"Lent's Temptations" - Christ & Satan 16C

Simon Bening Prayer Book of Card Albrecht of Brandenburg Flemish (Bruges), c.1525-1530 Getty Ludwig IX 19, fol. 62v.  This Satan has rather unusual feet.

“The Spirit drove Jesus out into the desert,
& he remained in the desert for forty days,
tempted by Satan.
He was among wild beasts,
& the angels ministered to him.”
Mark 1:12-13

All 3 Gospels relate that Jesus spent a period of 40 days & nights in the desert immediately following His Baptism in the Jordan by John the Baptist & the dramatic recognition given by Heaven to this event. The number 40 obviously has resonance with such Old Testament events as the 40 days & nights of the Great Flood (Genesis 7:9), the 40 days & nights that Moses was on Mount Sinai receiving the Ten Commandments from God (Exodus 24:18) & the 40 years in which the Hebrews wandered in the wilderness (Numbers 14:32-34).  Mark’s reference to the Temptation of Jesus is the shortest of the three. Matthew (Matthew 4:1-11) & Luke (Luke 4:1-13) both describe in detail the temptations tried by Satan, temptations to power & pride, which Jesus resisted. All three agree that at the end of these 40 days & nights, Jesus was tired & hungry.

"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 devil said to him,
"If you are the Son of God,
command this stone to become bread."
Jesus answered him,
"It is written, One does not live on bread alone."
Then he took him up and showed him
all the kingdoms of the world in a single instant.
The devil said to him,
"I shall give to you all this power and glory;
for it has been handed over to me,
and I may give it to whomever I wish.
All this will be yours, if you worship me."
Jesus said to him in reply,
"It is written:
You shall worship the Lord, your God,
and him alone shall you serve."
Then he led him to Jerusalem,
made him stand on the parapet of the temple, and said to him,
"If you are the Son of God,
throw yourself down from here, for it is written:
He will command his angels concerning you, to guard you,
and:
With their hands they will support you,
lest you dash your foot against a stone."
Jesus said to him in reply,
"It also says,
You shall not put the Lord, your God, to the test."
When the devil had finished every temptation,
he departed from him for a time.”
Luke 4:1-13

"Lent's Temptations" - Temple Temptation 15C

Sandro Botticelli (Italian, c. 1481-1482), Three Temptations of Christ - Detail c. 1481. Vatican City, Sistine Chapel.  Here Satan stands with Jesus on top of the Temple in Jerusalem.  Sandro Botticelli, Italian, c. 1481-1482 Vatican City, Sistine Chapel.  This painting is one of the series of scenes from the lives of Christ and of Moses which decorate the lower walls of the Sistine Chapel.  They were commissioned by Pope Sixtus IV, the builder of the chapel for whom it is named.  They were painted in the 1480s by several artists, who were working at the same time, so as to speed the extensive work.

“The Spirit drove Jesus out into the desert,
& he remained in the desert for forty days,
tempted by Satan.
He was among wild beasts,
& the angels ministered to him.”
Mark 1:12-13

All three Gospels relate that Jesus spent a period of 40 days & nights in the desert immediately following His Baptism in the Jordan by John the Baptist & the dramatic recognition given by Heaven to this event. The number 40 obviously has resonance with such Old Testament events as the 40 days & nights of the Great Flood (Genesis 7:9), the 40 days & nights that Moses was on Mount Sinai receiving the Ten Commandments from God (Exodus 24:18) & the 40 years in which the Hebrews wandered in the wilderness (Numbers 14:32-34).  Mark’s reference to the Temptation of Jesus is the shortest of the three. Matthew (Matthew 4:1-11) & Luke (Luke 4:1-13) both describe in detail the temptations tried by Satan, temptations to power & pride, which Jesus resisted. All three agree that at the end of these 40 days & nights, Jesus was tired & hungry.

text-align: center;">
Sandro Botticelli (Italian, c. 1481-1482), Three Temptations of Christ - Detail c. 1481. Vatican City, Sistine Chapel.  During His 40 days of fasting & praying in the Wilderness, Satan tempted Jesus: to make bread out of stones to relieve his own hunger; to jump from a pinnacle & rely on angels to break his fall (both Luke & Matthew have Satan quote Psalm 91:11–12 to indicate that God had promised this assistance); & to worship Satan in return for all the kingdoms of the world.

When Satan tempted Jesus to jump from the pinnacle of the temple, Satan said,
"If thou be the Son of God, cast thyself down from hence: For it is written, He shall give his angels charge over thee, to keep thee: And in their hands they shall bear thee up, lest at any time thou dash thy foot against a stone." (Luke 4:9–13) citing Psalms 91:12.  Once more, Jesus maintained his integrity & responded by quoting scripture, saying, "Again it is written, 'You shall not put the Lord, your God, to the test.'" (Matthew 4:7) quoting Deuteronomy 6:16.

Sandro Botticelli (Italian, c. 1481-1482), Three Temptations of Christ - Detail c. 1481. Vatican City, Sistine Chapel. Satan stands with Jesus on top of the Temple in Jerusalem.  Sandro Botticelli, Italian, c. 1481-1482 Vatican City, Sistine Chapel

Illuminated Manuscripts - 15C Craftsmen & Shopkeepers in Nuremberg, Germany

Textile Dyer. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

In 14C Germany, a wealthy trader by the name of Mendel established a charitable endowment in the city of Nuremberg, called Twelve Brothers House Foundation (Zwölfbrüderhausstiftungen). A dozen older citizens were given a place to live in exchange for their performing work duties.  In the 15C, Mendel's grandson began having sketches made of each of the brothers engaged in their chosen craft together with detailed notes about the tools & practices relating to their work. 

Bookbinder. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Organ Pipe Maker Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Brewer. Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Cooper Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Butcher. Landauer Twelve Brother's House manuscript  Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Baker Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Candlestick Maker. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Goldsmith. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Carpenter. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Stonemason. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Court Messenger. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Apothecary. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Gardener. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Roof Repairer. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Glaizer. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Leatherworker. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Gunsmith. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Armour Maker. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Metal Worker. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Bell Maker. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Nailsmith. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Merchant. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Swordsmith. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Knifesmith. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Tailor. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Weaver. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Hatmaker. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

In the most strict definition of the term, an illuminated manuscript only refers to manuscripts decorated with gold or silver, but in both common usage and modern scholarship, the term is now used to refer to any decorated or illustrated manuscript from the Western traditions.