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In the first image (1844: Plusquamperfectum), Death is portrayed as a calm, composed figure. Dressed formally in a black overcoat and top hat, Death approaches a door, gently ringing the doorbell. He slips off his shoe as though he is preparing to enter quietly, behaving like a respectful servant. His bowed posture adds to his humble demeanor, as if he is merely fulfilling his duty. The Latin inscription refers to the year 1844, “Plusquamperfectum,“ which translates roughly as “more than perfect“ or “had arrived,“ indicating that Death has come to claim someone. The second image (1844: Perfectum, 1845: Immerdar solche Vertheidiger), a continuation of the story from the previous year, shows a dramatic shift. Here, Death is violently ejected from the room. He is seen flying backward out of a window, with his hat, shoes, and coat scattered in disarray. Bottles are being thrown at him, and the scene is chaotic, suggesting that whoever was inside has fiercely resisted him. The inscription for 1845 reads “Always such defenders,” implying that people fought back against Death, symbolizing a refusal to accept their fate. This image suggests that even in the face of inevitable death, people still fight for their lives. The contrasting scenes represent two different responses to mortality: one of quiet acceptance and the other of spirited resistance.
