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+The Project Gutenberg EBook of Der Totentanz, by Hans Holbien
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Der Totentanz
+
+Author: Hans Holbien
+
+Editor: Hans Ganz
+
+Illustrator: Hans Holbein
+
+Release Date: December 9, 2007 [EBook #23775]
+
+Language: German
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK DER TOTENTANZ ***
+
+
+
+
+Produced by Alexander Bauer, Jana Srna, Markus Brenner and
+the Online Distributed Proofreading Team at
+http://www.pgdp.net (This file was produced from images
+generously made available by The Internet Archive/American
+Libraries.)
+
+
+
+
+
+
+                             DER TOTENTANZ
+
+               Vierzig Holzschnitte von Hans Holbein dem
+             Jüngeren. Faksimile-Nachbildungen der ersten
+                   Ausgabe mit einer Einleitung von
+                               Hans Ganz
+
+
+
+                        Holbein-Verlag, München
+
+
+
+               Druck von Oscar Brandstetter in Leipzig.
+
+
+
+
+Verzeichnis der Tafeln.
+
+
+ 1. Die Schöpfung der Welt.
+ 2. Der Sündenfall.
+ 3. Die Vertreibung aus dem Paradies.
+ 4. Adam bebaut die Erde.
+ 5. Der Papst.
+ 6. Der Kardinal.
+ 7. Der Bischoff.
+ 8. Der Domherr.
+ 9. Der Abt.
+10. Der Pfarrer.
+11. Der Prediger.
+12. Der Mönch.
+13. Der Arzt.
+14. Der Kaiser.
+15. Der König.
+16. Der Herzog.
+17. Der Richter.
+18. Der Fürsprech.
+19. Der Graf.
+20. Der Ritter.
+21. Der Edelmann.
+22. Der Ratsherr.
+23. Der reiche Mann.
+24. Der Kaufmann.
+25. Der Krämer.
+26. Der Schiffer.
+27. Der Ackersmann.
+28. Der alte Mann.
+29. Die Kaiserin.
+30. Die Königin.
+31. Die Herzogin.
+32. Die Gräfin.
+33. Die Edelfrau.
+34. Die Äbtissin.
+35. Die Nonne.
+36. Das alte Weib.
+37. Das junge Kind.
+38. Das Beinhaus.
+39. Das jüngste Gericht.
+40. Das Wappen des Todes.
+
+
+
+
+Begleitwort
+
+
+Wo die Menschen bedrückt oder gequält werden, da antworten sie mit
+Hilferufen oder mit Taten. Die Totentänze, welche im Mittelalter an
+Friedhofsmauern und Kreuzgängen im Deutschen Reiche gemalt standen,
+waren die Hilferufe eines geknechteten Volkes, dessen weltliche Klassen
+unter dem harten Drucke Roms an Geld und Geist erpreßt wurden. Oft schon
+hatte der Papst den Bann gegen den Kaiser geschleudert, worauf die
+Gotteshäuser verstummten, der Segen der Sakramente aufhörte und jede
+Seelsorge dahinfiel. Aber auch Krieg, Erdbeben, Hungersnot und Seuche
+durchkreuzten das Land. Die Kirche selbst, welche die so erschütterten
+Menschen hätte aufrichten und festigen sollen, war innerlich zerfallen
+durch die allgemeine Sittenverderbnis der Geistlichkeit. In solch
+dumpfer Lebensluft, welche dem erfrischenden Gewitter der Reformation
+voranging, konnte kein seelischer Halt gedeihen und die Gedanken
+schienen sich im Anblick der Vergänglichkeit alles Irdischen zu sonnen
+und zu beruhigen, wenn dies die Furcht vor dem letzten Gerichte zuließ.
+Denn der Tod bedeutete für die Guten ein Ender und Erlöser elender
+Zustände, für die moralisch versinkenden aber eine fürchterliche
+Ungewißheit, die man durch Wohlleben zu betäuben suchte.
+
+Verschiedene Niederschriften bürgen dafür, daß dem gemalten Todesreigen
+zeitlich die Schauspiele vorausgegangen sind. In Deutschland und
+Frankreich entstehend, drang die Dichtung nach Spanien, England und
+Italien ein und wurde unter der Regie der Prediger aufgeführt, welche
+die lebendigste Darstellungskunst dazu benutzten, das »Memento mori«
+jedermann eindringlich vor Augen zu halten und so die schwächeren
+Naturen zu beherrschen. Allmählich aber verschwinden diese Spiele, und
+im XV. Jahrhundert üben an ihrer Statt die Totentanzbilder ihre
+Wirkungen aus. Berühmt waren die Todesreigen von Paris (Danse macabre),
+von La Chaise-Dieu, von Lübeck, von Berlin und weithin bekannt auch
+diejenigen von Basel, welche die Mauern des Klosters Klingental und des
+Predigerstiftes schmückten. Nikolaus Manuel aber hatte als Erster in
+Bern einen Todesreigen geschaffen, in welchem stadtbekannte Bürger ihr
+eigenes Antlitz erkannten.
+
+Nicht genug tun konnten sich die Künstler in ihren
+Vergänglichkeitsgefühlen, und ihre Phantasie, meist mit herber Ironie
+durchsetzt, entzündete sich unaufhörlich am Dunkel der Zukunft nach dem
+Tode. Ein Schrei nach Erschaffung neuen Lebens, ein zitterndes Bangen
+nach dem undenkbaren Jenseits strömte in der Volksseele, und den
+Künstlern, welche zu allen Zeiten die berufenen Träger des Gefühls sind,
+war es vorbehalten, dieser psychischen Massenexpansion durch ihre Werke
+Raum und Luft zu schenken.
