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+The Project Gutenberg EBook of The Dance of Death, by Francis Douce
+
+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
+       Exhibited in Elegant Engravings on Wood with a Dissertation
+       on the Several Representations of that Subject but More
+       Particularly on Those Ascribed to Macaber and Hans Holbein
+
+Author: Francis Douce
+
+Illustrator: Hans Holbein
+
+Release Date: January 31, 2012 [EBook #38724]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE DANCE OF DEATH ***
+
+
+
+
+Produced by Chris Curnow and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive. Additional images courtesy of Google
+Books.)
+
+
+
+
+
+
+
+
+
+THE DANCE OF DEATH.
+
+
+
+
+[Illustration]
+
+
+
+
+  The Dance of Death
+
+  EXHIBITED IN ELEGANT ENGRAVINGS ON WOOD
+
+  WITH A DISSERTATION
+  ON THE SEVERAL REPRESENTATIONS OF THAT SUBJECT
+  BUT MORE PARTICULARLY ON THOSE ASCRIBED TO
+  Macaber and Hans Holbein
+
+
+  BY FRANCIS DOUCE ESQ. F. A. S.
+  AND A MEMBER OF THE SOCIETY OF ANTIQUARIES OF NORMANDY
+  AND OF THE ACADEMY OF SCIENCES ETC. AT CAEN
+
+  Pallida mors æquo pulsat pede pauperum tabernas
+  Regumque turres.                 HORAT. lib. i. od. 4.
+
+
+  LONDON
+  WILLIAM PICKERING
+  1833
+
+
+  C. Whittingham, Tooks Court, Chancery Lane.
+
+
+
+
+PREFACE.
+
+
+The very ample discussion which the extremely popular subject of the Dance
+of Death has already undergone might seem to preclude the necessity of
+attempting to bestow on it any further elucidation; nor would the present
+Essay have ever made its appearance, but for certain reasons which are
+necessary to be stated.
+
+The beautiful designs which have been, perhaps too implicitly, regarded as
+the invention of the justly celebrated painter, Hans Holbein, are chiefly
+known in this country by the inaccurate etchings of most of them by
+Wenceslaus Hollar, the copper-plates of which having formerly become the
+property of Mr. Edwards, of Pall Mall, were published by him, accompanied
+by a very hasty and imperfect dissertation; which, with fewer faults, and
+considerable enlargement, is here again submitted to public attention. It
+is appended to a set of fac-similes of the above-mentioned elegant
+designs, and which, at a very liberal expense that has been incurred by
+the proprietor and publisher of this volume, have been executed with
+consummate skill and fidelity by Messrs. Bonner and Byfield, two of our
+best artists in the line of wood engraving. They may very justly be
+regarded as scarcely distinguishable from their fine originals.
+
+The remarks in the course of this Essay on a supposed German poet, under
+the name of Macaber, and the discussion relating to Holbein's connection
+with the Dance of Death, may perhaps be found interesting to the critical
+reader only; but every admirer of ancient art will not fail to be
+gratified by an intimate acquaintance with one of its finest specimens in
+the copy which is here so faithfully exhibited.
+
+In the latest and best edition of some new designs for a Dance of Death,
+by Salomon Van Rusting, published by John George Meintel at Nuremberg,
+1736, 8vo. there is an elaborate preface by him, with a greater portion of
+verbosity than information. He has placed undue confidence in his
+predecessor, Paul Christian Hilscher, whose work, printed at Dresden in
+1705, had probably misled the truly learned Fabricius in what he has said
+concerning Macaber in his valuable work, the "Bibliotheca mediæ et infimæ
+ætatis." Meintel confesses his inability to point out the origin or the
+inventor of the subject. The last and completest work on the Dance, or
+Dances of Death, is that of the ingenious M. Peignot, so well and
+deservedly known by his numerous and useful books on bibliography. To this
+gentleman the present Essay has been occasionally indebted. He will,
+probably, at some future opportunity, remove the whimsical misnomer in his
+engraving of Death and the Ideot.
