Posted by EconomyLand | Posted in dance of death , dark , dead myths | Posted on 06:55:00
The creative type of the dance of death was most likely created in France. The dance of death of the Cimetière des Innocents in Paris, painted in 1424, is viewed as the beginning stage of this convention. (That work having been obliterated, we know it just through a generation in a book distributed into 1485 by the manager Guyot Marchant.) Afterwards were made among others the frescoes of London (around 1430), of Basel (an initial one around 1440 and a moment around 1480), of La Chaise-Dieu (around 1460-70), of Lübeck(1463). Amid the second 50% of the fifteenth century, the dance of death delighted in a continually developing notoriety. You can now appreciate a few moves of death on this site. Some are painted in the open air, similar to the one in France, Germany, Italy or from different nations. Others originate from compositions or books, some are works by renowned craftsmen like Hans Holbein the Younger, Daniel Nikolaus Chodowiecki or Johann Elias Ridinger and some other are the works of obscure specialists.
The dances od death were for the most part painted (or all the more infrequently cut) on the outside dividers of groups, of family vaults, of ossuaries or inside some places of worship. These frescoes speak to a skinny carcass or a skeleton combined with an agent of a specific social class. The quantity of characters and the creation of the move fluctuate. The dance of death regularly appears as a farandole. Beneath or over the photo are painted verses by which passing adresses its casualty. He frequently talks in an undermining and blaming tone, here and there likewise skeptic and mocking. At that point comes the contention of the Man, brimming with regret and gloom, sobbing for benevolence. However, demise leads everybody into the move: from the entire administrative chain of importance (pope, cardinals, religious administrators, abbots, standards, ministers), to each and every illustrative of the laic world (heads, rulers, dukes, tallies, knights, specialists, traders, usurers, looters, workers, and even guiltless youngsters). Demise does not enjoy the social position, nor for the extravagance, sex, or age of the general population it leads into its move. It is frequently spoken to with a melodic instrument. This trademark has a typical hugeness and shows up as of now toward the start of the move of death. The instrument inspires the enticing, somewhat insidious charming force of music. Think about the sirens' tune, of the flute player of Hameln, and so on. Like them, passing charms humanity with its music.
The dance of death of the Jesuits' school in Lucerne
The dance of death of the Jesuits' school in Lucerne
Prior to the principal move of death was made, there was a scholarly type called Vado Mori (I set myself up to bite the dust): ballad written in Latin, of French source, which backpedaled to the thirteenth century. In these compositions, agents of different social classes whine, for the most part in two verses, about the way that they will soon need to kick the bucket. In the most seasoned writings of that kind, there was an introduction underlining the assurance of death and, taking after this preamble, the last verses of eleven passing on men (the lord, the pope, the diocesan, the knight, the physicist, the scholar, the young fellow, the old man, the rich, poor people and the crazy). In the latest forms, the preface was canceled and the quantity of characters expanded altogether. The Vado Mori and the move of death in this manner share a few qualities: the mourn of a withering man, characters speaking to their social class, and a reasonable detachment between the laic individuals and the assistants. In any case, passing does not show up in the Vado Mori and no one answers the regrets of the diminishing ones. Subsequently, the Vado Mori can't be considered as an immediate precursor of the move of death, nor the medieval superstitions, and nor either the puzzles, medieval theater plays with religious topic. The birthplace of the move of death is still obscure, in spite of the fact that there are numerous speculations about it. A thing is certain: the expression "danse grim" was known and utilized before 1424 (i.e.even before the making of the move of death in Paris). In his lyric entitled Respit de la Mort, Jean Lefevre composes:
Je fis de Macabre la danse,
Qui tout gent maine à sa follow
E a la fosse les adresse.
It is not outlandishness to imagine that this artist had recently gotten away passing when he composed that. He could have been recuperating from a genuine sickness.
In the Middle-Ages, the move of death was however as a notice for capable men, a solace to poor people, and at last a welcome to lead a dependable and christian life. In any case, its essential thought is considerably more less difficult, more ageless: to review the shortness of life. It makes men recollect that they all beyond words, special case. It is likewise not bewildering that consistently since the Middle-Ages has had its own particular moves of death.
Chronological list of the dances of death
France
c. 1424:
Cemetery of the Innocents, Paris.
1440 - 1460:
Church of Kernascleden.
c. 1470:
Abbey of La Chaise-Dieu.
c. 1490:
Church of Meslay-le-Grenet.
1490 - 1500:
Kermaria Parish Church.
1500 - 1510:
Church of La Ferté-Loupière.
c. 1517:
Church of Kietzheim.
1550-1560:
Trinity Basilica, Cherbourg.
