
Painting by Albrecht DÜrer, painted in 1516, is oil on parchment on fabric called Portrait of a Clergyman. The painted surface measures 41.7 x 32.7 cm. It is thought that the character in the portrait is a man by the name of Johann Dorsch, a Clergyman in Nuremberg, Germany. Europe in the sixteenth century was embroiled in a religious debate that would spiral out of control and span generations. The painting shown below exhibits the ideals of the time.
During the sixteenth century many religious groups were rebelling against the Catholic church and its practice of selling forgiveness for sins by charging patrons money. The church justified these charges as donations for penitence however; many saw this practice as simply an easy way to fill the coffers of the church. Martin Luther is historically credited with beginning this reformation by nailing his 95 Theses to the door of a local church for everyone to read. There were many other points brought up in the 95 Theses among which were the many superficial items traditional to the Catholic Church which reformers believe(d) took away from the true meaning of the sacraments and basic turning points like the existence of purgatory. This reformation resulted in not only a schism in the religious world but also the excommunication of anyone subscribing to the reformed faiths. Many religious conflicts involving the military power of nations resulted from the strict Catholic Church and the many spin-offs that followed in the wake of Luther’s reformation. Although Martin Luther was not the only person by any means that was raising the questions of the Reformation, there were many others simultaneously questioning the same types of things, he was the person credited with this transition in history.
At the very heart of the reformation was the financial corruption that ensued once a priest or clergyman came up with the idea of selling forgiveness. Forgiveness is as abstract a notion as the money that purchased it. Forgiveness hinges solely on the believer accepting that their deity has forgiven them for something they believe is a transgression. The priests operated a profitable business for years convincing parishioners that they were doing things that were “sins”. Then they convinced people that charitable donations represented by cash (usually coinage) were the purchase price of forgiveness rather than charitable deeds or prayers. The reformation was directly rejecting this idea that the easy purchase of forgiveness was acceptable rather than the true contrition of the churchgoers. The morally bankrupt actions of the church clergy showed that when money gets involved in religion neither can exist in the same province. Moral questions that crop up when money is used to ensure faith and everlasting happiness in Heaven such as: How much money is acceptable? Do the ends justify the means (what the money is used for) or is it all corrupt? These questions are hard ones to answer and seem to be revolving questions when money is concerned. There are also opposing viewpoints. Those with the money generally find a way to justify the collection of money because of the work being done or the uses for the money. Those without money generally call the collection of money and what it’s used for a corruption of the principle behind the religion, political function, or charitable work. There does not seem to be a singular answer as to whether or not things are able to be justified by what the money is used for.
Along with the indulgences the Reformation stirred up controversy around the overly ornate imagery used by the Catholic Church to represent the Saints, Christ and the decorations making the churches more and more pieces of art themselves as time went on. Paintings and Reformation styled churches moved toward the extreme opposite of the Catholic Church using minimal decorations, no visual representations of Christ and Saints, using more earthly colors and somber representations of their heroes of the movement. The painting shown above is a good representation of the time fighting against the more ornate artwork of the previous century. The dark colors, sober expression, strong jaw line and pursed lips create an authoritative presence that seems to be sitting in judgment ready to condemn anyone doing anything frivolous with themselves. Down to the clothing worn by the figure in the painting shows that the flamboyant clothing of the Catholic Church clergy were being called into question along with all other things expensive and distracting from the purpose of going to church to worship. The painting shows in one frame the main issues of the time and the celebration of a group of people’s ideals during a turning point in religious belief.