+
+The usual title, "The Dance of Death," which accompanies most of the
+printed works, is not altogether appropriate. It may indeed belong to the
+old Macaber painting and other similar works where Death is represented in
+a sort of dancing and grotesque attitude in the act of leading a single
+character; but where the subject consists of several figures, yet still
+with occasional exception, they are rather to be regarded as elegant
+emblems of human mortality in the premature intrusion of an unwelcome and
+inexorable visitor.
+
+It must not be supposed that the republication of this singular work is
+intended to excite the lugubrious sensations of sanctified devotees, or of
+terrified sinners; for, awful and impressive as must ever be the
+contemplation of our mortality in the mind of the philosopher and
+practiser of true religion, the mere sight of a skeleton cannot, as to
+them, excite any alarming sensation whatever. It is chiefly addressed to
+the ardent admirers of ancient art and pictorial invention; but
+nevertheless with a hope that it may excite a portion of that general
+attention to the labours of past ages, which reflects so much credit on
+the times in which we live.
+
+The widely scattered materials relating to the subject of the Dance of
+Death, and the difficulty of reconciling much discordant information, must
+apologize for a few repetitions in the course of this Essay, the regular
+progress of which has been too often interrupted by the manner in which
+matter of importance is so obscurely and defectively recorded; instances
+of which are, the omission of the name of the painter in the otherwise
+important dedication to the first edition of the engravings on wood of the
+Dance of Death that was published at Lyons; the uncertainty as to locality
+in some complimentary lines to Holbein by his friend Borbonius, and the
+want of more particulars in the account by Nieuhoff of Holbein's painting
+at Whitehall.
+
+The designs for the Dance of Death, published at Lyons in 1538, and
+hitherto regarded as the invention of Holbein, are, in the course of this
+Dissertation, referred to under the appellation of _the Lyons wood-cuts_;
+and with respect to the term _Macaber_, which has been so mistakenly used
+as the name of a real author, it has been nevertheless preserved on the
+same principle that the word _Gothic_ has been so generally adopted for
+the purpose of designating the pointed style of architecture in the middle
+ages.
+
+F. D.
+
+
+
+
+CONTENTS.
+
+
+                                                                      Page
+
+  CHAPTER I.
+
+  Personification of Death, and other modes of representing it
+  among the Ancients.--Same subject during the Middle Ages.--
+  Erroneous notions respecting Death.--Monumental
+  absurdities.--Allegorical pageant of the Dance of Death
+  represented in early times by living persons in churches and
+  cemeteries.--Some of these dances described.--Not unknown to
+  the Ancients.--Introduction of the infernal, or dance of
+  Macaber                                                                1
+
+
+  CHAPTER II.
+
+  Places where the Dance of Death was sculptured or depicted.--
+  Usually accompanied by verses describing the several
+  characters.--Other metrical compositions on the Dance                 17
+
+
+  CHAPTER III.
+
+  Macaber not a German or any other poet, but a nonentity.--
+  Corruption and confusion respecting this word.--Etymological
+  errors concerning it.--How connected with the Dance.--Trois
+  mors et trois vifs.--Orgagna's painting in the Campo Santo at
+  Pisa.--Its connection with the trois mors et trois vifs, as
+  well as with the Macaber Dance.--Saint Macarius the real
+  Macaber.--Paintings of this dance in various places.--At
+  Minden; Church-yard of the Innocents at Paris; Dijon; Basle;
+  Klingenthal; Lubeck; Leipsic; Anneberg; Dresden; Erfurth;
+  Nuremberg; Berne; Lucerne; Amiens; Rouen; Fescamp; Blois;
+  Strasburg; Berlin; Vienna; Holland; Italy; Spain                      28
+
+
+  CHAPTER IV.
