Der Tod in der Kunstkammer der frühen Neuzeit

This work focuses on three figures from the early modern period known as Tödlein. This term refers to diminutive representations of death in both pictorial and sculptural forms. Particularly towards the end of the 15th century, the engagement with death and transience gained increasing significance. As a sign of this new understanding, 'new' devotional objects emerged from a religious context. The art chambers of noble rulers, which developed in the 16th century both south and north of the Alps and featured different collection focuses, became established as places for their display. In these chambers, the Tödlein were regarded not only as private devotional objects but also as works of art. Although they primarily served for self-reflection, their design also reveals a scientific-medical curiosity. Three of these distinctive and unique artworks are discussed in this work with the following questions: To what extent can they be classified as devotional or scientific study objects, and what function did they serve in the context of the art chambers of the early modern period?.