Thursday, March 8, 2012

Picturing the Parables -- The Parable of Dives and Lazarus

Master of the Codex Aureus of Ecternach, The Parable of Lazarus and the Rich Man
From the Golden Gospels of Echternach
German (Echternach), c. 1030
Nuremberg, Germanisches Nationalmuseum
MS Hs 156142, fol. 78r


"Jesus said to the Pharisees:
"There was a rich man who dressed in purple garments and fine linen
and dined sumptuously each day.
And lying at his door was a poor man named Lazarus, covered with sores,
who would gladly have eaten his fill of the scraps
that fell from the rich man's table.
Dogs even used to come and lick his sores.

When the poor man died,
he was carried away by angels to the bosom of Abraham.
The rich man also died and was buried,
and from the netherworld, where he was in torment,
he raised his eyes and saw Abraham far off
and Lazarus at his side.

And he cried out, 'Father Abraham, have pity on me.
Send Lazarus to dip the tip of his finger in water and cool my tongue,
for I am suffering torment in these flames.'
Abraham replied, 'My child,
remember that you received what was good during your lifetime
while Lazarus likewise received what was bad;
but now he is comforted here, whereas you are tormented.
Moreover, between us and you a great chasm is established
to prevent anyone from crossing
who might wish to go from our side to yours
or from your side to ours.'
He said, 'Then I beg you, father, send him
to my father's house,

for I have five brothers, so that he may warn them,
lest they too come to this place of torment.'
But Abraham replied, 'They have Moses and the prophets.
Let them listen to them.'
He said, 'Oh no, father Abraham,
but if someone from the dead goes to them, they will repent.'
Then Abraham said,
'If they will not listen to Moses and the prophets,
neither will they be persuaded
if someone should rise from the dead.'"
(Luke 16:19-31)

The excerpt from Luke that is the Gospel reading for Thursday of the second week of Lent presents the parable of the Rich Man and Lazarus, a pauper who begged at the rich man’s door. (This poor man should not be confused with the other Lazarus, the brother of Mary and Martha, whom Jesus raised from the dead.)

Lazarus and the Rich Man
From a Gospel Lectionary
German (Tegernsee), 12th Century
Munich, Bayerisches Staatsbibliothek
MS Clm 2939, fol. 98r

In this parable, it seems to me that Jesus, through the Evangelist, is addressing three separate themes:  the importance of charity to the poor; the congruence between the life one lives and the reward for that life; and the difficulty which would be faced by those who spread word of Him and His mission.

The Story of Lazarus and the Rich Man
France, c. 1085-1100
Moissac, Abbey of Saint-Pierre, South Portal



The Story of Lazarus and the Rich Man, Detail - Lazarus in the Bosom of Abraham
France, c. 1085-1100
Moissac, Abbey of Saint-Pierre, South Portal



In death the rich man and the pauper have outcomes inverse to the lives they lived on earth.  The poor man, neglected in life, is welcomed to Abraham’s bosom (an image of heaven) on account of his actions and patience.  The rich man, who spent his life in fine clothing and self-indulgence, ignoring poor Lazarus whom he could have helped, finds himself in a place of torment. 

His desperate plea for an intervention by Lazarus, aimed at saving his brothers from his own fate, is countered with Abraham’s cynicism, an obvious reference to the reality of Luke’s experience. 
'If they will not listen to Moses and the prophets,
neither will they be persuaded
if someone should rise from the dead.'" 

