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+The Project Gutenberg EBook of The Dance of Death, by Hans Holbein
+
+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: The Dance of Death
+
+Author: Hans Holbein
+
+Commentator: Austin Dobson
+
+Release Date: June 10, 2007 [EBook #21790]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE DANCE OF DEATH ***
+
+
+
+
+Produced by David Garcia, Juliet Sutherland and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+
+
+The Dance of Death
+
+by Hans Holbein, with an
+
+introductory note by
+
+Austin Dobson
+
+
+  New York
+  SCOTT-THAW COMPANY
+  mcmiii
+
+
+
+  Copyright, 1903, by
+  SCOTT-THAW COMPANY
+
+  _The Heintzemann Press, Boston_
+
+
+
+
+
+
+THE DANCE OF DEATH
+
+=The Book=
+
+
+"_Les Simulachres & Historiées Faces de la Mort avtant elegamtment
+pourtraictes, que artificiellement imaginées._" This may be Englished
+as follows: _The Images and Storied Aspects of Death, as elegantly
+delineated as [they are] ingeniously imagined._ Such is the literal
+title of the earliest edition of the famous book now familiarly known
+as "_Holbein's Dance of Death._" It is a small _quarto_, bearing on
+its title-page, below the French words above quoted, a nondescript
+emblem with the legend _Vsus me Genuit_, and on an open book, _Gnothe
+seauton_. Below this comes again, "_A Lyon, Soubz l'escu de Coloigne_:
+M. D. XXXVIII," while at the end of the volume is the imprint
+"_Excvdebant Lvgdvni Melchoir et Gaspar Trechsel fratres: 1538_,"--the
+Trechsels being printers of German origin, who had long been established
+at Lyons. There is a verbose "Epistre" or Preface in French to the
+"_moult reuerende Abbesse du religieux conuent S. Pierre de Lyon,
+Madame Iehanne de Touszele_," otherwise the Abbess of Saint Pierre les
+Nonnains, a religious house containing many noble and wealthy ladies,
+and the words, "_Salut d'un vray Zèle_," which conclude the dedicatory
+heading, are supposed to reveal indirectly the author of the "Epistre"
+itself, namely, Jean de Vauzelles, Pastor of St. Romain and Prior of
+Monrottier, one of three famous literary brothers in the city on the
+Rhone, whose motto was "_D'un vray Zelle_." After the Preface comes
+"_Diuerses Tables de Mort, non painctes, mais extraictes de l'escripture
+saincte, colorées par Docteurs Ecclesiastiques, & umbragées par
+Philosophes_." Then follow the cuts, forty-one in number, each having
+its text from the Latin Bible above it, and below, its quatrain in
+French, this latter being understood to be from the pen of one Gilles
+Corozet. To the cuts succeed various makeweight Appendices of a didactic
+and hortatory character, the whole being wound up by a profitable
+discourse, _De la Necessite de la Mort qui ne laisse riens estre
+pardurable_. Various editions ensued to this first one of 1538, the next
+or second of 1542 (in which Corozet's verses were translated into Latin
+by Luther's brother-in-law, George Oemmel or Aemilius), being put forth
+by Jean and François Frellon, into whose hands the establishment of the
+Trechsels had fallen. There were subsequent issues in 1545, 1547, 1549,
+1554, and 1562. To the issues of 1545 and 1562 a few supplementary
+designs were added, some of which have no special bearing upon the
+general theme, although attempts, more or less ingenious, have been made
+to connect them with the text. After 1562 no addition was made to the
+plates.
+
+
+=The Artist=
+
+From the date of the _editio princeps_ it might be supposed that the
+designs were executed at or about 1538--the year of its publication. But
+this is not the case; and there is good evidence that they were not only
+designed but actually cut on the wood some eleven years before the book
+itself was published. There are, in fact, several sets of impressions
+in the British Museum, the Berlin Museum, the Basle Museum, the Imperial
+Library at Paris, and the Grand Ducal Cabinet at Carlsruhe, all of which
+correspond with each other, and are believed to be engraver's proofs
+from the original blocks. These, which include every cut in the edition
+of 1538, except "The Astrologer," would prove little of themselves as
+to the date of execution. But, luckily, there exists in the Cabinet at
+Berlin a set of coarse enlarged drawings in Indian ink, on brownish
+paper, of twenty-three of the series. These are in circular form; and
+were apparently intended as sketches for glass painting. That they are
+copied from the woodcuts is demonstrable, first, because they are not
+reversed as they would have been if they were the originals; and,
+secondly, because one of them, No. 36 ("The Duchess"), repeats the
+conjoined "H.L." on the bed, which initials are held to be the monogram
+of the woodcutter, and not to be part of the original design. The Berlin
+drawings must therefore have been executed subsequently to the woodcuts;
+and as one of them, that representing the Emperor, is dated "1527,"
+we get a date before which both the woodcuts, and the designs for the
+woodcuts, must have been prepared. It is generally held that they were
+so prepared _circa_ 1524 and 1525, the date of the Peasants' War, of the
+state of feeling excited by which they exhibit evident traces. In the
+Preface to this first edition, certain ambiguous expressions, to which
+we shall presently refer, led some of the earlier writers on the subject
+to doubt as to the designer of the series. But the later researches of
+Wornum and Woltmann, of M. Paul Mantz and, more recently, of Mr. W. J.
+Linton leave no doubt that they were really drawn by the artist to whom
+they have always been traditionally assigned, to wit, Hans Holbein the
+younger. He was resident in Basle up to the autumn of 1526, before which
+time, according to the above argument, the drawings must have been
+produced; he had already designed an Alphabet of Death; and, moreover,
+on the walls of the cemetery of the Dominican monastery at Basle there
+was a famous wall-painting of the Dance of Death, which would be a
+perpetual stimulus to any resident artist. Finally, and this is perhaps
+the most important consideration of all, the designs are in Holbein's
+manner.
+
+
+=The Woodcutter=
+
+But besides revealing an inventor of the highest order, the _Dance
+of Death_ also discloses an interpreter in wood of signal, and even
+superlative, ability. The designs are cut--to use the word which implies
+the employment of the knife as opposed to that of the graver--in a
+manner which has never yet been excelled. In this matter there could be
+no better judge than Mr. W. J. Linton; and he says that nothing, either
+by knife or by graver, is of higher quality than these woodcuts. Yet
+the woodcutter's very name was for a long time doubtful, and even now
+the particulars which we possess with regard to him are scanty and
+inconclusive. That he was dead when the Trechsels published the book in
+1538, must be inferred from the "Epistre" of Jean de Vauzelles, since
+that "Epistre" expressly refers to "_la mort de celluy, qui nous en a
+icy imaginé si elegantes figures_"; and without entering into elaborate
+enquiry as to the exact meaning of "_imaginer_" in sixteenth-century
+French, it is obvious that, although the deceased is elsewhere loosely
+called "_painctre_," this title cannot refer to Holbein, who was so far
+from being dead that he survived until 1543. The only indication of the
+woodcutter's name is supplied by the monogram, "HL" upon the bedstead
+in No. 36 ("The Duchess"); and these initials have been supposed to
+indicate one Hans Lutzelburger, or Hans of Luxemburg, "otherwise Franck,"
+a form-cutter ("formschneider"), whose full name is to be found attached
+to the so-called "Little Dance of Death," an alphabet by Holbein,
+impressions of which are in the British Museum. His signature ("H. L. F.
+1522") is also found appended to another alphabet; to a cut of a fight
+in a forest, dated also 1522; and to an engraved title-page in a German
+New Testament of the year following. This is all we know with certainty
+concerning his work, though the investigations of Dr. Édouard His have
+established the fact that a "formschneider" named Hans, who had business
+transactions with the Trechsels of Lyons, had died at Basle before June,
+1526; and it is conjectured, though absolute proof is not forthcoming,
+that this must have been the "H. L.," or Hans of Luxemburg, who cut
+Holbein's designs upon the wood. In any case, unless we must assume
+another woodcutter of equal merit, it is probable that the same man cut
+the signed Alphabet in the British Museum and the initialed _Dance of
+Death_. But why the cuts of the latter, which, as we have shown above,
+were printed _circa_ 1526, were not published at Lyons until 1538;
+and why Holbein's name was withheld in the Preface to the book of that
+year, are still unexplained. The generally accepted supposition is that
+motives of timidity, arising from the satirical and fearlessly unsparing
+character of the designs, may be answerable both for delay in the
+publication and mystification in the "Preface." And if intentional
+mystification be admitted, the doors of enquiry, after three hundred
+and fifty years, are practically sealed to the critical picklock.
+
+
+=Other Reproductions=
+
+The _Dance of Death_ has been frequently copied. Mr. W. J. Linton
+enumerates a Venice reproduction of 1545; and a set (enlarged) by Jobst
+Dienecker of Augsburg in 1554. Then there is the free copy, once popular
+with our great grandfathers, by Bewick's younger brother John, which
+Hodgson of Newcastle published in 1789 under the title of _Emblems of
+Mortality_. Wenceslaus Hollar etched thirty of the designs in 1651,
+and in 1788 forty-six of them were etched by David Deuchar. In 1832
+they were reproduced upon stone with great care by Joseph Schlotthauer,
+Professor in the Academy of Fine Arts at Munich; and these were reissued
+in this country in 1849 by John Russell Smith. They have also been
+rendered in photo-lithography for an edition issued by H. Noel
+Humphreys, in 1868; and for the Holbein Society in 1879. In 1886,
+Dr. F. Lippmann edited for Mr. Quaritch a set of reproductions of the
+engraver's proofs in the Berlin Museum; and the _editio princeps_ has
+been facsimiled by one of the modern processes for Hirth of Munich,
+as vol. x. of the Liebhaber-Bibliothek, 1884.
+
+
+=The Present Issue=
+
+The copies given in the present issue are impressions from the blocks
+engraved in 1833 for Douce's _Holbein's Dance of Death_. They are the
+best imitations in wood, says Mr. Linton. It is of course true, as he
+also points out, that a copy with the graver can never quite faithfully
+follow an original which has been cut with the knife,--more especially,
+it may be added, when the cutter is a supreme craftsman like him
+of Luxemburg. But against etched, lithographed, phototyped and
+otherwise-processed copies, these of Messrs. Bonner and John Byfield
+have one incontestable advantage: they are honest attempts to repeat
+by the same method,--that is, in wood,--the original and incomparable
+woodcuts of Hans Lutzelburger.
+
+
+
+
+THE DANCE OF DEATH
+
+(CHANT ROYAL, AFTER HOLBEIN)[1]
+
+
+  "_Contra vim Mortis_
+   _Non est medicamen in hortis._"
+
+
+  He is the despots' Despot. All must bide,
+  Later or soon, the message of his might;
+  Princes and potentates their heads must hide,
+  Touched by the awful sigil of his right;
+  Beside the Kaiser he at eve doth wait
+  And pours a potion in his cup of state;
+  The stately Queen his bidding must obey;
+  No keen-eyed Cardinal shall him affray;
+  And to the Dame that wantoneth he saith--
+  "Let be, Sweet-heart, to junket and to play."
+  There is no king more terrible than Death.
+
+  The lusty Lord, rejoicing in his pride,
+  He draweth down; before the armèd Knight
+  With jingling bridle-rein he still doth ride;
+  He crosseth the strong Captain in the fight;
+  The Burgher grave he beckons from debate;
+  He hales the Abbot by his shaven pate,
+  Nor for the Abbess' wailing will delay;
+  No bawling Mendicant shall say him nay;
+  E'en to the pyx the Priest he followeth,
+  Nor can the Leech his chilling finger stay ...
+  There is no king more terrible than Death.
+
+  All things must bow to him. And woe betide
+  The Wine-bibber,--the Roisterer by night;
+  Him the feast-master, many bouts defied,
+  Him 'twixt the pledging and the cup shall smite;
+  Woe to the Lender at usurious rate,
+  The hard Rich Man, the hireling Advocate;
+  Woe to the Judge that selleth right for pay;
+  Woe to the Thief that like a beast of prey
+  With creeping tread the traveller harryeth:--
+  These, in their sin, the sudden sword shall slay ...
+  There is no king more terrible than Death.
+
+  He hath no pity,--nor will be denied.
+  When the low hearth is garnishèd and bright,
+  Grimly he flingeth the dim portal wide,
+  And steals the Infant in the Mother's sight;
+  He hath no pity for the scorned of fate:--
+  He spares not Lazarus lying at the gate,
+  Nay, nor the Blind that stumbleth as he may;
+  Nay, the tired Ploughman,--at the sinking ray,--
+  In the last furrow,--feels an icy breath,
+  And knows a hand hath turned the team astray ...
+  There is no king more terrible than Death.
+
+  He hath no pity. For the new-made Bride,
+  Blithe with the promise of her life's delight,
+  That wanders gladly by her Husband's side,
+  He with the clatter of his drum doth fright;
+  He scares the Virgin at the convent grate;
+
+  The Maid half-won, the lover passionate;
+  He hath no grace for weakness and decay:
+  The tender Wife, the Widow bent and gray,
+  The feeble Sire whose footstep faltereth,--
+  All these he leadeth by the lonely way ...
+  There is no king more terrible than Death.
+
+
+  ENVOY.
+
+  Youth, for whose ear and monishing of late,
+  I sang of Prodigals and lost estate,
+  Have thou thy joy of living and be gay;
+  But know not less that there must come a day,--
+  Aye, and perchance e'en now it hasteneth,--
+  When thine own heart shall speak to thee and say,--
+  There is no king more terrible than Death.
+
+  1877.      A. D.
+
+
+[Footnote 1: This Chant Royal of the King of Terrors is--with Mr. AUSTIN
+DOBSON'S consent--here reprinted from his _Collected Poems_, 1896.]
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+  N.B.--The German titles are in general modernized from those
+  which appear above the engraver's proofs. The numerals are
+  those of the cuts.
+
+
+  THE CREATION                                              I
+  _Die Schöpfung aller Ding._
+
+    Eve is taken from the side of Adam.
+
+
+  THE TEMPTATION                                           II
+  "_Adam Eua im Paradyss._"
+
+    Eve, having received an apple from the serpent,
+    prompts Adam to gather more.
+
+
+  THE EXPULSION                                           III
+  "_Vsstribung Ade Eue._"
+
+    Adam and Eve, preceded by Death, playing on a
+    beggar's lyre or hurdy-gurdy, are driven by the
+    angel from Eden.
+
+
+  THE CONSEQUENCES OF THE FALL                             IV
+  _Adam baut die Erden._
+
+    Adam, aided by Death, tills the earth. Eve,
+    with a distaff, suckles Cain in the background.
+
+
+  A CEMETERY                                                V
+  _Gebein aller Menschen._
+
+    A crowd of skeletons, playing on horns, trumpets,
+    and the like, summon mankind to the grave.
+
+
+  THE POPE                                                 VI
+  _Der Päpst._
+
+    The Pope (Leo X.) with Death at his side, crowns
+    an Emperor, who kisses his foot. Another Death,
+    in a cardinal's hat, is among the assistants.
+
+
+  THE EMPEROR                                             VII
+  _Der Kaiser._
+
+    The Emperor (Maximilian I.) rates his minister
+    for injustice to a suitor. But even in the act
+    Death discrowns him.
+
+
+  THE KING                                               VIII
+  _Der König._
+
+    The King (Francis I.) sits at feast under
+    a baldachin sprinkled with _fleurs-de-lis_.
+    Death, as a cup-bearer, pours his last draught.
+
+
+  THE CARDINAL                                             IX
+  _Der Cardinal._
+
+    Death lifts off the Cardinal's hat as he is
+    handing a letter of indulgence to a rich man.
+    Luther's opponent, Cardinal Cajetan, is supposed
+    to be represented.
+
+
+  THE EMPRESS                                               X
+  _Die Kaiserinn._
+
+    The Empress, walking with her women, is
+    intercepted by a female Death, who conducts her
+    to an open grave.
+
+
+  THE QUEEN                                                XI
+  _Die Königinn._
+
+    Death, in the guise of a court-jester, drags
+    away the Queen as she is leaving her palace.
+
+
+  THE BISHOP                                              XII
+  _Der Bischof._
+
+    The sun is setting, and Death leads the aged
+    Bishop from the sorrowing shepherds of his
+    flock.
+
+
+  THE DUKE                                               XIII
+  _Der Herzog._
+
+    The Duke turns pitilessly from a beggar-woman
+    and her child. Meanwhile Death, fantastically
+    crowned, lays hands on him.
+
+
+  THE ABBOT                                               XIV
+  _Der Abt._
+
+    Death, having despoiled the Abbot of mitre
+    and crozier, hales him along unwilling, and
+    threatening his enemy with his breviary.
+
+
+  THE ABBESS                                               XV
+  _Die Abtissin._
+
+    Death, in a wreath of flags, pulls away the
+    Abbess by her scapulary in sight of a shrieking
+    nun.
+
+
+  THE NOBLEMAN                                            XVI
+  _Der Edelmann._
+
+    Death drags the resisting Nobleman towards
+    a bier in the background.
+
+
+  THE CANON, OR PREBENDARY                               XVII
+  _Der Domherr._
+
+    The Canon, with his falconer, page, and
+    jester, enters the church door. Death shows
+    him that his sands have run.
+
+
+  THE JUDGE                                             XVIII
+  _Der Richter._
+
+    Death withdraws the Judge's staff as he takes
+    a bribe from a rich suitor.
+
+
+  THE ADVOCATE                                            XIX
+  _Der Fürsprach._
+
+    Death comes upon him in the street while he is
+    being feed by a rich client.
+
+
+  THE COUNSELLOR, OR SENATOR                               XX
+  _Der Rathsherr._
+
+    The Counsellor, prompted by a devil, is
+    absorbed by a nobleman, and turns unheeding
+    from a poor suppliant. But Death, with glass
+    and spade, is waiting at his feet.
+
+
+  THE PREACHER                                            XXI
+  _Der Predicant._
+
+    Death, in a stole, stands in the pulpit
+    behind the fluent Preacher, and prepares to
+    strike him down with a jaw-bone.
+
+
+  THE PRIEST, OR PASTOR                                  XXII
+  _Der Pfarrherr._
+
+    He carries the host to a sick person. But
+    Death precedes him as his sacristan.
+
+
+  THE MENDICANT FRIAR                                   XXIII
+  _Der Mönch._
+
+    Death seizes him just as his begging box and
+    bag are filled.
+
+
+  THE NUN                                                XXIV
+  _Die Nonne._
+
+    The young Nun kneels at the altar, but turns
+    to her lover who plays upon a lute. Death
+    meantime, as a hideous old hag, extinguishes
+    the altar candles.
+
+
+  THE OLD WOMAN                                           XXV
+  _Das Altweib._
+
+    "_Melior est mors quam vita_" to the aged
+    woman who crawls gravewards with her bone
+    rosary while Death makes music in the van.
+
+
+  THE PHYSICIAN                                          XXVI
+  _Der Arzt._
+
+    Death brings him a hopeless patient, and
+    bids him cure himself.
+
+
+  THE ASTROLOGER                                        XXVII
+  (_See p. 10, l. 12._)
+
+    He contemplates a pendent sphere. But Death
+    thrusts a skull before his eyes.
+
+
+  THE RICH MAN                                         XXVIII
+  _Der Reichmann._
+
+    Death finds him at his pay-table and seizes
+    the money.
+
+
+  THE MERCHANT                                           XXIX
+  _Der Kaufmann._
+
+    Death arrests him among his newly-arrived bales.
+
+
+  THE SHIPMAN                                             XXX
+  _Der Schiffmann._
+
+    Death breaks the mast of the ship, and the crew
+    are in extremity.
+
+
+  THE KNIGHT                                             XXXI
+  _Der Ritter._
+
+    Death, in cuirass and chain-mail, runs him
+    through the body.
+
+
+  THE COUNT                                             XXXII
+  _Der Graf._
+
+    Death, as a peasant with a flail, lifts away
+    his back-piece.
+
+
+  THE OLD MAN                                          XXXIII
+  _Der Altmann._
+
+    Death, playing on a dulcimer, leads him into
+    his grave.
+
+
+  THE COUNTESS                                          XXXIV
+  _Die Grafinn._
+
+    Death helps her at her tiring by decorating
+    her with a necklet of dead men's bones.
+
+
+  THE NOBLE LADY, OR BRIDE                               XXXV
+  _Die Edelfrau._
+
+    "_Me et te sola mors separabit_"--says the
+    motto. And Death already dances before her.
+
+
+  THE DUCHESS                                           XXXVI
+  _Die Herzoginn._
+
+    Death seizes her in bed, while his fellow plays
+    the fiddle.
+
+
+  THE PEDLAR                                           XXXVII
+  _Der Kramer._
+
+    Death stops him on the road with his wares at
+    his back.
+
+
+  THE PLOUGHMAN                                       XXXVIII
+  _Der Ackermann._
+
+    Death runs at the horses' sides as the sun
+    sinks, and the furrows are completed.
+
+
+  THE YOUNG CHILD                                       XXXIX
+  _Das Junge Kind._
+
+    As the meagre cottage meal is preparing, Death
+    steals the youngest child.
+
+
+  THE LAST JUDGMENT                                        XL
+  _Das jüngste Gericht._
+
+  "_Omnes stabimus ante tribunal Domini._"
+
+
+  THE ESCUTCHEON OF DEATH                                 XLI
+  _Die Wappen des Todes._
+
+    The supporters represent Holbein and his wife.