+
+  Macaber Dance in England.--St. Paul's.--Salisbury.--
+  Wortley-hall.--Hexham.--Croydon.--Tower of London.--Lines in
+  Pierce Plowman's Vision supposed to refer to it                       51
+
+
+  CHAPTER V.
+
+  List of editions of the Macaber Dance.--Printed Horæ that
+  contain it.--Manuscript Horæ.--Other Manuscripts in which it
+  occurs.--Various articles with letter-press, not being single
+  prints, but connected with it                                         55
+
+
+  CHAPTER VI.
+
+  Hans Holbein's connection with the Dance of Death.--A dance
+  of peasants at Basle.--Lyons edition of the Dance of Death,
+  1538.--Doubts as to any prior edition.--Dedication to the
+  edition of 1538.--Mr. Ottley's opinion of it examined.--
+  Artists supposed to have been connected with this work.--
+  Holbein's name in none of the old editions.--Reperdius                78
+
+
+  CHAPTER VII.
+
+  Holbein's Bible cuts.--Examination of the claim of Hans
+  Lutzenberger as to the design or execution of the Lyons
+  engravings of the Dance of Death.--Other works by him                 94
+
+
+  CHAPTER VIII.
+
+  List of several editions of the Lyons work on the Dance of
+  Death with the mark of Lutzenberger.--Copies of them on
+  wood.--Copies on copper by anonymous artists.--By Wenceslaus
+  Hollar.--Other anonymous artists.--Nieuhoff Picard.--
+  Rusting.--Mechel.--Crozat's drawings.--Deuchar.--Imitations
+  of some of the subjects                                              103
+
+
+  CHAPTER IX.
+
+  Further examination of Holbein's title.--Borbonius.--
+  Biographical notice of Holbein.--Painting of a Dance of Death
+  at Whitehall by him                                                  138
+
+
+  CHAPTER X.
+
+  Other Dances of Death                                                146
+
+
+  CHAPTER XI.
+
+  Dances of Death, with such text only as describes the subjects       160
+
+
+  CHAPTER XII.
+
+  Books in which the subject is occasionally introduced                168
+
+
+  CHAPTER XIII.
+
+  Books of emblems and fables.--Frontispieces and title-pages
+  in some degree connected with the Dance of Death                     179
+
+
+  CHAPTER XIV.
+
+  Single prints connected with the Dance of Death                      188
+
+
+  CHAPTER XV.
+
+  Initial or capital Letters with the Dance of Death                   213
+
+
+  CHAPTER XVI.
+
+  Paintings.--Drawings.--Miscellaneous                                 221
+
+
+  CHAPTER XVII.
+
+  Trois vifs et trois morts.--Negro figure of Death.--Danse aux
+  Aveugles                                                             228
+
+
+  CHAPTER XVIII.
+
+  Errors of various writers who have introduced the subject of
+  the Dance of Death                                                   233
+
+
+
+
+ERRATA.
+
+
+  Page 7, line 25, for _Boistuan_ read _Boistuau_.
+       7,  ... 26, for _Prodigeuses_ read _Prodigieuses_.
+      28,  ... 14, read _in Holland_, &c.
+      32,  ... 23, for _Lamorensi_ read _Zamorensi_.
+      81,  ...  4, for _fex_ read _sex_.
+      88,  ... 10, after _difficulty_ add ?
+      89,  ... 21, after _works_ add "
+     180,  ... 23, for _Typotia_ read _Typotii_.
+     197,  ...  8, for _Stradamus_ read _Stradanus_.
+
+
+
+
+THE Dance of Death.
+
+
+
+
+CHAPTER I.
