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officials and students hotly debated the importance of sin in relation to one's death. For the traditionalists, one's personal sin determined their coming death, thus explaining that when striving to achieve the good death, one must be right with God. This concept is founded back to old Church law Canon 22 of
Lateran IV (1215). Canon 22 states, "so that after spiritual health (through practices of the good death) has been restored to them (the dying person), the application of bodily medicine may be of greater benefit, for the cause being removed the effect will pass away." For those who embraced the scholasticism approach, one's personal sin mattered little. Rather, because of Adam and Eve's original sin, we were all destined to die thus, naturalizing death and somewhat shattered the established narrative that the good death tradition promoted. One scholar who embraced scholasticism writes of death, "On the causes of disease, that is, why people become ill, I reply, there are three reasons: the first is spiritual, that is, sin The reason for all this is that the first man was created by God, was placed in terrestrial paradise in a state of innocence so that he took care of the active and passive qualities of the elements that were in the human body lest they act against each other But because Adam was disobedient to God God permitted the elemental qualities to act against each other and consequently the body becomes ill and dies." Though this division in thought would challenge the previously established
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The notion of a will in the good death tradition resembles a physical and metaphysical legal confirmation of the rightful passing of one's physical and spiritual belongings. Though the word is used more often as a synonym for power in this source, its inclusion must not be overlooked as certain phrases hint towards a quasi-contractual relationship between the dying human and the divine. For instance, the phrase "but he should take his (the dying person) death gladly and willingly… conforming and submitting his belief to God's will alone." In this instance, the mention of wills between the dying person and God resembles both a power relationship and also a contractual relationship that imagines the dying person surrendering his spirit in a legal fashion to God in effort to help quell the worries of their soul and thus, "die well… gladly and willingly." In this fashion, the dying person is essentially signing their soul and spirit over to God, thus partaking in this quasi-legal practice and understanding of death.
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as you might have done?" and "Do you repent of that?" These questions ring of legal terminology that again help sign the soul over to God in effort to accomplish the soul's peace before death. If the person is asked and does answer these questions truthfully, then "he shall truly be saved." Though, if none were asked upon their death, then "without no doubt no man may be saved everlastingly." Thus, the questioning and response of the dying person is so vital to the accomplishment of the good death that it takes on the importance of a legal matter. Therefore, in a similar vein as the explained double meaning use of the word, "will" in the earlier phrases, it seems again that
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remained the dominant understanding of death throughout the 14th and 15th centuries in western Europe, class distinctions continued to add variety to this conclusion. Laymen and commoners in western Europe heavily understood death through the good death concept and tradition, but at the clerical and
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instruction that one should find peace with God before dying resembles a concept of settling one's soul within the good death tradition as the discourse the author uses is very legal-sounding. Especially striking is the use of the word, "will," when describing one's relationship with God upon dying.
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during the 15th century, Londoners and western Europe at large gravitated towards a quasi-legal relationship with death and God that ensured the rightful passing of not only one's physical belonging but, also one's spiritual soul. This gravitation can be explained when looking at certain chapters of
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Allegorically the images depicted the contest between angels and demons over the fate of the dying man. In his dying agony his soul emerges from his mouth to be received by one of a band of angels. The soul was often depicted as a miniature person who would either be escorted to heaven by the angels
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instruction to question the dying person is striking material that resembles a quasi-legal practice and understanding of death. Continuing in the same source, a few chapters later, the author instructs the audience to ask certain questions such as, "Do you acknowledge that you have not done as well
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and the good death tradition. At the clerical level, the emerging rise of scholasticism inspired a review of past
Christian theology and traditions touching all parts of Christian life - death, was one of these battlegrounds between scholasticism and traditional Christian thought. Here, clerical
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The "short version" was as popular as the "long version", but there was no
English translation, perhaps because educated English people at the time were expected to understand several European languages. There are six extant manuscripts of the short version, most not illustrated, and over twenty
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99:. The earliest versions were most likely composed in southern Germany. It was very popular, translated into most West European languages, and was the first in a western literary tradition of guides to death and dying. About 50,000 copies were printed in the
171:(1414–1418, Germany). This was widely read and translated into most West European languages, and was very popular in England, where a tradition of consolatory death literature survived until the 17th century. Works in the English tradition include
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presenting one of the 5 temptations, and the second picture showing the proper remedy for that temptation. The last woodcut shows the dying man, presumably having successfully navigated the maze of temptations, being accepted into
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in the 1960s confirmed that none of them predated the 1460s, so Master E. S.' engravings are the earliest printed versions, dating from around 1450. The images remain largely the same in all media for the rest of the century.
