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    The Dance of Death
    The Dance of Death
    The Dance of Death
    Ebook234 pages1 hour

    The Dance of Death

    By Hans Holbein

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    About this ebook

    Hans Holbein the Younger (1497–1543), remembered today for his insightful portraits, was better known in his own time for his varied and extensive graphic works, the most celebrated of which was The Dance of Death. This work, from the woodblocks of collaborator Hans Lützelburger, was first published in book form in 1538.
    The theme of the dance of death was a popular one of the sixteenth century. Holbein captured the feeling of death, the leveler, in its attack on all classes, both sexes, and all ages. A stylized skeleton seizes the child from his mother's breast. The skeleton snatches, plays, tugs, and cavorts throughout the rest of the book. The king, emperor, pope, and cardinal must cease from their functions. The skull is thrust into the face of the astrologer. The hourglass runs out onto the floor. Countess, nun, sailor, peddler, senator are all stopped by the common force. Forty-one finely cut, highly detailed woodcuts capture the single motif, Memento mori: "Remember, you will die." Although the theme is common, the variety of expressions, social groups, backgrounds, styles of dress and architecture, and calls to death are so varied that each one is unique in its power.
    This edition, reprinting the unabridged 1538 edition, is the first in a series reprinting great rare books from the Rosenwald Collection. Besides the woodcuts, the book contains a prefatory letter by Jean de Vauzéle and various quotations, depictions, and meditations on death, deaths of men, and the necessity of death. A repeated series of the 41 woodblocks follows the reprinted work and contains English translations of the quotations and verses. Art historians and social historians will find this to be one of the best depictions of class life caught at its fateful moment. The collector will find this to be the finest reproduction of one of Holbein's major works.

    LanguageEnglish
    PublisherDover Publications
    Release dateOct 9, 2013
    ISBN9780486156941
    The Dance of Death

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    • 3/5

      Sep 12, 2010

      41 very small woodcuts by Holbein. When will I learn? I expected to see full size artwork - as on the cover - throughout the book. Instead, 2x3" illos more like big postage stamps. And, of course, the text is in medieval French so you know I bought this solely for the artwork. Holbein's a master but break out your magnifying glass for this one. Bummer.
    • 5/5

      Dec 21, 2007

      Forty woodcuts by Hans Holbein with an introduction by Hans Ganz. Chilling subject matter.

    Book preview

    The Dance of Death - Hans Holbein

    Hulton

    The Dance of Death

    BY HANS HOLBEIN THE YOUNGER

    A Complete Facsimile of the Original 1538 Edition of

    Les simulachres & historiees face de la mort

    With a New Introduction by WERENER L. GUNDERSHEIMER

    DEPARTMENT OF HISTORY, UNIVERSITY OF PENNSYLVANIA

    DOVER PUBLICATIONS, INC., NEW YORK

    Copyright © 1971 by Dover Publications, Inc.

    All rights reserved under Pan American and International Copyright Conventions.

    This Dover edition, first published in 1971, is an unabridged and unaltered republication of the work originally published by Melchior and Gaspar Trechsel at Lyons in 1538 with the title Les simulachres & historiees faces de la mort. It has been reproduced from the Library of Congress (Rosenwald) copy.

    A new Introduction has been written specially for the present edition by Werner L. Gundersheimer; there is a new Publisher’s Note; and translations of the biblical quotations and French verses accompanying the wood-cuts have been reprinted from the book The Dance of Death by Hans Holbein, edited by Frederick H. Evans, privately printed in London in 1916. See the Publisher’s Note for further details.

    eISBN-13: 978-0-486-15694-1

    International Standard Book Number: 0-486-22804-5

    Library of Congress Catalog Card Number: 74-172180

    Manufactured in the United States of America

    Dover Publications, Inc.

    31 East 2nd Street, Mineola, N.Y. 11501

    To L. J. R

    PUBLISHER’S NOTE

    The present unabridged facsimile of the original 1538 edition of Hans Holbein’s Dance of Death is reproduced from the copy that Mr. Lessing J. Rosenwald has presented to the Library of Congress. Without Mr. Rosenwald’s kind cooperation, this edition would not have been possible. This volume is the first in a series of Dover reprints of great rare books from the Rosenwald Collection at the Alverthorpe Gallery, Jenkintown, Pa. This series is an important extension of the Gallery’s continuing program of art education and scholarship.

    A word is in order concerning the extensive French text included in the book by the publishers of the original 1538 edition. A breakdown of the various sections, with a very brief explanation of each, follows:

    Page 1:Original title page.

    Pages 3-8: Prefatory letter from Jean de Vauzèle, Prior of Montrosier (who speaks of himself in a pun as un vray Zele—a true zealot), to Jeanne de Tourzelle, Abbess of the Convent of St. Peter at Lyons (whose name appears here in the form Touszele—all zeal). The main theme is the religious necessity for contemplating death, and the importance of artistic renderings of the subject.