+
+Allgemein trägt die Erscheinung des Todes die Kraft in sich, die
+menschlichen Triebe aufs Tiefste zu erwecken, weshalb wir die Kultur
+eines Volkes darnach messen dürfen, wie es sich in Religion,
+Wissenschaft und Kunst zum Problem der Vergänglichkeit gestellt hat.
+Ebenso ist für einen Künstler die Auffassung des Todes gleichsam der
+Spiegel seines eigenen Wertes, seiner schöpferischen Kraft, welche sich
+aus dem Kampf des täglichen Lebens, aus dem Streben und Werden der
+Umgebung, zu den ewigen Gedanken Bahn bricht, bis er von diesen getragen
+die gerechte Gelegenheit zu höheren Meisterwerken errungen hat.
+
+In dieser Kraft entstanden die Schöpfungen Hans Holbeins. Dreimal hat er
+den Totentanz gezeichnet; einmal als Entwurf zu einer Dolchscheide, dann
+als xylographisches Alphabet, und zuletzt schuf er die vorliegende Folge
+von Holzschnitten, welche man oft als den großen Totentanz bezeichnet.
+Wohl hatten auch Meister wie Albrecht Dürer, Hans Baldung, Burckmair und
+Scheuffelin die Nähe des Todes dargestellt, doch meist so, daß dieser
+seine Opfer unter den Sündern und Verworfenen suchte, während Holbein in
+umfassender Weise den Reigen an die Stätten führte, wo der Bürger seinem
+Berufe oder alltäglichen Neigungen nachging. Wie bei Manuel finden sich
+auch hier bekannte Gesichter vor, so trägt der Kaiser die Züge
+Maximilians, der König das Antlitz Franz I. von Frankreich, und zu
+Seiten des Todeswappens stehen der Künstler und sein Weib.
+
+Die erste datierte Ausgabe der Todesbildung kam bei den Brüdern Trechsel
+im Jahre 1538 zu Lyon heraus und trug den Titel »Simulachres de la mort«
+oder »Imagines mortis«. Die Entstehungszeit dieser Folge aber fällt in
+die Jahre 1524-25, wo Holbein in Basel weilte. Probedrucke der
+Originalstöcke befinden sich im dortigen Museum. Hans Lützelburger,
+welcher schon 1526 starb, hatte das Schneiden in Holz besorgt.
+
+Dem nüchternen Sinn, mit welcher er die Natur zu betrachten gewohnt
+war, und seiner reichen Gestaltungskraft hatte Hans Holbein zu danken,
+daß er sich aus der zeitlichen Tendenz und ihren wechselnden Affekten
+zur Schöpfung eines freien Kunstwerkes durchringen konnte, das in
+vollendeter Zucht die Tragödie der menschlichen Vergänglichkeit
+schildert und daher ein Beweis dafür bleiben wird, daß der gesunde Geist
+den Tod lebendig überwindet.
+
+                                                      Hans Ganz.
+
+
+
+
+[Illustration: Die schöpffung aller ding.]
+
+[Illustration: Adam Eua im Paradyß.]
+
+[Illustration: Vßtribung Ade Eue.]
+
+[Illustration: Adam bawgt die erden.]
+
+[Illustration: Der Bapst.]
+
+[Illustration: Der Cardinal.]
+
+[Illustration: Der Bischoff.]
+
+[Illustration: Der Thůmherr.]
+
+[Illustration: Der Apt.]
+
+[Illustration: Der Pfarrherr.]
+
+[Illustration: Der Predicant.]
+
+[Illustration: Der Münch.]
+
+[Illustration: Der Artzet.]
+
+[Illustration: Der Keyser.]
+
+[Illustration: Der Künig.]
+
+[Illustration: Der Hertzog.]
+
+[Illustration: Der Richter.]
+
+[Illustration: Der Furspräch.]
+
+[Illustration: Der Groff.]
+
+[Illustration: Der Ritter.]
+
+[Illustration: Der Edelman.]
+
+[Illustration: Der Ratßherr.]
+
+[Illustration: Der Rych man.]
+
+[Illustration: Der Kauffman.]
+
+[Illustration: Der Krämer.]
+
+[Illustration: Der Schiffman.]
+
+[Illustration: Der Ackerman.]
+
+[Illustration: Der Alt man.]
+
+[Illustration: Die Keyserinn.]
+
+[Illustration: Die Küniginn.]
+
+[Illustration: Die Hertzoginn.]
+
+[Illustration: Die Greffinn.]
+
+[Illustration: Die Edelfraw.]
+
+[Illustration: Die Aptißinn.]
+
+[Illustration: Die Nunne.]
+
+[Illustration: Daß Alt weyb.]
+
+[Illustration: Daß Iung kint.]
+
+[Illustration: Gebeyn aller menschen.]
+
+[Illustration: Daß Iüngst gericht.]
+
+[Illustration: Die wapen deß Thotß.]
+
+
+
+
+
+End of the Project Gutenberg EBook of Der Totentanz, by Hans Holbien
+
+*** END OF THIS PROJECT GUTENBERG EBOOK DER TOTENTANZ ***
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+The Project Gutenberg EBook of Der Totentanz, by Hans Holbien
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Der Totentanz
+
+Author: Hans Holbien
+
+Editor: Hans Ganz
+
+Illustrator: Hans Holbein
+
+Release Date: December 9, 2007 [EBook #23775]
+
+Language: German
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK DER TOTENTANZ ***
+
+
+
+
+Produced by Alexander Bauer, Jana Srna, Markus Brenner and
+the Online Distributed Proofreading Team at
+http://www.pgdp.net (This file was produced from images
+generously made available by The Internet Archive/American
+Libraries.)