Germany
1463:
St. Mary's Church, Lübeck.
c. 1485:
St. Mary's Church Berlin.
1606:
St. Ann`s Chapel, Füssen.
1667-1675:
Chapel of the Protecting Angel's churchyard, Haselbach,
1700:
Chapel of Jurgen, Wolgast.
1670-1710:
Chapel of Wondreb.
1723:
Chapel of Bleibach.
1753:
Chapel of Schambach.
1763:
Chapel of Straubing.
1760-1780:
St. Michael's church, Freiburg.
Italy
1480-1500:
Church of San Lazzaro, Côme.
c. 1485:
Church of the Disciplini, Clusone.
1490:
Church Santa Maria in Silvis, Pisogne
1519:
Chapel of San Stephano, Carisolo.
1539:
Church St-Vigile, Pinzolo.
Various countries
Austria
1546:
Chapel of St-Michel churchyard, Metnitz.
c. 1725:
Chapel of Breitenwang.
1770:
St. Peter's cemetery, Salzbourg.
1840:
Chapel of Elbigenalp.
1841:
Chapel of Elmen.
1846:
Church of Scattwald.
Croatia
1474:
St. Mary's Church, Beram.
Denmark
1480 - 1490:
Church of Nørre Alslev.
Great Britain
c. 1430:
St-Paul's churchyard, London, England.
c. 1450:
Rosslyn Chapel, Roslin, Scotland.
1510 - 1530:
St. Mary Magdalene's Church, Newark, England.
Estonia
1475 - 1500:
St. Nicolas of Reval Church, Tallinn.
Finland
1510-1520:
Church of Inkoo.
Slovenia
1490:
Trinity Church, Hrastovlje.
Sweden
????:
St-Peter's Church, Malmö.
????:
Church of Ronneby.
Switzerland
c. 1440:
Dominicans' churchyard, Basel.
1460 - 1480:
Augustinian Convent of Klingenthal, Basel.
1515 - 1520:
Dominican churchyard, Berne.
1615:
Jesuit`s college, Lucern.
1626-1632:
"The bridge du Moulin, Lucern.
1710:
Chapel St. Croix of Segendorf, Emmetten.
Manuscripts
1465:
Manuscript CPG438, Heidelberg, Germany
1470:
Manuscript of Kassel, Germany
c. 1486:
Manuscript of Henri Knoblochtzer, Heidelberg, Germany.
1520:
Manuscript of Zimmern, Donaueschingen, Germany.
1538:
Les simulacres of la Mort by Hans Holbein, Germany.
c. 1750:
The dance of Death by Johann Elias Ridinger, Germany.
1791:
The dance of Death by Daniel Nikolaus Chodowiecki, Germany.
1848-1849:
The dance of Death of Hans Bendel, Germany.
1866:
The works of Death, a dance of Death byFerdinand Barth, Germany.
The dances od death were for the most part painted (or all the more infrequently cut) on the outside dividers of groups, of family vaults, of ossuaries or inside some places of worship. These frescoes speak to a skinny carcass or a skeleton combined with an agent of a specific social class. The quantity of characters and the creation of the move fluctuate. The dance of death regularly appears as a farandole. Beneath or over the photo are painted verses by which passing adresses its casualty. He frequently talks in an undermining and blaming tone, here and there likewise skeptic and mocking. At that point comes the contention of the Man, brimming with regret and gloom, sobbing for benevolence. However, demise leads everybody into the move: from the entire administrative chain of importance (pope, cardinals, religious administrators, abbots, standards, ministers), to each and every illustrative of the laic world (heads, rulers, dukes, tallies, knights, specialists, traders, usurers, looters, workers, and even guiltless youngsters). Demise does not enjoy the social position, nor for the extravagance, sex, or age of the general population it leads into its move. It is frequently spoken to with a melodic instrument. This trademark has a typical hugeness and shows up as of now toward the start of the move of death. The instrument inspires the enticing, somewhat insidious charming force of music. Think about the sirens' tune, of the flute player of Hameln, and so on. Like them, passing charms humanity with its music.