+
+    _Personification of Death, and other modes of representing it among
+    the Ancients.--Same subject during the Middle Ages.--Erroneous notions
+    respecting Death.--Monumental absurdities.--Allegorical pageant of the
+    Dance of Death represented in early times by living persons in
+    churches and cemeteries.--Some of these dances described.--Not unknown
+    to the Ancients.--Introduction of the infernal, or dance of Macaber._
+
+
+The manner in which the poets and artists of antiquity have symbolized or
+personified Death, has excited considerable discussion; and the various
+opinions of Lessing, Herder, Klotz, and other controversialists have only
+tended to demonstrate that the ancients adopted many different modes to
+accomplish this purpose. Some writers have maintained that they
+exclusively represented Death as a mere skeleton; whilst others have
+contended that this figure, so frequently to be found upon gems and
+sepulchral monuments, was never intended to personify the extinction of
+human life, but only as a simple and abstract representation. They insist
+that the ancients adopted a more elegant and allegorical method for this
+purpose; that they represented human mortality by various symbols of
+destruction, as birds devouring lizards and serpents, or pecking fruits
+and flowers; by goats browsing on vines; cocks fighting, or even by a
+Medusa's or Gorgon's head. The Romans seem to have adopted Homer's[1]
+definition of Death as the eldest brother of Sleep; and, accordingly, on
+several of their monumental and other sculptures we find two winged genii
+as the representatives of the above personages, and sometimes a genius
+bearing a sepulchral vase on his shoulder, and with a torch reversed in
+one of his hands. It is very well known that the ancients often symbolized
+the human soul by the figure of a butterfly, an idea that is extremely
+obvious and appropriate, as well as elegant. In a very interesting
+sepulchral monument, engraved in p. 7 of Spon's Miscellanea Eruditæ
+Antiquitatis, a prostrate corpse is seen, and over it a butterfly that has
+just escaped from the _mouth_ of the deceased, or as Homer expresses it,
+"from the teeth's inclosure."[2] The above excellent antiquary has added
+the following very curious sepulchral inscription that was found in Spain,
+HÆREDIBVS MEIS MANDO ETIAM CINERE VTMEO VOLITET EBRIVS PAPILIO OSSA IPSA
+TEGANT MEA, &c. Rejecting this heathen symbol altogether, the painters and
+engravers of the middle ages have substituted a small human figure
+escaping from the mouths of dying persons, as it were, breathing out their
+souls.
+
+We have, however, the authority of Herodotus, that in the banquets of the
+Egyptians a person was introduced who carried round the table at which
+the guests were seated the figure of a dead body, placed on a coffin,
+exclaiming at the same time, "Behold this image of what yourselves will
+be; eat and drink therefore, and be happy."[3] Montfaucon has referred to
+an ancient manuscript to prove that this sentiment was conveyed in a
+Lacedæmonian proverb,[4] and it occurs also in the beautiful poem of
+Coppa, ascribed to Virgil, in which he is supposed to invite Mæcenas to a
+rural banquet. It concludes with these lines:--
+
+  Pone merum et talos; pereat qui crastina curat,
+  Mors aurem vellens, vivite ait, venio.
+
+The phrase of pulling the ear is admonitory, that organ being regarded by
+the ancients as the seat of memory. It was customary also, and for the
+same reason, to take an oath by laying hold of the ear. It is impossible
+on this occasion to forget the passage in Isaiah xxii. 13, afterwards used
+by Saint Paul, on the beautiful parable in Luke xii. Plutarch also, in his
+banquet of the wise men, has remarked that the Egyptians exhibited a
+skeleton at their feasts to remind the parties of the brevity of human
+life; the same custom, as adopted by the Romans, is exemplified in
+Petronius's description of the feast of Trimalchio, where a jointed
+puppet, as a skeleton, is brought in by a boy, and this practice is also
+noticed by Silius Italicus:
+
+                    ... Ægyptia tellus
+  Claudit odorato post funus stantia Saxo
+  Corpora, et a mensis exsanguem haud separat umbram.[5]
+
+Some have imagined that these skeletons were intended to represent the
+larvæ and lemures, the good and evil shadows of the dead, that
+occasionally made their appearance on earth. The larvæ, or lares, were of
+a beneficent nature, friendly to man; in other words, the good demon of
+Socrates. The lemures, spirits of mischief and wickedness. The larva in
+Petronius was designed to admonish only, not to terrify; and this is
+proved from Seneca: "Nemo tam puer est ut Cerberum timeat et tenebras, et
+larvarum habitum nudis ossibus cohærentium."[6] There is, however, some
+confusion even among the ancients themselves, as to the respective
+qualities of the larvæ and lemures. Apuleius, in his noble and interesting
+defence against those who accused him of practising magic, tells them,
+"Tertium mendacium vestrum fuit, macilentam vel omnino evisceratam formam
+diri cadaveris fabricatam prorsus horribilem et larvalem;" and afterwards,
+when producing the image of his peculiar Deity, which he usually carried
+about him, he exclaims, "En vobis quem scelestus ille sceletum nominabat!