Not surprisingly, this parable was a favorite Biblical passage during the Middle Ages, an era in which the worlds of rich and poor were closer together than they are in the contemporary West.  It appeared everywhere:


In Sculpture


Lazarus with Abraham and Dives in Torment
French, c. 1150-1160
Bryn Athyn (PA), Glencairn Museum



Death of the Rich Man
Italian, c. 1174-1189
Monreale, Cathedral



Lazarus in Abraham's Bosom
Italian, c. 1174-1189
Monreale, Cathedral



In Wall Painting

Lazarus at the Rich Man's Door, The Rich Man at Dinner
German, c. 1476-1488
Zierenberg, Protestant Church (painted before the Reformation)




In Miniature Painting

Deaths and Reward of Lazarus and the Rich Man
From the Huntingfield Psalter
English, c. 1212-1220
New York, Pierpont Morgan Library
MS M 43, fol. 21r
Here Lazarus dies in poverty, lying on the ground.  Angels receive his soul and he rests in the bosom of Abraham.  The rich man, on the other hand, dies in his bed, but demons snatch his soul and force it into the mouth of Hell.

Perhaps most surprising is its frequent appearance in the prayer books of the very rich and powerful.  It was clearly a message for them on how they were expected to live their own lives.

Jean Colombe and Workshop
Deaths of Lazarus and the Rich Man
From the Hours of Anne of France
French (Bourges), c. 1470-1471
New York, Pierpont Morgan Library
MS M 677, fol. 279r
Jean Colombe and Workshop
Lazarus and the Rich Man
From the Hours of Anne of France
French (Bourges), c. 1470-1471
New York, Pierpont Morgan Library
MS M 677, fol. 277r




Master of Edward IV, Parable of Lazarus and the Rich Man
From Vita Christi by Ludolf of Saxony
Flemish (Bruges), c. 1487-1490
New York, Pierpont Morgan Library
MS M 894, fol. 94r
This miniature tells the entire story in one picture.  In the foreground we see the rich man at table in his house, while Lazarus begs at the door.  In the left background, however, we see the eventual outcome, with the rich man in flaming torment, while Lazarus is held in heaven by Abraham.


Jean Poyer, Lazarus and the Rich Man
From the Hours of Henry VIII (yes, that Henry VIII)
French (Tours), c. 1495-1505
New York, Pierpont Morgan Library
MS H 8, fol. 134v


Master of James IV of Scotland
The Rich Man at Table, Lazarus at
the Door, Death of Lazarus
From the Spinola Hours
Flemish, c. 1510-1520
Los Angeles, J. Paul Getty Museum
MS Ludwig IX 18, fol. 21v
  
Master of James IV of Scotland,
The Rich Man in Torment, Lazarus
in Heaven
From the Spinola Hours
Flemish, c. 1510-1520
Los Angeles, J. Paul Getty Museum
MS Ludwig IX 18, fol. 22r






























The images reflected every aspect of the parable.  Portrayed were:


The luxury of the rich man

The Montbaston Master,  The Rich Man at Dinner and Lazarus at the Gate
From Somme le rois with the Gospels and the Compainte de Notre Dame by Laurence of Orleans
French (Paris), c. 1325-50
London, British Library
MS Royal 19 C II, fol. 100r


The Rich Man and Lazarus
From the Confessio amantis by John Gower
English, c. 1465-1475
New  York, Pierpont Morgan Library
MS M 126, fol. 141r

The Rich Man at Table, Lazarus at the Door
from Book of Hours
French (Paris), c. 1475-1485
New York, Pierpont Morgan Library
MS M 130, fol.96r


Master Francois, The Rich Man at Table and Lazarus at the Gate
From the City of God, Vol. I by Saint Augustine of Hippo
French (Paris), c. 1475-1480
The Hague, Meermano Museum
MS RMMW 10 A 11, fol. 16v


Robert Boyvin, Lazarus Begging at the Rich Man's Table
From a Book of Hours
French (Rouen), c. 1495-1503
New York, Pierpont Morgan Library
MS M 261, fol. 81v


Jean Pichore Workshop, The Rich Man at Table, Lazarus Barred at the Door
From a Book of Hours
French (Paris), c. 1500
Paris, Bibliotheque nationale de France
MS Latin 923, fol. 69v


Follower of Jean Pichore, The Rich Man at Table and Lazarus at the Door
From a Book of Hours
French (Paris), c. 1510-1520
New York, Pierpont Morgan Library
MS M 286, fol. 71v