+
+
+[_Added in later editions_]
+
+
+  THE SOLDIER                                            XLII
+
+    Death, armed only with a bone and shield,
+    fights with the Soldier on the field of battle.
+
+
+  THE GAMESTER                                          XLIII
+
+    Death and the Devil seize upon the Gambler at
+    his cards.
+
+
+  THE DRUNKARD                                           XLIV
+
+    Men and women carouse: down the throat of one
+    bloated fellow Death pours the wine.
+
+
+  THE FOOL                                                XLV
+
+    The Fool dances along the highway with Death,
+    who plays the bagpipes.
+
+
+  THE ROBBER                                             XLVI
+
+    Death seizes the Robber in the act of pillage.
+
+
+  THE BLIND MAN                                         XLVII
+
+    Death leads the Blind Man by his staff.
+
+
+  THE WAGGONER                                         XLVIII
+
+    The waggon is overturned; one Death carries off
+    a wheel, the other loosens the fastening of a cask.
+
+
+  THE BEGGAR                                             XLIX
+
+    The Beggar, lying on straw outside the city,
+    cries in vain for Death.
+
+
+
+    [Two others, not found in the earlier editions, "The Young
+    Wife," and "The Young Husband," are not included in the
+    Douce reprint for which the foregoing blocks were engraved.]
+
+
+
+
+  Les simulachres &
+
+  HISTORIEES FACES
+
+  DE LA MORT, AVTANT ELE
+
+  gammêt pourtraictes, que artificiellement
+  imaginées.
+
+  [Illustration: Vsus me genuit.]
+
+  A LYON,
+
+  Soubz l'escu de COLOIGNE,
+
+  M. D. XXXVIII.
+
+
+
+
+I.
+
+[Illustration: THE CREATION.]
+
+Formauit DOMINVS DEVS hominem de limo terræ, ad imagine suam creauit
+illum, masculum & foeminam creauit eos.
+
+Genesis i. & ii.
+
+
+  DIEV, Ciel, Mer, Terre, procrea
+  De rien demonstrant sa puissance
+  Et puis de la terre crea
+  L'homme, & la femme a sa semblance.
+
+
+
+
+II.
+
+[Illustration: THE TEMPTATION.]
+
+Quia audisti vocem vxoris tuæ, & comedisti de ligno ex quo preceperam
+tibi ne comederes, &c.
+
+Genesis iii.
+
+
+  ADAM fut par EVE deceu
+  Et contre DIEV mangea la pomme,
+  Dont tous deux ont la Mort receu,
+  Et depuis fut mortel tout homme.
+
+
+
+
+III.
+
+[Illustration: THE EXPULSION.]
+
+Emisit eum DOMINVS DEVS de Paradiso voluptatis, vt operaretur terram
+de qua sumptus est.
+
+Genesis iii.
+
+
+  DIEV chassa l'homme de plaisir
+  Pour uiure au labeur de ses mains:
+  Alors la Mort le uint saisir,
+  Et consequemment tous humains.
+
+
+
+
+IV.
+
+[Illustration: THE CONSEQUENCES OF THE FALL.]
+
+Maledicta terra in opere tuo, in laboribus comedes cunctis diebus vitæ
+tuæ, donec reuertaris, &c.
+
+Genesis iii.
+
+
+  Mauldicte en ton labeur la terre.
+  En labeur ta uie useras,
+  Iusques que la Mort te soubterre.
+  Toy pouldre en pouldre tourneras.
+
+
+
+
+V.
+
+[Illustration: A CEMETERY.]
+
+Væ væ væ habitantibus in terra.
+
+Apocalypsis viii.
+
+
+Cuncta in quibus spiraculum vitæ est, mortua sunt.
+
+Genesis vii.
+
+
+  Malheureux qui uiuez au monde
+  Tousiours remplis d'aduersitez,
+  Pour quelque bien qui uous abonde,
+  Serez tous de Mort uisitez.
+
+
+
+
+VI.
+
+[Illustration: THE POPE.]
+
+Moriatur sacerdos magnus.
+
+Iosve xx.
+
+
+Et episcopatum eius accipiat alter.
+
+Psalmista cviii.
+
+
+  Qui te cuydes immortel estre
+  Par Mort seras tost depesché,
+  Et combien que tu soys grand prebstre,
+  Vng aultre aura ton Euesché.
+
+
+
+
+VII.
+
+[Illustration: THE EMPEROR.]
+
+
+Dispone domui tuæ, morieris enim tu, & non viues.
+
+Isaiæ xxxviii.
+
+Ibi morieris, & ibi erit currus gloriæ tuæ.
+
+Isaiæ xxii.
+
+
+  De ta maison disposeras
+  Comme de ton bien transitoire,
+  Car là ou mort reposeras,
+  Seront les chariotz de ta gloire.
+
+
+
+
+VIII.
+
+[Illustration: THE KING.]
+
+Sicut & rex hodie est, & cras morietur, nemo enim ex regibus aliud
+habuit.
+
+Ecclesiastici x.
+
+
+  Ainsi qu'auiourdhuy il est Roy,
+  Demain sera en tombe close.
+  Car Roy aulcun de son arroy
+  N'a sceu emporter aultre chose.
+
+
+
+
+IX.
+
+[Illustration: THE CARDINAL.]
+
+Væ qui iustificatis impium pro muneribus, & iustitiam iusti aufertis
+ab eo.
+
+Esaiæ v.
+
+
+  Mal pour uous qui iustifiez
+  L'inhumain, & plain de malice
+  Et par dons le sanctifiez,
+  Ostant au iuste sa iustice.
+
+
+
+
+X.
+
+[Illustration: THE EMPRESS.]
+
+Gradientes in superbia potest Deus humiliare.
+
+Danie iiii.
+
+
+  Qui marchez en pompe superbe
+  La Mort vng iour uous pliera.
+  Cõme soubz uoz piedz ployez l'herbe
+  Ainsi uous humiliera.
+
+
+
+
+XI.
+
+[Illustration: THE QUEEN.]
+
+Mulieres opulentæ surgite, & audite vocem meam. Post dies, & annum,
+& vos conturbemini.
+
+Isaiæ xxxii.
+
+
+  Leuez uous dames opulentes.
+  Ouyez la uoix des trespassez.
+  Apres maintz ans & iours passez,
+  Serez troublées & doulentes.
+
+
+
+
+XII.
+
+[Illustration: THE BISHOP.]
+
+Percutiam pastorem, & dispergentur oues.
+
+xxvi. Mar. xiiii.
+
+
+  Le pasteur aussi frapperay,
+  Mitres & crosses renuersées.
+  Et lors quand ie l'attrapperay,
+  Seront ses brebis dispersées.
+
+
+
+
+XIII.
+
+[Illustration: THE DUKE.]
+
+Princeps induetur moerore. Et quiescere faciam superbiã potentium.
+
+Ezechie. vii.
+
+
+  Vien, prince, auec moy, & delaisse
+  Honneurs mondains tost finissantz.
+  Seule suis qui, certes, abaisse
+  L'orgueil & pompe des puissantz.
+
+
+
+
+XIV.
+
+[Illustration: THE ABBOT.]
+
+Ipse morietur. Quia nõ habuit disciplinam, & in multitudine stultitiæ
+suæ decipietur.
+
+Prover. v.
+
+
+  Il mourra. Car il n'a receu
+  En soy aulcune discipline,
+  Et au nombre sera deceu
+  De folie qui le domine.
+
+
+
+
+XV.
+
+[Illustration: THE ABBESS.]
+
+Laudaui magis mortuos quàm viuentes.
+
+Eccle. iiii.
+
+
+  I'ay tousiours les mortz plus loué
+  Que les uisz, esquelz mal abonde,
+  Toucesfoys la Mort ma noué
+  Au ranc de ceulx qui sont au monde.
+
+
+
+
+XVI.
+
+[Illustration: THE NOBLEMAN.]
+
+Quis est homo qui viuet, & non videbit mortem, eruet animã suam de manu
+inferi?
+
+Psal. lxxxviii.
+
+
+  Qui est celluy, tant soit grande homme,
+  Qui puisse uiure sans mourir?
+  Et de la Mort, qui tout assomme,
+  Puisse son Ame recourir?
+
+
+
+
+XVII.
+
+[Illustration: THE CANON.]
+
+Ecce appropinquat hora.
+
+Mat. xxvi.
+
+
+  Tu uas au choeur dire tes heures
+  Paiant Dieu pour toy, & ton proche.
+  Mais il fault ores que tu meures.
+  Voy tu pas l'heure qui approche?
+
+
+
+
+XVIII.
+
+[Illustration: THE JUDGE.]
+
+Disperdam iudicem de medio eius.
+
+Amos ii.
+
+
+  Du mylieu d'eulx uous osteray
+  Iuges corrumpus par presentz.
+  Point ne serez de Mort exemptz.
+  Car ailleurs uous transporteray.
+
+
+
+
+XIX.
+
+[Illustration: THE ADVOCATE.]
+
+Callidus vidit malum, & abscõdit se innocens, pertransijt, & afflictus
+est damno.
+
+Prover. xxii.
+
+
+  L'homme cault a ueu la malice
+  Pour l'innocent faire obliger,
+  Et puis par uoye de iustice
+  Est uenu le pauure affliger.
+
+
+
+
+XX.
+
+[Illustration: THE COUNSELLOR.]
+
+Qui obturat aurem suam ad clamorem pauperis, & ipse clamabit, & non
+exaudietur.
+
+Prover. xxi.
+
+
+  Les riches conseillez tousiours,
+  Et aux pauures clouez l'oreille.
+  Vous crierez aux derniers iours,
+  Mais Dieu uous fera la pareille.
+
+
+
+
+XXI.
+
+[Illustration: THE PREACHER.]
+
+Væ qui dicitis malum bonum, & bonum malu, ponentes tenebras lucem,
+& lucem tenebras, ponentes amarum dulce, & dulce in amarum.
+
+Isaiæ xv.
+
+
+  Mal pour uous qui ainsi osez
+  Le mal pour le bien nous blasmer,
+  Et le bien pour mal exposez,
+  Mettant auec le doulx l'amer.
+
+
+
+
+XXII.
+
+[Illustration: THE PRIEST.]
+
+Sum quidem & ego mortalis homo.
+
+Sap. vii.
+
+
+  Ie porte le sainct sacrement
+  Cuidant le mourant secourir,
+  Qui mortel suis pareillement.
+  Et comme luy me fault mourir.
+
+
+
+
+XXIII.
+
+[Illustration: THE MENDICANT FRIAR.]
+
+Sedentes in tenebris, & in vmbra mortis, vinctos in mendicitate.
+
+Psal. cvi.
+
+
+  Toy qui n'as soucy, ny remord
+  Sinon de ta mendicité,
+  Tu fierras a l'umbre de Mort
+  Pour t'ouster de necessité.
+
+
+
+
+XXIV.
+
+[Illustration: THE NUN.]
+
+Est via quæ videtur homini iusta: nouissima autem eius deducunt hominem
+ad mortem.
+
+Prover. iiii.
+
+
+  Telle uoye aux humains est bonne,
+  Et a l'homme tresiuste semble.
+  Mais la fin d'elle a l'homme donne,
+  La Mort, qui tous pecheurs assemble.
+
+
+
+
+XXV.
+
+[Illustration: THE OLD WOMAN.]
+
+Melior est mors quàm vita.
+
+Eccle. xxx.
+
+
+  En peine ay uescu longuement
+  Tant que nay plus de uiure enuie,
+  Mais bien ie croy certainement,
+  Meilleure la Mort que la uie.
+
+
+
+
+XXVI.
+
+[Illustration: THE PHYSICIAN.]
+
+Medice, cura teipsum.
+
+Lvcæ iiii.
+
+
+  Tu congnoys bien la maladie
+  Pour le patient secourir,
+  Et si ne scais teste estourdie,
+  Le mal dont tu deburas mourir.
+
+
+
+
+XXVII.
+
+[Illustration: THE ASTROLOGER.]
+
+Indica mihi si nosti omnia. Sciebas quòd nasciturus esses, & numerum
+dierum tuorum noueras?
+
+Iob xxviii.
+
+
+  Tu dis par Amphibologie
+  Ce qu'aux aultres doibt aduenir.
+  Dy moy donc par Astrologie
+  Quand tu deburas a moy uenir?
+
+
+
+
+XXVIII.
+
+[Illustration: THE RICH MAN.]
+
+Stulte hac nocte repetunt animam tuam, & quæ parasti cuius erunt?
+
+Lvcæ xii.
+
+
+  Ceste nuict la Mort te prendra,
+  Et demain seras enchassé.
+  Mais dy moy, fol, a qui uiendra
+  Le bien que tu as amassé?
+
+
+
+
+XXIX.
+
+[Illustration: THE MERCHANT.]
+
+Qui congregat thesauros mendacij vanus & excors est, & impingetur ad
+laqueos mortis.
+
+Prover. xxi.
+
+
+  Vain est cil qui amassera
+  Grandz biens, & tresors pour mentir,
+  La Mort l'en fera repentir.
+  Car en ses lacz surpris sera.
+
+
+
+
+XXX.
+
+[Illustration: THE SHIPMAN.]
+
+Qui volunt diuites fieri incidunt in laqueum diaboli, & desideria multa,
+& nociua, quæ mergunt homines in interitum.
+
+I. Ad Timo. vi.
+
+
+  Pour acquerir des biens mondains
+  Vous entrez en tentation,
+  Qui uous met es perilz soubdains,
+  Et uous maine a perdition.
+
+
+
+
+XXXI.
+
+[Illustration: THE KNIGHT.]
+
+Subito morientur, & in media nocte turbabuntur populi, & auferent
+violentum absque manu.
+
+Iob xxxiiii.
+
+
+  Peuples soubdain s'esleuront
+  A lencontre de l'inhumain,
+  Et le uiolent osteront
+  D'auec eulx sans force de main.
+
+
+
+
+XXXII.
+
+[Illustration: THE COUNT.]
+
+Quoniam cùm interiet non sumet secum omnia, neque cum eo descendet
+gloria eius.
+
+Psal. xlviii.
+
+
+  Auec soy rien n'emportera,
+  Mais qu'une foys la Mort le tombe,
+  Rien de sa gloire n'ostera,
+  Pour mettre auec soy en sa tombe.
+
+
+
+
+XXXIII.
+
+[Illustration: THE OLD MAN.]
+
+Spiritus meus attenuabitur, dies mei breuiabuntur, & solum mihi superest
+sepulchrum.
+
+Iob xvii.
+
+
+  Mes esperitz sont attendriz,
+  Et ma uie s'en ua tout beau.
+  Las mes longziours sont amoindriz,
+  Plus ne me reste qu'un tombeau.
+
+
+
+
+XXXIV.
+
+[Illustration: THE COUNTESS.]
+
+Ducunt in bonis dies suos, & in puncto ad inferna descendunt.
+
+Iob xxi.
+
+
+  En biens mõdains leurs iours despendet
+  En uoluptez, & en tristesse,
+  Puis soubdain aux Enfers descendent
+  Ou leur ioye passe en tristesse.
+
+
+
+
+XXXV.
+
+[Illustration: THE NOBLE LADY.]
+
+Me & te sola mors separabit.
+
+Rvth. i.
+
+
+  Amour qui unyz nous faict uiure,
+  En foy noz cueurs preparera,
+  Qui long temps ne nous pourra suyure,
+  Car la Mort nous separera.
+
+
+
+
+XXXVI.
+
+[Illustration: THE DUCHESS.]
+
+De lectulo super quem ascendisti non descendes, sed morte morieris.
+
+iiii. Reg. i.
+
+
+  Du lict sus lequel as monté
+  Ne descendras a ton plaisir.
+  Car Mort t'aura tantost dompté,
+  Et en brief te uiendra saisir.
+
+
+
+
+XXXVII.
+
+[Illustration: THE PEDLAR.]
+
+Venite ad me qui onerati estis.
+
+Matth. xi.
+
+
+  Venez, & apres moy marchez
+  Vous qui estes par trop charge.
+  Cest assez suiuy les marchez:
+  Vous serez par moy decharge.
+
+
+
+
+XXXVIII.
+
+[Illustration: THE PLOUGHMAN.]
+
+In sudore vultus tui vesceris pane tuo.
+
+Gene. i.
+
+
+  A la sueur de ton uisaige
+  Tu gaigneras ta pauure uie.
+  Apres long trauail, & usaige,
+  Voicy la Mort qui te conuie.
+
+
+
+
+XXXIX.
+
+[Illustration: THE YOUNG CHILD.]
+
+Homo natus de muliere, breui viuens tempore repletur multis miserijs,
+qui quasi flos egreditur, & conteritur, & fugit velut vmbra.
+
+Iob xiiii.
+
+
+  Tout homme de la femme yssant
+  Remply de misere, & d'encombre,
+  Ainsi que fleur tost finissant.
+  Sort & puis fuyt comme faict l'umbre.
+
+
+
+
+XL.
+
+[Illustration: THE LAST JUDGMENT.]
+
+Omnes stabimus ante tribunal domini.
+
+Roma. xiiii.
+
+Vigilate, & orate, quia nescitis qua hora venturus sit dominus.
+
+Matt. xxiiii.
+
+
+  Deuante le trosne du grand iuge
+  Chascun de soy compte rendra
+  Pourtant ueillez, qu'il ne uous iuge.
+  Car ne scauez quand il uiendra.
+
+
+
+
+XLI.
+
+[Illustration: THE ESCUTCHEON OF DEATH.]
+
+Memorare nouissima, & in æternum non peccabis.
+
+Eccle. vii.
+
+
+  Si tu ueulx uiure sans peché
+  Voy ceste imaige a tous propos,
+  Et point ne seras empesché,
+  Quand tu t'en iras a repos.
+
+
+
+
+[ADDED IN LATER EDITIONS]
+
+
+
+
+XLII.
+
+[Illustration: THE SOLDIER.]
+
+Cum fortis armatus custodit atrium suum, &c. Si autem fortior eo
+superueniens vicerit eum, uniuersa eius arma aufert, in quibus
+confidebat.
+
+
+  Le sort armé en jeune corps
+  Pense auoir seure garnison;
+  Mais Mort plus forte, le met hors
+  De sa corporelle maison.
+
+
+
+
+XLIII.
+
+[Illustration: THE GAMESTER.]
+
+Quid prodest homini, si vniuersum Mundum lucretur, animæ autem suæ
+detrimentum patiatur?
+
+Matt. xvi.
+
+
+  Que vault à l'homme tout le Monde
+  Gaigner d'hazard, & chance experte,
+  S'il recoit de sa uie immonde
+  Par Mort, irreparable perte?
+
+
+
+
+XLIV.
+
+[Illustration: THE DRUNKARD.]
+
+Ne inebriemini vino, in quo est luxuria.
+
+Ephes. v.
+
+
+  De vin (auquel est tout exces)
+  Ne vous enyurez pour dormir
+  Sommeil de Mort qui au deces
+  Vous face l'ame, & sang vomir.
+
+
+
+
+XLV.
+
+[Illustration: THE FOOL.]
+
+Quasi agnus lasciuiens, & ignorans, nescit quòd ad vincula stultus
+trahatur.
+
+Proverb vii.
+
+
+  Le Fol vit en ioye, & deduict
+  San scavoir qu'il s'en va mourant,
+  Tant qu'à sa fin il est conduict
+  Ainsi que l'agneau ignorant.
+
+
+
+
+XLVI.
+
+[Illustration: THE ROBBER.]
+
+Domine, vim patior.
+
+Isaiæ xxxviii.
+
+
+  La foible femme brigandée
+  Crie, O seigneur on me fait force.
+  Lors de Dieu la mort est mandée,
+  Qui les estrangle à dure estorce.
+
+
+
+
+XLVII.
+
+[Illustration: THE BLIND MAN.]
+
+Cæcus cæcum ducit: & ambo in foueam cadunt.
+
+Matth. xv.
+
+
+  L'aueugle un autre aueugle guide,
+  L'un par l'autre en la fosse tombe:
+  Car quand plus oultre aller il cuide,
+  La MORT l'homme iecte en la tombe.
+
+
+
+
+XLVIII.
+
+[Illustration: THE WAGGONER.]
+
+Corruit in curru suo.
+
+i Chron. xxii.
+
+
+  Au passage de MORT peruerse
+  Raison, chartier tout esperdu,
+  Du corps le char, & cheuaux verse,
+  Le vin (sang de vie) espandu.
+
+
+
+
+XLIX.
+
+[Illustration: THE BEGGAR.]
+
+Miser ego homo! Quis nie liberabit de corpore mortis huius?
+
+Rom. vii.
+
+
+  Qui hors la chair veult en Christ viure
+  Ne craint mort, mais dit un mortel,
+  Helas, qui me rendra deliure
+  Pouure homme de ce corps mortel?
+
+
+
+
+       *       *       *       *       *
+
+   _Of this edition of Holbein's "The Dance of Death,"
+    seven hundred and fifty copies have been printed
+    on Japan vellum, for the Scott-Thaw Co., by the
+    Heintzemann Press, July, MCMIII._
+
+
+
+
+[Transcriber's Note: In the work used for this digitization, each pair
+of facing pages has the Latin biblical quotation at the top of the left
+page printed in red, the French quatrain at the bottom of the left page
+printed in black, and the illustration (numbered above, and captioned
+below) on the right page, opposite the text. For clarity in the
+text-only version, the plate numbers and captions have been moved to
+precede their corresponding verses.]