+
+
+
+
+
+
+                             DER TOTENTANZ
+
+               Vierzig Holzschnitte von Hans Holbein dem
+             Jüngeren. Faksimile-Nachbildungen der ersten
+                   Ausgabe mit einer Einleitung von
+                               Hans Ganz
+
+
+
+                        Holbein-Verlag, München
+
+
+
+               Druck von Oscar Brandstetter in Leipzig.
+
+
+
+
+Verzeichnis der Tafeln.
+
+
+ 1. Die Schöpfung der Welt.
+ 2. Der Sündenfall.
+ 3. Die Vertreibung aus dem Paradies.
+ 4. Adam bebaut die Erde.
+ 5. Der Papst.
+ 6. Der Kardinal.
+ 7. Der Bischoff.
+ 8. Der Domherr.
+ 9. Der Abt.
+10. Der Pfarrer.
+11. Der Prediger.
+12. Der Mönch.
+13. Der Arzt.
+14. Der Kaiser.
+15. Der König.
+16. Der Herzog.
+17. Der Richter.
+18. Der Fürsprech.
+19. Der Graf.
+20. Der Ritter.
+21. Der Edelmann.
+22. Der Ratsherr.
+23. Der reiche Mann.
+24. Der Kaufmann.
+25. Der Krämer.
+26. Der Schiffer.
+27. Der Ackersmann.
+28. Der alte Mann.
+29. Die Kaiserin.
+30. Die Königin.
+31. Die Herzogin.
+32. Die Gräfin.
+33. Die Edelfrau.
+34. Die Äbtissin.
+35. Die Nonne.
+36. Das alte Weib.
+37. Das junge Kind.
+38. Das Beinhaus.
+39. Das jüngste Gericht.
+40. Das Wappen des Todes.
+
+
+
+
+Begleitwort
+
+
+Wo die Menschen bedrückt oder gequält werden, da antworten sie mit
+Hilferufen oder mit Taten. Die Totentänze, welche im Mittelalter an
+Friedhofsmauern und Kreuzgängen im Deutschen Reiche gemalt standen,
+waren die Hilferufe eines geknechteten Volkes, dessen weltliche Klassen
+unter dem harten Drucke Roms an Geld und Geist erpreßt wurden. Oft schon
+hatte der Papst den Bann gegen den Kaiser geschleudert, worauf die
+Gotteshäuser verstummten, der Segen der Sakramente aufhörte und jede
+Seelsorge dahinfiel. Aber auch Krieg, Erdbeben, Hungersnot und Seuche
+durchkreuzten das Land. Die Kirche selbst, welche die so erschütterten
+Menschen hätte aufrichten und festigen sollen, war innerlich zerfallen
+durch die allgemeine Sittenverderbnis der Geistlichkeit. In solch
+dumpfer Lebensluft, welche dem erfrischenden Gewitter der Reformation
+voranging, konnte kein seelischer Halt gedeihen und die Gedanken
+schienen sich im Anblick der Vergänglichkeit alles Irdischen zu sonnen
+und zu beruhigen, wenn dies die Furcht vor dem letzten Gerichte zuließ.
+Denn der Tod bedeutete für die Guten ein Ender und Erlöser elender
+Zustände, für die moralisch versinkenden aber eine fürchterliche
+Ungewißheit, die man durch Wohlleben zu betäuben suchte.
+
+Verschiedene Niederschriften bürgen dafür, daß dem gemalten Todesreigen
+zeitlich die Schauspiele vorausgegangen sind. In Deutschland und
+Frankreich entstehend, drang die Dichtung nach Spanien, England und
+Italien ein und wurde unter der Regie der Prediger aufgeführt, welche
+die lebendigste Darstellungskunst dazu benutzten, das »Memento mori«
+jedermann eindringlich vor Augen zu halten und so die schwächeren
+Naturen zu beherrschen. Allmählich aber verschwinden diese Spiele, und
+im XV. Jahrhundert üben an ihrer Statt die Totentanzbilder ihre
+Wirkungen aus. Berühmt waren die Todesreigen von Paris (Danse macabre),
+von La Chaise-Dieu, von Lübeck, von Berlin und weithin bekannt auch
+diejenigen von Basel, welche die Mauern des Klosters Klingental und des
+Predigerstiftes schmückten. Nikolaus Manuel aber hatte als Erster in
+Bern einen Todesreigen geschaffen, in welchem stadtbekannte Bürger ihr
+eigenes Antlitz erkannten.
+
+Nicht genug tun konnten sich die Künstler in ihren
+Vergänglichkeitsgefühlen, und ihre Phantasie, meist mit herber Ironie
+durchsetzt, entzündete sich unaufhörlich am Dunkel der Zukunft nach dem
+Tode. Ein Schrei nach Erschaffung neuen Lebens, ein zitterndes Bangen
+nach dem undenkbaren Jenseits strömte in der Volksseele, und den
+Künstlern, welche zu allen Zeiten die berufenen Träger des Gefühls sind,
+war es vorbehalten, dieser psychischen Massenexpansion durch ihre Werke
+Raum und Luft zu schenken.
+
+Allgemein trägt die Erscheinung des Todes die Kraft in sich, die
+menschlichen Triebe aufs Tiefste zu erwecken, weshalb wir die Kultur
+eines Volkes darnach messen dürfen, wie es sich in Religion,
+Wissenschaft und Kunst zum Problem der Vergänglichkeit gestellt hat.