    Pages 9-15: Various Depictions of Death, Not Painted but Taken from Holy Scripture, Colored by Doctors of the Church and Shaded by Philosophers. This section is a homily on life after death and the proper care of the soul while still here on earth.

    Pages 16-56: The Holbein woodcuts, with Latin quotations from the Bible above them, and contemporary French quatrains below.

    Pages 57-72: Figures of Death Morally Described and Painted According to the Authority of Scripture and the Church Fathers. This section has eight chapters, each depicting death verbally in an emblematic metaphor: (1) as a stumbling block, (2) as a horned beast, (3) as a sergeant at arms (officer serving a court of law), (4) as a harvester, (5) as a bolt of lightning, (6) as a strait gate, (7) as a passage on a difficult road, and (8) as a dark house, cave or pit.

    Pages 73-85: Various Deaths of Good and Bad Men from the Old and New Testaments. This section also lists biblical references to death in general, and to the burial places of the just.

    Pages 85-93: Memorable Authorities and Sayings of the Pagan Philosophers and Orators Persuading Living Men Not to Fear Death.

    Pages 94-104: On the Necessity of Death, Which Allows Nothing to Endure. This section includes a homily on the indispensability of deathbed confession and communion.

    As a supplement, the present edition includes English translations of the biblical quotations and French quatrains that appear on the pages with the woodcuts. At the end of this volume, the woodcuts are printed again, along with these translations, for easy reference. (The translations used here originally appeared in The Dance of Death by Hans Holbein, edited by Frederick H. Evans, privately printed in London in 1916. The translations of the French quatrains are mostly those which had already appeared in the Bernard Quaritch edition of The Dance of Death in 1868, but some of them were made by Arthur K. Sabin for the 1916 book, and the last two were done specially for the present edition.)

    Contents

    INTRODUCTION

    Les simulachres & Historiees Faces

    A Movlt Reverende

    Diuerses Tables de Mort, Non Painctes

    Figvres De La Mort

    Les diuerses Mors Des Bons, Et Des

    Memorables Avtho

    De La Necessite

    INTRODUCTION

    TO THE DOVER EDITION

    Hans Holbein the Younger was born in Augsburg sometime during the winter of 1497–8. He died in London in 1543. During his short life, spent mostly in Basel and London, he came to be recognized as one of the greatest and most productive artists of Northern Europe. Today he is perhaps best known for his portrait paintings and drawings of humanists, reformers and courtiers, both on the continent and in England.¹ As court painter to Henry VIII, he is almost singlehandedly responsible for our sense of the physical characteristics of the important men of Henrician England, and for many of our intuitions about their personalities. But in his own time, Holbein’s reputation depended less on his elegant and insightful portraits than on his graphic works.² Although he was born too late to be one of the first artists to exploit the possibilities of the illustrated printed book, he certainly understood and made full use of them. Of his varied and extensive graphic work—including numerous frontispieces, alphabets, decorative initials, biblical illustrations, etchings and woodcuts on diverse subjects—the most celebrated examples of all are the woodcuts illustrating the traditional Dance of Death theme.

    Indeed, Holbein’s treatment of this subject matter has always been considered its most intellectually interesting and aesthetically distinguished example, as well as an authentic masterpiece within his own work. His forty-one Dance of Death woodcuts first appeared in book form at Lyons in 1538; it is this first edition which is reproduced here. Shortly after the artist’s death, five years later, it became a popular and successful book. The Lyons firms of Trechsel and Frellon together published eleven editions before 1562, and in the course of the sixteenth century there may have been as many as a hundred unauthorized editions and imitations elsewhere.³ It is evident, then, that in these woodcuts Holbein had designed a work of enduring significance and appeal, an achievement that (like his portraits) spoke not only to his own time but also to subsequent generations, and that (unlike his portraits) was very broadly diffused. The reasons for this success are to be found both in the theme itself, and in the artist’s way of dealing with it.

    The Dance of Death motif (French: danse macabre; German: Totentanz) originated no later than the early fifteenth century, and seems to have appeared first in France, before spreading to Germany, Italy, the Swiss cantons and even Spain. In its original form it was an elongated mural painting, either in a church or on the walls of a churchyard or burial ground.⁴ It depicted a series of figures, both living and dead, in procession. The living figures are generally presented in the order of their social precedence on earth, and there is usually an alternating series of living forms and cadavers or skeletons.⁵ It has been suggested that the subject is really a dance of the dead, rather than a dance of death, which seems to be a valid distinction.

    By the same token, Holbein’s woodcuts, though heavily indebted to

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