+
+
+
+
+
+End of the Project Gutenberg EBook of The Dance of Death, by Hans Holbein
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+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd">
+<html xmlns="http://www.w3.org/1999/xhtml">
+<head>
+<meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1" />
+<meta content="pg2html (binary v0.18)" name="generator" />
+<title>The Project Gutenberg eBook of
+    The Dance of Death,
+    by Hans Holbein.
+</title>
+<style type="text/css">
+/*<![CDATA[*/
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+        margin-top:    .75em;
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+        margin-bottom: .75em; }
+    h1,h2,h3,h4,h5,h6 { text-align: center; clear: both; }
+    hr  { width: 50%; }
+    hr.full { width: 100%; }
+    .foot { margin-left: 10%; margin-right: 10%; text-align: justify; text-indent: -3em; font-size: 85%; }
+    .poem { margin: 0em 0em 1em 0em; text-align: left; }
+    .poem .stanza { margin: 1em 0em 1em 0em; }
+    .poem p     { margin: 0; padding: 0em 0em 0em 2em; text-indent: -2em;}
+    .poem p.i2  { margin-left: 0em; }
+    .poem p.i4  { margin-left: 0.5em; }
+    .poem p.i54  { margin-left: 27.5em; }
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+    .figure { margin-left: 10%; margin-right: 10%; text-indent: 0em; text-align: center; font-size: 90%; font-variant: small-caps; }
+    .plate { margin: 0em 0em 0em 1em; text-indent: 0em; text-align: center; font-weight: bold; width: 50%; float: right; }
+    center { padding: 0.8em;}
+    span.pagenum         {position: absolute; left: 1%; right: 99%; font-size: 8pt; color: gray; background-color: inherit; display: none; }
+    span.hpagenum        {position: absolute; left: 1%; right: 99%; font-size: 8pt; display: none;} /* pages not numbered in original */
+    span.sc { font-variant: small-caps; }
+    .right { text-align: right; margin-bottom: 4em;}
+    .latinquote { text-indent: 0em; color: darkred; background-color: inherit; }
+    table { border: none; padding: 0; margin: auto; }
+    td { padding: .5em; }
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+/*]]>*/
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+</head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of The Dance of Death, by Hans Holbein
+
+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: The Dance of Death
+
+Author: Hans Holbein
+
+Commentator: Austin Dobson
+
+Release Date: June 10, 2007 [EBook #21790]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE DANCE OF DEATH ***
+
+
+
+
+Produced by David Garcia, Juliet Sutherland and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<div style="height: 6em;"><br /><br /><br /><br /><br /><br /></div>
+
+<p><span class="hpagenum"><a id="page1" name="page1"></a>[1]</span></p>
+
+<p class="quote">
+    <i>Of this edition Seven hundred and
+    fifty copies have been printed, of
+    which this is Number</i> &hellip;71&hellip;
+</p>
+
+<p><span class="hpagenum"><a id="page2" name="page2"></a>[2]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<p><span class="hpagenum"><a id="page3" name="page3"></a>[3]</span></p>
+
+<a name="h2H_4_0001" id="h2H_4_0001"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h1>
+<small>The</small>
+<br />
+Dance of Death
+</h1>
+
+<h3>
+by Hans Holbein, with an
+<br />
+introductory note by
+<br />
+Austin Dobson
+</h3>
+
+<div style="height: 2em;"><br /><br /></div>
+
+<p class="center">
+  New York<br />
+  <span class="sc">Scott-Thaw Company</span><br />
+  mcmiii
+</p>
+
+<p><span class="hpagenum"><a id="page4" name="page4"></a>[4]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<p class="center">
+  Copyright, 1903, by<br />
+  <span class="sc">Scott-Thaw Company</span>
+</p>
+
+<p class="center">
+  <i>The Heintzemann Press, Boston</i>
+</p>
+
+<p><span class="pagenum"><a id="page5" name="page5"></a>[5]</span></p>
+
+<a name="h2H_4_0002" id="h2H_4_0002"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    THE DANCE OF DEATH
+</h2>
+<h3>
+    <b>The Book</b>
+</h3>
+<p>
+"<i>Les Simulachres &amp; Historiées Faces de la Mort avtant elegamtment
+pourtraictes, que artificiellement imaginées.</i>" This may be Englished
+as follows: <i>The Images and Storied Aspects of Death, as elegantly
+delineated as [they are] ingeniously imagined.</i> Such is the literal
+title of the earliest edition of the famous book now familiarly known
+as "<i>Holbein's Dance of Death.</i>" It is a small <i>quarto</i>, bearing on
+its title-page, below the French words above
+
+<span class="pagenum"><a id="page6" name="page6"></a>[6]</span>
+
+                                              quoted, a nondescript
+emblem with the legend <i>Vsus me Genuit</i>, and on an open book, <i>Gnothe
+seauton</i>. Below this comes again, "<i>A Lyon, Soubz l'escu de Coloigne</i>:
+<span class="sc">M. D. XXXVIII</span>," while at the end of the volume is the imprint
+"<i>Excvdebant Lvgdvni Melchoir et Gaspar Trechsel fratres: 1538</i>,"&mdash;the
+Trechsels being printers of German origin, who had long been established
+at Lyons. There is a verbose "Epistre" or Preface in French to the
+"<i>moult reuerende Abbesse du religieux conuent S. Pierre de Lyon,
+Madame Iehanne de Touszele</i>," otherwise the Abbess of Saint Pierre les
+Nonnains, a religious house containing many noble and wealthy ladies,
+and the
+
+<span class="pagenum"><a id="page7" name="page7"></a>[7]</span>
+
+        words, "<i>Salut d'un vray Zèle</i>," which conclude the dedicatory
+heading, are supposed to reveal indirectly the author of the "Epistre"
+itself, namely, Jean de Vauzelles, Pastor of St. Romain and Prior of
+Monrottier, one of three famous literary brothers in the city on the
+Rhone, whose motto was "<i>D'un vray Zelle</i>." After the Preface comes
+"<i>Diuerses Tables de Mort, non painctes, mais extraictes de l'escripture
+saincte, colorées par Docteurs Ecclesiastiques, &amp; umbragées par
+Philosophes</i>." Then follow the cuts, forty-one in number, each having
+its text from the Latin Bible above it, and below, its quatrain in
+French, this latter being
+
+<span class="pagenum"><a id="page8" name="page8"></a>[8]</span>
+
+                          understood to be from the pen of one Gilles
+Corozet. To the cuts succeed various makeweight Appendices of a didactic
+and hortatory character, the whole being wound up by a profitable
+discourse, <i>De la Necessite de la Mort qui ne laisse riens estre
+pardurable</i>. Various editions ensued to this first one of 1538, the next
+or second of 1542 (in which Corozet's verses were translated into Latin
+by Luther's brother-in-law, George Oemmel or Aemilius), being put forth
+by Jean and François Frellon, into whose hands the establishment of the
+Trechsels had fallen. There were subsequent issues in 1545, 1547, 1549,
+1554, and 1562. To the
+
+<span class="pagenum"><a id="page9" name="page9"></a>[9]</span>
+
+                       issues of 1545 and 1562 a few supplementary
+designs were added, some of which have no special bearing upon the
+general theme, although attempts, more or less ingenious, have been made
+to connect them with the text. After 1562 no addition was made to the
+plates.
+</p>
+<h3>
+The Artist
+</h3>
+<p>
+From the date of the <i>editio princeps</i> it might be supposed that the
+designs were executed at or about 1538&mdash;the year of its publication. But
+this is not the case; and there is good evidence that they were not only
+designed but actually cut on the wood some eleven years before
+
+<span class="pagenum"><a id="page10" name="page10"></a>[10]</span>
+
+                                                                the book
+itself was published. There are, in fact, several sets of impressions
+in the British Museum, the Berlin Museum, the Basle Museum, the Imperial
+Library at Paris, and the Grand Ducal Cabinet at Carlsruhe, all of which
+correspond with each other, and are believed to be engraver's proofs
+from the original blocks. These, which include every cut in the edition
+of 1538, except "The Astrologer," would prove little of themselves as
+to the date of execution. But, luckily, there exists in the Cabinet at
+Berlin a set of coarse enlarged drawings in Indian ink, on brownish
+paper, of twenty-three of the series. These are in circular form; and
+were
+
+<span class="pagenum"><a id="page11" name="page11"></a>[11]</span>
+
+     apparently intended as sketches for glass painting. That they are
+copied from the woodcuts is demonstrable, first, because they are not
+reversed as they would have been if they were the originals; and,
+secondly, because one of them, No. 36 ("The Duchess"), repeats the
+conjoined "H.L." on the bed, which initials are held to be the monogram
+of the woodcutter, and not to be part of the original design. The Berlin
+drawings must therefore have been executed subsequently to the woodcuts;
+and as one of them, that representing the Emperor, is dated "1527," we
+get a date before which both the woodcuts, and the designs for the
+woodcuts,
+
+<span class="pagenum"><a id="page12" name="page12"></a>[12]</span>
+
+          must have been prepared. It is generally held that they were
+so prepared <i>circa</i> 1524 and 1525, the date of the Peasants' War, of the
+state of feeling excited by which they exhibit evident traces. In the
+Preface to this first edition, certain ambiguous expressions, to which
+we shall presently refer, led some of the earlier writers on the subject
+to doubt as to the designer of the series. But the later researches of
+Wornum and Woltmann, of M. Paul Mantz and, more recently, of Mr. W. J.
+Linton leave no doubt that they were really drawn by the artist to whom
+they have always been traditionally assigned, to wit, Hans Holbein the
+younger. He
+
+<span class="pagenum"><a id="page13" name="page13"></a>[13]</span>
+
+            was resident in Basle up to the autumn of 1526, before which
+time, according to the above argument, the drawings must have been
+produced; he had already designed an Alphabet of Death; and, moreover,
+on the walls of the cemetery of the Dominican monastery at Basle there
+was a famous wall-painting of the Dance of Death, which would be a
+perpetual stimulus to any resident artist. Finally, and this is perhaps
+the most important consideration of all, the designs are in Holbein's
+manner.
+</p>
+<h3>
+The Woodcutter
+</h3>
+<p>
+But besides revealing an inventor of the highest order, the <i>Dance</i>
+
+<span class="pagenum"><a id="page14" name="page14"></a>[14]</span>
+
+<i> of Death</i> also discloses an interpreter in wood of signal, and even
+superlative, ability. The designs are cut&mdash;to use the word which implies
+the employment of the knife as opposed to that of the graver&mdash;in a
+manner which has never yet been excelled. In this matter there could be
+no better judge than Mr. W. J. Linton; and he says that nothing, either
+by knife or by graver, is of higher quality than these woodcuts. Yet
+the woodcutter's very name was for a long time doubtful, and even now
+the particulars which we possess with regard to him are scanty and
+inconclusive. That he was dead when the Trechsels published the book in
+1538, must
+
+<span class="pagenum"><a id="page15" name="page15"></a>[15]</span>
+
+           be inferred from the "Epistre" of Jean de Vauzelles, since
+that "Epistre" expressly refers to "<i>la mort de celluy, qui nous en a
+icy imaginé si elegantes figures</i>"; and without entering into elaborate
+enquiry as to the exact meaning of "<i>imaginer</i>" in sixteenth-century
+French, it is obvious that, although the deceased is elsewhere loosely
+called "<i>painctre</i>," this title cannot refer to Holbein, who was so far
+from being dead that he survived until 1543. The only indication of the
+woodcutter's name is supplied by the monogram, "HL" upon the bedstead
+in No. 36 ("The Duchess"); and these initials have been supposed to
+indicate one Hans Lutzelburger, or
+
+<span class="pagenum"><a id="page16" name="page16"></a>[16]</span>
+
+                                    Hans of Luxemburg, "otherwise Franck,"
+a form-cutter ("formschneider"), whose full name is to be found attached
+to the so-called "Little Dance of Death," an alphabet by Holbein,
+impressions of which are in the British Museum. His signature ("H. L. F.
+1522") is also found appended to another alphabet; to a cut of a fight
+in a forest, dated also 1522; and to an engraved title-page in a German
+New Testament of the year following. This is all we know with certainty
+concerning his work, though the investigations of Dr. Édouard His have
+established the fact that a "formschneider" named Hans, who had business
+transactions
+
+<span class="pagenum"><a id="page17" name="page17"></a>[17]</span>
+
+             with the Trechsels of Lyons, had died at Basle before June,
+1526; and it is conjectured, though absolute proof is not forthcoming,
+that this must have been the "H. L.," or Hans of Luxemburg, who cut
+Holbein's designs upon the wood. In any case, unless we must assume
+another woodcutter of equal merit, it is probable that the same man cut
+the signed Alphabet in the British Museum and the initialed <i>Dance of
+Death</i>. But why the cuts of the latter, which, as we have shown above,
+were printed <i>circa</i> 1526, were not published at Lyons until 1538; and
+why Holbein's name was withheld in the Preface to the book of that year,
+are still unexplained.
+
+<span class="pagenum"><a id="page18" name="page18"></a>[18]</span>
+
+                       The generally accepted supposition is that
+motives of timidity, arising from the satirical and fearlessly unsparing
+character of the designs, may be answerable both for delay in the
+publication and mystification in the "Preface." And if intentional
+mystification be admitted, the doors of enquiry, after three hundred
+and fifty years, are practically sealed to the critical picklock.
+</p>
+<h3>
+Other Reproductions
+</h3>
+<p>
+The <i>Dance of Death</i> has been frequently copied. Mr. W. J. Linton
+enumerates a Venice reproduction of 1545; and a set (enlarged) by Jobst
+Dienecker of Augsburg in 1554. Then there
+
+<span class="pagenum"><a id="page19" name="page19"></a>[19]</span>
+
+                                          is the free copy, once popular
+with our great grandfathers, by Bewick's younger brother John, which
+Hodgson of Newcastle published in 1789 under the title of <i>Emblems of
+Mortality</i>. Wenceslaus Hollar etched thirty of the designs in 1651,
+and in 1788 forty-six of them were etched by David Deuchar. In 1832
+they were reproduced upon stone with great care by Joseph Schlotthauer,
+Professor in the Academy of Fine Arts at Munich; and these were reissued
+in this country in 1849 by John Russell Smith. They have also been
+rendered in photo-lithography for an edition issued by H. Noel
+Humphreys, in 1868; and for the
+
+<span class="pagenum"><a id="page20" name="page20"></a>[20]</span>
+
+                                Holbein Society in 1879. In 1886,
+Dr. F. Lippmann edited for Mr. Quaritch a set of reproductions of the
+engraver's proofs in the Berlin Museum; and the <i>editio princeps</i> has
+been facsimiled by one of the modern processes for Hirth of Munich, as
+vol. x. of the Liebhaber-Bibliothek, 1884.
+</p>
+<h3>
+The Present Issue
+</h3>
+<p>
+The copies given in the present issue are impressions from the blocks
+engraved in 1833 for Douce's <i>Holbein's Dance of Death</i>. They are the
+best imitations in wood, says Mr. Linton. It is of course true, as he
+also points out, that a copy with the graver can never quite faithfully
+follow
+
+<span class="pagenum"><a id="page21" name="page21"></a>[21]</span>
+
+       an original which has been cut with the knife,&mdash;more especially,
+it may be added, when the cutter is a supreme craftsman like him
+of Luxemburg. But against etched, lithographed, phototyped and
+otherwise-processed copies, these of Messrs. Bonner and John Byfield
+have one incontestable advantage: they are honest attempts to repeat
+by the same method,&mdash;that is, in wood,&mdash;the original and incomparable
+woodcuts of Hans Lutzelburger.
+</p>
+
+<p>
+<span class="hpagenum"><a id="page22" name="page22"></a>[22]</span>
+</p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<p>
+<span class="pagenum"><a id="page23" name="page23"></a>[23]</span>
+</p>
+
+<a name="h2H_4_0003" id="h2H_4_0003"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    THE DANCE OF DEATH
+</h2>
+<h3>
+    (CHANT ROYAL, AFTER HOLBEIN)<a href="#note-1" name="noteref-1"><small>1</small></a>
+</h3>
+
+<p class="quote"><br />
+  "<i>Contra vim Mortis</i><br />
+   <i>Non est medicamen in hortis.</i>"
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   He is the despots' Despot. All must bide, </p>
+<p class="i2">   Later or soon, the message of his might; </p>
+<p class="i2">   Princes and potentates their heads must hide, </p>
+
+<span class="pagenum"><a id="page24" name="page24"></a>[24]</span>
+
+<p class="i2">   Touched by the awful sigil of his right; </p>
+<p class="i2">   Beside the Kaiser he at eve doth wait </p>
+<p class="i2">   And pours a potion in his cup of state; </p>
+<p class="i2">   The stately Queen his bidding must obey; </p>
+<p class="i2">   No keen-eyed Cardinal shall him affray; </p>
+<p class="i2">   And to the Dame that wantoneth he saith&mdash; </p>
+<p class="i2">   "Let be, Sweet-heart, to junket and to play." </p>
+<p class="i2">   There is no king more terrible than Death. </p>
+</div>
+<div class="stanza">
+<p class="i2">   The lusty Lord, rejoicing in his pride, </p>
+
+<span class="pagenum"><a id="page25" name="page25"></a>[25]</span>
+
+<p class="i2">   He draweth down; before the armèd Knight </p>
+<p class="i2">   With jingling bridle-rein he still doth ride; </p>
+<p class="i2">   He crosseth the strong Captain in the fight; </p>
+<p class="i2">   The Burgher grave he beckons from debate; </p>
+<p class="i2">   He hales the Abbot by his shaven pate, </p>
+<p class="i2">   Nor for the Abbess' wailing will delay; </p>
+<p class="i2">   No bawling Mendicant shall say him nay; </p>
+<p class="i2">   E'en to the pyx the Priest he followeth, </p>
+<p class="i2">   Nor can the Leech his chilling finger stay ... </p>
+<p class="i2">   There is no king more terrible than Death. </p>
+</div>
+
+<span class="pagenum"><a id="page26" name="page26"></a>[26]</span>
+
+<div class="stanza">
+<p class="i2">   All things must bow to him. And woe betide </p>
+<p class="i2">   The Wine-bibber,&mdash;the Roisterer by night; </p>
+<p class="i2">   Him the feast-master, many bouts defied, </p>
+<p class="i2">   Him 'twixt the pledging and the cup shall smite; </p>
+<p class="i2">   Woe to the Lender at usurious rate, </p>
+<p class="i2">   The hard Rich Man, the hireling Advocate; </p>
+<p class="i2">   Woe to the Judge that selleth right for pay; </p>
+<p class="i2">   Woe to the Thief that like a beast of prey </p>
+<p class="i2">   With creeping tread the traveller harryeth:&mdash; </p>
+<p class="i2">   These, in their sin, the sudden sword shall slay ... </p>
+
+<span class="pagenum"><a id="page27" name="page27"></a>[27]</span>
+
+<p class="i2">   There is no king more terrible than Death. </p>
+</div>
+
+<div class="stanza">
+<p class="i2">   He hath no pity,&mdash;nor will be denied. </p>
+<p class="i2">   When the low hearth is garnishèd and bright, </p>
+<p class="i2">   Grimly he flingeth the dim portal wide, </p>
+<p class="i2">   And steals the Infant in the Mother's sight; </p>
+<p class="i2">   He hath no pity for the scorned of fate:&mdash; </p>
+<p class="i2">   He spares not Lazarus lying at the gate, </p>
+<p class="i2">   Nay, nor the Blind that stumbleth as he may; </p>
+<p class="i2">   Nay, the tired Ploughman,&mdash;at the sinking ray,&mdash; </p>
+
+<span class="pagenum"><a id="page28" name="page28"></a>[28]</span>
+
+<p class="i2">   In the last furrow,&mdash;feels an icy breath, </p>
+<p class="i2">   And knows a hand hath turned the team astray ... </p>
+<p class="i2">   There is no king more terrible than Death. </p>
+</div>
+
+<div class="stanza">
+<p class="i2">   He hath no pity. For the new-made Bride, </p>
+<p class="i2">   Blithe with the promise of her life's delight, </p>
+<p class="i2">   That wanders gladly by her Husband's side, </p>
+<p class="i2">   He with the clatter of his drum doth fright; </p>
+<p class="i2">   He scares the Virgin at the convent grate; </p>
+</div>
+
+<div class="stanza">
+<p class="i2">   The Maid half-won, the lover passionate; </p>
+
+<span class="pagenum"><a id="page29" name="page29"></a>[29]</span>
+
+<p class="i2">   He hath no grace for weakness and decay: </p>
+<p class="i2">   The tender Wife, the Widow bent and gray, </p>
+<p class="i2">   The feeble Sire whose footstep faltereth,&mdash; </p>
+<p class="i2">   All these he leadeth by the lonely way ... </p>
+<p class="i2">   There is no king more terrible than Death. </p>
+</div>
+</div>
+
+<h3>   ENVOY. </h3>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Youth, for whose ear and monishing of late, </p>
+<p class="i2">   I sang of Prodigals and lost estate, </p>
+<p class="i2">   Have thou thy joy of living and be gay; </p>
+<p class="i2">   But know not less that there must come a day,&mdash; </p>
+
+<span class="pagenum"><a id="page30" name="page30"></a>[30]</span>
+
+<p class="i2">   Aye, and perchance e'en now it hasteneth,&mdash; </p>
+<p class="i2">   When thine own heart shall speak to thee and say,&mdash; </p>
+<p class="i2">   There is no king more terrible than Death. </p>
+</div>
+</div>
+
+<p>1877. A. D.</p>
+
+
+<a name="note-1"><!--Note--></a>
+<p class="foot">
+<sup>1</sup> (<a href="#noteref-1">return</a>)<br />
+This Chant Royal of the King of Terrors is&mdash;with Mr.