+Ebenso ist für einen Künstler die Auffassung des Todes gleichsam der
+Spiegel seines eigenen Wertes, seiner schöpferischen Kraft, welche sich
+aus dem Kampf des täglichen Lebens, aus dem Streben und Werden der
+Umgebung, zu den ewigen Gedanken Bahn bricht, bis er von diesen getragen
+die gerechte Gelegenheit zu höheren Meisterwerken errungen hat.
+
+In dieser Kraft entstanden die Schöpfungen Hans Holbeins. Dreimal hat er
+den Totentanz gezeichnet; einmal als Entwurf zu einer Dolchscheide, dann
+als xylographisches Alphabet, und zuletzt schuf er die vorliegende Folge
+von Holzschnitten, welche man oft als den großen Totentanz bezeichnet.
+Wohl hatten auch Meister wie Albrecht Dürer, Hans Baldung, Burckmair und
+Scheuffelin die Nähe des Todes dargestellt, doch meist so, daß dieser
+seine Opfer unter den Sündern und Verworfenen suchte, während Holbein in
+umfassender Weise den Reigen an die Stätten führte, wo der Bürger seinem
+Berufe oder alltäglichen Neigungen nachging. Wie bei Manuel finden sich
+auch hier bekannte Gesichter vor, so trägt der Kaiser die Züge
+Maximilians, der König das Antlitz Franz I. von Frankreich, und zu
+Seiten des Todeswappens stehen der Künstler und sein Weib.
+
+Die erste datierte Ausgabe der Todesbildung kam bei den Brüdern Trechsel
+im Jahre 1538 zu Lyon heraus und trug den Titel »Simulachres de la mort«
+oder »Imagines mortis«. Die Entstehungszeit dieser Folge aber fällt in
+die Jahre 1524-25, wo Holbein in Basel weilte. Probedrucke der
+Originalstöcke befinden sich im dortigen Museum. Hans Lützelburger,
+welcher schon 1526 starb, hatte das Schneiden in Holz besorgt.
+
+Dem nüchternen Sinn, mit welcher er die Natur zu betrachten gewohnt
+war, und seiner reichen Gestaltungskraft hatte Hans Holbein zu danken,
+daß er sich aus der zeitlichen Tendenz und ihren wechselnden Affekten
+zur Schöpfung eines freien Kunstwerkes durchringen konnte, das in
+vollendeter Zucht die Tragödie der menschlichen Vergänglichkeit
+schildert und daher ein Beweis dafür bleiben wird, daß der gesunde Geist
+den Tod lebendig überwindet.
+
+                                                      Hans Ganz.
+
+
+
+
+[Illustration: Die schöpffung aller ding.]
+
+[Illustration: Adam Eua im Paradyß.]
+
+[Illustration: Vßtribung Ade Eue.]
+
+[Illustration: Adam bawgt die erden.]
+
+[Illustration: Der Bapst.]
+
+[Illustration: Der Cardinal.]
+
+[Illustration: Der Bischoff.]
+
+[Illustration: Der Thumherr.]
+
+[Illustration: Der Apt.]
+
+[Illustration: Der Pfarrherr.]
+
+[Illustration: Der Predicant.]
+
+[Illustration: Der Münch.]
+
+[Illustration: Der Artzet.]
+
+[Illustration: Der Keyser.]
+
+[Illustration: Der Künig.]
+
+[Illustration: Der Hertzog.]
+
+[Illustration: Der Richter.]
+
+[Illustration: Der Furspräch.]
+
+[Illustration: Der Groff.]
+
+[Illustration: Der Ritter.]
+
+[Illustration: Der Edelman.]
+
+[Illustration: Der Ratßherr.]
+
+[Illustration: Der Rych man.]
+
+[Illustration: Der Kauffman.]
+
+[Illustration: Der Krämer.]
+
+[Illustration: Der Schiffman.]
+
+[Illustration: Der Ackerman.]
+
+[Illustration: Der Alt man.]
+
+[Illustration: Die Keyserinn.]
+
+[Illustration: Die Küniginn.]
+
+[Illustration: Die Hertzoginn.]
+
+[Illustration: Die Greffinn.]
+
+[Illustration: Die Edelfraw.]
+
+[Illustration: Die Aptißinn.]
+
+[Illustration: Die Nunne.]
+
+[Illustration: Daß Alt weyb.]
+
+[Illustration: Daß Iung kint.]
+
+[Illustration: Gebeyn aller menschen.]
+
+[Illustration: Daß Iüngst gericht.]
+
+[Illustration: Die wapen deß Thotß.]
+
+
+
+
+
+End of the Project Gutenberg EBook of Der Totentanz, by Hans Holbien
+
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+    <title>
+      The Project Gutenberg eBook of Der Totentanz, by Hans Holbein dem J&uuml;ngeren
+    </title>
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+<pre>
+
+The Project Gutenberg EBook of Der Totentanz, by Hans Holbien
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Der Totentanz
+
+Author: Hans Holbien
+
+Editor: Hans Ganz
+
+Illustrator: Hans Holbein
+
+Release Date: December 9, 2007 [EBook #23775]
+
+Language: German
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK DER TOTENTANZ ***
+
+
+
+
+Produced by Alexander Bauer, Jana Srna, Markus Brenner and
+the Online Distributed Proofreading Team at
+http://www.pgdp.net (This file was produced from images
+generously made available by The Internet Archive/American
+Libraries.)