+Hiccine est sceletus? Hæccine est larva? Hoccine est quod appellitabatis
+Dæmonium."[7] It is among Christian writers and artists that the
+personification of Death as a skeleton is intended to convey terrific
+ideas, conformably to the system that Death is the punishment for original
+sin.
+
+The circumstances that lead to Death, and not our actual dissolution, are
+alone of a terrific nature; for Death is, in fact, the end and cure of all
+the previous sufferings and horrors with which it is so frequently
+accompanied. In the dark ages of monkish bigotry and superstition, the
+deluded people, seduced into a belief that the fear of Death was
+acceptable to the great and beneficent author of their existence, appear
+to have derived one of their principal gratifications in contemplating
+this necessary termination of humanity, yet amidst ideas and impressions
+of the most horrible and disgusting nature: hence the frequent allusions
+to it, in all possible ways, among their preachers, and the
+personification of it in their books of religious offices, as well as in
+the paintings and sculptures of their ecclesiastical and other edifices.
+They seemed to have entirely banished from their recollection the
+consolatory doctrines of the Gospel, which contribute so essentially to
+dissipate the terrors of Death, and which enable the more enlightened
+Christian to abide that event with the most perfect tranquillity of mind.
+There are, indeed, some exceptions to this remark, for we may still trace
+the imbecility of former ages on too many of our sepulchral monuments,
+which are occasionally tricked out with the silly appendages of Death's
+heads, bones, and other useless remains of mortality, equally repulsive to
+the imagination and to the elegance of art.
+
+If it be necessary on any occasion to personify Death, this were surely
+better accomplished by means of some graceful and impressive figure of the
+Angel of Death, for whom we have the authority of Scripture; and such
+might become an established representative. The skulls and bones of
+modern, and the entire skeletons of former times, especially during the
+middle ages, had, probably, derived their origin from the vast quantities
+of sanctified human relics that were continually before the eyes, or
+otherwise in the recollection of the early Christians. But the favourite
+and principal emblem of mortality among our ancestors appears to have been
+the moral and allegorical pageant familiarly known by the appellation of
+the _Dance of Death_, which it has, in part, derived from the grotesque,
+and often ludicrous attitudes of the figures that composed it, and
+especially from the active and sarcastical mockery of the ruthless tyrant
+upon its victims, which may be, in a great measure, attributed to the
+whims and notions of the artists who were employed to represent the
+subject.