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and the good death concept heavily influenced common
Londoners' perceptions and understandings of death. Inspired to achieve and strive for perfection in their everyday life, 15th century common Londoners flocked to the
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pictures as instructive images which could be easily explained and memorized. These woodcut images were circulated in both print and individual engravings. They could then easily be pinned to a wall for viewing.
275:. It is mostly an adaptation of the second chapter of the "long version", and contains eleven woodcut pictures. The first ten woodcuts are divided into 5 pairs, with each set showing a picture of
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or sent to the fires of hell or years in
Purgatory. Common themes portrayed by illustrators include skeletons, the Last Judgement, corpses, and the forces of good and evil battling over souls.
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to know how one could achieve a good death. In doing so, the
Londoners seemed to latch on to a specific characteristic that stuck heavily out from the previously mentioned
378:, published in 1650 and 1651, exemplify that tradition. It developed in both Protestant and Catholic veins and continued in various forms through the nineteenth century.
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and was widely circulated in nearly 100 editions before 1500, in particular in
Germany. The long version survives in about 300 manuscript versions, only one illustrated.
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141:. Gerson may have been influenced by earlier references in 'compendia of faith' dating back to the thirteenth century, but the content was uniquely his own.
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of an earlier illuminated manuscript, of well before 1450, from whose tradition all the images in the printed versions clearly derive. Studies of the
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Throughout the six chapters, there is a common theme that resembles a quasi-legal sentiment shining through in good death tradition. Inspired by the
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The third chapter lists the seven questions to ask a dying man, along with consolation available to him through the redemptive powers of
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The first chapter explains that dying has a good side, and serves to console the dying man that death is not something to be afraid of.
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as well, are reaffirming and popularizing the legal-like attributes that then construct the good death tradition.
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1280:"The Ars Moriendi": An examination, translation, and collation of the manuscripts of the shorter Latin version
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1216:"Medieval Sourcebook: Twelfth Ecumenical Council: Lateran IV 1215," Fordham, last modified January 20, 2021,
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The fifth chapter addresses the friends and family, outlining the general rules of behavior at the deathbed.
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Caxton, William, c. 1422-1491; Seuse, Heinrich, 1295-1366; Comper, Frances M. M; Congreve, George, 1836-,
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The second chapter outlines the five temptations that beset a dying man, and how to avoid them. These are
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Forcen, F. E., & Espi Forcen, C. (2016). "Ars
Moriendi: Coping with death in the Late Middle Ages".
330:. The lengthy controversy over their respective dating and priority is now resolved by the discovery by
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1444:. Germany, c. 1475? 14 leaves (the first blank, wanting). woodcuts: 11 illus. 13.9 cm. From the
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texts dating from about 1415 and 1450 which offer advice on the protocols and procedures of a good
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editions, in a variety of languages, from
Catalan to Dutch, the earliest from about 1474 from
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texts developed into a broader tradition of writing on the good death. Jeremy Taylor's books
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91:. It was written within the historical context of the effects of the macabre horrors of the
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Dying in the Twenty-First
Century: Toward a New Ethical Framework for the Art of Dying Well
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easily spread the concept of the good death throughout England. More specifically, the
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The Craft of Dying: A Study of the Literary Traditions of the Ars Moriendi in England
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before 1501 and further editions were printed after 1501. Its popularity reduced as
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There was originally a "long version" and a later "short version" containing eleven
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in Joseph Ziegler, "Fourteenth-Century Instructions for Bedside Pastoral Care," in
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Reforming the Art of Dying: The Ars Moriendi in the German Reformation (1519-1528)
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Joseph Ziegler, "Fourteenth-Century Instructions for Bedside Pastoral Care," in
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Joseph Ziegler, "Fourteenth-Century Instructions for Bedside Pastoral Care," in
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noble level of society, there were distinctions that did not totally agree with
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The book of the craft of dying, and other early English tracts concerning death
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Paul, Kathryn (2015). "The Ars Moriendi: A Practical Approach To Dying Well".