+
+
+
+
+
+
+</pre>
+
+
+
+
+<h1>DER TOTENTANZ</h1>
+
+<p class="subtitle">
+Vierzig Holzschnitte von Hans Holbein dem<br />
+J&uuml;ngeren. Faksimile-Nachbildungen der ersten<br />
+Ausgabe mit einer Einleitung von<br />
+Hans Ganz</p>
+
+<p class="figornament"><img src="images/ornament.jpg" alt="" title="" /></p>
+
+<p class="publisher">Holbein-Verlag, M&uuml;nchen</p>
+
+<p class="printer">Druck von Oscar Brandstetter in Leipzig.</p>
+
+<div class="textbody">
+
+
+
+
+<h2>Verzeichnis der Tafeln.</h2>
+
+<div class="contents">
+<div class="column_left">
+<ul>
+<li>&nbsp;&nbsp;1. <a href="#Die_Schoepfung_der_Welt">Die Sch&ouml;pfung der Welt.</a></li>
+
+<li>&nbsp;&nbsp;2. <a href="#Der_Suendenfall">Der S&uuml;ndenfall.</a></li>
+
+<li>&nbsp;&nbsp;3. <a href="#Die_Vertreibung_aus_dem_Paradies">Die Vertreibung aus dem Paradies.</a></li>
+
+<li>&nbsp;&nbsp;4. <a href="#Adam_bebaut_die_Erde">Adam bebaut die Erde.</a></li>
+
+<li>&nbsp;&nbsp;5. <a href="#Der_Papst">Der Papst.</a></li>
+
+<li>&nbsp;&nbsp;6. <a href="#Der_Kardinal">Der Kardinal.</a></li>
+
+<li>&nbsp;&nbsp;7. <a href="#Der_Bischoff">Der Bischoff.</a></li>
+
+<li>&nbsp;&nbsp;8. <a href="#Der_Domherr">Der Domherr.</a></li>
+
+<li>&nbsp;&nbsp;9. <a href="#Der_Abt">Der Abt.</a></li>
+
+<li>10. <a href="#Der_Pfarrer">Der Pfarrer.</a></li>
+
+<li>11. <a href="#Der_Prediger">Der Prediger.</a></li>
+
+<li>12. <a href="#Der_Moench">Der M&ouml;nch.</a></li>
+
+<li>13. <a href="#Der_Arzt">Der Arzt.</a></li>
+
+<li>14. <a href="#Der_Kaiser">Der Kaiser.</a></li>
+
+<li>15. <a href="#Der_Koenig">Der K&ouml;nig.</a></li>
+
+<li>16. <a href="#Der_Herzog">Der Herzog.</a></li>
+
+<li>17. <a href="#Der_Richter">Der Richter.</a></li>
+
+<li>18. <a href="#Der_Fuersprech">Der F&uuml;rsprech.</a></li>
+
+<li>19. <a href="#Der_Graf">Der Graf.</a></li>
+
+<li>20. <a href="#Der_Ritter">Der Ritter.</a></li>
+</ul>
+</div>
+
+<div class="column_right">
+<ul>
+<li>21. <a href="#Der_Edelmann">Der Edelmann.</a></li>
+
+<li>22. <a href="#Der_Ratsherr">Der Ratsherr.</a></li>
+
+<li>23. <a href="#Der_reiche_Mann">Der reiche Mann.</a></li>
+
+<li>24. <a href="#Der_Kaufmann">Der Kaufmann.</a></li>
+
+<li>25. <a href="#Der_Kraemer">Der Kr&auml;mer.</a></li>
+
+<li>26. <a href="#Der_Schiffer">Der Schiffer.</a></li>
+
+<li>27. <a href="#Der_Ackersmann">Der Ackersmann.</a></li>
+
+<li>28. <a href="#Der_alte_Mann">Der alte Mann.</a></li>
+
+<li>29. <a href="#Die_Kaiserin">Die Kaiserin.</a></li>
+
+<li>30. <a href="#Die_Koenigin">Die K&ouml;nigin.</a></li>
+
+<li>31. <a href="#Die_Herzogin">Die Herzogin.</a></li>
+
+<li>32. <a href="#Die_Graefin">Die Gr&auml;fin.</a></li>
+
+<li>33. <a href="#Die_Edelfrau">Die Edelfrau.</a></li>
+
+<li>34. <a href="#Die_Aebtissin">Die &Auml;btissin.</a></li>
+
+<li>35. <a href="#Die_Nonne">Die Nonne.</a></li>
+
+<li>36. <a href="#Das_alte_Weib">Das alte Weib.</a></li>
+
+<li>37. <a href="#Das_junge_Kind">Das junge Kind.</a></li>
+
+<li>38. <a href="#Das_Beinhaus">Das Beinhaus.</a></li>
+
+<li>39. <a href="#Das_juengste_Gericht">Das j&uuml;ngste Gericht.</a></li>
+
+<li>40. <a href="#Das_Wappen_des_Todes">Das Wappen des Todes.</a></li>
+</ul>
+</div>
+</div>
+
+
+<h2>Begleitwort</h2>
+
+<p>Wo die Menschen bedr&uuml;ckt oder gequ&auml;lt werden, da antworten
+sie mit Hilferufen oder mit Taten. Die Totent&auml;nze, welche im
+Mittelalter an Friedhofsmauern und Kreuzg&auml;ngen im Deutschen
+Reiche gemalt standen, waren die Hilferufe eines geknechteten
+Volkes, dessen weltliche Klassen unter dem harten
+Drucke Roms an Geld und Geist erpre&szlig;t wurden. Oft schon
+hatte der Papst den Bann gegen den Kaiser geschleudert, worauf
+die Gottesh&auml;user verstummten, der Segen der Sakramente
+aufh&ouml;rte und jede Seelsorge dahinfiel. Aber auch Krieg, Erdbeben,
+Hungersnot und Seuche durchkreuzten das Land. Die
+Kirche selbst, welche die so ersch&uuml;tterten Menschen h&auml;tte aufrichten
+und festigen sollen, war innerlich zerfallen durch die
+allgemeine Sittenverderbnis der Geistlichkeit. In solch dumpfer
+Lebensluft, welche dem erfrischenden Gewitter der Reformation
+voranging, konnte kein seelischer Halt gedeihen und die Gedanken
+schienen sich im Anblick der Verg&auml;nglichkeit alles
