all genuine emotion. The passionate tone which, in the grand mystics, makes these too sensuous images of hunger and thirst, of blood and voluptuousness, bearable, is altogether lacking. The symbolism of spiritual love has become with him a mere, mechanical process. It is the decadence of the medieval spirit. We shall return to it shortly.
Now, whereas the celestial symbolism of Alain de la Roche seems artificial, his infernal visions are characterized by a ‘ hideous actuality. He sees the animals which represent the various sins equipped with horrible genitals, and emitting torrents of fire which obscure the earth with their smoke. He sees the prostitute of apostasy giving birth to apostates, now devouring them and vomiting them forth, now kissing them and petting them like a mother.
This is the reverse side of the suave fancies of spiritual love. Human imagination contained, as the inevitable complement of the sweetness of celestial visions, a black mass of demonological conceptions which also sought expression in language of ardent sensuality. Alain de la Roche forms the link between the placid and gentle pietism of the “devotio moderna” and the darkest 2 horror produced by the medieval spirit on the wane: the delusion of witchcraft, at that time fully developed into a fatally consistent system of theological zeal and judicial severity. A faithful friend of the regulars of Windesheim and the Brethren of the Common Life, in whose house he died at Zwolle in 1475, he was at the same time the preceptor of Jacob Sprenger, a Dominican like himself, not only one of the two authors of the Malleus maleficarum, but also the propagator in Germany of the Brotherhood of the Rosary, founded by Alain.