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Catholic England : faith, religion and observance before the Reformation
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Catholic England : faith, religion and observance before the Reformation
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Catholic England : faith, religion and observance before the Reformation
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in Ziegler, "Fourteenth-Century Instructions for Bedside Pastoral Care," in
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of the spirit is one of the five temptations of the dying man, according to
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was popular among laymen. Beginning when clerical scholars formulated the
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extant blockbook illustrated editions, using 13 different sets of blocks.
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Early English translation on Wikisource: The book of the craft of dying
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ed. Mary Rubin (Princeton: Princeton University Press, 2009), 103-104.
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ed. Mary Rubin (Princeton: Princeton University Press, 2009), 104-107.
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ed. Mary Rubin (Princeton: Princeton University Press, 2009), 104-107.
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Memento Mori, a companion to the most beautiful floor in the world
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became the "artistic climax" of the tradition that had begun with
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1414:. Germany, c. 1466 24 leaves. 11 illus. 28.7 cm. From the
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indicate that this concept continued to thrive under pressure.
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The fourth chapter expresses the need to imitate Christ's life.
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of a photographic reprint the first printed edition (in Latin)
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Lyons, M. (2011). Books: A Living History. Getty Publications.
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1266:. Ed. John Shinners, London: Broadview Press, 1997: 525-535.
990:. Ithaca, New York: Cornell University Press. pp. 33–35.
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The authors of the two texts are unknown, but assumed to be
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1429:. Germany, c. 1470? 14 leaves. illus. 35 cm. From the
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and good death tradition, the popularity of such works as
1108:. Manchester: Manchester University Press. p. 136.
1059:. Manchester: Manchester University Press. p. 134.
1010:. Manchester: Manchester University Press. p. 20.
902:. Philadelphia: University of Philadelphia. p. 8.
834:, Metropolitan Museum of Art/Princeton, numbers 23-25.
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and works that pushed the good death concept such as
1218:https://sourcebooks.fordham.edu/basis/lateran4.asp
653:. Los Angeles: J. Paul Getty Museum. p. 91.
346:There is the exceptional number of about seventy
44:to earthly pride) under the disapproving gaze of
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1365:, with an introduction by E. Michael Gerli of
1264:Medieval Popular Religion, 1000–1500, a Reader
1151:Barker)., Price, B. B. (1951-) (Betsy (1991).
417:chapters that then again composed the popular
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1283:, Thesis (M.A.), University of Ottawa, 1995,
1394:appearing in the publication of Dane Munro,
1350:L'art de Bien Vivre et de Bien Mourir, etcet
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338:of the blockbooks by Allen Stevenson at the
199:was also among the first books printed with
83:, explaining how to "die well" according to
1905:Self-Portrait with Death Playing the Fiddle
1341:presented in framed pairs. German language.
867:. 138.253.81.72. 2005-10-27. Archived from
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1102:Norman), Swanson, R. N. (Robert (1993).
1053:Norman), Swanson, R. N. (Robert (1993).
1004:Norman), Swanson, R. N. (Robert (1993).
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1981:Because I could not stop for Death
1157:. B. Blackwell. pp. 199–144.
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1947:The Three Ages of Man and Death
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951:Appleford, Amy (2015-12-31).
913:Appleford, Amy (2015-12-31).
792:Dictionary of the Middle Ages
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619:Speculum Humanae Salvationis
16:Two 15th century Latin texts
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1758:The Masque of the Red Death
703:. Ashgate Publishing, Ltd.
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305:Temptation of lack of Faith
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375:Holy Living and Holy Dying
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790:(1982). "Ars Moriendi".
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898:Appleford, Amy (2015).
865:"ISTC, British Library"
756:(2). ATLASerials: 213.
697:Reinis, Austra (2007).
678:Books: A Living History
651:Books: A Living History
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1274:, English translation.
850:Alan Shestack (1967).
830:A Hyatt Mayor (1971),
649:Lyons, Martyn (2011).
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177:The Sick Mannes Salve
173:The Way of Dying Well
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1954:The Triumph of Death
1856:Death and the Maiden
1528:Death and the Maiden
1488:and mortality in art
957:. pp. 140–141.
