Exposer le cadavre de l'ennemi
Danses Macabres d'Europe. Bulletin no. 44, January 2012, p. 20
Report of the recent sale of four skulls, apparently displayed in Prague 1621-1848. Report of the recent sale of four skulls, apparently displayed in Prague 1621-1848.
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Seen by:Of dead dukes, kings and constables: the historical context of the Danse Macabre in late medieval Paris
Published in the Journal of the British Archaeological Association (JBAA), 161 (2008), 131-162
The starting point in most studies on the medieval Danse Macabre is the mural that was created in the cemetery of Les... more
The starting point in most studies on the medieval Danse Macabre is the mural that was created in the cemetery of Les Saints Innocents in Paris in 1424-25. Yet scholars have previously paid little attention to the historical circumstances surrounding the creation of this scheme during the Anglo-Burgundian occupation of the French capital.
Especially the dual presentation of the king as both a victim of Death amidst the ranks of the living and as a worm-eaten corpse at the end of the scheme is intriguing in view of the deaths in quick succession of Henry V of England and Charles VI of France in 1422. Contemporaries in Paris and London (where John Lydgate's Middle English adaptation of the French poem was incorporated into another painted scheme at Old St Paul's Cathedral around 1430) could not help but be reminded of the fact that both their countries were without a crowned king at this time.
It is these topical references that help explain the quick rise to fame of what at first sight might seem just another medieval didactic lesson about mortality and sin. A case is presented for the deployment of 'cryptoportraits' in the imagery and a novel suggestion made as to the previously unidentified patron behind the Paris mural.
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Seen by: and 13 more'Alas, poor Yorick.' Death, the fool, the mirror and the danse macabre
Published in S. Knöll (ed.), Narren - Masken - Karneval. Meisterwerke von Dürer bis Kubin aus der Düsseldorfer Graphiksammlung "Mensch und Tod" (Regensburg, 2009), 20-32
Shakespeare's fools have a long history: while some (like Hamlet) use madness as a cloak to hide their designs, other... more
Shakespeare's fools have a long history: while some (like Hamlet) use madness as a cloak to hide their designs, other 'true fools' could speak often brutal truths with impunity. The fool may be foolish or possess natural wisdom and truth.
Death in the Danse Macabre has much in common with the fool. He can caper about like a madman and yet hold out a mirror to everyone as he confronts them with their true nature, without showing any respect for wealth or status. Death is sometimes presented as the fool's alter ego: Hans Holbein the Younger juxtaposed the two in one of his 'Images of Death' woodcut designs.
The fool was not included in the mural that was created in Paris in 1424-25, but he was to become a regular character, perhaps through the influence of the German carnival tradition and such works as Sebastian Brant's Narrenschiff (Ship of Fools) of 1494. Perhaps Shakespeare's melancholic Jaques had in mind both this satire and the Danse Macabre in his final farewell to the fool Touchstone and assembled company in As You Like It:
And you to wrangling; for thy loving voyage
is but for two months victualled. So to your pleasures;
I am for other than for dancing measures.
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