+Irdischen zu sonnen und zu beruhigen, wenn dies die Furcht
+vor dem letzten Gerichte zulie&szlig;. Denn der Tod bedeutete f&uuml;r
+die Guten ein Ender und Erl&ouml;ser elender Zust&auml;nde, f&uuml;r die
+moralisch versinkenden aber eine f&uuml;rchterliche Ungewi&szlig;heit, die
+man durch Wohlleben zu bet&auml;uben suchte.</p>
+
+<p>Verschiedene Niederschriften b&uuml;rgen daf&uuml;r, da&szlig; dem gemalten
+Todesreigen zeitlich die Schauspiele vorausgegangen sind. In
+Deutschland und Frankreich entstehend, drang die Dichtung
+nach Spanien, England und Italien ein und wurde unter der
+Regie der Prediger aufgef&uuml;hrt, welche die lebendigste Darstellungskunst
+dazu benutzten, das &raquo;Memento mori&laquo; jedermann
+eindringlich vor Augen zu halten und so die schw&auml;cheren
+Naturen zu beherrschen. Allm&auml;hlich aber verschwinden diese
+Spiele, und im XV. Jahrhundert &uuml;ben an ihrer Statt die Totentanzbilder
+ihre Wirkungen aus. Ber&uuml;hmt waren die Todesreigen
+von Paris (Danse macabre), von La Chaise-Dieu, von L&uuml;beck,
+von Berlin und weithin bekannt auch diejenigen von Basel,
+welche die Mauern des Klosters Klingental und des Predigerstiftes
+schm&uuml;ckten. Nikolaus Manuel aber hatte als Erster in
+Bern einen Todesreigen geschaffen, in welchem stadtbekannte
+B&uuml;rger ihr eigenes Antlitz erkannten.</p>
+
+<p>Nicht genug tun konnten sich die K&uuml;nstler in ihren Verg&auml;nglichkeitsgef&uuml;hlen,
+und ihre Phantasie, meist mit herber
+Ironie durchsetzt, entz&uuml;ndete sich unaufh&ouml;rlich am Dunkel der
+Zukunft nach dem Tode. Ein Schrei nach Erschaffung neuen
+Lebens, ein zitterndes Bangen nach dem undenkbaren Jenseits
+str&ouml;mte in der Volksseele, und den K&uuml;nstlern, welche zu allen
+Zeiten die berufenen Tr&auml;ger des Gef&uuml;hls sind, war es vorbehalten,
+dieser psychischen Massenexpansion durch ihre Werke
+Raum und Luft zu schenken.</p>
+
+<p>Allgemein tr&auml;gt die Erscheinung des Todes die Kraft in sich,
+die menschlichen Triebe aufs Tiefste zu erwecken, weshalb wir
+die Kultur eines Volkes darnach messen d&uuml;rfen, wie es sich in
+Religion, Wissenschaft und Kunst zum Problem der Verg&auml;nglichkeit
+gestellt hat. Ebenso ist f&uuml;r einen K&uuml;nstler die Auffassung
+des Todes gleichsam der Spiegel seines eigenen Wertes,
+seiner sch&ouml;pferischen Kraft, welche sich aus dem Kampf des
+t&auml;glichen Lebens, aus dem Streben und Werden der Umgebung,
+zu den ewigen Gedanken Bahn bricht, bis er von diesen getragen
+die gerechte Gelegenheit zu h&ouml;heren Meisterwerken errungen
+hat.</p>
+
+<p>In dieser Kraft entstanden die Sch&ouml;pfungen Hans Holbeins.
+Dreimal hat er den Totentanz gezeichnet; einmal als Entwurf
+zu einer Dolchscheide, dann als xylographisches Alphabet, und
+zuletzt schuf er die vorliegende Folge von Holzschnitten, welche
+man oft als den gro&szlig;en Totentanz bezeichnet. Wohl hatten
+auch Meister wie Albrecht D&uuml;rer, Hans Baldung, Burckmair
+und Scheuffelin die N&auml;he des Todes dargestellt, doch meist so,
+da&szlig; dieser seine Opfer unter den S&uuml;ndern und Verworfenen
+suchte, w&auml;hrend Holbein in umfassender Weise den Reigen an
+die St&auml;tten f&uuml;hrte, wo der B&uuml;rger seinem Berufe oder allt&auml;glichen
+Neigungen nachging. Wie bei Manuel finden sich auch
+hier bekannte Gesichter vor, so tr&auml;gt der Kaiser die Z&uuml;ge Maximilians,
+der K&ouml;nig das Antlitz Franz I. von Frankreich, und
+zu Seiten des Todeswappens stehen der K&uuml;nstler und sein Weib.</p>
+
+<p>Die erste datierte Ausgabe der Todesbildung kam bei den
+Br&uuml;dern Trechsel im Jahre 1538 zu Lyon heraus und trug den
+Titel &raquo;Simulachres de la mort&laquo; oder &raquo;Imagines mortis&laquo;. Die
+Entstehungszeit dieser Folge aber f&auml;llt in die Jahre 1524&ndash;25,
+wo Holbein in Basel weilte. Probedrucke der Originalst&ouml;cke
+befinden sich im dortigen Museum. Hans L&uuml;tzelburger, welcher
+schon 1526 starb, hatte das Schneiden in Holz besorgt.</p>
+
+<p>Dem n&uuml;chternen Sinn, mit welcher er die Natur zu betrachten
+gewohnt war, und seiner reichen Gestaltungskraft hatte Hans
+Holbein zu danken, da&szlig; er sich aus der zeitlichen Tendenz und