+
+It is very well known to have been the practice in very early times to
+profane the temples of the Deity with indecorous dancing, and ludicrous
+processions, either within or near them, in imitation, probably, of
+similar proceedings in Pagan times. Strabo mentions a custom of this
+nature among the Celtiberians,[8] and it obtained also among several of
+the northern nations before their conversion to Christianity. A Roman
+council, under Pope Eugenius II. in the 9th century, has thus noticed it:
+"Ut sacerdotes admoneant viros ac mulieres, qui festis diebus ad ecclesiam
+occurrunt, ne _ballando_ et turpia verba decantando choros teneant, ac
+ducunt, similitudinem Paganorum peragendo." Canciani mentions an ancient
+bequest of money for a dance in honour of the Virgin.[9]
+
+These riotous and irreverent tripudists and caperers appear to have
+possessed themselves of the church-yards to exhibit their dancing
+fooleries, till this profanation of consecrated ground was punished, as
+monkish histories inform us, with divine vengeance. The well-known
+Nuremberg Chronicle[10] has recorded, that in the time of the Emperor
+Henry the Second, whilst a priest was saying mass on Christmas Eve, in the
+church of Saint Magnus, in the diocese of Magdeburg, a company of eighteen
+men and ten women amused themselves with dancing and singing in the
+church-yard, to the hindrance of the priest in his duty. Notwithstanding
+his admonition, they refused to desist, and even derided the words he
+addressed to them. The priest being greatly provoked at their conduct,
+prayed to God and Saint Magnus that they might remain dancing and singing
+for a whole year without intermission, and so it happened; neither dew nor
+rain falling upon them. Hunger and fatigue were set at defiance, nor were
+their shoes or garments in the least worn away. At the end of the year
+they were released from their situation by Herebert, the archbishop of the
+diocese in which the event took place, and obtained forgiveness before
+the altar of the church; but not before the daughter of a priest and two
+others had perished; the rest, after sleeping for the space of three whole
+nights, died soon afterwards. Ubert, one of the party, left this story
+behind him, which is elsewhere recorded, with some variation and
+additional matter. The dance is called St. Vitus's, and the girl is made
+the daughter of a churchwarden, who having taken her by the arm, it came
+off, but she continued dancing. By the continual motion of the dancers
+they buried themselves in the earth to their waists. Many princes and
+others went to behold this strange spectacle, till the bishops of Cologne
+and Hildesheim, and some other devout priests, by their prayers, obtained
+the deliverance of the culprits; four of the party, however, died
+immediately, some slept three days and three nights, some three years, and
+others had trembling in their limbs during the whole of their lives. The
+Nuremberg Chronicle, crowded as it is with wood-cut embellishments by the
+hand of Wolgemut, the master of Albert Durer, has not omitted to exhibit
+the representations of the above unhappy persons, equally correct, no
+doubt, as the story itself, though the same warranty cannot be offered for
+a similar representation, in Gottfried's Chronicle and that copious
+repertory of monstrosities, Boistuau and Belleforest's Histoires
+Prodigieuses. The Nuremberg Chronicle[11] has yet another relation on this
+subject of some persons who continued dancing and singing on a bridge
+whilst the eucharist was passing over it. The bridge gave way in the
+middle, and from one end of it 200 persons were precipitated into the
+river Moselle, the other end remaining so as to permit the priest and his
+host to pass uninjured.
+
+In that extremely curious work, the Manuel de Pêché, usually ascribed to
+Bishop Grosthead, the pious author, after much declamation against the
+vices of the times, has this passage:--
+
+  Karoles ne lutes ne deit nul fere,
+  En seint eglise ki me voil crere;
+  Kas en cimetere karoler,
+  Utrage est grant u lutter.[12]
+
+He then relates the story in the Nuremberg Chronicle, for which he quotes
+the book of Saint Clement. Grosthead's work was translated about the year
+1300 into English verse by Robert Mannyng, commonly called Robert de
+Brunne, a Gilbertine canon. His translation often differs from his
+original, with much amplification and occasional illustrations by himself.
+As the account of the Nuremberg story varies so materially, and as the
+scene is laid in England, it has been thought worth inserting.
+
+  Karolles wrastelynges or somour games,
+  Whosoever haunteth any swyche shames,
+  Yn cherche other yn cherche yerd,
+  Of sacrilage he may be aferd;
+  Or entyrludes or syngynge,
+  Or tabure bete or other pypynge;
+  All swyche thyng forboden es,
+  Whyle the prest stondeth at messe;
+  But for to leve in cherche for to daunce,
+  Y shall you telle a full grete chaunce,
+  And y trow the most that fel,
+  Ys sothe as y you telle.
