We shall examine elsewhere the psychological questions involved in this sort of polemics (vol. iv., xxvi. 3). The above will suffice concerning the influence exercised on his literary activity by the public position which Luther had assumed.
4. Further Traits towards a Picture of Luther. Outward Appearance. Sufferings, Bodily and Mental
A change had gradually taken place in Luther’s outward appearance even previous to his stay at the Wartburg. By the time he had returned to Wittenberg his former leanness had gone and he was inclined to be stout.
Johann Kessler, a Swiss pupil who saw him often in 1522 and who frequently played the lute to cheer him, writes in his “Sabbata”: “When I knew Martin at the age of forty-one in 1522 he was by nature somewhat portly, of an upright gait, inclined rather backward than forward, and always carried his face heavenward.”[409]
Albert Burer, who was also studying at Wittenberg after Luther’s return from the Wartburg, praises his amiability, his pleasant, melodious voice, and his winning manner of speech.[410] Thomas Blaurer, then his enthusiastic disciple, is also full of praise of his kindly, attractive and sympathetic manner towards those who came under his influence and to whom he ever behaved in a simple and natural fashion.[411] Neither of them, however, describes his facial appearance.
From the likenesses of him to be referred to below it appears that his face usually wore an expression of energy and defiance. His chin and mouth protruded slightly and gave an impression of firmness; a slight frown denoted irritability; over his right eye there was a large wart; a lock of curly hair overhung his forehead. His “dark eyes blinked and twinkled like stars so that it was difficult to look at them fixedly.”[412] (J. Kessler.) As remarked above, his deportment was upright and almost defiant.
Of what Luther must have been, judging by his descriptions, not one of the portraits which have come down to us gives any good idea.[413] This sounds strange, as the art of portrait painting was already very highly developed in Luther’s day, whilst his likenesses were in great demand and were despatched from Wittenberg to every quarter in order to increase his popularity. Dürer and Holbein, who have left us characteristic and faithful likenesses of Melanchthon, never employed their brush or pencil in depicting Luther. The death-mask which we still have was not taken till four days after Luther’s death from a stroke, i.e. after decomposition had already made some progress, while the portrait of the dead man painted in haste by Lucas Fortenagel is almost terrifying and betrays a very unpractised hand.[414]
Lucas Cranach the elder, as is well known, sketched or painted several likenesses of Luther, and as the two were very intimate with each other we might have anticipated something reliable. He was, however, not sufficiently true to life; he suppressed what he considered to be defects in his sitter, and, in spite of his artistic talent, he did not possess the special qualifications for faithfully reproducing in a portrait the expression of the soul. In his pictures of Luther we are at a loss to find certain traits mentioned in the accounts we possess; the artist introduces into the face an expression of mildness and tenderness which was foreign to Luther. Neither is it a fact that we have hundreds of pictures from his studio, as is so often stated, for of all the portraits and engravings ascribed to Cranach only five can be considered as absolutely genuine, the copper plates of 1520 and 1521,[415] then the “Squire George” of the Wartburg in the Leipzig Town Library, and two portraits in the Kaufmann Gallery in Berlin. “If we examine the absolutely genuine ‘Cranachs’ we at once notice that they have nothing in common with the typical Luther features [of a later day].” From these original likenesses down to the pictures of Luther which circulate to-day there are many steps. The transformation was carried further and further, though the “broad, peasant face” and the “powerful jaw” were destined to remain. Nearly all these pictures represent an elderly man, inclined to corpulence, with somewhat blurred features, with surprisingly abundant curly hair and small, kindly eyes.
This, the typical Luther of to-day, appears perhaps for the first time in the so-called “Epitaphium Lutheri,” a woodcut which was made after Luther’s death by the elder Cranach’s son, Lucas Cranach the younger. The type in question became very generally known owing to the picture of Luther painted nine years after his death by the younger Cranach for an altar-piece in the parish church at Weimar, although in this likeness, which has been so frequently copied, there may still be found some traces of the bold, warrior features of the real Luther. Böhmer, the Protestant historian, remarks: “In the most popular of these modern ‘ideal pictures,’ viz. the oleograph of Luther in the fur cappa which ‘adorns’ so many churches, even the Doctor’s own Catherine would be unable to recognise her Martin.”
The pictured Luther has become almost a fable among Protestants. This may well make us suspicious of the pen-picture of him now spread abroad by so many of his followers and admirers. Is it in the least trustworthy? Here again it is the Protestant authority cited above who complains: “The literary Luther-portraits, though strikingly similar, are all more or less unlike the original. In the strict sense they are not portraits at all, but presentments of a type.”