Lazarus Begging at the Door While the Rich Man Dines Inside
Dutch, c. 1510
New York, Metropolitan Museum of Art, The Cloisters Collection


Lazarus at the House of Dives
Flemish, c. 1520
New York, Metropolitan Museum of Art, The Cloisters Collection




The Miserable State of Lazarus (especially the passage regarding his sores and his relationship with the dogs)


Lazarus at the Rich Man's Door
From the Pictorial Bible of the Abbey of St. Bertin
French (St. Omer), c. 1190-1200
The Hague, Koninklijk Bibliotheek
MS KB 76 F 5, fol. 16r (detail)


Lazarus at the Rich Man's Door
From a Bible historiale by Guiard des Moulins
French (Saint-Omer), 14th Century
Paris, Bibliotheque nationale de Frane
MS Francais 152, fol. 413v



Master of Catherine of Cleves and/or the Masters of Zweder van Culemborg, Lazarus and the Rich Man
From the Missal of Eberhard von Greiffenklau
Dutch (possibly Utrecht), c. 1450-1500
Baltimore, The Walters Art Museum
MS W. 174, fol.  125r


Jean Colombe, Lazarus at the Rich Man's Gate
From the Vita Jesu Christi by Ludolph of Saxony
French (Bourges), c. 1475-1500
Paris, Bibliotheque nationale de France
MS Francais 178, fol. 67r



Their Respective Deaths


Deaths of Lazarus and the Rich Man
From the Sermons of Maurice de Sully
Italian (Milan or Genoa), c. 1320-1330
Paris, Bibliotheque nationale de France
MS  Francais 187, fol. 27v (detail)
Each of the characters literally breathes forth their soul.  The soul of Lazarus is received by an angel, while that of the rich man is forced from him by one devil, while another devil snatches it.


The Fate Which Awaited Each of Them at Death


Lazaarus Brought to Abraham in Paradise
From Pelerinage de l'ame by Guillaume de Digulleville
French (Rennes), c. 1425-1450
Paris, Bibliotheque nationale de France
MS Francais 376, fol. 113r


Hieronymous Cock After Lambert Lombard, The Death of Dives
From the Parable of the Rich Man and Lazarus Series
Flemish, c. 1550-1570
London, Trustees of the British Museum
The Latin inscription reads "Dives dies and is buried in Tartarus".  


Hieronymous Cock After Lambert Lombard, The Death of Lazarus
From the Parable of the Rich Man and Lazarus Series
Flemish, c. 1550-1570
London, Trustees of the British Museum
The Latin inscription reads "On the other hand, the beggar dies, and is carried into Abraham's bosom."



    Dives Is Carried Away by Devils
    Flemish, c. 1590
    London, Victoria and Albert Musesum




    David Teniers the Younger, The Rich Man Led to Hell
    Dutch, ca. 1647
    London, National Gallery





    Pierre Drevet, The Rich Man in Torment
    French, c. 1680-1738
    Philadelphia, Museum of Art
    The Latin inscription literally reads "As much in the days of mortality, I was filled with honors and tasted with delights, as many dreadful torments and horrible tortures, I now suffer for an eternity".  In a free translation it might read "While I lived I was honored and tasted of delights, now for eternity I suffer torments and tortures equal in measure to those honors and delights."



    The Confrontation Between the Tormented Rich Man and Abraham

    The Rich Man Pleading with Abraham
    From the Pictorial Bible of the Abbey of St. Bertin
    French (St. Omer), ca. 1190-1200
    The Hague, Koninklijk Bibliotheek
    MS KB 76 F 5, fol. 16r (detail)


    The Rich Man Pleading with Abraham
    From a Psalter-Hours
    Flemish, c. 1275-1300
    London, British Library
    MS Harley 2930, fol. 157r


    The Rich Man Pleading with Abraham
    From a Book of Hours
    Flemish (Liege), c. 1300-1310
    Baltimore, The Walters Art Museum
    MS W37, fol. 30r