+<span class="sc">Austin Dobson's</span> consent&mdash;here reprinted from his <i>Collected
+Poems</i>, 1896.
+</p>
+
+<p>
+<span class="pagenum"><a id="page31" name="page31"></a>[31]</span>
+</p>
+
+<a name="h2H_LIST" id="h2H_LIST"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    LIST OF ILLUSTRATIONS
+</h2>
+<p class="quote">
+    N.B.&mdash;The German titles are in general modernized from those
+    which appear above the engraver's proofs. The numerals are
+    those of the cuts.
+</p>
+
+<table border="0" align="center" width="80%" summary="List of Illustrations">
+<tr><td><span class="sc">The Creation</span></td><td align="right"><a href="#h2H_4_0005">I</a></td></tr>
+<tr><td><i>Die Schöpfung aller Ding.</i></td></tr>
+<tr><td><p class="quote">     Eve is taken from the side of Adam. </p></td></tr>
+
+<tr><td><span class="sc">The Temptation</span></td><td align="right"><a href="#h2H_4_0006">II</a></td></tr>
+<tr><td>"<i>Adam Eua im Paradyss.</i>"</td></tr>
+<tr><td><p class="quote">
+    Eve, having received an apple from the serpent,
+    prompts Adam to gather more.
+</p></td></tr>
+
+<tr><td><span class="sc">The Expulsion</span></td><td align="right"><a href="#h2H_4_0007">III</a></td></tr>
+<tr><td>"<i>Vsstribung Ade Eue.</i>"</td></tr>
+<tr><td><p class="quote">
+    Adam and Eve, preceded by Death, playing on a
+    beggar's lyre or hurdy-gurdy, are driven by the
+    angel from Eden.</p>
+</td></tr>
+
+<tr><td>
+<span class="pagenum"><a id="page32" name="page32"></a>[32]</span>
+<span class="sc">The Consequences of the Fall</span></td><td align="right"><a href="#h2H_4_0008">IV</a></td></tr>
+<tr><td><i>Adam baut die Erden.</i></td></tr>
+<tr><td><p class="quote">
+    Adam, aided by Death, tills the earth. Eve,
+    with a distaff, suckles Cain in the background.</p>
+</td></tr>
+
+<tr><td><span class="sc">A Cemetery</span></td><td align="right"><a href="#h2H_4_0009">V</a></td></tr>
+<tr><td><i>Gebein aller Menschen.</i></td></tr>
+<tr><td>
+<p class="quote">
+    A crowd of skeletons, playing on horns, trumpets,
+    and the like, summon mankind to the grave.</p>
+</td></tr>
+
+<tr><td><span class="sc">The Pope</span></td><td align="right"><a href="#h2H_4_0010">VI</a></td></tr>
+<tr><td><i>Der Päpst.</i></td></tr>
+<tr><td><p class="quote">
+    The Pope (Leo X.) with Death at his side, crowns
+    an Emperor, who kisses his foot. Another Death,
+    in a cardinal's hat, is among the assistants.</p>
+</td></tr>
+
+<tr><td>
+<span class="pagenum"><a id="page33" name="page33"></a>[33]</span>
+<span class="sc">The Emperor</span></td><td align="right"><a href="#h2H_4_0011">VII</a></td></tr>
+<tr><td><i>Der Kaiser.</i></td></tr>
+<tr><td><p class="quote">
+    The Emperor (Maximilian I.) rates his minister
+    for injustice to a suitor. But even in the act
+    Death discrowns him.</p>
+</td></tr>
+
+<tr><td><span class="sc">The King</span></td><td align="right"><a href="#h2H_4_0012">VIII</a></td></tr>
+<tr><td><i>Der König.</i></td></tr>
+<tr><td><p class="quote">
+     The King (Francis I.) sits at feast under a
+     baldachin sprinkled with <i>fleurs-de-lis</i>.
+     Death, as a cup-bearer, pours his last draught.</p>
+</td></tr>
+
+<tr><td><span class="sc">The Cardinal</span></td><td align="right"><a href="#h2H_4_0013">IX</a></td></tr>
+<tr><td><i>Der Cardinal.</i></td></tr>
+<tr><td><p class="quote">
+    Death lifts off the Cardinal's hat as he is
+    handing a letter of indulgence to a rich man.
+    Luther's opponent, Cardinal Cajetan, is supposed
+    to be represented.</p>
+</td></tr>
+
+<tr><td>
+<span class="pagenum"><a id="page34" name="page34"></a>[34]</span>
+<span class="sc">The Empress</span></td><td align="right"><a href="#h2H_4_0014">X</a></td></tr>
+<tr><td><i>Die Kaiserinn.</i></td></tr>
+<tr><td><p class="quote">
+    The Empress, walking with her women, is
+    intercepted by a female Death, who conducts her
+    to an open grave.</p>
+</td></tr>
+
+<tr><td><span class="sc">The Queen</span></td><td align="right"><a href="#h2H_4_0015">XI</a></td></tr>
+<tr><td><i>Die Königinn.</i></td></tr>
+<tr><td><p class="quote">
+    Death, in the guise of a court-jester, drags
+    away the Queen as she is leaving her palace.
+</p></td></tr>
+
+<tr><td><span class="sc">The Bishop</span></td><td align="right"><a href="#h2H_4_0016">XII</a></td></tr>
+<tr><td><i>Der Bischof.</i></td></tr>
+<tr><td>
+<p class="quote">
+    The sun is setting, and Death leads the aged
+    Bishop from the sorrowing shepherds of his
+    flock.</p>
+</td></tr>
+
+<tr><td><span class="sc">The Duke</span></td><td align="right"><a href="#h2H_4_0017">XIII</a></td></tr>
+<tr><td><i>Der Herzog.</i></td></tr>
+<tr><td><p class="quote">
+    The Duke turns pitilessly from a beggar-woman
+    and her child. Meanwhile Death, fantastically
+    crowned, lays hands on him.
+</p>
+</td></tr>
+
+<tr><td>
+<span class="pagenum"><a id="page35" name="page35"></a>[35]</span>
+<span class="sc">The Abbot</span></td><td align="right"><a href="#h2H_4_0018">XIV</a></td></tr>
+<tr><td><i>Der Abt.</i></td></tr>
+<tr><td><p class="quote">
+    Death, having despoiled the Abbot of mitre
+    and crozier, hales him along unwilling, and
+    threatening his enemy with his breviary.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Abbess</span></td><td align="right"><a href="#h2H_4_0019">XV</a></td></tr>
+<tr><td><i>Die Abtissin.</i></td></tr>
+<tr><td><p class="quote">
+    Death, in a wreath of flags, pulls away the
+    Abbess by her scapulary in sight of a shrieking
+    nun. </p>
+</td></tr>
+
+<tr><td><span class="sc">The Nobleman</span></td><td align="right"><a href="#h2H_4_0019a">XVI</a></td></tr>
+<tr><td><i>Der Edelmann.</i></td></tr>
+<tr><td><p class="quote">
+    Death drags the resisting Nobleman towards
+    a bier in the background.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Canon, or Prebendary</span></td><td align="right"><a href="#h2H_4_0020">XVII</a></td></tr>
+<tr><td><i>Der Domherr.</i></td></tr>
+<tr><td>
+<p class="quote">
+    The Canon, with his falconer, page, and
+    jester, enters the church door. Death shows
+    him that his sands have run.
+</p>
+</td></tr>
+
+<tr><td>
+<span class="pagenum"><a id="page36" name="page36"></a>[36]</span>
+<span class="sc">The Judge</span></td><td align="right"><a href="#h2H_4_0021">XVIII</a></td></tr>
+<tr><td><i>Der Richter.</i></td></tr>
+<tr><td><p class="quote">
+    Death withdraws the Judge's staff as he takes
+    a bribe from a rich suitor.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Advocate</span></td><td align="right"><a href="#h2H_4_0022">XIX</a></td></tr>
+<tr><td><i>Der Fürsprach.</i></td></tr>
+<tr><td><p class="quote">
+    Death comes upon him in the street while he is
+    being feed by a rich client.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Counsellor, or Senator</span></td><td align="right"><a href="#h2H_4_0023">XX</a></td></tr>
+<tr><td><i>Der Rathsherr.</i></td></tr>
+<tr><td><p class="quote">
+    The Counsellor, prompted by a devil, is
+    absorbed by a nobleman, and turns unheeding
+    from a poor suppliant. But Death, with glass
+    and spade, is waiting at his feet.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Preacher</span></td><td align="right"><a href="#h2H_4_0024">XXI</a></td></tr>
+<tr><td><i>Der Predicant.</i></td></tr>
+<tr><td><p class="quote">
+    Death, in a stole, stands in the pulpit
+    behind the fluent
+
+<span class="pagenum"><a id="page37" name="page37"></a>[37]</span>
+
+                      Preacher, and prepares to
+    strike him down with a jaw-bone.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Priest, or Pastor</span></td><td align="right"><a href="#h2H_4_0025">XXII</a></td></tr>
+<tr><td><i>Der Pfarrherr.</i></td></tr>
+<tr><td><p class="quote">
+    He carries the host to a sick person. But
+    Death precedes him as his sacristan.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Mendicant Friar</span></td><td align="right"><a href="#h2H_4_0026">XXIII</a></td></tr>
+<tr><td><i>Der Mönch.</i></td></tr>
+<tr><td><p class="quote">
+    Death seizes him just as his begging box and
+    bag are filled.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Nun</span></td><td align="right"><a href="#h2H_4_0027">XXIV</a></td></tr>
+<tr><td><i>Die Nonne.</i></td></tr>
+<tr><td><p class="quote">
+    The young Nun kneels at the altar, but turns
+    to her lover who plays upon a lute. Death
+    meantime, as a hideous old hag, extinguishes
+    the altar candles.
+</p>
+</td></tr>
+
+<tr><td>
+<span class="pagenum"><a id="page38" name="page38"></a>[38]</span>
+<span class="sc">The Old Woman</span></td><td align="right"><a href="#h2H_4_0028">XXV</a></td></tr>
+<tr><td><i>Das Altweib.</i></td></tr>
+<tr><td><p class="quote">
+    "<i>Melior est mors quam vita</i>" to the aged
+    woman who crawls gravewards with her bone
+    rosary while Death makes music in the van.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Physician</span></td><td align="right"><a href="#h2H_4_0029">XXVI</a></td></tr>
+<tr><td><i>Der Arzt.</i></td></tr>
+<tr><td><p class="quote">
+    Death brings him a hopeless patient, and
+    bids him cure himself.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Astrologer</span></td><td align="right"><a href="#h2H_4_0030">XXVII</a></td></tr>
+<tr><td>(<i>See p. 10, l. 12.</i>)</td></tr>
+<tr><td><p class="quote">
+    He contemplates a pendent sphere. But Death
+    thrusts a skull before his eyes.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Rich Man</span></td><td align="right"><a href="#h2H_4_0031">XXVIII</a></td></tr>
+<tr><td><i>Der Reichmann.</i></td></tr>
+<tr><td><p class="quote">
+    Death finds him at his pay-table and seizes
+    the money.
+</p>
+</td></tr>
+
+<tr><td>
+<span class="pagenum"><a id="page39" name="page39"></a>[39]</span>
+<span class="sc">The Merchant</span></td><td align="right"><a href="#h2H_4_0032">XXIX</a></td></tr>
+<tr><td><i>Der Kaufmann.</i></td></tr>
+<tr><td><p class="quote">
+    Death arrests him among his newly-arrived bales.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Shipman</span></td><td align="right"><a href="#h2H_4_0033">XXX</a></td></tr>
+<tr><td><i>Der Schiffmann.</i></td></tr>
+<tr><td><p class="quote">
+    Death breaks the mast of the ship, and the crew
+    are in extremity.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Knight</span></td><td align="right"><a href="#h2H_4_0034">XXXI</a></td></tr>
+<tr><td><i>Der Ritter.</i></td></tr>
+<tr><td><p class="quote">
+    Death, in cuirass and chain-mail, runs him
+    through the body.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Count</span></td><td align="right"><a href="#h2H_4_0035">XXXII</a></td></tr>
+<tr><td><i>Der Graf.</i></td></tr>
+<tr><td>
+<p class="quote">
+    Death, as a peasant with a flail, lifts away
+    his back-piece.
+</p>
+</td></tr>
+
+<tr><td>
+<span class="pagenum"><a id="page40" name="page40"></a>[40]</span>
+<span class="sc">The Old Man</span></td><td align="right"><a href="#h2H_4_0036">XXXIII</a></td></tr>
+<tr><td><i>Der Altmann.</i></td></tr>
+<tr><td><p class="quote">
+    Death, playing on a dulcimer, leads him into
+    his grave.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Countess</span></td><td align="right"><a href="#h2H_4_0037">XXXIV</a></td></tr>
+<tr><td><i>Die Grafinn.</i></td></tr>
+<tr><td><p class="quote">
+    Death helps her at her tiring by decorating
+    her with a necklet of dead men's bones.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Noble Lady, or Bride</span></td><td align="right"><a href="#h2H_4_0038">XXXV</a></td></tr>
+<tr><td><i>Die Edelfrau.</i></td></tr>
+<tr><td><p class="quote">
+    "<i>Me et te sola mors separabit</i>"&mdash;says the
+    motto. And Death already dances before her.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Duchess</span></td><td align="right"><a href="#h2H_4_0039">XXXVI</a></td></tr>
+<tr><td><i>Die Herzoginn.</i></td></tr>
+<tr><td><p class="quote">
+    Death seizes her in bed, while his fellow plays
+    the fiddle.
+</p>
+</td></tr>
+
+<tr><td>
+<span class="pagenum"><a id="page41" name="page41"></a>[41]</span>
+<span class="sc">The Pedlar</span></td><td align="right"><a href="#h2H_4_0040">XXXVII</a></td></tr>
+<tr><td><i>Der Kramer.</i></td></tr>
+<tr><td><p class="quote">
+    Death stops him on the road with his wares at
+    his back.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Ploughman</span></td><td align="right"><a href="#h2H_4_0041">XXXVIII</a></td></tr>
+<tr><td><i>Der Ackermann.</i></td></tr>
+<tr><td><p class="quote">
+    Death runs at the horses' sides as the sun
+    sinks, and the furrows are completed.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Young Child</span></td><td align="right"><a href="#h2H_4_0042">XXXIX</a></td></tr>
+<tr><td><i>Das Junge Kind.</i></td></tr>
+<tr><td><p class="quote">
+    As the meagre cottage meal is preparing, Death
+    steals the youngest child.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Last Judgment</span></td><td align="right"><a href="#h2H_4_0043">XL</a></td></tr>
+<tr><td><i>Das jüngste Gericht.</i></td></tr>
+<tr><td><p class="quote">
+  "<i>Omnes stabimus ante tribunal Domini.</i>"
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Escutcheon of Death</span></td><td align="right"><a href="#h2H_4_0044">XLI</a></td></tr>
+<tr><td><i>Die Wappen des Todes.</i></td></tr>
+<tr><td><p class="quote">
+    The supporters represent Holbein and his wife.
+</p>
+</td></tr>
+
+<tr><td colspan="2">
+<span class="pagenum"><a id="page42" name="page42"></a>[42]</span>
+<br />
+<h3>[<i>Added in later editions</i>]</h3>
+</td></tr>
+
+<tr><td><span class="sc">The Soldier</span></td><td align="right"><a href="#h2H_4_0045">XLII</a></td></tr>
+<tr><td>
+<p class="quote">
+    Death, armed only with a bone and shield,
+    fights with the Soldier on the field of battle.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Gamester</span></td><td align="right"><a href="#h2H_4_0046">XLIII</a></td></tr>
+<tr><td><p class="quote">
+    Death and the Devil seize upon the Gambler at
+    his cards.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Drunkard</span></td><td align="right"><a href="#h2H_4_0047">XLIV</a></td></tr>
+<tr><td><p class="quote">
+    Men and women carouse: down the throat of one
+    bloated fellow Death pours the wine.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Fool</span></td><td align="right"><a href="#h2H_4_0048">XLV</a></td></tr>
+<tr><td><p class="quote">
+    The Fool dances along the highway with Death,
+    who plays the bagpipes.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Robber</span></td><td align="right"><a href="#h2H_4_0049">XLVI</a></td></tr>
+<tr><td><p class="quote">
+    Death seizes the Robber in the act of pillage.
+</p>
+</td></tr>
+
+<tr><td>
+<span class="pagenum"><a id="page43" name="page43"></a>[43]</span>
+<span class="sc">The Blind Man</span></td><td align="right"><a href="#h2H_4_0050">XLVII</a></td></tr>
+<tr><td><p class="quote">     Death leads the Blind Man by his staff. </p>
+</td></tr>
+
+<tr><td><span class="sc">The Waggoner</span></td><td align="right"><a href="#h2H_4_0051">XLVIII</a></td></tr>
+<tr><td><p class="quote">
+    The waggon is overturned; one Death carries off
+    a wheel, the other loosens the fastening of a cask.
+</p>
+</td></tr>
+
+<tr><td><span class="sc">The Beggar</span></td><td align="right"><a href="#h2H_4_0052">XLIX</a></td></tr>
+<tr><td><p class="quote">
+    The Beggar, lying on straw outside the city,
+    cries in vain for Death.
+</p>
+</td></tr>
+
+<tr><td colspan="2"><p class="quote">
+    [Two others, not found in the earlier editions, "The Young
+    Wife," and "The Young Husband," are not included in the Douce
+    reprint for which the foregoing blocks were engraved.]
+</p>
+</td></tr>
+</table>
+
+<hr class="full" />
+
+<p>
+<span class="hpagenum"><a id="page44" name="page44"></a>[44]</span>
+</p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<p>
+<span class="hpagenum"><a id="page45" name="page45"></a>[45]</span>
+</p>
+
+<a name="image-0001"><!--IMG--></a>
+<!-- Title page Facsimile Transcription
+  Les simulachres &amp;
+  HISTORIEES FACES
+  DE LA MORT, AVTANT ELE
+  gammêt pourtraictes, que artificiellement
+  imaginées.
+  A LYON,
+  Soubz l'escu de COLOIGNE,
+  M. D. XXXVIII.
+-->
+<div class="figure">
+<a href="images/illus-044.jpg"><img src="images/p044-t.png" width="275"
+alt="Facsimile of Title Page of 1538 Edition." /></a>
+</div>
+
+<p><span class="hpagenum"><a id="page47" name="page47"></a>[47]</span>
+</p>
+
+<a name="h2H_4_0005" id="h2H_4_0005"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    I.
+</h2>
+<a name="image-0002"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-046.jpg"><img src="images/p046-t.png" width="275"
+alt="THE CREATION." /></a>
+<br />
+THE CREATION.
+</div>
+
+<p><span class="hpagenum"><a id="page46" name="page46"></a>[46]</span></p>
+
+<p class="latinquote">
+    Formauit <span class="sc">Dominvs Devs</span> hominem de limo terræ, ad imagin&#x0113; suam creauit
+    illum, masculum &amp; f&oelig;minam creauit eos.
+</p>
+<p class="right">
+<span class="sc">Genesis i. &amp; ii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   DIEV, Ciel, Mer, Terre, procrea </p>
+<p class="i2">   De rien demonstrant sa puissance </p>
+<p class="i2">   Et puis de la terre crea </p>
+<p class="i2">   L'homme, &amp; la femme a sa semblance. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page49" name="page49"></a>[49]</span></p>
+
+<a name="h2H_4_0006" id="h2H_4_0006"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    II.
+</h2>
+<a name="image-0003"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-048.jpg"><img src="images/p048-t.png" width="275"
+alt="THE TEMPTATION." /></a>
+<br />
+THE TEMPTATION.
+</div>
+
+<p><span class="hpagenum"><a id="page48" name="page48"></a>[48]</span></p>
+
+<p class="latinquote">
+    Quia audisti vocem vxoris tuæ, &amp; comedisti de ligno ex quo
+    preceperam tibi ne comederes, &amp;c.
+</p>
+<p class="right">
+<span class="sc">Genesis iii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   ADAM fut par EVE deceu </p>
+<p class="i2">   Et contre DIEV mangea la pomme, </p>
+<p class="i2">   Dont tous deux ont la Mort receu, </p>
+<p class="i2">   Et depuis fut mortel tout homme. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page51" name="page51"></a>[51]</span></p>
+
+<a name="h2H_4_0007" id="h2H_4_0007"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    III.
+</h2>
+<a name="image-0004"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-050.jpg"><img src="images/p050-t.png" width="275"
+alt="THE EXPULSION." /></a>
+<br />
+THE EXPULSION.
+</div>
+
+<p><span class="hpagenum"><a id="page50" name="page50"></a>[50]</span></p>
+
+<p class="latinquote">
+    Emisit eum <span class="sc">Dominvs Devs</span> de Paradiso voluptatis, vt operaretur terram
+    de qua sumptus est.
