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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: 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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