that time, demonstrating what was important of pertinent to everyday life. Starting after the publication of the Malleus Malificarum prints depicting witches became popular, because it was a very terrifying party of society to some people. To others, like Drer and Baldung, scholars who are well versed in the humanist tradition, used these societal fears and changed them into satires. Drer and Baldung created prints that simultaneously depicted the fears of witchcraft, while still remaining aware to the absurdity of it. It is clear that Witches Sabbath by Baldung and Four Witches by Drer both exemplify the humanist philosophy, however on different levels. Where Baldung uses precise and gruesome witch imagery to create a dynamic and confronting image, Drer uses subtle tactics to hint at witchcraft and ultimately leave it up to the viewer to decide. Both techniques show an attention to detail, a use of classical body poses and forms and a strong interest in sexuality and eroticism. Prints of this sort were most definitely a product of a society extremely tempted and intrigued by the same demons and witches they seek to condemn.