    The Rich Man Pleading with Abraham
    From Vies de la Vierge de du Christ
    Italian (Naples), c. 1350
    Paris, Bibliotheque national de France
    MS Francais 9561, fol. 156v



    Jean Bandol and others, The Rich Man Pleading with Abraham
    From Grande Bible historiale completée by Gerard des Moulins
    French (Paris), c. 1371-1372
    The Hague, Meermano Museum
    MS RMMW 10 B 23, fol. 504v

    Master Francois, The Rich Man Pleading with Abraham
    From the City of God, Vol. I by Saint Augustine of Hippo
    French (Paris), c. 1475-1480
    The Hague, Meermano Museum
    MS RMMW 10 A 11, fol. 16v




    Follower of Master Francois
    From a Book of Hours
    French (Paris), c. 1480-1500
    New York, Pierpont Morgan Library
    MS M 179, fol. 132r


    The Rich Man Pleads with Abraham
    From a Book of Hours
    French (Paris), c. 1495-1505
    New York, Pierpont Morgan Library
    MS M 197, fol. 89v




    Master of the Dresden Prayerbook, The Rich Man Pleads with Abraham
    From the Breviary of Queen Isabella of Castille
    Flemish, c. 1497
    London, British Library
    MS Additional 18861, fol. 252r 
    Here we see the confrontation of the Rich Man with Abraham in contrast with his past life or perhaps in the context of the life of one of his brothers, for whom he is pleading.


    The Rich Man Pleads with Abraham
    From a Book of Hours
    French (Rouen), c. 1500-1520
    New York, Pierpont Morgan Library
    MS M 431, fol. 115r



    Jean Pichore Workshop, The Rich Man Pleads with Abraham
    From a Book of Hours
    French (Paris), c. 1500
    Paris, Bibliotheque nationale de France
    MS Latin 923, fol. 70r


    Hans Schaeufelein, The Rich Man in Hell and the Poor Lazarus in Abraham's Lap
    From Das Plenarium
    German, 1517
    New York, Metropolitan Museum of Art



    Sebald Beham, The Rich Man in Hell
    From a Series of New Testament Illustrations
    German, 1530
    London, Trustees of the British Museum


    Hieronymous Cock After Lambert Lombard, The Rich Man Pleading with Abraham
    From the Parable of the Rich Man and Lazarus Series
    Flemish, c. 1550-1570
    London, Trustees of the British Museum
    The Latin inscription reads:  "The rich man is tormented in hell (while) the beggar enjoys consolation in heaven"


    Heinrich Aldegrever, The Rich Man in Hell
    German, 1554
    New York, Metropolitan Museum of Art
    The Latin inscription reads: "Dives here asks Lazarus for a drop of cold water to cool his tongue" and cites the Biblical passage Luke 16:24.



    Later Images

    After the Reformation the diversity of these images declined in both Catholic and Protestant countries.   The emphasis shifted, to focus totally on the portrayal of the rich man’s luxury.  What remained of the rest of the story (that is the reward to each for their lives and the confrontation with Abraham) was shifted to the background or eliminated altogether.  

    This may be explained, in the Protestant countries at least, by emerging Protestant theology.  This proposed that, at death, the soul falls into a kind of sleep, not to be awakened until the Last Judgment.  Therefore, the second part of this parable, with its references to an individual judgment shortly after death (for the rich man pleads that a messenger be sent to his still living brothers) may have been uncomfortable.


    Bernaert van Orley, Story of Dives and Lazarus
    Closed Wings of the Triumph of Virtue Altarpiece
    Flemish, 1521
    Brussels, Musées Royaux des Beaux-Arts

    These wings show various elements of the story, though not always in an orderly narrative fashion.  In the left wing Dives feasts in the central space of the panel while at the bottom Lazarus is discovered dead.  At the top angels bear his soul (in a bubble or glass sphere) to heaven.  At the right the rich man is seen on his deathbed at the center.  At the bottom he lies in agony.  At the top Abraham appears bearing Lazarus in his bosom, while surrounded by angels.  (The interior of the triptych depicts the story of Job and is, therefore, not illustrative for the subject of Dives and Lazarus, although the sufferings of Job are related as another example of virtue triumphant.)