919:. pp. 140–141.
810:Nancy Beaty (1970).
322:, there is a set by
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135:Opusculum Tripartitu
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1940:The Shadow of Death
1933:The Garden of Death
1877:La Calavera Catrina
1863:Death and the Miser
1450:Library of Congress
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1753:Hamlet's soliloquy
1676:Catacombs of Paris
1501:All flesh is grass
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1322:. 14(5), 553–560.
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1017:978-0-7190-9077-6
832:Prints and People
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1664:Architecture
1603:Funerary art
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1545:Memento mori
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1441:Ars moriendi
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1411:Ars moriendi
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1392:ars moriendi
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873:. Retrieved
869:the original
859:
852:Master E. S.
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732:. Retrieved
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489:Ars Moriendi
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451:
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432:Ars Moriendi
428:
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395:Ars Moriendi
389:Ars Moriendi
385:
373:
369:Ars moriendi
365:
356:
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324:Master E. S.
314:
309:Master E. S.
304:
290:
266:
208:Ars moriendi
205:
201:movable type
196:Ars Moriendi
193:
188:Ars moriendi
180:
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148:
145:Long version
138:
134:
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111:
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71:Ars moriendi
68:
66:
32:Ars moriendi
29:
18:
2061:1450s books
2056:1410s books
1898:Roman Widow
1736:Book of Job
541:, Swanson,
531:, Swanson,
521:, Swanson,
514:, 103-104.
475:Though the
348:incunabulum
273:Netherlands
269:block books
179:. In 1650,
93:Black Death
61: 1460
54:Netherlands
2051:Incunabula
2015:Categories
1748:Left Ginza
1715:Literature
1593:Death mask
1514:Consolatio
1507:Carpe diem
1257:References
875:2013-01-14
788:N.F. Blake
734:2020-02-25
598:Consolatio
593:(Egyptian)
463:and thus,
454:The Book's
446:The Book's
336:watermarks
332:Fritz Saxl
228:impatience
151:Tactatus (
102:incunabula
1805:Totentanz
1363:Castilian
1181:cite book
1173:489992487
1132:cite book
1124:896363655
1083:cite book
1075:896363655
1034:cite book
1026:896363655
770:1353-1425
569:Swanson,
559:Swanson,
553:, 33-35.
328:engraving
317:blockbook
311:, c. 1450
277:the devil
165:Dominican
127:Dominican
85:Christian
1988:Erlkönig
1829:Guercino
1816:Painting
1798:Erlkönig
1618:Memorial
1566:Ubi sunt
1384:Archived
577:See also
549:Binski,
465:The Book
425:Legality
320:woodcuts
245:'s love.
156:Speculum
36:. Here,
1834:Poussin
1657:Artwork
1643:Tragedy
1633:Requiem
1577:Vanitas
1539:Macabre
1448:at the
1433:at the
1418:at the
625:Vanitas
573:, 127.
563:, 127.
352:Cologne
256:prayers
236:avarice
224:despair
119:woodcut
108:Erasmus
1965:Poetry
1884:Plague
1648:Wreath
1613:Lament
1494:Themes
1402:
1287:
1270:
1171:
1161:
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1112:
1073:
1063:
1024:
1014:
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931:
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452:Also,
382:London
296:Images
282:heaven
243:Christ
104:period
50:Christ
38:demons
1768:Music
1623:Mummy
1598:Elegy
1586:Forms
1486:Death
631:Notes
545:136.
535:136.
525:134.
81:death
77:Latin
26:Pride
1696:Film
1638:Tomb
1400:ISBN
1285:ISBN
1268:ISBN
1191:link
1187:link
1169:OCLC
1159:ISBN
1138:link
1120:OCLC
1110:ISBN
1089:link
1071:OCLC
1061:ISBN
1040:link
1022:OCLC
1012:ISBN
967:ISBN
929:ISBN
836:ISBN
816:ISBN
796:ISBN
766:ISSN
705:ISBN
682:ISBN
655:ISBN
409:Book
404:Book
286:hell
234:and
175:and
67:The
46:Mary
1361:in
959:doi
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758:doi
326:in
153:or
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238:.
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
