The beast with two horns like a lamb. From: The Apocalypse.

The Apocalypse, properly Apocalypse with Pictures (Apocalypsis cum Figuris) is a famous series of fifteen woodcuts by Albrecht Dürer of scenes from the biblical Book of Revelation published in 1498, which rapidly brought him fame across Europe. The series was probably cut on pear wood blocks and drew on theological advice, particularly from Johannes Pirckheimer, the father of Dürer's friend Willibald Pirckheimer.

 

Work on the series started during Dürer's first trip to Italy (1494–95), and the set was published simultaneously in Latin and German in 1498, at a time when much of Europe anticipated the Last Judgement (and second coming of Christ) in 1500. This, however, did not eventuate. The most famous print in the series is The Four Horsemen of the Apocalypse (ca. 1497–98), also in Te Papa's collection.

 

The layout of the cycle with the illustrations on the recto (front) and the text on the verso (back) suggests the priority of illustrations over the text. The series brought Dürer fame and wealth, allowing him to choose his own subjects and to devote more time to engraving. In 1511, Dürer published the second edition of the Apocalypse in a combined edition with his Life of the Virgin and Large Passion; single impressions were also produced and sold.

 

In this woodcut, Dürer illustrated the thirteenth chapter of ‘The Apocalypse’ or ‘Revelation to John’: ‘And I saw a beast rising out of the sea, with ten horns and seven heads, with ten diadems upon its horns and a blasphemous name upon its head. And the beast that I saw was like a leopard, its feet were like a bear’s, and its mouth was like a lion’s mouth. And to it the dragon gave his power and his throne and great authority'. This description was co-opted from the Hebrew Book of Daniel, where four beasts come out of the sea in the forms of a lion, bear, leopard and a beast with ten horns, so essentially the origin of this dragon beast concept is Jewish. 

 

One of the heads of the seven-headed beast appears to have a fatal wound but the wound is healed, causing people to wonder and follow the beast. In Revelation chapter seventeen we learn that the beast is scarlet in colour. The seven heads represent both seven mountains and seven kings, and the ten horns are ten kings who have not yet received kingdoms. Of the seven kings five have fallen, one is, the other has not yet come. The beast itself is an eighth king who belongs to the seven but is going to his destruction. We are also told that this beast 'once was, now is not, and yet will come'.

 

The second beast (on the left of the woodcut) is mentioned in Revelation chapter thirteen. He comes out of the earth; his overall appearance is not described, other than having two horns like that of a lamb and speaking like a dragon. His purpose is to promote the authority of the first beast with the ability of performing great signs, even making fire come down out of heaven. This second beast is also called the false prophet. He speaks like a dragon, commanding the people of the Earth to make an image of the beast from the sea and to worship him. Anyone who does not worship the Beast or its image would be killed, even beheaded. The lamb-horned beast from the earth also ensures that everyone under this power bears the mark of the Beast on either the right hand or forehead.

 

Dürer's woodcut is a feast of details that vividly conveys the horrible, scary beasts and the intense vividness of what the Apocalypse might be like if or when it strikes a godless world. He also conveys the irony of ordinary people worshipping evil as if it is good. On the left, kings, rulers, men and women, clerics, etc.,  kneel with folded hands before the seven-headed beast, oblivious to the hideous, terrifying appearance of the very characters they worship in utter amazement. They follow the beast, unaware of their disastrous choice.

 

Inevitably the beasts and their worshippers steal the show from the enthroned Christ and his attendant angels who dominate the upper part of the composition. This is not the first time that evil proves more captivating than good in art.

 

See:

 

Apocalypse (Dürer), https://en.wikipedia.org/wiki/Apocalypse_(D%C3%BCrer)

 

Elizabeth Garner, 'The Secrets of the Beasts and Dragons of the Apocalypse', http://www.albrechtdurerblog.com/the-beasts-and-dragons-of-the-apocalypse-part-4/

 

James L. Resseguie, Narrative Criticism of the New Testament: An Introduction (Grand Rapids MI, 2005)

 

Dr Mark Stocker, Curator Historical International  Art  December 2016