    Marcus Geeraerts the Elder, Story of Dives and Lazarus
    Dutch, 1560s
    Utrecht, Museum Catherijneconvent




    Bonifacio Veronese, The Story of Dives and Lazarus
    Italian, ca. 1540-1550
    Venice, Gallerie dell'Accademia
    The emphasis here is on the pleasures other than feasting that are enjoyed by the rich man (female company and music) while Lazarus begs at the outside of the portico.





    Anonymous, Parable of the Rich Man and Poor Lazarus
    Dutch or Flemish, c. 1550-1575
    Amsterdam, Rijksmuseum






    Leandro Bassano, The Parable of Dives and Lazarus
    Italian, c. 1570
    Madrid, Museo Nacional del Prado






    Gerard de Jode, Dives and Lazarus
    From Thesaurus Novi Testamenti elegantissimis iconibus expressus continens historias atque miracula do[mi] ni nostri Iesu Christi
    Flemish, 1585
    London, Trustees of the British Museum
    The inscription reads: "Lazarus lies before the rich man's door, full of sores, and no one offers him (even) a little help."





    Leandro Bassano, Dives and Lazarus
    Italian, c. 1590-1595
    Vienna, Kunsthistorisches Museum
    Leandro Bassano's version of the parable must have been very popular as there are several versions of this composition extant.





    Juan de Sevilla y Romero, Dives and Lazarus
    Spanish, 17th Century
    Madrid, Museo Nacional del Prado






    Attributed to Pieter Corneliszoon van Rijck, Kitchen Scene with the Parable of Lazarus and the Rich Man in the Background
    Dutch, c. 1610-1620
    Amsterdam, Rijksmuseum






    Frans Francken theYounger, Dives and Lazarus
    Flemish, ca.1610
    Private Collection
    There is heavy emphasis on the rich man's luxury. The scene of Lazarus is pushed to the side. The ultimate fates of the two men are relegated to the deep background, Lazarus' in the deep left and the rich man's glimpsed through the window-like opening at the right, above the heads of the feasting guests. Above the rich man's head a glass globe is suspended. It is a reminder of his mortality, which he has forgotten.






    Workshop of Domenico Fetti, Dives and Lazarus
    Italian, c. 1618-1628
    Washington, DC, National Gallery of Art
    Again this picture focuses on the feasting. Lazarus is pushed to the side.







    Bartholomeus van Bassen, Lazarus at the Palace of the Rich Man
    Dutch, c. 1620-1630
    Munich, Bayerische Staatsgemaeldesammlungen, Alte Pinakothek
    In this picture the real subject is the architecture. Both Lazarus and the Rich Man are almost lost in the composition.






    Hendrik Terbrugghen, Lazarus and the Rich Man
    Dutch, 1625
    Utrecht, Centraal Museum
    Here Lazarus is the brightly lit focal point of the picture, while the rich man is lost in the muted interior.









    Nicolaus Knuepfer, Lazarus at the Rich Man's Gate
    Dutch, c. 1630-1640
    Milan, Pinacoteca di Brera
    Rather unusually both characters in the parable are given equal weight in this mid-seventeenth century picture.






    Barent Fabritius, The Parable of Lazarus and the Rich Man
    Dutch, 1661
    Amsterdam, Rijksmuseum
    This picture includes the entire parable. The beginning description of the two characters is at the center of the image while the deaths of both characters are also shown, the rich man's at the left and Lazarus' at the right. Above the image of the death of Lazarus is the confrontation between the rich man in hell and Abraham in heaven.