+</p>
+
+<p class="right">
+<span class="sc">Genesis iii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   DIEV chassa l'homme de plaisir </p>
+<p class="i2">   Pour uiure au labeur de ses mains: </p>
+<p class="i2">   Alors la Mort le uint saisir, </p>
+<p class="i2">   Et consequemment tous humains. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page53" name="page53"></a>[53]</span></p>
+
+<a name="h2H_4_0008" id="h2H_4_0008"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    IV.
+</h2>
+<a name="image-0005"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-052.jpg"><img src="images/p052-t.png" width="275"
+alt="THE CONSEQUENCES OF THE FALL." /></a>
+<br />
+THE CONSEQUENCES OF THE FALL.
+</div>
+
+<p><span class="hpagenum"><a id="page52" name="page52"></a>[52]</span></p>
+
+<p class="latinquote">
+    Maledicta terra in opere tuo, in laboribus comedes cunctis diebus
+    vitæ tuæ, donec reuertaris, &amp;c.
+</p>
+<p class="right">
+<span class="sc">Genesis iii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Mauldicte en ton labeur la terre. </p>
+<p class="i2">   En labeur ta uie useras, </p>
+<p class="i2">   Iusques que la Mort te soubterre. </p>
+<p class="i2">   Toy pouldre en pouldre tourneras. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page55" name="page55"></a>[55]</span></p>
+
+<a name="h2H_4_0009" id="h2H_4_0009"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    V.
+</h2>
+<a name="image-0006"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-054.jpg"><img src="images/p054-t.png" width="275"
+alt="A CEMETERY." /></a>
+<br />
+A CEMETERY.
+</div>
+
+<p><span class="hpagenum"><a id="page54" name="page54"></a>[54]</span></p>
+
+<p class="latinquote">
+    Væ væ væ habitantibus in terra.
+</p>
+<p class="right">
+<span class="sc">Apocalypsis viii.</span>
+</p>
+<p class="latinquote">
+    Cuncta in quibus spiraculum vitæ est, mortua sunt.
+</p>
+<p class="right">
+<span class="sc">Genesis vii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Malheureux qui uiuez au monde </p>
+<p class="i2">   Tousiours remplis d'aduersitez, </p>
+<p class="i2">   Pour quelque bien qui uous abonde, </p>
+<p class="i2">   Serez tous de Mort uisitez. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page57" name="page57"></a>[57]</span></p>
+
+<a name="h2H_4_0010" id="h2H_4_0010"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    VI.
+</h2>
+<a name="image-0007"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-056.jpg"><img src="images/p056-t.png" width="275"
+alt="THE POPE." /></a>
+<br />
+THE POPE.
+</div>
+
+<p><span class="hpagenum"><a id="page56" name="page56"></a>[56]</span></p>
+
+<p class="latinquote">
+    Moriatur sacerdos magnus.
+</p>
+<p class="right">
+<span class="sc">Iosve xx.</span>
+</p>
+<p class="latinquote">
+    Et episcopatum eius accipiat alter.
+</p>
+<p class="right">
+<span class="sc">Psalmista cviii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Qui te cuydes immortel estre </p>
+<p class="i2">   Par Mort seras tost depesché, </p>
+<p class="i2">   Et combien que tu soys grand prebstre, </p>
+<p class="i2">   Vng aultre aura ton Euesché. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page59" name="page59"></a>[59]</span></p>
+
+<a name="h2H_4_0011" id="h2H_4_0011"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    VII.
+</h2>
+<a name="image-0008"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-058.jpg"><img src="images/p058-t.png" width="275"
+alt="THE EMPEROR." /></a>
+<br />
+THE EMPEROR.
+</div>
+
+<p><span class="hpagenum"><a id="page58" name="page58"></a>[58]</span></p>
+
+<p class="latinquote">
+    Dispone domui tuæ, morieris enim tu, &amp; non viues.
+</p>
+<p class="right">
+<span class="sc">Isaiæ xxxviii.</span>
+</p>
+<p class="latinquote">
+    Ibi morieris, &amp; ibi erit currus gloriæ tuæ.
+</p>
+<p class="right">
+<span class="sc">Isaiæ xxii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   De ta maison disposeras </p>
+<p class="i2">   Comme de ton bien transitoire, </p>
+<p class="i2">   Car là ou mort reposeras, </p>
+<p class="i2">   Seront les chariotz de ta gloire. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page61" name="page61"></a>[61]</span></p>
+
+<a name="h2H_4_0012" id="h2H_4_0012"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    VIII.
+</h2>
+<a name="image-0009"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-060.jpg"><img src="images/p060-t.png" width="275"
+alt="THE KING." /></a>
+<br />
+THE KING.
+</div>
+
+<p><span class="hpagenum"><a id="page60" name="page60"></a>[60]</span></p>
+
+<p class="latinquote">
+    Sicut &amp; rex hodie est, &amp; cras morietur, nemo enim ex regibus
+    aliud habuit.
+</p>
+<p class="right">
+<span class="sc">Ecclesiastici x.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Ainsi qu'auiourdhuy il est Roy, </p>
+<p class="i2">   Demain sera en tombe close. </p>
+<p class="i2">   Car Roy aulcun de son arroy </p>
+<p class="i2">   N'a sceu emporter aultre chose. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page63" name="page63"></a>[63]</span></p>
+
+<a name="h2H_4_0013" id="h2H_4_0013"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    IX.
+</h2>
+<a name="image-0010"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-062.jpg"><img src="images/p062-t.png" width="275"
+alt="THE CARDINAL." /></a>
+<br />
+THE CARDINAL.
+</div>
+
+<p><span class="hpagenum"><a id="page62" name="page62"></a>[62]</span></p>
+
+<p class="latinquote">
+    Væ qui iustificatis impium pro muneribus, &amp; iustitiam iusti
+    aufertis ab eo.
+</p>
+<p class="right">
+<span class="sc">Esaiæ v.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Mal pour uous qui iustifiez </p>
+<p class="i2">   L'inhumain, &amp; plain de malice </p>
+<p class="i2">   Et par dons le sanctifiez, </p>
+<p class="i2">   Ostant au iuste sa iustice. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page65" name="page65"></a>[65]</span></p>
+
+<a name="h2H_4_0014" id="h2H_4_0014"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    X.
+</h2>
+<a name="image-0011"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-064.jpg"><img src="images/p064-t.png" width="275"
+alt="THE EMPRESS." /></a>
+<br />
+THE EMPRESS.
+</div>
+
+<p><span class="hpagenum"><a id="page64" name="page64"></a>[64]</span></p>
+
+<p class="latinquote">
+    Gradientes in superbia potest Deus humiliare.
+</p>
+<p class="right">
+<span class="sc">Danie iiii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Qui marchez en pompe superbe </p>
+<p class="i2">   La Mort vng iour uous pliera. </p>
+<p class="i2">   Cõme soubz uoz piedz ployez l'herbe </p>
+<p class="i2">   Ainsi uous humiliera. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page67" name="page67"></a>[67]</span></p>
+
+<a name="h2H_4_0015" id="h2H_4_0015"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XI.
+</h2>
+<a name="image-0012"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-066.jpg"><img src="images/p066-t.png" width="275"
+alt="THE QUEEN." /></a>
+<br />
+THE QUEEN.
+</div>
+
+<p><span class="hpagenum"><a id="page66" name="page66"></a>[66]</span></p>
+
+<p class="latinquote">
+    Mulieres opulentæ surgite, &amp; audite vocem meam. Post dies,
+    &amp; annum, &amp; vos conturbemini.
+</p>
+<p class="right">
+<span class="sc">Isaiæ xxxii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Leuez uous dames opulentes. </p>
+<p class="i2">   Ouyez la uoix des trespassez. </p>
+<p class="i2">   Apres maintz ans &amp; iours passez, </p>
+<p class="i2">   Serez troublées &amp; doulentes. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page69" name="page69"></a>[69]</span></p>
+
+<a name="h2H_4_0016" id="h2H_4_0016"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XII.
+</h2>
+<a name="image-0013"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-068.jpg"><img src="images/p068-t.png" width="275"
+alt="THE BISHOP." /></a>
+<br />
+THE BISHOP.
+</div>
+
+<p><span class="hpagenum"><a id="page68" name="page68"></a>[68]</span></p>
+
+<p class="latinquote">
+    Percutiam pastorem, &amp; dispergentur oues.
+</p>
+<p class="right">
+<span class="sc">xxvi. Mar. xiiii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Le pasteur aussi frapperay, </p>
+<p class="i2">   Mitres &amp; crosses renuersées. </p>
+<p class="i2">   Et lors quand ie l'attrapperay, </p>
+<p class="i2">   Seront ses brebis dispersées. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page71" name="page71"></a>[71]</span></p>
+
+<a name="h2H_4_0017" id="h2H_4_0017"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XIII.
+</h2>
+<a name="image-0014"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-070.jpg"><img src="images/p070-t.png" width="275"
+alt="THE DUKE." /></a>
+<br />
+THE DUKE.
+</div>
+
+<p><span class="hpagenum"><a id="page70" name="page70"></a>[70]</span></p>
+
+<p class="latinquote">
+    Princeps induetur m&oelig;rore. Et quiescere faciam superbiã potentium.
+</p>
+<p class="right">
+<span class="sc">Ezechie. vii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Vien, prince, auec moy, &amp; delaisse </p>
+<p class="i2">   Honneurs mondains tost finissantz. </p>
+<p class="i2">   Seule suis qui, certes, abaisse </p>
+<p class="i2">   L'orgueil &amp; pompe des puissantz. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page73" name="page73"></a>[73]</span></p>
+
+<a name="h2H_4_0018" id="h2H_4_0018"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XIV.
+</h2>
+<a name="image-0015"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-072.jpg"><img src="images/p072-t.png" width="275"
+alt="THE ABBOT." /></a>
+<br />
+THE ABBOT.
+</div>
+
+<p><span class="hpagenum"><a id="page72" name="page72"></a>[72]</span></p>
+
+<p class="latinquote">
+    Ipse morietur. Quia nõ habuit disciplinam, &amp; in multitudine
+    stultitiæ suæ decipietur.
+</p>
+<p class="right">
+<span class="sc">Prover. v.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Il mourra. Car il n'a receu </p>
+<p class="i2">   En soy aulcune discipline, </p>
+<p class="i2">   Et au nombre sera deceu </p>
+<p class="i2">   De folie qui le domine. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page75" name="page75"></a>[75]</span></p>
+
+<a name="h2H_4_0019" id="h2H_4_0019"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XV.
+</h2>
+<a name="image-0016"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-074.jpg"><img src="images/p074-t.png" width="275"
+alt="THE ABBESS." /></a>
+<br />
+THE ABBESS.
+</div>
+
+<p><span class="hpagenum"><a id="page74" name="page74"></a>[74]</span></p>
+
+<p class="latinquote">
+    Laudaui magis mortuos quàm viuentes.
+</p>
+<p class="right">
+<span class="sc">Eccle. iiii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   I'ay tousiours les mortz plus loué </p>
+<p class="i2">   Que les uisz, esquelz mal abonde, </p>
+<p class="i2">   Toucesfoys la Mort ma noué </p>
+<p class="i2">   Au ranc de ceulx qui sont au monde. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page75b" name="page75b"></a>[75b]</span></p>
+
+<a name="h2H_4_0019a" id="h2H_4_0019a"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XVI.
+</h2>
+<a name="image-0016a"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-075.jpg"><img src="images/p075-t.png" width="275"
+alt="THE NOBLEMAN." /></a>
+<br />
+THE NOBLEMAN.
+</div>
+
+<p><span class="hpagenum"><a id="page75a" name="page75a"></a>[75a]</span></p>
+
+<p class="latinquote">
+    Quis est homo qui viuet, &amp; non videbit mortem, eruet
+animã suam de manu inferi?
+</p>
+<p class="right">
+<span class="sc">Psal. lxxxviii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">  Qui est celluy, tant soit grande homme,  </p>
+<p class="i2">  Qui puisse uiure sans mourir?  </p>
+<p class="i2">  Et de la Mort, qui tout assomme,  </p>
+<p class="i2">  Puisse son Ame recourir?  </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page77" name="page77"></a>[77]</span></p>
+
+<a name="h2H_4_0020" id="h2H_4_0020"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XVII.
+</h2>
+<a name="image-0017"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-076.jpg"><img src="images/p076-t.png" width="275"
+alt="THE CANON." /></a>
+<br />
+THE CANON.
+</div>
+
+<p><span class="hpagenum"><a id="page76" name="page76"></a>[76]</span></p>
+
+<p class="latinquote">
+    Ecce appropinquat hora.
+</p>
+<p class="right">
+<span class="sc">Mat. xxvi.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Tu uas au choeur dire tes heures </p>
+<p class="i2">   Paiant Dieu pour toy, &amp; ton proche. </p>
+<p class="i2">   Mais il fault ores que tu meures. </p>
+<p class="i2">   Voy tu pas l'heure qui approche? </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page79" name="page79"></a>[79]</span></p>
+
+<a name="h2H_4_0021" id="h2H_4_0021"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XVIII.
+</h2>
+<a name="image-0018"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-078.jpg"><img src="images/p078-t.png" width="275"
+alt="THE JUDGE." /></a>
+<br />
+THE JUDGE.
+</div>
+
+<p><span class="hpagenum"><a id="page78" name="page78"></a>[78]</span></p>
+
+<p class="latinquote">
+    Disperdam iudicem de medio eius.
+</p>
+<p class="right">
+<span class="sc">Amos ii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Du mylieu d'eulx uous osteray </p>
+<p class="i2">   Iuges corrumpus par presentz. </p>
+<p class="i2">   Point ne serez de Mort exemptz. </p>
+<p class="i2">   Car ailleurs uous transporteray. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page81" name="page81"></a>[81]</span></p>
+
+<a name="h2H_4_0022" id="h2H_4_0022"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XIX.
+</h2>
+<a name="image-0019"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-080.jpg"><img src="images/p080-t.png" width="275"
+alt="THE ADVOCATE." /></a>
+<br />
+THE ADVOCATE.
+</div>
+
+<p><span class="hpagenum"><a id="page80" name="page80"></a>[80]</span></p>
+
+<p class="latinquote">
+    Callidus vidit malum, &amp; abscõdit se innocens, pertransijt,
+    &amp; afflictus est damno.
+</p>
+<p class="right">
+<span class="sc">Prover. xxii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   L'homme cault a ueu la malice </p>
+<p class="i2">   Pour l'innocent faire obliger, </p>
+<p class="i2">   Et puis par uoye de iustice </p>
+<p class="i2">   Est uenu le pauure affliger. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page83" name="page83"></a>[83]</span></p>
+
+<a name="h2H_4_0023" id="h2H_4_0023"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XX.
+</h2>
+<a name="image-0020"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-082.jpg"><img src="images/p082-t.png" width="275"
+alt="THE COUNSELLOR." /></a>
+<br />
+THE COUNSELLOR.
+</div>
+
+<p><span class="hpagenum"><a id="page82" name="page82"></a>[82]</span></p>
+
+<p class="latinquote">
+    Qui obturat aurem suam ad clamorem pauperis, &amp; ipse clamabit,
+    &amp; non exaudietur.
+</p>
+<p class="right">
+<span class="sc">Prover. xxi.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Les riches conseillez tousiours, </p>
+<p class="i2">   Et aux pauures clouez l'oreille. </p>
+<p class="i2">   Vous crierez aux derniers iours, </p>
+<p class="i2">   Mais Dieu uous fera la pareille. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page85" name="page85"></a>[85]</span></p>
+
+<a name="h2H_4_0024" id="h2H_4_0024"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XXI.
+</h2>
+<a name="image-0021"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-084.jpg"><img src="images/p084-t.png" width="275"
+alt="THE PREACHER." /></a>
+<br />
+THE PREACHER.
+</div>
+
+<p><span class="hpagenum"><a id="page84" name="page84"></a>[84]</span></p>
+
+<p class="latinquote">
+    Væ qui dicitis malum bonum, &amp; bonum mal&#x016b;, ponentes tenebras
+    lucem, &amp; lucem tenebras, ponentes amarum dulce, &amp; dulce in amarum.
+</p>
+<p class="right">
+<span class="sc">Isaiæ xv.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Mal pour uous qui ainsi osez </p>
+<p class="i2">   Le mal pour le bien nous blasmer, </p>
+<p class="i2">   Et le bien pour mal exposez, </p>
+<p class="i2">   Mettant auec le doulx l'amer. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page87" name="page87"></a>[87]</span></p>
+
+<a name="h2H_4_0025" id="h2H_4_0025"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XXII.
+</h2>
+<a name="image-0022"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-086.jpg"><img src="images/p086-t.png" width="275"
+alt="THE PRIEST." /></a>
+<br />
+THE PRIEST.
+</div>
+
+<p><span class="hpagenum"><a id="page86" name="page86"></a>[86]</span></p>
+
+<p class="latinquote">
+    Sum quidem &amp; ego mortalis homo.
+</p>
+<p class="right">
+<span class="sc">Sap. vii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Ie porte le sainct sacrement </p>
+<p class="i2">   Cuidant le mourant secourir, </p>
+<p class="i2">   Qui mortel suis pareillement. </p>
+<p class="i2">   Et comme luy me fault mourir. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page89" name="page89"></a>[89]</span></p>
+
+<a name="h2H_4_0026" id="h2H_4_0026"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XXIII.
+</h2>
+<a name="image-0023"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-088.jpg"><img src="images/p088-t.png" width="275"
+alt="THE MENDICANT FRIAR." /></a>
+<br />
+THE MENDICANT FRIAR.
+</div>
+
+<p><span class="hpagenum"><a id="page88" name="page88"></a>[88]</span></p>
+
+<p class="latinquote">
+    Sedentes in tenebris, &amp; in vmbra mortis, vinctos in mendicitate.
+</p>
+<p class="right">
+<span class="sc">Psal. cvi.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Toy qui n'as soucy, ny remord </p>
+<p class="i2">   Sinon de ta mendicité, </p>
+<p class="i2">   Tu fierras a l'umbre de Mort </p>
+<p class="i2">   Pour t'ouster de necessité. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page91" name="page91"></a>[91]</span></p>
+
+<a name="h2H_4_0027" id="h2H_4_0027"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XXIV.
+</h2>
+<a name="image-0024"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-090.jpg"><img src="images/p090-t.png" width="275"
+alt="THE NUN." /></a>
+<br />
+THE NUN.
+</div>
+
+<p><span class="hpagenum"><a id="page90" name="page90"></a>[90]</span></p>
+
+<p class="latinquote">
+  Est via quæ videtur homini iusta: nouissima autem eius deducunt
+  hominem ad mortem.
+</p>
+<p class="right">
+<span class="sc">Prover. iiii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Telle uoye aux humains est bonne, </p>
+<p class="i2">   Et a l'homme tresiuste semble. </p>
+<p class="i2">   Mais la fin d'elle a l'homme donne, </p>
+<p class="i2">   La Mort, qui tous pecheurs assemble. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page93" name="page93"></a>[93]</span></p>
+
+<a name="h2H_4_0028" id="h2H_4_0028"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XXV.
+</h2>
+<a name="image-0025"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-092.jpg"><img src="images/p092-t.png" width="275"
+alt="THE OLD WOMAN." /></a>
+<br />
+THE OLD WOMAN.
+</div>
+
+<p><span class="hpagenum"><a id="page92" name="page92"></a>[92]</span></p>
+
+<p class="latinquote">
+    Melior est mors quàm vita.
+</p>
+<p class="right">
+<span class="sc">Eccle. xxx.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   En peine ay uescu longuement </p>
+<p class="i2">   Tant que nay plus de uiure enuie, </p>
+<p class="i2">   Mais bien ie croy certainement, </p>
+<p class="i2">   Meilleure la Mort que la uie. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page95" name="page95"></a>[95]</span></p>
+
+<a name="h2H_4_0029" id="h2H_4_0029"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XXVI.
+</h2>
+<a name="image-0026"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-094.jpg"><img src="images/p094-t.png" width="275"
+alt="THE PHYSICIAN." /></a>
+<br />
+THE PHYSICIAN.
+</div>
+
+<p><span class="hpagenum"><a id="page94" name="page94"></a>[94]</span></p>
+
+<p class="latinquote">
+    Medice, cura teipsum.
+</p>
+<p class="right">
+<span class="sc">Lvcæ iiii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Tu congnoys bien la maladie </p>
+<p class="i2">   Pour le patient secourir, </p>
+<p class="i2">   Et si ne scais teste estourdie, </p>
+<p class="i2">   Le mal dont tu deburas mourir. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page97" name="page97"></a>[97]</span></p>
+
+<a name="h2H_4_0030" id="h2H_4_0030"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XXVII.
+</h2>
+<a name="image-0027"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-096.jpg"><img src="images/p096-t.png" width="275"
+alt="THE ASTROLOGER." /></a>
+<br />
+THE ASTROLOGER.
+</div>
+
+<p><span class="hpagenum"><a id="page96" name="page96"></a>[96]</span></p>
+
+<p class="latinquote">
+    Indica mihi si nosti omnia. Sciebas quòd nasciturus esses,
+    &amp; numerum dierum tuorum noueras?
