Kliś, Zdzisław2023-07-072023-07-072001Analecta Cracoviensia, 2001, T. 33, s. 627-653.0209-0864http://theo-logos.pl/xmlui/handle/123456789/8952Zawiera ilustracje i fotografie.The article is a continuation of my research on the iconography of Middle Europe and a result of my work on the depictions of the Last Judgement. The discussed depictions are often preceded by scenes such as The Dance of Death, The Triumf of Death and The Three Living and The Three Dead. The wall paintings containing those motives can be found in: Metnitz in Körnten (The Dance of Death), Aufenstein and Kameid in Tirol, perhaps in Kajov in Bohem (The Dance of Death), and also in Mourenec and in Broumove in Bohem, and in St. John Church in Toruń in Poland (The Three Living and The Three Dead). In all the presented cases the author emphasises a particular iconographie type to which a given wall painting belongs. The Metnitz painter of The Dance of Death, for example, follows the Basel text and the woodcrafts of 1465, whereas the Kajov depiction of The Triumf of Death is based on the Fourth Apocaliptic Raider (Ap 6, 7-8) similarly to Aufenstein, Kameid and in Bozen in South Tirol. On the other hand, Three Living and The Three Dead painted in Mourenec, in Broumove and in Toruń, follow the French iconographie pattern.plAttribution-NonCommercial-NoDerivs 3.0 Polandhttp://creativecommons.org/licenses/by-nc-nd/3.0/pl/śmierćprzedstawienia śmiercisztukasztuka sakralnasztuka średniowiecznaśredniowieczemalarstwo ścienneikonografiaEuropaEuropa Środkowamotywy ikonograficznefreskidanse macabretaniec śmiercitriumf śmiercispotkanie trzech żywych i trzech zmarłychkościołykostniceklasztorysymbolikasymbolsymbolizmszkieletzmarlideathrepresentations of deathartsacred artmedieval artMiddle Ageswall paintingfrescoesiconographyEuropeCentral Europeiconographic motifsdance of deathtriumph of deathmeeting of the three living and the three deadchurchesmortuariesmonasteriesimagerysymbolismskeletondeadArticle