The advent of the printing press in 15th-century Europe marked a revolution in book production, yet it did not spell the end for handcrafted manuscripts. In fact, illuminated manuscripts remained highly sought after, particularly by wealthy patrons who commissioned bespoke prayer books for personal devotion and liturgical use. Cardinal Albrecht von Brandenburg, a prominent figure in 16th-century Germany, exemplifies this enduring appreciation for illuminated manuscripts. In the 1520s, he commissioned a stunning illuminated copy of Devout Meditations on the Life, Favours, and Passion of the Saviour Jesus Christ, a popular devotional text of the time.
This book of meditations, originally published in Latin in 1520 and quickly translated into German and printed in 1521, paired woodcut illustrations depicting key moments from the life of Christ with accompanying prayers designed to guide readers in meditative reflection. Cardinal Albrecht, already known as a significant art patron – with notable portraits by Lucas Cranach the Elder and Albrecht Dürer to his name – naturally entrusted this commission to Simon Bening, a Flemish master illuminator considered among the finest of the 16th century. Interestingly, while print typically disseminated texts previously circulated in manuscript form, Cardinal Albrecht’s prayer book reversed this trend. Scribes meticulously copied the text from a printed German edition of 1521, and Bening used the printed woodcuts as inspiration for his own cycle of miniature paintings. However, Bening’s miniatures are far from mere reproductions; they are vibrant interpretations that enrich the spiritual depth of the Devout Meditations.
The Temptation in Detail: A Cardinal’s Reflection
One particularly striking miniature within Cardinal Albrecht’s prayer book is The Temptation of Christ. This illumination accompanies a meditation titled “On the fasts and temptation of the invincible Jesus,” drawing directly from the Gospel of Luke, chapter 4. This passage, often read on the First Sunday of Lent in Year C, recounts Jesus’ forty days in the desert: Filled with the Holy Spirit, Jesus returned from the Jordan and was led by the Spirit into the desert for forty days, to be tempted by the devil. He ate nothing during those days, and when they were over he was hungry.
The Temptation of Christ miniature by Simon Bening, showcasing the devil in disguise and Christ's steadfast resistance, highlighting themes relevant to online spiritual reflection.
Bening, following the composition of the earlier woodcut, masterfully portrays the three temptations of Christ within a single, dynamic scene. In the foreground, the devil takes center stage, holding a stone and gesturing towards another at his feet. His open mouth almost audibly hisses the infamous challenge: If you are the Son of God, command this stone to become bread. While the original woodcut depicted the devil as a classic monstrous figure – horned, winged, and tailed – Bening’s devil is more nuanced. His grotesque features, sharp fingernails, and clawed feet clearly signal his demonic nature, yet he is clad in a friar’s habit topped with a cardinal’s scarlet cloak. This sartorial choice is not arbitrary. It subtly suggests the devil’s audacity in offering counsel to Christ, mirroring a cardinal’s advisory role to the Pope, the Vicar of Christ. Bening’s artistic choice is a powerful invitation for Cardinal Albrecht himself to identify with Christ facing temptation, but also to recognize the potential for even high-ranking church officials to, at times, echo the tempter. This resonates with moments like Christ’s sharp rebuke of Saint Peter: Get behind me, satan! (Mt 16:23), when Peter attempted to dissuade Jesus from his Passion.
Kingdoms and Faith: Expanding the Narrative
In the background of the miniature, Bening skillfully depicts the remaining two temptation scenes, showcasing his mastery of proportion and perspective. Perched atop a craggy cliff, the devil gestures expansively towards a distant, spired city, claiming to offer all the kingdoms of the world in a single instant, contingent on worship. Christ, rendered as a smaller figure but clearly identifiable by his blue cloak and halo, responds with clasped hands in prayer, embodying his scriptural refusal: You shall worship the Lord, your God, and him alone shall you serve. In the far distance, the final temptation unfolds on the temple parapet. Unlike the woodcut where the devil leans close, urging Jesus to throw yourself down from here, Bening depicts the devil in mid-fall, soaring upwards with arms outstretched. This dynamic portrayal vividly captures Luke’s succinct conclusion: When the devil had finished every temptation, he departed from him for a time.
By juxtaposing these three scenes within one frame, Bening connects the devil’s initial approach with his ultimate defeat. This visual narrative prompts viewers to contemplate their own temptations and, crucially, to find solace in the knowledge that these trials, too, shall pass. This comforting assurance echoes Christ’s words: In the world you will have trouble, but take courage, I have conquered the world (Jn 16:33). Christ’s serene countenance and simple gestures within the miniature reinforce this message of peace and quiet strength.
The bucolic background further enriches the scene. While Christ refuses to turn stones into bread to satisfy his hunger, gentle animals populate the landscape. A deer grazes peacefully on the hillside under the watchful gaze of a stag, while in the valley, another deer drinks deeply from a stream, guarded by a buck. A rabbit rests contentedly in a grove, seemingly oblivious to a lurking weasel. Christ’s gesture of rejection towards the devil simultaneously becomes a blessing upon the created world. This visual harmony evokes the prophetic words: The wilderness and the parched land will exult; the desert will rejoice and bloom (Is 35:1).
A Cardinal’s Prayer Book and Modern Reflection: Finding Magnificat Online
Albrecht von Brandenburg is often remembered today for his role in the indulgence controversy that sparked Martin Luther’s Ninety-five Theses. However, his prayer book, and particularly Bening’s illuminations, offer a valuable window into the spiritual and visual world of a 16th-century Catholic cardinal navigating turbulent times. Despite the complexities of Albrecht’s historical legacy, his prayer book, especially through miniatures like The Temptation of Christ, continues to invite contemporary viewers to engage with the life of Christ on a deeply personal level.
Just as Cardinal Albrecht turned to illuminated manuscripts for spiritual enrichment, today, resources like Magnificat Online offer accessible avenues for daily prayer and reflection. These digital platforms, mirroring the rich tradition of devotional books, provide daily readings, reflections, and art that can guide individuals through their own “desert” experiences and temptations. Whether through the contemplation of masterpieces like Bening’s miniature or daily scripture readings found online, the enduring message remains: whatever trials we face, the serenity of Christ offers unwavering hope. In a world filled with its own forms of temptation and distraction, the cardinal’s prayer book, and resources inspired by its devotional spirit like Magnificat Online, remind us of the timeless need for reflection and the enduring comfort found in faith.
The Lord is my shepherd; there is nothing I lack. In green pastures he makes me lie down; to still waters he leads me; he restores my soul. He guides me along right paths for the sake of his name. Even though I walk through the valley of the shadow of death, I will fear no evil, for you are with me (Ps 23:1-4).
Father Innocent Smith, O.P.
Dominican friar of the Province of Saint Joseph and professor at the Dominican House of Studies in Washington, DC. He is the author of Bible Missalsand the Medieval Dominican Liturgy.
The Temptation of Christ (c. 1525–1530), Simon Bening (c. 1483–1561), Getty Museum, Los Angeles © Digital image courtesy of Getty’s Open Content Program.