    One exception I have found to the tendency to push the point of the parable into the background (there may be others I haven’t seen) is an image by James Tissot from his series of New Testament illustrations, now in the Brooklyn Museum. Tissot’s image focuses on the confrontation between the tormented rich man and Abraham. However, it does so without showing us the demons and flames of earlier works. The idea of the “great chasm” between them is conveyed through their relative proportions and the use of color, rather than as a definitely fixed boundary.




    James Tissot, The Rich Man Pleads with Abraham
    French, 1884-1896
    New York, Brooklyn Museum








    How the Rich Man Got a Personal Name

    Over the course of the ages there has been one curious development in the story. The rich man, who is not named in the Gospel, acquired a name. He became known as Dives (pronounced “deeves” in English) or Epulon (in French and Spanish) or Epulone (in Italian). Where did this come from?


    In the Vulgate, the Latin text of the Bible translated by St. Jerome in the 5th century, the first sentence of the passage reads: “Homo quidam erat dives et induebatur purpura et bysso et epulabatur cotidie splendide.” The word used for “rich man” is “dives” (pronounced “dee-vez”). The words used for "feasted splendidly every day", which is "epulabatur" comes from a Latin root "epulum". This word is used for meat or food. Indeed, there was a festival in ancient Rome known as the Epulum Jovis, celebrated on the Ides of September (September 15) in honor of Jupiter, the principal male Roman deity. The feasting was led by a special order of Roman priests, the Epulones. Eventually "epulones" came to mean the equivalent of "gluttons". 1




    Master Henri, Sobriety and Gluttony with the Parable of Lazarus and the Rich Man
    From Somme le Roi by Friar Laurence
    French (Paris), c. 1295
    London, British Library
    MS Additional 54180, fol. 188v
    Here allegorical figures of Sobriety and Gluttony give us a clue to the interpretation of the Parable of Lazarus and the Rich Man as a caution against gluttony. In the middle register we see the rich man feasting while Lazarus stands at his gate and at the bottom we see the eventual fate of the glutton, whose headgear identifies him as the rich man of the parable.



    As the gulf between the language used in church (Latin) diverged from the spoken languages of Europe these word related to the “rich man” who "feasted daily" began to be understood as a personal name, equivalent to the name of the pauper “Lazarus”. The English chose to use the Latin word for "rich man" ("dives") as the personal name Dives, while speakers of the Romance languages (Italian, Spanish and French) used the word for "glutton" ("epulone") in their respective languages, hence Epulone, Epulón and Epulon.


    Lazarus too had a future in the world beyond the Bible. Because his sores were thought to have been the sores of leprosy, places that cared for lepers were often called lazare houses. And, although this application of his name is not used in the contemporary world, one application still is. At the end of the Requiem Mass (now the Mass of Christian Burial) the last statement, whether spoken or sung, is the text known as the "In Paradisum". It is spoken just before the body of the deceased is borne out of the church.


    It reads:
    "In paradisum deducant te angeli, in tuo adventu
    suscipiant te martyres,
    et perducant te
    in civitatem sanctam Jerusalem.
    Chorus angelorum te suscipiat,
    et cum Lazaro quondam paupere
    aeternam habeas requiem."



    which translates as

    "May the angels lead you into paradise,
    may the martyrs receive you
    in your coming,
    and may they guide you
    into the holy city, Jerusalem.
    May the chorus of angels receive you
    and with Lazarus once poor
    may you have eternal rest."


    It was set memorably by Gabriel Faure in his Requiem in 1893.


    ©  M. Duffy, 2012, revised and updated 2022

    1.  Natasha Sheldon, "Feasting the Gods: The Epulum Jovis"
    at https://historyandarchaeologyonline.com/feasting-the-gods-the-epulum-jovis/
    

    Excerpts from the Lectionary for Mass for Use in the Dioceses of the United States of America, second typical edition © 2001, 1998, 1997, 1986, 1970 Confraternity of Christian Doctrine, Inc., Washington, DC. Used with permission. All rights reserved. No portion of this text may be reproduced by any means without permission in writing from the copyright owner.












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