This doctoral dissertation presents a systematic investigation of the iconography of the Death of the Virgin Mary within Western Christian art up to approximately 1300. Hans-Rudolf Peters examines the visual formulations of the Marientod across different media, tracing the development, variation and dissemination of iconographic models within medieval Europe. By relating visual sources to apocryphal texts, early theological writings and devotional traditions, the study clarifies how artistic representations of Mary's death functioned within liturgical, doctrinal and cultural contexts. The work remains an important foundational contribution to Marian iconography and medieval art history. The study analyses visual representations of the Death of the Virgin Mary in Western Christian art from late antiquity to the early fourteenth century, focusing on recurring motifs, compositional structures and regional variations in painting, sculpture and manuscript illumination. Peters systematically correlates iconographic forms with textual traditions derived from apocryphal narratives and theological interpretations, demonstrating how these sources informed visual choices and symbolic meanings. The dissertation situates Marian death imagery within broader devotional practices and ecclesiastical traditions, highlighting the role of images in shaping medieval conceptions of sanctity, death and salvation, and providing a structured typology that has continued to inform later iconographic research.