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diff --git a/21790.txt b/21790.txt new file mode 100644 index 0000000..67bc504 --- /dev/null +++ b/21790.txt @@ -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 + +*** END OF THIS PROJECT GUTENBERG EBOOK THE DANCE OF DEATH *** + +***** This file should be named 21790.txt or 21790.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/1/7/9/21790/ + +Produced by David Garcia, Juliet Sutherland and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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