+</p>
+<p class="right">
+<span class="sc">Iob xxviii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Tu dis par Amphibologie </p>
+<p class="i2">   Ce qu'aux aultres doibt aduenir. </p>
+<p class="i2">   Dy moy donc par Astrologie </p>
+<p class="i2">   Quand tu deburas a moy uenir? </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page99" name="page99"></a>[99]</span></p>
+
+<a name="h2H_4_0031" id="h2H_4_0031"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XXVIII.
+</h2>
+<a name="image-0028"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-098.jpg"><img src="images/p098-t.png" width="275"
+alt="THE RICH MAN." /></a>
+<br />
+THE RICH MAN.
+</div>
+
+<p><span class="hpagenum"><a id="page98" name="page98"></a>[98]</span></p>
+
+<p class="latinquote">
+    Stulte hac nocte repetunt animam tuam, &amp; quæ parasti cuius erunt?
+</p>
+<p class="right">
+<span class="sc">Lvcæ xii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Ceste nuict la Mort te prendra, </p>
+<p class="i2">   Et demain seras enchassé. </p>
+<p class="i2">   Mais dy moy, fol, a qui uiendra </p>
+<p class="i2">   Le bien que tu as amassé? </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page101" name="page101"></a>[101]</span></p>
+
+<a name="h2H_4_0032" id="h2H_4_0032"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XXIX.
+</h2>
+<a name="image-0029"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-100.jpg"><img src="images/p100-t.png" width="275"
+alt="THE MERCHANT." /></a>
+<br />
+THE MERCHANT.
+</div>
+
+<p><span class="hpagenum"><a id="page100" name="page100"></a>[100]</span></p>
+
+<p class="latinquote">
+    Qui congregat thesauros mendacij vanus &amp; excors est, &amp; impingetur
+    ad laqueos mortis.
+</p>
+<p class="right">
+<span class="sc">Prover. xxi.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Vain est cil qui amassera </p>
+<p class="i2">   Grandz biens, &amp; tresors pour mentir, </p>
+<p class="i2">   La Mort l'en fera repentir. </p>
+<p class="i2">   Car en ses lacz surpris sera. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page103" name="page103"></a>[103]</span></p>
+
+<a name="h2H_4_0033" id="h2H_4_0033"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XXX.
+</h2>
+<a name="image-0030"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-102.jpg"><img src="images/p102-t.png" width="275"
+alt="THE SHIPMAN." /></a>
+<br />
+THE SHIPMAN.
+</div>
+
+<p><span class="hpagenum"><a id="page102" name="page102"></a>[102]</span></p>
+
+<p class="latinquote">
+    Qui volunt diuites fieri incidunt in laqueum diaboli, &amp; desideria
+    multa, &amp; nociua, quæ mergunt homines in interitum.
+</p>
+<p class="right">
+<span class="sc">I. Ad Timo. vi.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Pour acquerir des biens mondains </p>
+<p class="i2">   Vous entrez en tentation, </p>
+<p class="i2">   Qui uous met es perilz soubdains, </p>
+<p class="i2">   Et uous maine a perdition. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page105" name="page105"></a>[105]</span></p>
+
+<a name="h2H_4_0034" id="h2H_4_0034"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XXXI.
+</h2>
+<a name="image-0031"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-104.jpg"><img src="images/p104-t.png" width="275"
+alt="THE KNIGHT." /></a>
+<br />
+THE KNIGHT.
+</div>
+
+<p><span class="hpagenum"><a id="page104" name="page104"></a>[104]</span></p>
+
+<p class="latinquote">
+    Subito morientur, &amp; in media nocte turbabuntur populi, &amp; auferent
+    violentum absq<sub>e</sub> manu.
+</p>
+<p class="right">
+<span class="sc">Iob xxxiiii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Peuples soubdain s'esleuront </p>
+<p class="i2">   A lencontre de l'inhumain, </p>
+<p class="i2">   Et le uiolent osteront </p>
+<p class="i2">   D'auec eulx sans force de main. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page107" name="page107"></a>[107]</span></p>
+
+<a name="h2H_4_0035" id="h2H_4_0035"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XXXII.
+</h2>
+<a name="image-0032"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-106.jpg"><img src="images/p106-t.png" width="275"
+alt="THE COUNT." /></a>
+<br />
+THE COUNT.
+</div>
+
+<p><span class="hpagenum"><a id="page106" name="page106"></a>[106]</span></p>
+
+<p class="latinquote">
+    Quoniam cùm interiet non sumet secum omnia, neq<sub>e</sub> cum eo desc&#x1ebd;det
+    gloria eius.
+</p>
+<p class="right">
+<span class="sc">Psal. xlviii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Auec soy rien n'emportera, </p>
+<p class="i2">   Mais qu'une foys la Mort le tombe, </p>
+<p class="i2">   Rien de sa gloire n'ostera, </p>
+<p class="i2">   Pour mettre auec soy en sa tombe. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page109" name="page109"></a>[109]</span></p>
+
+<a name="h2H_4_0036" id="h2H_4_0036"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XXXIII.
+</h2>
+<a name="image-0033"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-108.jpg"><img src="images/p108-t.png" width="275"
+alt="THE OLD MAN." /></a>
+<br />
+THE OLD MAN.
+</div>
+
+<p><span class="hpagenum"><a id="page108" name="page108"></a>[108]</span></p>
+
+<p class="latinquote">
+    Spiritus meus attenuabitur, dies mei breuiabuntur, &amp; solum mihi
+    superest sepulchrum.
+</p>
+<p class="right">
+<span class="sc">Iob xvii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Mes esperitz sont attendriz, </p>
+<p class="i2">   Et ma uie s'en ua tout beau. </p>
+<p class="i2">   Las mes longziours sont amoindriz, </p>
+<p class="i2">   Plus ne me reste qu'un tombeau. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page111" name="page111"></a>[111]</span></p>
+
+<a name="h2H_4_0037" id="h2H_4_0037"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XXXIV.
+</h2>
+<a name="image-0034"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-110.jpg"><img src="images/p110-t.png" width="275"
+alt="THE COUNTESS." /></a>
+<br />
+THE COUNTESS.
+</div>
+
+<p><span class="hpagenum"><a id="page110" name="page110"></a>[110]</span></p>
+
+<p class="latinquote">
+    Ducunt in bonis dies suos, &amp; in puncto ad inferna descendunt.
+</p>
+<p class="right">
+<span class="sc">Iob xxi.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   En biens mõdains leurs iours despend&#x1ebd;t </p>
+<p class="i2">   En uoluptez, &amp; en tristesse, </p>
+<p class="i2">   Puis soubdain aux Enfers descendent </p>
+<p class="i2">   Ou leur ioye passe en tristesse. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page113" name="page113"></a>[113]</span></p>
+
+<a name="h2H_4_0038" id="h2H_4_0038"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XXXV.
+</h2>
+<a name="image-0035"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-112.jpg"><img src="images/p112-t.png" width="275"
+alt="THE NOBLE LADY." /></a>
+<br />
+THE NOBLE LADY.
+</div>
+
+<p><span class="hpagenum"><a id="page112" name="page112"></a>[112]</span></p>
+
+<p class="latinquote">
+    Me &amp; te sola mors separabit.
+</p>
+<p class="right">
+<span class="sc">Rvth. i.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Amour qui unyz nous faict uiure, </p>
+<p class="i2">   En foy noz cueurs preparera, </p>
+<p class="i2">   Qui long temps ne nous pourra suyure, </p>
+<p class="i2">   Car la Mort nous separera. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page115" name="page115"></a>[115]</span></p>
+
+<a name="h2H_4_0039" id="h2H_4_0039"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XXXVI.
+</h2>
+<a name="image-0036"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-114.jpg"><img src="images/p114-t.png" width="275"
+alt="THE DUCHESS." /></a>
+<br />
+THE DUCHESS.
+</div>
+
+<p><span class="hpagenum"><a id="page114" name="page114"></a>[114]</span></p>
+
+<p class="latinquote">
+    De lectulo super quem ascendisti non descendes, sed morte morieris.
+</p>
+<p class="right">
+<span class="sc">iiii. Reg. i.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Du lict sus lequel as monté </p>
+<p class="i2">   Ne descendras a ton plaisir. </p>
+<p class="i2">   Car Mort t'aura tantost dompté, </p>
+<p class="i2">   Et en brief te uiendra saisir. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page117" name="page117"></a>[117]</span></p>
+
+<a name="h2H_4_0040" id="h2H_4_0040"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XXXVII.
+</h2>
+<a name="image-0037"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-116.jpg"><img src="images/p116-t.png" width="275"
+alt="THE PEDLAR." /></a>
+<br />
+THE PEDLAR.
+</div>
+
+<p><span class="hpagenum"><a id="page116" name="page116"></a>[116]</span></p>
+
+<p class="latinquote">
+    Venite ad me qui onerati estis.
+</p>
+<p class="right">
+<span class="sc">Matth. xi.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Venez, &amp; apres moy marchez </p>
+<p class="i2">   Vous qui estes par trop charge. </p>
+<p class="i2">   Cest assez suiuy les marchez: </p>
+<p class="i2">   Vous serez par moy decharge. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page119" name="page119"></a>[119]</span></p>
+
+<a name="h2H_4_0041" id="h2H_4_0041"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XXXVIII.
+</h2>
+<a name="image-0038"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-118.jpg"><img src="images/p118-t.png" width="275"
+alt="THE PLOUGHMAN." /></a>
+<br />
+THE PLOUGHMAN.
+</div>
+
+<p><span class="hpagenum"><a id="page118" name="page118"></a>[118]</span></p>
+
+<p class="latinquote">
+    In sudore vultus tui vesceris pane tuo.
+</p>
+<p class="right">
+<span class="sc">Gene. i.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   A la sueur de ton uisaige </p>
+<p class="i2">   Tu gaigneras ta pauure uie. </p>
+<p class="i2">   Apres long trauail, &amp; usaige, </p>
+<p class="i2">   Voicy la Mort qui te conuie. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page121" name="page121"></a>[121]</span></p>
+
+<a name="h2H_4_0042" id="h2H_4_0042"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XXXIX.
+</h2>
+<a name="image-0039"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-120.jpg"><img src="images/p120-t.png" width="275"
+alt="THE YOUNG CHILD." /></a>
+<br />
+THE YOUNG CHILD.
+</div>
+
+<p><span class="hpagenum"><a id="page120" name="page120"></a>[120]</span></p>
+
+<p class="latinquote">
+    Homo natus de muliere, breui viuens tempore repletur multis
+    miserijs, qui quasi flos egreditur, &amp; conteritur, &amp; fugit
+    velut vmbra.
+</p>
+<p class="right">
+<span class="sc">Iob xiiii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Tout homme de la femme yssant </p>
+<p class="i2">   Remply de misere, &amp; d'encombre, </p>
+<p class="i2">   Ainsi que fleur tost finissant. </p>
+<p class="i2">   Sort &amp; puis fuyt comme faict l'umbre. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page123" name="page123"></a>[123]</span></p>
+
+<a name="h2H_4_0043" id="h2H_4_0043"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XL.
+</h2>
+<a name="image-0040"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-122.jpg"><img src="images/p122-t.png" width="275"
+alt="THE LAST JUDGMENT." /></a>
+<br />
+THE LAST JUDGMENT.
+</div>
+
+<p><span class="hpagenum"><a id="page122" name="page122"></a>[122]</span></p>
+
+<p class="latinquote">
+    Omnes stabimus ante tribunal domini.
+</p>
+<p class="right">
+<span class="sc">Roma. xiiii.</span>
+</p>
+<p class="latinquote">
+    Vigilate, &amp; orate, quia nescitis qua hora venturus sit dominus.
+</p>
+<p class="right">
+<span class="sc">Matt. xxiiii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Deuante le trosne du grand iuge </p>
+<p class="i2">   Chascun de soy compte rendra </p>
+<p class="i2">   Pourtant ueillez, qu'il ne uous iuge. </p>
+<p class="i2">   Car ne scauez quand il uiendra. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page125" name="page125"></a>[125]</span></p>
+
+<a name="h2H_4_0044" id="h2H_4_0044"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XLI.
+</h2>
+<a name="image-0041"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-124.jpg"><img src="images/p124-t.png" width="275"
+alt="THE ESCUTCHEON OF DEATH." /></a>
+<br />
+THE ESCUTCHEON OF DEATH.
+</div>
+
+<p><span class="hpagenum"><a id="page124" name="page124"></a>[124]</span></p>
+
+<p class="latinquote">
+    Memorare nouissima, &amp; in æternum non peccabis.
+</p>
+<p class="right">
+<span class="sc">Eccle. vii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Si tu ueulx uiure sans peché </p>
+<p class="i2">   Voy ceste imaige a tous propos, </p>
+<p class="i2">   Et point ne seras empesché, </p>
+<p class="i2">   Quand tu t'en iras a repos. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page126" name="page126"></a>[126]</span></p>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<p><span class="hpagenum"><a id="page127" name="page127"></a>[127]</span></p>
+
+<h3>
+[ADDED IN LATER EDITIONS]
+</h3>
+
+<p><span class="hpagenum"><a id="page129" name="page129"></a>[129]</span></p>
+
+<a name="h2H_4_0045" id="h2H_4_0045"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XLII.
+</h2>
+<a name="image-0042"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-128.jpg"><img src="images/p128-t.png" width="275"
+alt="THE SOLDIER." /></a>
+<br />
+THE SOLDIER.
+</div>
+
+<p><span class="hpagenum"><a id="page128" name="page128"></a>[128]</span></p>
+
+<p class="latinquote">
+    Cum fortis armatus custodit atri&#x0169; su&#x0169;, &amp;c. Si autem fortior
+    eo superueniens vicerit eum, uniuersa eius arma aufert, in quibus
+    confidebat.
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Le sort armé en jeune corps </p>
+<p class="i2">   Pense auoir seure garnison; </p>
+<p class="i2">   Mais Mort plus forte, le met hors </p>
+<p class="i2">   De sa corporelle maison. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page131" name="page131"></a>[131]</span></p>
+
+<a name="h2H_4_0046" id="h2H_4_0046"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XLIII.
+</h2>
+<a name="image-0043"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-130.jpg"><img src="images/p130-t.png" width="275"
+alt="THE GAMESTER." /></a>
+<br />
+THE GAMESTER.
+</div>
+
+<p><span class="hpagenum"><a id="page130" name="page130"></a>[130]</span></p>
+
+<p class="latinquote">
+    Quid prodest homini, si vniuersum Mundum lucretur, animæ autem
+    suæ detrimentum patiatur?
+</p>
+<p class="right">
+<span class="sc">Matt. xvi.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Que vault à l'homme tout le Monde </p>
+<p class="i2">   Gaigner d'hazard, &amp; chance experte, </p>
+<p class="i2">   S'il recoit de sa uie immonde </p>
+<p class="i2">   Par Mort, irreparable perte? </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page133" name="page133"></a>[133]</span></p>
+
+<a name="h2H_4_0047" id="h2H_4_0047"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XLIV.
+</h2>
+<a name="image-0044"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-132.jpg"><img src="images/p132-t.png" width="275"
+alt="THE DRUNKARD." /></a>
+<br />
+THE DRUNKARD.
+</div>
+
+<p><span class="hpagenum"><a id="page132" name="page132"></a>[132]</span></p>
+
+<p class="latinquote">
+    Ne inebriemini vino, in quo est luxuria.
+</p>
+<p class="right">
+<span class="sc">Ephes. v.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   De vin (auquel est tout exces) </p>
+<p class="i2">   Ne vous enyurez pour dormir </p>
+<p class="i2">   Sommeil de Mort qui au deces </p>
+<p class="i2">   Vous face l'ame, &amp; sang vomir. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page135" name="page135"></a>[135]</span></p>
+
+<a name="h2H_4_0048" id="h2H_4_0048"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XLV.
+</h2>
+<a name="image-0045"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-134.jpg"><img src="images/p134-t.png" width="275"
+alt="THE FOOL." /></a>
+<br />
+THE FOOL.
+</div>
+
+<p><span class="hpagenum"><a id="page134" name="page134"></a>[134]</span></p>
+
+<p class="latinquote">
+    Quasi agnus lasciuiens, &amp; ignorans, nescit quòd ad vincula stultus
+    trahatur.
+</p>
+<p class="right">
+<span class="sc">Proverb vii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Le Fol vit en ioye, &amp; deduict </p>
+<p class="i2">   San scavoir qu'il s'en va mourant, </p>
+<p class="i2">   Tant qu'à sa fin il est conduict </p>
+<p class="i2">   Ainsi que l'agneau ignorant. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page137" name="page137"></a>[137]</span></p>
+
+<a name="h2H_4_0049" id="h2H_4_0049"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XLVI.
+</h2>
+<a name="image-0046"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-136.jpg"><img src="images/p136-t.png" width="275"
+alt="THE ROBBER." /></a>
+<br />
+THE ROBBER.
+</div>
+
+<p><span class="hpagenum"><a id="page136" name="page136"></a>[136]</span></p>
+
+<p class="latinquote">
+    Domine, vim patior.
+</p>
+<p class="right">
+<span class="sc">Isaiæ xxxviii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   La foible femme brigandée </p>
+<p class="i2">   Crie, O seigneur on me fait force. </p>
+<p class="i2">   Lors de Dieu la mort est mandée, </p>
+<p class="i2">   Qui les estrangle à dure estorce. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page139" name="page139"></a>[139]</span></p>
+
+<a name="h2H_4_0050" id="h2H_4_0050"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XLVII.
+</h2>
+<a name="image-0047"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-138.jpg"><img src="images/p138-t.png" width="275"
+alt="THE BLIND MAN." /></a>
+<br />
+THE BLIND MAN.
+</div>
+
+<p><span class="hpagenum"><a id="page138" name="page138"></a>[138]</span></p>
+
+<p class="latinquote">
+    Cæcus cæcum ducit: &amp; ambo in foueam cadunt.
+</p>
+<p class="right">
+<span class="sc">Matth. xv.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   L'aueugle un autre aueugle guide, </p>
+<p class="i2">   L'un par l'autre en la fosse tombe: </p>
+<p class="i2">   Car quand plus oultre aller il cuide, </p>
+<p class="i2">   La <span class="sc">Mort</span> l'homme iecte en la tombe. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page141" name="page141"></a>[141]</span></p>
+
+<a name="h2H_4_0051" id="h2H_4_0051"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XLVIII.
+</h2>
+<a name="image-0048"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-140.jpg"><img src="images/p140-t.png" width="275"
+alt="THE WAGGONER." /></a>
+<br />
+THE WAGGONER.
+</div>
+
+<p><span class="hpagenum"><a id="page140" name="page140"></a>[140]</span></p>
+
+<p class="latinquote">
+    Corruit in curru suo.
+</p>
+<p class="right">
+<span class="sc">i Chron. xxii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Au passage de <span class="sc">Mort</span> peruerse </p>
+<p class="i2">   Raison, chartier tout esperdu, </p>
+<p class="i2">   Du corps le char, &amp; cheuaux verse, </p>
+<p class="i2">   Le vin (sang de vie) espandu. </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page143" name="page143"></a>[143]</span></p>
+
+<a name="h2H_4_0052" id="h2H_4_0052"><!-- H2 anchor --></a>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<h2>
+    XLIX.
+</h2>
+<a name="image-0049"><!--IMG--></a>
+<div class="plate">
+<a href="images/illus-142.jpg"><img src="images/p142-t.png" width="275"
+alt="THE BEGGAR." /></a>
+<br />
+THE BEGGAR.
+</div>
+
+<p><span class="hpagenum"><a id="page142" name="page142"></a>[142]</span></p>
+
+<p class="latinquote">
+  Miser ego homo! Quis nie liberabit de corpore mortis huius?
+</p>
+<p class="right">
+<span class="sc">Rom. vii.</span>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Qui hors la chair veult en Christ viure </p>
+<p class="i2">   Ne craint mort, mais dit un mortel, </p>
+<p class="i2">   Helas, qui me rendra deliure </p>
+<p class="i2">   Pouure homme de ce corps mortel? </p>
+</div>
+</div>
+
+<p><span class="hpagenum"><a id="page144" name="page144"></a>[144]</span></p>
+
+<div style="clear: both; height: 2em;"><br /><br /></div>
+
+<p><span class="hpagenum"><a id="page145" name="page145"></a>[145]</span></p>
+
+<p class="quote">
+    <i>Of this edition of Holbein's "The Dance of Death,"
+    seven hundred and fifty copies have been printed
+    on Japan vellum, for the Scott-Thaw Co., by the
+    Heintzemann Press, July, MCMIII.</i>
+</p>
+
+<div style="height: 6em;"><br /><br /><br /><br /><br /><br /></div>
+
+<p class="quote">
+<b>Transcriber's Note:</b> In the work used for this digitization, each pair
+of facing pages has the Latin biblical quotation at the top of the left
+page printed in red, the French quatrain at the bottom of the left page
+printed in black, and the illustration (numbered above, and captioned
+below) on the right page, opposite the text. For clarity in the
+text-only version, the plate numbers and captions have been moved to
+precede their corresponding verses.