+  And fyl thys chaunce yn thys londe,
+  Yn Ingland as y undyrstonde,
+  Yn a kynges tyme that hyght Edward,
+  Fyl this chaunce that was so hard.
+  Hyt was upon crystemesse nyzt
+  That twelve folys a karolle dyzt,
+  Yn Wodehed, as hyt were yn cuntek,[13]
+  They come to a toune men calle Cowek:[14]
+  The cherche of the toune that they to come,
+  Ys of Seynt Magne that suffred martyrdome,
+  Of Seynt Bukcestre hyt ys also,
+  Seynt Magnes suster, that they come to;
+  Here names of all thus fonde y wryte,
+  And as y wote now shal ye wyte
+  Here lodesman[15] that made hem glew,[16]
+  Thus ys wryte he hyzte[17] Gerlew;
+  Twey maydens were yn here coveyne,
+  Mayden Merswynde[18] and Wybessyne;
+  All these came thedyr for that enchesone,} doghtyr
+  Of the prestes of the toune.             }
+  The prest hyzt Robert as y can ame,
+  Azone hyzt hys sone by name,
+  Hys doghter that there men wulde have,
+  Thus ys wryte that she hyzt Ave.
+  Echone consented to o wyl,
+  Who shuld go Ave out to tyl,
+  They graunted echone out to sende,
+  Bothe Wybessyne and Merswynde:
+  These women zede and tolled[19] her oute,
+  Wyth hem to karolle the cherche aboute,
+  Benne ordeyned here karollyng,
+  Gerlew endyted what they shuld syng.
+  Thys ys the karolle that they sunge,
+  As telleth the Latyn tunge,
+  Equitabat Bevo per sylvam frondosam,}
+  Ducebat secum Merwyndam formosam,   }
+  Quid stamus cur non imus.           }
+  By the levede[20] wode rode Bevolyne,
+  Wyth hym he ledde feyre Merwyne,
+  Why stonde we why go we noght:
+  Thys ys the karolle that Grysly wroght,
+  Thys songe sung they yn chercheyerd,
+  Of foly were they nothyng aferd.
+
+The party continued dancing and carolling all the matins time, and till
+the mass began; when the priest, hearing the noise, came out to the church
+porch, and desired them to leave off dancing, and come into the church to
+hear the service; but they paid him no regard whatever, and continued
+their dance. The priest, now extremely incensed, prayed to God in favour
+of St. Magnes, the patron of the church:
+
+  That swych a venjeaunce were on hem sent,
+  Are they out of that stede[21] were went,
+  That myzt ever ryzt so wende,
+  Unto that tyme twelvemonth ende.
+  Yn the Latyne that y fonde thore,
+  He seyth not twelvemonth but evermore.
+
+The priest had no sooner finished his prayer, than the hands of the
+dancers were so locked together that none could separate them for a
+twelvemonth:
+
+  The preste yede[22] yn whan thys was done,
+  And comaunded hys sone Azone,
+  That shuld go swythe after Ave,
+  Oute of that karolle algate to have;
+  But al to late that wurde was sayde,
+  For on hem alle was the venjeaunce leyd.
+  Azonde wende weyl for to spede
+  Unto the karolle asswythe he yede;
+  Hys syster by the arme he hente,
+  And the arme fro the body wente;
+  Men wundred alle that there wore,
+  And merveyle nowe ye here more;
+  For seythen he had the arme yn hand,
+  The body yode furth karoland,
+  And nother body ne the arme
+  Bled never blode colde ne warme;
+  But was as drye with al the haunche,
+  As of a stok were ryve a braunche.