+ihren wechselnden Affekten zur Sch&ouml;pfung eines freien Kunstwerkes
+durchringen konnte, das in vollendeter Zucht die Trag&ouml;die
+der menschlichen Verg&auml;nglichkeit schildert und daher ein
+Beweis daf&uuml;r bleiben wird, da&szlig; der gesunde Geist den Tod
+lebendig &uuml;berwindet.</p>
+
+<p class="signature">Hans Ganz.</p>
+</div>
+
+<p class="figcenter"><a name="Die_Schoepfung_der_Welt" id="Die_Schoepfung_der_Welt"></a><a href="images/illo_01.jpg"><img src="images/illo_01_th.jpg" alt="Die sch&ouml;pffung aller ding" title="Die sch&ouml;pffung aller ding" /></a></p>
+
+<p class="figcenter"><a name="Der_Suendenfall" id="Der_Suendenfall"></a><a href="images/illo_02.jpg"><img src="images/illo_02_th.jpg" alt="Adam Eua im Parady&szlig;" title="Adam Eua im Parady&szlig;" /></a></p>
+
+<p class="figcenter"><a name="Die_Vertreibung_aus_dem_Paradies" id="Die_Vertreibung_aus_dem_Paradies"></a><a href="images/illo_03.jpg"><img src="images/illo_03_th.jpg" alt="V&szlig;tribung Ade Eue" title="V&szlig;tribung Ade Eue" /></a></p>
+
+<p class="figcenter"><a name="Adam_bebaut_die_Erde" id="Adam_bebaut_die_Erde"></a><a href="images/illo_04.jpg"><img src="images/illo_04_th.jpg" alt="Adam bawgt die erden" title="Adam bawgt die erden" /></a></p>
+
+<p class="figcenter"><a name="Der_Papst" id="Der_Papst"></a><a href="images/illo_05.jpg"><img src="images/illo_05_th.jpg" alt="Der Bapst" title="Der Bapst" /></a></p>
+
+<p class="figcenter"><a name="Der_Kardinal" id="Der_Kardinal"></a><a href="images/illo_06.jpg"><img src="images/illo_06_th.jpg" alt="Der Cardinal" title="Der Cardinal" /></a></p>
+
+<p class="figcenter"><a name="Der_Bischoff" id="Der_Bischoff"></a><a href="images/illo_07.jpg"><img src="images/illo_07_th.jpg" alt="Der Bischoff" title="Der Bischoff" /></a></p>
+
+<p class="figcenter"><a name="Der_Domherr" id="Der_Domherr"></a><a href="images/illo_08.jpg"><img src="images/illo_08_th.jpg" alt="Der Th&#367;mherr" title="Der Th&#367;mherr" /></a></p>
+
+<p class="figcenter"><a name="Der_Abt" id="Der_Abt"></a><a href="images/illo_09.jpg"><img src="images/illo_09_th.jpg" alt="Der Apt" title="Der Apt" /></a></p>
+
+<p class="figcenter"><a name="Der_Pfarrer" id="Der_Pfarrer"></a><a href="images/illo_10.jpg"><img src="images/illo_10_th.jpg" alt="Der Pfarrherr" title="Der Pfarrherr" /></a></p>
+
+<p class="figcenter"><a name="Der_Prediger" id="Der_Prediger"></a><a href="images/illo_11.jpg"><img src="images/illo_11_th.jpg" alt="Der Predicant" title="Der Predicant" /></a></p>
+
+<p class="figcenter"><a name="Der_Moench" id="Der_Moench"></a><a href="images/illo_12.jpg"><img src="images/illo_12_th.jpg" alt="Der M&uuml;nch" title="Der M&uuml;nch" /></a></p>
+
+<p class="figcenter"><a name="Der_Arzt" id="Der_Arzt"></a><a href="images/illo_13.jpg"><img src="images/illo_13_th.jpg" alt="Der Artzet" title="Der Artzet" /></a></p>
+
+<p class="figcenter"><a name="Der_Kaiser" id="Der_Kaiser"></a><a href="images/illo_14.jpg"><img src="images/illo_14_th.jpg" alt="Der Keyser" title="Der Keyser" /></a></p>
+
+<p class="figcenter"><a name="Der_Koenig" id="Der_Koenig"></a><a href="images/illo_15.jpg"><img src="images/illo_15_th.jpg" alt="Der K&uuml;nig" title="Der K&uuml;nig" /></a></p>
+
+<p class="figcenter"><a name="Der_Herzog" id="Der_Herzog"></a><a href="images/illo_16.jpg"><img src="images/illo_16_th.jpg" alt="Der Hertzog" title="Der Hertzog" /></a></p>
+
+<p class="figcenter"><a name="Der_Richter" id="Der_Richter"></a><a href="images/illo_17.jpg"><img src="images/illo_17_th.jpg" alt="Der Richter" title="Der Richter" /></a></p>
+
+<p class="figcenter"><a name="Der_Fuersprech" id="Der_Fuersprech"></a><a href="images/illo_18.jpg"><img src="images/illo_18_th.jpg" alt="Der Furspr&auml;ch" title="Der Furspr&auml;ch" /></a></p>
+
+<p class="figcenter"><a name="Der_Graf" id="Der_Graf"></a><a href="images/illo_19.jpg"><img src="images/illo_19_th.jpg" alt="Der Groff" title="Der Groff" /></a></p>
+
+<p class="figcenter"><a name="Der_Ritter" id="Der_Ritter"></a><a href="images/illo_20.jpg"><img src="images/illo_20_th.jpg" alt="Der Ritter" title="Der Ritter" /></a></p>
+