+</p>
+
+<div style="height: 6em;"><br /><br /><br /><br /><br /><br /></div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Dance of Death, by Hans Holbein
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@@ -0,0 +1,1976 @@
+The Project Gutenberg EBook of The Dance of Death, by Hans Holbein
+
+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: The Dance of Death
+
+Author: Hans Holbein
+
+Commentator: Austin Dobson
+
+Release Date: June 10, 2007 [EBook #21790]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE DANCE OF DEATH ***
+
+
+
+
+Produced by David Garcia, Juliet Sutherland and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+
+
+The Dance of Death
+
+by Hans Holbein, with an
+
+introductory note by
+
+Austin Dobson
+
+
+  New York
+  SCOTT-THAW COMPANY
+  mcmiii
+
+
+
+  Copyright, 1903, by
+  SCOTT-THAW COMPANY
+
+  _The Heintzemann Press, Boston_
+
+
+
+
+
+
+THE DANCE OF DEATH
+
+=The Book=
+
+
+"_Les Simulachres & Historiees Faces de la Mort avtant elegamtment
+pourtraictes, que artificiellement imaginees._" This may be Englished
+as follows: _The Images and Storied Aspects of Death, as elegantly
+delineated as [they are] ingeniously imagined._ Such is the literal
+title of the earliest edition of the famous book now familiarly known
+as "_Holbein's Dance of Death._" It is a small _quarto_, bearing on
+its title-page, below the French words above quoted, a nondescript
+emblem with the legend _Vsus me Genuit_, and on an open book, _Gnothe
+seauton_. Below this comes again, "_A Lyon, Soubz l'escu de Coloigne_:
+M. D. XXXVIII," while at the end of the volume is the imprint
+"_Excvdebant Lvgdvni Melchoir et Gaspar Trechsel fratres: 1538_,"--the
+Trechsels being printers of German origin, who had long been established
+at Lyons. There is a verbose "Epistre" or Preface in French to the
+"_moult reuerende Abbesse du religieux conuent S. Pierre de Lyon,
+Madame Iehanne de Touszele_," otherwise the Abbess of Saint Pierre les
+Nonnains, a religious house containing many noble and wealthy ladies,
+and the words, "_Salut d'un vray Zele_," which conclude the dedicatory
+heading, are supposed to reveal indirectly the author of the "Epistre"
+itself, namely, Jean de Vauzelles, Pastor of St. Romain and Prior of
+Monrottier, one of three famous literary brothers in the city on the
+Rhone, whose motto was "_D'un vray Zelle_." After the Preface comes
+"_Diuerses Tables de Mort, non painctes, mais extraictes de l'escripture
+saincte, colorees par Docteurs Ecclesiastiques, & umbragees par
+Philosophes_." Then follow the cuts, forty-one in number, each having
+its text from the Latin Bible above it, and below, its quatrain in
+French, this latter being understood to be from the pen of one Gilles
+Corozet. To the cuts succeed various makeweight Appendices of a didactic
+and hortatory character, the whole being wound up by a profitable
+discourse, _De la Necessite de la Mort qui ne laisse riens estre
+pardurable_. Various editions ensued to this first one of 1538, the next
+or second of 1542 (in which Corozet's verses were translated into Latin
+by Luther's brother-in-law, George Oemmel or Aemilius), being put forth
+by Jean and Francois Frellon, into whose hands the establishment of the
+Trechsels had fallen. There were subsequent issues in 1545, 1547, 1549,
+1554, and 1562. To the issues of 1545 and 1562 a few supplementary
+designs were added, some of which have no special bearing upon the
+general theme, although attempts, more or less ingenious, have been made
+to connect them with the text. After 1562 no addition was made to the
+plates.
+
+
+=The Artist=
+
+From the date of the _editio princeps_ it might be supposed that the
+designs were executed at or about 1538--the year of its publication. But
+this is not the case; and there is good evidence that they were not only
+designed but actually cut on the wood some eleven years before the book
+itself was published. There are, in fact, several sets of impressions
+in the British Museum, the Berlin Museum, the Basle Museum, the Imperial
+Library at Paris, and the Grand Ducal Cabinet at Carlsruhe, all of which
+correspond with each other, and are believed to be engraver's proofs
+from the original blocks. These, which include every cut in the edition
+of 1538, except "The Astrologer," would prove little of themselves as
+to the date of execution. But, luckily, there exists in the Cabinet at
+Berlin a set of coarse enlarged drawings in Indian ink, on brownish
+paper, of twenty-three of the series. These are in circular form; and
+were apparently intended as sketches for glass painting. That they are
+copied from the woodcuts is demonstrable, first, because they are not
+reversed as they would have been if they were the originals; and,
+secondly, because one of them, No. 36 ("The Duchess"), repeats the
+conjoined "H.L." on the bed, which initials are held to be the monogram
+of the woodcutter, and not to be part of the original design. The Berlin
+drawings must therefore have been executed subsequently to the woodcuts;
+and as one of them, that representing the Emperor, is dated "1527,"
+we get a date before which both the woodcuts, and the designs for the
+woodcuts, must have been prepared. It is generally held that they were
+so prepared _circa_ 1524 and 1525, the date of the Peasants' War, of the
+state of feeling excited by which they exhibit evident traces. In the
+Preface to this first edition, certain ambiguous expressions, to which
+we shall presently refer, led some of the earlier writers on the subject
+to doubt as to the designer of the series. But the later researches of
+Wornum and Woltmann, of M. Paul Mantz and, more recently, of Mr. W. J.
+Linton leave no doubt that they were really drawn by the artist to whom
+they have always been traditionally assigned, to wit, Hans Holbein the
+younger. He was resident in Basle up to the autumn of 1526, before which
+time, according to the above argument, the drawings must have been
+produced; he had already designed an Alphabet of Death; and, moreover,
+on the walls of the cemetery of the Dominican monastery at Basle there
+was a famous wall-painting of the Dance of Death, which would be a
+perpetual stimulus to any resident artist. Finally, and this is perhaps
+the most important consideration of all, the designs are in Holbein's
+manner.
+
+
+=The Woodcutter=
+
+But besides revealing an inventor of the highest order, the _Dance
+of Death_ also discloses an interpreter in wood of signal, and even
+superlative, ability. The designs are cut--to use the word which implies
+the employment of the knife as opposed to that of the graver--in a
+manner which has never yet been excelled. In this matter there could be
+no better judge than Mr. W. J. Linton; and he says that nothing, either
+by knife or by graver, is of higher quality than these woodcuts. Yet
+the woodcutter's very name was for a long time doubtful, and even now
+the particulars which we possess with regard to him are scanty and
+inconclusive. That he was dead when the Trechsels published the book in
+1538, must be inferred from the "Epistre" of Jean de Vauzelles, since
+that "Epistre" expressly refers to "_la mort de celluy, qui nous en a
+icy imagine si elegantes figures_"; and without entering into elaborate
+enquiry as to the exact meaning of "_imaginer_" in sixteenth-century
+French, it is obvious that, although the deceased is elsewhere loosely
+called "_painctre_," this title cannot refer to Holbein, who was so far
+from being dead that he survived until 1543. The only indication of the
+woodcutter's name is supplied by the monogram, "HL" upon the bedstead
+in No. 36 ("The Duchess"); and these initials have been supposed to
+indicate one Hans Lutzelburger, or Hans of Luxemburg, "otherwise Franck,"
+a form-cutter ("formschneider"), whose full name is to be found attached
+to the so-called "Little Dance of Death," an alphabet by Holbein,
+impressions of which are in the British Museum. His signature ("H. L. F.
+1522") is also found appended to another alphabet; to a cut of a fight
+in a forest, dated also 1522; and to an engraved title-page in a German
+New Testament of the year following. This is all we know with certainty
+concerning his work, though the investigations of Dr. Edouard His have
+established the fact that a "formschneider" named Hans, who had business
+transactions with the Trechsels of Lyons, had died at Basle before June,
+1526; and it is conjectured, though absolute proof is not forthcoming,
+that this must have been the "H. L.," or Hans of Luxemburg, who cut
+Holbein's designs upon the wood. In any case, unless we must assume
+another woodcutter of equal merit, it is probable that the same man cut
+the signed Alphabet in the British Museum and the initialed _Dance of
+Death_. But why the cuts of the latter, which, as we have shown above,
+were printed _circa_ 1526, were not published at Lyons until 1538;
+and why Holbein's name was withheld in the Preface to the book of that
+year, are still unexplained. The generally accepted supposition is that
+motives of timidity, arising from the satirical and fearlessly unsparing
+character of the designs, may be answerable both for delay in the
+publication and mystification in the "Preface." And if intentional
+mystification be admitted, the doors of enquiry, after three hundred
+and fifty years, are practically sealed to the critical picklock.
+
+
+=Other Reproductions=
+
+The _Dance of Death_ has been frequently copied. Mr. W. J. Linton
+enumerates a Venice reproduction of 1545; and a set (enlarged) by Jobst
+Dienecker of Augsburg in 1554. Then there is the free copy, once popular
+with our great grandfathers, by Bewick's younger brother John, which
+Hodgson of Newcastle published in 1789 under the title of _Emblems of
+Mortality_. Wenceslaus Hollar etched thirty of the designs in 1651,
+and in 1788 forty-six of them were etched by David Deuchar. In 1832
+they were reproduced upon stone with great care by Joseph Schlotthauer,
+Professor in the Academy of Fine Arts at Munich; and these were reissued
+in this country in 1849 by John Russell Smith. They have also been
+rendered in photo-lithography for an edition issued by H. Noel
+Humphreys, in 1868; and for the Holbein Society in 1879. In 1886,
+Dr. F. Lippmann edited for Mr. Quaritch a set of reproductions of the
+engraver's proofs in the Berlin Museum; and the _editio princeps_ has
+been facsimiled by one of the modern processes for Hirth of Munich,
+as vol. x. of the Liebhaber-Bibliothek, 1884.
+
+
+=The Present Issue=
+
+The copies given in the present issue are impressions from the blocks
+engraved in 1833 for Douce's _Holbein's Dance of Death_. They are the
+best imitations in wood, says Mr. Linton. It is of course true, as he
+also points out, that a copy with the graver can never quite faithfully
+follow an original which has been cut with the knife,--more especially,
+it may be added, when the cutter is a supreme craftsman like him
+of Luxemburg. But against etched, lithographed, phototyped and
+otherwise-processed copies, these of Messrs. Bonner and John Byfield
+have one incontestable advantage: they are honest attempts to repeat
+by the same method,--that is, in wood,--the original and incomparable
+woodcuts of Hans Lutzelburger.
+
+
+
+
+THE DANCE OF DEATH
+
+(CHANT ROYAL, AFTER HOLBEIN)[1]
+
+
+  "_Contra vim Mortis_
+   _Non est medicamen in hortis._"
+
+
+  He is the despots' Despot. All must bide,
+  Later or soon, the message of his might;
+  Princes and potentates their heads must hide,
+  Touched by the awful sigil of his right;
+  Beside the Kaiser he at eve doth wait
+  And pours a potion in his cup of state;
+  The stately Queen his bidding must obey;
+  No keen-eyed Cardinal shall him affray;
+  And to the Dame that wantoneth he saith--
+  "Let be, Sweet-heart, to junket and to play."
+  There is no king more terrible than Death.
+
+  The lusty Lord, rejoicing in his pride,
+  He draweth down; before the armed Knight
+  With jingling bridle-rein he still doth ride;
+  He crosseth the strong Captain in the fight;
+  The Burgher grave he beckons from debate;
+  He hales the Abbot by his shaven pate,
+  Nor for the Abbess' wailing will delay;
+  No bawling Mendicant shall say him nay;
+  E'en to the pyx the Priest he followeth,
+  Nor can the Leech his chilling finger stay ...
+  There is no king more terrible than Death.
+
+  All things must bow to him. And woe betide
+  The Wine-bibber,--the Roisterer by night;
+  Him the feast-master, many bouts defied,
+  Him 'twixt the pledging and the cup shall smite;
+  Woe to the Lender at usurious rate,
+  The hard Rich Man, the hireling Advocate;
+  Woe to the Judge that selleth right for pay;
+  Woe to the Thief that like a beast of prey
+  With creeping tread the traveller harryeth:--
+  These, in their sin, the sudden sword shall slay ...
+  There is no king more terrible than Death.
+
+  He hath no pity,--nor will be denied.
+  When the low hearth is garnished and bright,
+  Grimly he flingeth the dim portal wide,
+  And steals the Infant in the Mother's sight;
+  He hath no pity for the scorned of fate:--
+  He spares not Lazarus lying at the gate,
+  Nay, nor the Blind that stumbleth as he may;
+  Nay, the tired Ploughman,--at the sinking ray,--
+  In the last furrow,--feels an icy breath,
+  And knows a hand hath turned the team astray ...
+  There is no king more terrible than Death.
+
+  He hath no pity. For the new-made Bride,
+  Blithe with the promise of her life's delight,
+  That wanders gladly by her Husband's side,
+  He with the clatter of his drum doth fright;
+  He scares the Virgin at the convent grate;
+
+  The Maid half-won, the lover passionate;
+  He hath no grace for weakness and decay:
+  The tender Wife, the Widow bent and gray,
+  The feeble Sire whose footstep faltereth,--
+  All these he leadeth by the lonely way ...
+  There is no king more terrible than Death.
+
+
+  ENVOY.
+
+  Youth, for whose ear and monishing of late,
+  I sang of Prodigals and lost estate,
+  Have thou thy joy of living and be gay;
+  But know not less that there must come a day,--
+  Aye, and perchance e'en now it hasteneth,--
+  When thine own heart shall speak to thee and say,--
+  There is no king more terrible than Death.
+
+  1877.      A. D.
+
+
+[Footnote 1: This Chant Royal of the King of Terrors is--with Mr. AUSTIN
+DOBSON'S consent--here reprinted from his _Collected Poems_, 1896.]
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+  N.B.--The German titles are in general modernized from those
+  which appear above the engraver's proofs. The numerals are
+  those of the cuts.
+
+
+  THE CREATION                                              I
+  _Die Schoepfung aller Ding._
+
+    Eve is taken from the side of Adam.
+
+
+  THE TEMPTATION                                           II
+  "_Adam Eua im Paradyss._"
+
+    Eve, having received an apple from the serpent,
+    prompts Adam to gather more.
+
+
+  THE EXPULSION                                           III
+  "_Vsstribung Ade Eue._"
+
+    Adam and Eve, preceded by Death, playing on a
+    beggar's lyre or hurdy-gurdy, are driven by the
+    angel from Eden.
+
+
+  THE CONSEQUENCES OF THE FALL                             IV
+  _Adam baut die Erden._
+
+    Adam, aided by Death, tills the earth. Eve,
+    with a distaff, suckles Cain in the background.
+
+
+  A CEMETERY                                                V
+  _Gebein aller Menschen._
+
+    A crowd of skeletons, playing on horns, trumpets,
+    and the like, summon mankind to the grave.
+
+
+  THE POPE                                                 VI
+  _Der Paepst._
+
+    The Pope (Leo X.) with Death at his side, crowns
+    an Emperor, who kisses his foot. Another Death,
+    in a cardinal's hat, is among the assistants.
+
+
+  THE EMPEROR                                             VII
+  _Der Kaiser._
+
+    The Emperor (Maximilian I.) rates his minister
+    for injustice to a suitor. But even in the act
+    Death discrowns him.
+
+
+  THE KING                                               VIII
+  _Der Koenig._
+
+    The King (Francis I.) sits at feast under
+    a baldachin sprinkled with _fleurs-de-lis_.
+    Death, as a cup-bearer, pours his last draught.
+
+
+  THE CARDINAL                                             IX
+  _Der Cardinal._
+
+    Death lifts off the Cardinal's hat as he is
+    handing a letter of indulgence to a rich man.
+    Luther's opponent, Cardinal Cajetan, is supposed
+    to be represented.
+
+
+  THE EMPRESS                                               X
+  _Die Kaiserinn._
+
+    The Empress, walking with her women, is
+    intercepted by a female Death, who conducts her
+    to an open grave.
+
+
+  THE QUEEN                                                XI
+  _Die Koeniginn._
+
+    Death, in the guise of a court-jester, drags
+    away the Queen as she is leaving her palace.
+
+
+  THE BISHOP                                              XII
+  _Der Bischof._
+
+    The sun is setting, and Death leads the aged
+    Bishop from the sorrowing shepherds of his
+    flock.
+
+
+  THE DUKE                                               XIII
+  _Der Herzog._
+
+    The Duke turns pitilessly from a beggar-woman
+    and her child. Meanwhile Death, fantastically
+    crowned, lays hands on him.
+
+
+  THE ABBOT                                               XIV
+  _Der Abt._
+
+    Death, having despoiled the Abbot of mitre
+    and crozier, hales him along unwilling, and
+    threatening his enemy with his breviary.
+
+
+  THE ABBESS                                               XV
+  _Die Abtissin._
+
+    Death, in a wreath of flags, pulls away the
+    Abbess by her scapulary in sight of a shrieking
+    nun.
+
+
+  THE NOBLEMAN                                            XVI
+  _Der Edelmann._
+
+    Death drags the resisting Nobleman towards
+    a bier in the background.
+
+
+  THE CANON, OR PREBENDARY                               XVII
+  _Der Domherr._
+
+    The Canon, with his falconer, page, and
+    jester, enters the church door. Death shows
+    him that his sands have run.
+
+
+  THE JUDGE                                             XVIII
+  _Der Richter._
+
+    Death withdraws the Judge's staff as he takes
+    a bribe from a rich suitor.
+
+
+  THE ADVOCATE                                            XIX
+  _Der Fuersprach._
+
+    Death comes upon him in the street while he is
+    being feed by a rich client.
+
+
+  THE COUNSELLOR, OR SENATOR                               XX
+  _Der Rathsherr._
+
+    The Counsellor, prompted by a devil, is
+    absorbed by a nobleman, and turns unheeding
+    from a poor suppliant. But Death, with glass
+    and spade, is waiting at his feet.
+
+
+  THE PREACHER                                            XXI
+  _Der Predicant._
+
+    Death, in a stole, stands in the pulpit
+    behind the fluent Preacher, and prepares to
+    strike him down with a jaw-bone.
+
+
+  THE PRIEST, OR PASTOR                                  XXII
+  _Der Pfarrherr._
+
+    He carries the host to a sick person. But
+    Death precedes him as his sacristan.
+
+
+  THE MENDICANT FRIAR                                   XXIII
+  _Der Moench._
+
+    Death seizes him just as his begging box and
+    bag are filled.
+
+
+  THE NUN                                                XXIV
+  _Die Nonne._
+
+    The young Nun kneels at the altar, but turns
+    to her lover who plays upon a lute. Death
+    meantime, as a hideous old hag, extinguishes
+    the altar candles.
+
+
+  THE OLD WOMAN                                           XXV
+  _Das Altweib._
+
+    "_Melior est mors quam vita_" to the aged
+    woman who crawls gravewards with her bone
+    rosary while Death makes music in the van.
+
+
+  THE PHYSICIAN                                          XXVI
+  _Der Arzt._
+
+    Death brings him a hopeless patient, and
+    bids him cure himself.
+
+
+  THE ASTROLOGER                                        XXVII
+  (_See p. 10, l. 12._)
+
+    He contemplates a pendent sphere. But Death
+    thrusts a skull before his eyes.
+
+
+  THE RICH MAN                                         XXVIII
+  _Der Reichmann._
+
+    Death finds him at his pay-table and seizes
+    the money.
+
+
+  THE MERCHANT                                           XXIX
+  _Der Kaufmann._
+
+    Death arrests him among his newly-arrived bales.
+
+
+  THE SHIPMAN                                             XXX
+  _Der Schiffmann._
+
+    Death breaks the mast of the ship, and the crew
+    are in extremity.
+
+
+  THE KNIGHT                                             XXXI
+  _Der Ritter._
+
+    Death, in cuirass and chain-mail, runs him
+    through the body.
+
+
+  THE COUNT                                             XXXII
+  _Der Graf._
+
+    Death, as a peasant with a flail, lifts away
+    his back-piece.
+
+
+  THE OLD MAN                                          XXXIII
+  _Der Altmann._
+
+    Death, playing on a dulcimer, leads him into
+    his grave.
+
+
+  THE COUNTESS                                          XXXIV
+  _Die Grafinn._
+
+    Death helps her at her tiring by decorating
+    her with a necklet of dead men's bones.
+
+
+  THE NOBLE LADY, OR BRIDE                               XXXV
+  _Die Edelfrau._
+
+    "_Me et te sola mors separabit_"--says the
+    motto. And Death already dances before her.
+
+
+  THE DUCHESS                                           XXXVI
+  _Die Herzoginn._
+
+    Death seizes her in bed, while his fellow plays
+    the fiddle.
+
+
+  THE PEDLAR                                           XXXVII
+  _Der Kramer._
+
+    Death stops him on the road with his wares at
+    his back.
+
+
+  THE PLOUGHMAN                                       XXXVIII
+  _Der Ackermann._
+
+    Death runs at the horses' sides as the sun
+    sinks, and the furrows are completed.
+
+
+  THE YOUNG CHILD                                       XXXIX
+  _Das Junge Kind._
+
+    As the meagre cottage meal is preparing, Death
+    steals the youngest child.
+
+
+  THE LAST JUDGMENT                                        XL
+  _Das juengste Gericht._
+
+  "_Omnes stabimus ante tribunal Domini._"
+
+
+  THE ESCUTCHEON OF DEATH                                 XLI
+  _Die Wappen des Todes._
+
+    The supporters represent Holbein and his wife.
+
+
+[_Added in later editions_]
+
+
+  THE SOLDIER                                            XLII
+
+    Death, armed only with a bone and shield,
+    fights with the Soldier on the field of battle.