The dance of death of the Jesuits' school in Lucerne
The dance of death of the Jesuits' school in Lucerne
Prior to the principal move of death was made, there was a scholarly type called Vado Mori (I set myself up to bite the dust): ballad written in Latin, of French source, which backpedaled to the thirteenth century. In these compositions, agents of different social classes whine, for the most part in two verses, about the way that they will soon need to kick the bucket. In the most seasoned writings of that kind, there was an introduction underlining the assurance of death and, taking after this preamble, the last verses of eleven passing on men (the lord, the pope, the diocesan, the knight, the physicist, the scholar, the young fellow, the old man, the rich, poor people and the crazy). In the latest forms, the preface was canceled and the quantity of characters expanded altogether. The Vado Mori and the move of death in this manner share a few qualities: the mourn of a withering man, characters speaking to their social class, and a reasonable detachment between the laic individuals and the assistants. In any case, passing does not show up in the Vado Mori and no one answers the regrets of the diminishing ones. Subsequently, the Vado Mori can't be considered as an immediate precursor of the move of death, nor the medieval superstitions, and nor either the puzzles, medieval theater plays with religious topic. The birthplace of the move of death is still obscure, in spite of the fact that there are numerous speculations about it. A thing is certain: the expression "danse grim" was known and utilized before 1424 (i.e.even before the making of the move of death in Paris). In his lyric entitled Respit de la Mort, Jean Lefevre composes:
Je fis de Macabre la danse,
Qui tout gent maine à sa follow
E a la fosse les adresse.
It is not outlandishness to imagine that this artist had recently gotten away passing when he composed that. He could have been recuperating from a genuine sickness.
In the Middle-Ages, the move of death was however as a notice for capable men, a solace to poor people, and at last a welcome to lead a dependable and christian life. In any case, its essential thought is considerably more less difficult, more ageless: to review the shortness of life. It makes men recollect that they all beyond words, special case. It is likewise not bewildering that consistently since the Middle-Ages has had its own particular moves of death.
Chronological list of the dances of death
France
c. 1424:
Cemetery of the Innocents, Paris.
1440 - 1460:
Church of Kernascleden.
c. 1470:
Abbey of La Chaise-Dieu.
c. 1490:
Church of Meslay-le-Grenet.
1490 - 1500:
Kermaria Parish Church.
1500 - 1510:
Church of La Ferté-Loupière.
c. 1517:
Church of Kietzheim.
1550-1560:
Trinity Basilica, Cherbourg.
Germany
1463:
St. Mary's Church, Lübeck.
c. 1485:
St. Mary's Church Berlin.
1606:
St. Ann`s Chapel, Füssen.
1667-1675:
Chapel of the Protecting Angel's churchyard, Haselbach,
1700:
Chapel of Jurgen, Wolgast.
1670-1710:
Chapel of Wondreb.
1723:
Chapel of Bleibach.
1753:
Chapel of Schambach.
1763:
Chapel of Straubing.
1760-1780:
St. Michael's church, Freiburg.
Italy
1480-1500:
Church of San Lazzaro, Côme.
c. 1485:
Church of the Disciplini, Clusone.
1490:
Church Santa Maria in Silvis, Pisogne
1519:
Chapel of San Stephano, Carisolo.
1539:
Church St-Vigile, Pinzolo.
Various countries
Austria
1546:
Chapel of St-Michel churchyard, Metnitz.
c. 1725:
Chapel of Breitenwang.
1770:
St. Peter's cemetery, Salzbourg.
1840:
Chapel of Elbigenalp.
1841:
Chapel of Elmen.
1846:
Church of Scattwald.
Croatia
1474:
St. Mary's Church, Beram.
Denmark
1480 - 1490:
Church of Nørre Alslev.
Great Britain
c. 1430:
St-Paul's churchyard, London, England.
c. 1450:
Rosslyn Chapel, Roslin, Scotland.
1510 - 1530:
St. Mary Magdalene's Church, Newark, England.
Estonia
1475 - 1500:
St. Nicolas of Reval Church, Tallinn.
Finland
1510-1520:
Church of Inkoo.
Slovenia
1490:
Trinity Church, Hrastovlje.
Sweden
????:
St-Peter's Church, Malmö.
????:
Church of Ronneby.
Switzerland
c. 1440:
Dominicans' churchyard, Basel.
1460 - 1480:
Augustinian Convent of Klingenthal, Basel.
1515 - 1520:
Dominican churchyard, Berne.
1615:
Jesuit`s college, Lucern.
1626-1632:
"The bridge du Moulin, Lucern.
1710:
Chapel St. Croix of Segendorf, Emmetten.
Manuscripts
1465:
Manuscript CPG438, Heidelberg, Germany
1470:
Manuscript of Kassel, Germany
c. 1486:
Manuscript of Henri Knoblochtzer, Heidelberg, Germany.
1520:
Manuscript of Zimmern, Donaueschingen, Germany.
1538:
Les simulacres of la Mort by Hans Holbein, Germany.
c. 1750:
The dance of Death by Johann Elias Ridinger, Germany.
1791:
The dance of Death by Daniel Nikolaus Chodowiecki, Germany.
1848-1849:
The dance of Death of Hans Bendel, Germany.
1866:
The works of Death, a dance of Death byFerdinand Barth, Germany.
The dance of Death, Kermaria church
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