+<p class="figcenter"><a name="Der_Edelmann" id="Der_Edelmann"></a><a href="images/illo_21.jpg"><img src="images/illo_21_th.jpg" alt="Der Edelman" title="Der Edelman" /></a></p>
+
+<p class="figcenter"><a name="Der_Ratsherr" id="Der_Ratsherr"></a><a href="images/illo_22.jpg"><img src="images/illo_22_th.jpg" alt="Der Rat&szlig;herr" title="Der Rat&szlig;herr" /></a></p>
+
+<p class="figcenter"><a name="Der_reiche_Mann" id="Der_reiche_Mann"></a><a href="images/illo_23.jpg"><img src="images/illo_23_th.jpg" alt="Der Rych man" title="Der Rych man" /></a></p>
+
+<p class="figcenter"><a name="Der_Kaufmann" id="Der_Kaufmann"></a><a href="images/illo_24.jpg"><img src="images/illo_24_th.jpg" alt="Der Kauffman" title="Der Kauffman" /></a></p>
+
+<p class="figcenter"><a name="Der_Kraemer" id="Der_Kraemer"></a><a href="images/illo_25.jpg"><img src="images/illo_25_th.jpg" alt="Der Kr&auml;mer" title="Der Kr&auml;mer" /></a></p>
+
+<p class="figcenter"><a name="Der_Schiffer" id="Der_Schiffer"></a><a href="images/illo_26.jpg"><img src="images/illo_26_th.jpg" alt="Der Schiffman" title="Der Schiffman" /></a></p>
+
+<p class="figcenter"><a name="Der_Ackersmann" id="Der_Ackersmann"></a><a href="images/illo_27.jpg"><img src="images/illo_27_th.jpg" alt="Der Ackerman" title="Der Ackerman" /></a></p>
+
+<p class="figcenter"><a name="Der_alte_Mann" id="Der_alte_Mann"></a><a href="images/illo_28.jpg"><img src="images/illo_28_th.jpg" alt="Der Alt man" title="Der Alt man" /></a></p>
+
+<p class="figcenter"><a name="Die_Kaiserin" id="Die_Kaiserin"></a><a href="images/illo_29.jpg"><img src="images/illo_29_th.jpg" alt="Die Keyserinn" title="Die Keyserinn" /></a></p>
+
+<p class="figcenter"><a name="Die_Koenigin" id="Die_Koenigin"></a><a href="images/illo_30.jpg"><img src="images/illo_30_th.jpg" alt="Die K&uuml;niginn" title="Die K&uuml;niginn" /></a></p>
+
+<p class="figcenter"><a name="Die_Herzogin" id="Die_Herzogin"></a><a href="images/illo_31.jpg"><img src="images/illo_31_th.jpg" alt="Die Hertzoginn" title="Die Hertzoginn" /></a></p>
+
+<p class="figcenter"><a name="Die_Graefin" id="Die_Graefin"></a><a href="images/illo_32.jpg"><img src="images/illo_32_th.jpg" alt="Die Greffinn" title="Die Greffinn" /></a></p>
+
+<p class="figcenter"><a name="Die_Edelfrau" id="Die_Edelfrau"></a><a href="images/illo_33.jpg"><img src="images/illo_33_th.jpg" alt="Die Edelfraw" title="Die Edelfraw" /></a></p>
+
+<p class="figcenter"><a name="Die_Aebtissin" id="Die_Aebtissin"></a><a href="images/illo_34.jpg"><img src="images/illo_34_th.jpg" alt="Die Apti&szlig;inn" title="Die Apti&szlig;inn" /></a></p>
+
+<p class="figcenter"><a name="Die_Nonne" id="Die_Nonne"></a><a href="images/illo_35.jpg"><img src="images/illo_35_th.jpg" alt="Die Nunne" title="Die Nunne" /></a></p>
+
+<p class="figcenter"><a name="Das_alte_Weib" id="Das_alte_Weib"></a><a href="images/illo_36.jpg"><img src="images/illo_36_th.jpg" alt="Da&szlig; Alt weyb" title="Da&szlig; Alt weyb" /></a></p>
+
+<p class="figcenter"><a name="Das_junge_Kind" id="Das_junge_Kind"></a><a href="images/illo_37.jpg"><img src="images/illo_37_th.jpg" alt="Da&szlig; Iung kint" title="Da&szlig; Iung kint" /></a></p>
+
+<p class="figcenter"><a name="Das_Beinhaus" id="Das_Beinhaus"></a><a href="images/illo_38.jpg"><img src="images/illo_38_th.jpg" alt="Gebeyn aller menschen" title="Gebeyn aller menschen" /></a></p>
+
+<p class="figcenter"><a name="Das_juengste_Gericht" id="Das_juengste_Gericht"></a><a href="images/illo_39.jpg"><img src="images/illo_39_th.jpg" alt="Da&szlig; I&uuml;ngst gericht" title="Da&szlig; I&uuml;ngst gericht" /></a></p>
+
+<p class="figcenter"><a name="Das_Wappen_des_Todes" id="Das_Wappen_des_Todes"></a><a href="images/illo_40.jpg"><img src="images/illo_40_th.jpg" alt="Die wapen de&szlig; Thot&szlig;" title="Die wapen de&szlig; Thot&szlig;" /></a></p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Der Totentanz, by Hans Holbien
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+</body>
+</html>
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diff --git a/LICENSE.txt b/LICENSE.txt
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+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #23775 (https://www.gutenberg.org/ebooks/23775)