+
+
+  THE GAMESTER                                          XLIII
+
+    Death and the Devil seize upon the Gambler at
+    his cards.
+
+
+  THE DRUNKARD                                           XLIV
+
+    Men and women carouse: down the throat of one
+    bloated fellow Death pours the wine.
+
+
+  THE FOOL                                                XLV
+
+    The Fool dances along the highway with Death,
+    who plays the bagpipes.
+
+
+  THE ROBBER                                             XLVI
+
+    Death seizes the Robber in the act of pillage.
+
+
+  THE BLIND MAN                                         XLVII
+
+    Death leads the Blind Man by his staff.
+
+
+  THE WAGGONER                                         XLVIII
+
+    The waggon is overturned; one Death carries off
+    a wheel, the other loosens the fastening of a cask.
+
+
+  THE BEGGAR                                             XLIX
+
+    The Beggar, lying on straw outside the city,
+    cries in vain for Death.
+
+
+
+    [Two others, not found in the earlier editions, "The Young
+    Wife," and "The Young Husband," are not included in the
+    Douce reprint for which the foregoing blocks were engraved.]
+
+
+
+
+  Les simulachres &
+
+  HISTORIEES FACES
+
+  DE LA MORT, AVTANT ELE
+
+  gammet pourtraictes, que artificiellement
+  imaginees.
+
+  [Illustration: Vsus me genuit.]
+
+  A LYON,
+
+  Soubz l'escu de COLOIGNE,
+
+  M. D. XXXVIII.
+
+
+
+
+I.
+
+[Illustration: THE CREATION.]
+
+Formauit DOMINVS DEVS hominem de limo terrae, ad imagine suam creauit
+illum, masculum & foeminam creauit eos.
+
+Genesis i. & ii.
+
+
+  DIEV, Ciel, Mer, Terre, procrea
+  De rien demonstrant sa puissance
+  Et puis de la terre crea
+  L'homme, & la femme a sa semblance.
+
+
+
+
+II.
+
+[Illustration: THE TEMPTATION.]
+
+Quia audisti vocem vxoris tuae, & comedisti de ligno ex quo preceperam
+tibi ne comederes, &c.
+
+Genesis iii.
+
+
+  ADAM fut par EVE deceu
+  Et contre DIEV mangea la pomme,
+  Dont tous deux ont la Mort receu,
+  Et depuis fut mortel tout homme.
+
+
+
+
+III.
+
+[Illustration: THE EXPULSION.]
+
+Emisit eum DOMINVS DEVS de Paradiso voluptatis, vt operaretur terram
+de qua sumptus est.
+
+Genesis iii.
+
+
+  DIEV chassa l'homme de plaisir
+  Pour uiure au labeur de ses mains:
+  Alors la Mort le uint saisir,
+  Et consequemment tous humains.
+
+
+
+
+IV.
+
+[Illustration: THE CONSEQUENCES OF THE FALL.]
+
+Maledicta terra in opere tuo, in laboribus comedes cunctis diebus vitae
+tuae, donec reuertaris, &c.
+
+Genesis iii.
+
+
+  Mauldicte en ton labeur la terre.
+  En labeur ta uie useras,
+  Iusques que la Mort te soubterre.
+  Toy pouldre en pouldre tourneras.
+
+
+
+
+V.
+
+[Illustration: A CEMETERY.]
+
+Vae vae vae habitantibus in terra.
+
+Apocalypsis viii.
+
+
+Cuncta in quibus spiraculum vitae est, mortua sunt.
+
+Genesis vii.
+
+
+  Malheureux qui uiuez au monde
+  Tousiours remplis d'aduersitez,
+  Pour quelque bien qui uous abonde,
+  Serez tous de Mort uisitez.
+
+
+
+
+VI.
+
+[Illustration: THE POPE.]
+
+Moriatur sacerdos magnus.
+
+Iosve xx.
+
+
+Et episcopatum eius accipiat alter.
+
+Psalmista cviii.
+
+
+  Qui te cuydes immortel estre
+  Par Mort seras tost depesche,
+  Et combien que tu soys grand prebstre,
+  Vng aultre aura ton Euesche.
+
+
+
+
+VII.
+
+[Illustration: THE EMPEROR.]
+
+
+Dispone domui tuae, morieris enim tu, & non viues.
+
+Isaiae xxxviii.
+
+Ibi morieris, & ibi erit currus gloriae tuae.
+
+Isaiae xxii.
+
+
+  De ta maison disposeras
+  Comme de ton bien transitoire,
+  Car la ou mort reposeras,
+  Seront les chariotz de ta gloire.
+
+
+
+
+VIII.
+
+[Illustration: THE KING.]
+
+Sicut & rex hodie est, & cras morietur, nemo enim ex regibus aliud
+habuit.
+
+Ecclesiastici x.
+
+
+  Ainsi qu'auiourdhuy il est Roy,
+  Demain sera en tombe close.
+  Car Roy aulcun de son arroy
+  N'a sceu emporter aultre chose.
+
+
+
+
+IX.
+
+[Illustration: THE CARDINAL.]
+
+Vae qui iustificatis impium pro muneribus, & iustitiam iusti aufertis
+ab eo.
+
+Esaiae v.
+
+
+  Mal pour uous qui iustifiez
+  L'inhumain, & plain de malice
+  Et par dons le sanctifiez,
+  Ostant au iuste sa iustice.
+
+
+
+
+X.
+
+[Illustration: THE EMPRESS.]
+
+Gradientes in superbia potest Deus humiliare.
+
+Danie iiii.
+
+
+  Qui marchez en pompe superbe
+  La Mort vng iour uous pliera.
+  Come soubz uoz piedz ployez l'herbe
+  Ainsi uous humiliera.
+
+
+
+
+XI.
+
+[Illustration: THE QUEEN.]
+
+Mulieres opulentae surgite, & audite vocem meam. Post dies, & annum,
+& vos conturbemini.
+
+Isaiae xxxii.
+
+
+  Leuez uous dames opulentes.
+  Ouyez la uoix des trespassez.
+  Apres maintz ans & iours passez,
+  Serez troublees & doulentes.
+
+
+
+
+XII.
+
+[Illustration: THE BISHOP.]
+
+Percutiam pastorem, & dispergentur oues.
+
+xxvi. Mar. xiiii.
+
+
+  Le pasteur aussi frapperay,
+  Mitres & crosses renuersees.
+  Et lors quand ie l'attrapperay,
+  Seront ses brebis dispersees.
+
+
+
+
+XIII.
+
+[Illustration: THE DUKE.]
+
+Princeps induetur moerore. Et quiescere faciam superbia potentium.
+
+Ezechie. vii.
+
+
+  Vien, prince, auec moy, & delaisse
+  Honneurs mondains tost finissantz.
+  Seule suis qui, certes, abaisse
+  L'orgueil & pompe des puissantz.
+
+
+
+
+XIV.
+
+[Illustration: THE ABBOT.]
+
+Ipse morietur. Quia no habuit disciplinam, & in multitudine stultitiae
+suae decipietur.
+
+Prover. v.
+
+
+  Il mourra. Car il n'a receu
+  En soy aulcune discipline,
+  Et au nombre sera deceu
+  De folie qui le domine.
+
+
+
+
+XV.
+
+[Illustration: THE ABBESS.]
+
+Laudaui magis mortuos quam viuentes.
+
+Eccle. iiii.
+
+
+  I'ay tousiours les mortz plus loue
+  Que les uisz, esquelz mal abonde,
+  Toucesfoys la Mort ma noue
+  Au ranc de ceulx qui sont au monde.
+
+
+
+
+XVI.
+
+[Illustration: THE NOBLEMAN.]
+
+Quis est homo qui viuet, & non videbit mortem, eruet anima suam de manu
+inferi?
+
+Psal. lxxxviii.
+
+
+  Qui est celluy, tant soit grande homme,
+  Qui puisse uiure sans mourir?
+  Et de la Mort, qui tout assomme,
+  Puisse son Ame recourir?
+
+
+
+
+XVII.
+
+[Illustration: THE CANON.]
+
+Ecce appropinquat hora.
+
+Mat. xxvi.
+
+
+  Tu uas au choeur dire tes heures
+  Paiant Dieu pour toy, & ton proche.
+  Mais il fault ores que tu meures.
+  Voy tu pas l'heure qui approche?
+
+
+
+
+XVIII.
+
+[Illustration: THE JUDGE.]
+
+Disperdam iudicem de medio eius.
+
+Amos ii.
+
+
+  Du mylieu d'eulx uous osteray
+  Iuges corrumpus par presentz.
+  Point ne serez de Mort exemptz.
+  Car ailleurs uous transporteray.
+
+
+
+
+XIX.
+
+[Illustration: THE ADVOCATE.]
+
+Callidus vidit malum, & abscodit se innocens, pertransijt, & afflictus
+est damno.
+
+Prover. xxii.
+
+
+  L'homme cault a ueu la malice
+  Pour l'innocent faire obliger,
+  Et puis par uoye de iustice
+  Est uenu le pauure affliger.
+
+
+
+
+XX.
+
+[Illustration: THE COUNSELLOR.]
+
+Qui obturat aurem suam ad clamorem pauperis, & ipse clamabit, & non
+exaudietur.
+
+Prover. xxi.
+
+
+  Les riches conseillez tousiours,
+  Et aux pauures clouez l'oreille.
+  Vous crierez aux derniers iours,
+  Mais Dieu uous fera la pareille.
+
+
+
+
+XXI.
+
+[Illustration: THE PREACHER.]
+
+Vae qui dicitis malum bonum, & bonum malu, ponentes tenebras lucem,
+& lucem tenebras, ponentes amarum dulce, & dulce in amarum.
+
+Isaiae xv.
+
+
+  Mal pour uous qui ainsi osez
+  Le mal pour le bien nous blasmer,
+  Et le bien pour mal exposez,
+  Mettant auec le doulx l'amer.
+
+
+
+
+XXII.
+
+[Illustration: THE PRIEST.]
+
+Sum quidem & ego mortalis homo.
+
+Sap. vii.
+
+
+  Ie porte le sainct sacrement
+  Cuidant le mourant secourir,
+  Qui mortel suis pareillement.
+  Et comme luy me fault mourir.
+
+
+
+
+XXIII.
+
+[Illustration: THE MENDICANT FRIAR.]
+
+Sedentes in tenebris, & in vmbra mortis, vinctos in mendicitate.
+
+Psal. cvi.
+
+
+  Toy qui n'as soucy, ny remord
+  Sinon de ta mendicite,
+  Tu fierras a l'umbre de Mort
+  Pour t'ouster de necessite.
+
+
+
+
+XXIV.
+
+[Illustration: THE NUN.]
+
+Est via quae videtur homini iusta: nouissima autem eius deducunt hominem
+ad mortem.
+
+Prover. iiii.
+
+
+  Telle uoye aux humains est bonne,
+  Et a l'homme tresiuste semble.
+  Mais la fin d'elle a l'homme donne,
+  La Mort, qui tous pecheurs assemble.
+
+
+
+
+XXV.
+
+[Illustration: THE OLD WOMAN.]
+
+Melior est mors quam vita.
+
+Eccle. xxx.
+
+
+  En peine ay uescu longuement
+  Tant que nay plus de uiure enuie,
+  Mais bien ie croy certainement,
+  Meilleure la Mort que la uie.
+
+
+
+
+XXVI.
+
+[Illustration: THE PHYSICIAN.]
+
+Medice, cura teipsum.
+
+Lvcae iiii.
+
+
+  Tu congnoys bien la maladie
+  Pour le patient secourir,
+  Et si ne scais teste estourdie,
+  Le mal dont tu deburas mourir.
+
+
+
+
+XXVII.
+
+[Illustration: THE ASTROLOGER.]
+
+Indica mihi si nosti omnia. Sciebas quod nasciturus esses, & numerum
+dierum tuorum noueras?
+
+Iob xxviii.
+
+
+  Tu dis par Amphibologie
+  Ce qu'aux aultres doibt aduenir.
+  Dy moy donc par Astrologie
+  Quand tu deburas a moy uenir?
+
+
+
+
+XXVIII.
+
+[Illustration: THE RICH MAN.]
+
+Stulte hac nocte repetunt animam tuam, & quae parasti cuius erunt?
+
+Lvcae xii.
+
+
+  Ceste nuict la Mort te prendra,
+  Et demain seras enchasse.
+  Mais dy moy, fol, a qui uiendra
+  Le bien que tu as amasse?
+
+
+
+
+XXIX.
+
+[Illustration: THE MERCHANT.]
+
+Qui congregat thesauros mendacij vanus & excors est, & impingetur ad
+laqueos mortis.
+
+Prover. xxi.
+
+
+  Vain est cil qui amassera
+  Grandz biens, & tresors pour mentir,
+  La Mort l'en fera repentir.
+  Car en ses lacz surpris sera.
+
+
+
+
+XXX.
+
+[Illustration: THE SHIPMAN.]
+
+Qui volunt diuites fieri incidunt in laqueum diaboli, & desideria multa,
+& nociua, quae mergunt homines in interitum.
+
+I. Ad Timo. vi.
+
+
+  Pour acquerir des biens mondains
+  Vous entrez en tentation,
+  Qui uous met es perilz soubdains,
+  Et uous maine a perdition.
+
+
+
+
+XXXI.
+
+[Illustration: THE KNIGHT.]
+
+Subito morientur, & in media nocte turbabuntur populi, & auferent
+violentum absque manu.
+
+Iob xxxiiii.
+
+
+  Peuples soubdain s'esleuront
+  A lencontre de l'inhumain,
+  Et le uiolent osteront
+  D'auec eulx sans force de main.
+
+
+
+
+XXXII.
+
+[Illustration: THE COUNT.]
+
+Quoniam cum interiet non sumet secum omnia, neque cum eo descendet
+gloria eius.
+
+Psal. xlviii.
+
+
+  Auec soy rien n'emportera,
+  Mais qu'une foys la Mort le tombe,
+  Rien de sa gloire n'ostera,
+  Pour mettre auec soy en sa tombe.
+
+
+
+
+XXXIII.
+
+[Illustration: THE OLD MAN.]
+
+Spiritus meus attenuabitur, dies mei breuiabuntur, & solum mihi superest
+sepulchrum.
+
+Iob xvii.
+
+
+  Mes esperitz sont attendriz,
+  Et ma uie s'en ua tout beau.
+  Las mes longziours sont amoindriz,
+  Plus ne me reste qu'un tombeau.
+
+
+
+
+XXXIV.
+
+[Illustration: THE COUNTESS.]
+
+Ducunt in bonis dies suos, & in puncto ad inferna descendunt.
+
+Iob xxi.
+
+
+  En biens modains leurs iours despendet
+  En uoluptez, & en tristesse,
+  Puis soubdain aux Enfers descendent
+  Ou leur ioye passe en tristesse.
+
+
+
+
+XXXV.
+
+[Illustration: THE NOBLE LADY.]
+
+Me & te sola mors separabit.
+
+Rvth. i.
+
+
+  Amour qui unyz nous faict uiure,
+  En foy noz cueurs preparera,
+  Qui long temps ne nous pourra suyure,
+  Car la Mort nous separera.
+
+
+
+
+XXXVI.
+
+[Illustration: THE DUCHESS.]
+
+De lectulo super quem ascendisti non descendes, sed morte morieris.
+
+iiii. Reg. i.
+
+
+  Du lict sus lequel as monte
+  Ne descendras a ton plaisir.
+  Car Mort t'aura tantost dompte,
+  Et en brief te uiendra saisir.
+
+
+
+
+XXXVII.
+
+[Illustration: THE PEDLAR.]
+
+Venite ad me qui onerati estis.
+
+Matth. xi.
+
+
+  Venez, & apres moy marchez
+  Vous qui estes par trop charge.
+  Cest assez suiuy les marchez:
+  Vous serez par moy decharge.
+
+
+
+
+XXXVIII.
+
+[Illustration: THE PLOUGHMAN.]
+
+In sudore vultus tui vesceris pane tuo.
+
+Gene. i.
+
+
+  A la sueur de ton uisaige
+  Tu gaigneras ta pauure uie.
+  Apres long trauail, & usaige,
+  Voicy la Mort qui te conuie.
+
+
+
+
+XXXIX.
+
+[Illustration: THE YOUNG CHILD.]
+
+Homo natus de muliere, breui viuens tempore repletur multis miserijs,
+qui quasi flos egreditur, & conteritur, & fugit velut vmbra.
+
+Iob xiiii.
+
+
+  Tout homme de la femme yssant
+  Remply de misere, & d'encombre,
+  Ainsi que fleur tost finissant.
+  Sort & puis fuyt comme faict l'umbre.
+
+
+
+
+XL.
+
+[Illustration: THE LAST JUDGMENT.]
+
+Omnes stabimus ante tribunal domini.
+
+Roma. xiiii.
+
+Vigilate, & orate, quia nescitis qua hora venturus sit dominus.
+
+Matt. xxiiii.
+
+
+  Deuante le trosne du grand iuge
+  Chascun de soy compte rendra
+  Pourtant ueillez, qu'il ne uous iuge.
+  Car ne scauez quand il uiendra.
+
+
+
+
+XLI.
+
+[Illustration: THE ESCUTCHEON OF DEATH.]
+
+Memorare nouissima, & in aeternum non peccabis.
+
+Eccle. vii.
+
+
+  Si tu ueulx uiure sans peche
+  Voy ceste imaige a tous propos,
+  Et point ne seras empesche,
+  Quand tu t'en iras a repos.
+
+
+
+
+[ADDED IN LATER EDITIONS]
+
+
+
+
+XLII.
+
+[Illustration: THE SOLDIER.]
+
+Cum fortis armatus custodit atrium suum, &c. Si autem fortior eo
+superueniens vicerit eum, uniuersa eius arma aufert, in quibus
+confidebat.
+
+
+  Le sort arme en jeune corps
+  Pense auoir seure garnison;
+  Mais Mort plus forte, le met hors
+  De sa corporelle maison.
+
+
+
+
+XLIII.
+
+[Illustration: THE GAMESTER.]
+
+Quid prodest homini, si vniuersum Mundum lucretur, animae autem suae
+detrimentum patiatur?
+
+Matt. xvi.
+
+
+  Que vault a l'homme tout le Monde
+  Gaigner d'hazard, & chance experte,
+  S'il recoit de sa uie immonde
+  Par Mort, irreparable perte?
+
+
+
+
+XLIV.
+
+[Illustration: THE DRUNKARD.]
+
+Ne inebriemini vino, in quo est luxuria.
+
+Ephes. v.
+
+
+  De vin (auquel est tout exces)
+  Ne vous enyurez pour dormir
+  Sommeil de Mort qui au deces
+  Vous face l'ame, & sang vomir.
+
+
+
+
+XLV.
+
+[Illustration: THE FOOL.]
+
+Quasi agnus lasciuiens, & ignorans, nescit quod ad vincula stultus
+trahatur.
+
+Proverb vii.
+
+
+  Le Fol vit en ioye, & deduict
+  San scavoir qu'il s'en va mourant,
+  Tant qu'a sa fin il est conduict
+  Ainsi que l'agneau ignorant.
+
+
+
+
+XLVI.
+
+[Illustration: THE ROBBER.]
+
+Domine, vim patior.
+
+Isaiae xxxviii.
+
+
+  La foible femme brigandee
+  Crie, O seigneur on me fait force.
+  Lors de Dieu la mort est mandee,
+  Qui les estrangle a dure estorce.
+
+
+
+
+XLVII.
+
+[Illustration: THE BLIND MAN.]
+
+Caecus caecum ducit: & ambo in foueam cadunt.
+
+Matth. xv.
+
+
+  L'aueugle un autre aueugle guide,
+  L'un par l'autre en la fosse tombe:
+  Car quand plus oultre aller il cuide,
+  La MORT l'homme iecte en la tombe.
+
+
+
+
+XLVIII.
+
+[Illustration: THE WAGGONER.]
+
+Corruit in curru suo.
+
+i Chron. xxii.
+
+
+  Au passage de MORT peruerse
+  Raison, chartier tout esperdu,
+  Du corps le char, & cheuaux verse,
+  Le vin (sang de vie) espandu.
+
+
+
+
+XLIX.
+
+[Illustration: THE BEGGAR.]
+
+Miser ego homo! Quis nie liberabit de corpore mortis huius?
+
+Rom. vii.
+
+
+  Qui hors la chair veult en Christ viure
+  Ne craint mort, mais dit un mortel,
+  Helas, qui me rendra deliure
+  Pouure homme de ce corps mortel?
+
+
+
+
+       *       *       *       *       *
+
+   _Of this edition of Holbein's "The Dance of Death,"
+    seven hundred and fifty copies have been printed
+    on Japan vellum, for the Scott-Thaw Co., by the
+    Heintzemann Press, July, MCMIII._
+
+
+
+
+[Transcriber's Note: In the work used for this digitization, each pair
+of facing pages has the Latin biblical quotation at the top of the left
+page printed in red, the French quatrain at the bottom of the left page
+printed in black, and the illustration (numbered above, and captioned
+below) on the right page, opposite the text. For clarity in the
+text-only version, the plate numbers and captions have been moved to
+precede their corresponding verses.]
+
+
+
+
+
+End of the Project Gutenberg EBook of The Dance of Death, by Hans Holbein
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