+
+Azone carries his sister's arm to the priest his father, and tells him the
+consequences of his rash curse. The priest, after much lamentation, buries
+the arm. The next morning it rises out of the grave; he buries it again,
+and again it rises. He buries it a third time, when it is cast out of the
+grave with considerable violence. He then carries it into the church that
+all might behold it. In the meantime the party continued dancing and
+singing, without taking any food or sleeping, "only a lepy wynke;" nor
+were they in the least affected by the weather. Their hair and nails
+ceased to grow, and their garments were neither soiled nor discoloured;
+but
+
+  Sunge that songge that the wo wrozt,
+  "Why stond we, why go we nozt."
+
+To see this curious and woful sight, the emperor travels from Rome, and
+orders his carpenters and other artificers to inclose them in a building;
+but this could not be done, for what was set up one day fell down on the
+next, and no covering could be made to protect the sinners till the time
+of mercy that Christ had appointed arrived; when, at the expiration of the
+twelvemonth, and in the very same hour in which the priest had pronounced
+his curse upon them, they were separated, and "in the twynklyng of an eye"
+ran into the church and fell down in a swoon on the pavement, where they
+lay three days before they were restored. On their recovery they tell the
+priest that he will not long survive:
+
+  For to thy long home sone shalt thou wende,
+  All they ryse that yche tyde,
+  But Ave she lay dede besyde.
+
+Her father dies soon afterwards. The emperor causes Ave's arm to be put
+into a vessel and suspended in the church as an example to the spectators.
+The rest of the party, although separated, travelled about, but always
+dancing; and as they had been inseparable before, they were now not
+permitted to remain together. Four of them went hopping to Rome, their
+clothes undergoing no change, and their hair and nails not continuing to
+grow:
+
+  Bruning the Bysshope of Seynt Tolous,
+  Wrote thys tale so merveylous;
+  Setthe was hys name of more renoun,
+  Men called him the Pope Leon;
+  Thys at the courte of Rome they wyte,
+  And yn the kronykeles hyt ys write;
+  Yn many stedys[23] beyounde the see,
+  More than ys yn thys cuntre:
+  Tharfor men seye an weyl ys trowed,
+  The nere the cherche the further fro God.
+  So fare men here by thys tale,
+  Some holde it but a trotevale,[24]
+  Yn other stedys hyt ys ful dere,
+  And for grete merveyle they wyl hyt here.
+
+In the French copies the story is said to have been taken from the
+itinerary of St. Clement. The name of the girl who lost her arm is
+Marcent, and her brother's John.[25]
+
+Previously to entering upon the immediate subject of this Essay, it may be
+permitted to observe, that a sort of Death's dance was not unknown to the
+ancients. It was the revelry of departed souls in Elysium, as may be
+collected from the end of the fourth ode of Anacreon. Among the Romans
+this practice is exemplified in the following lines of Tibullus.
+
+  Sed me, quod facilis tenero sum semper Amori,
+    Ipsa Venus campos ducit in Elysios.
+  Hic _choreæ_ cantusque vigent ...[26]
+
+And Virgil has likewise alluded to it:
+
+  Pars pedibus plaudunt _choreas_ et carmina dicunt.[27]
+
+In the year 1810 several fragments of sculptured sarcophagi were
+accidentally discovered near Cuma, on one of which were represented three
+dancing skeletons,[28] indicating, as it is ingeniously supposed, that the
+passage from death to another state of existence has nothing in it that is
+sorrowful, or capable of exciting fear. They seem to throw some light on
+the above lines from Virgil and Tibullus.
+
+At a meeting of the Archæological Society at Rome, in December, 1831, M.
+Kestner exhibited a Roman lamp on which were three dancing skeletons, and
+such are said to occur in one of the paintings at Pompeii.
+
+In the Grand Duke of Tuscany's museum at Florence there is an ancient gem,
+that, from its singularity and connexion with the present subject, is well
+deserving of notice. It represents an old man, probably a shepherd,
+clothed in a hairy garment. He sits upon a stone, his right foot resting
+on a globe, and is piping on a double flute, whilst a skeleton dances
+grotesquely before him. It might be a matter of some difficulty to explain
+the recondite meaning of this singular subject.[29]
+
+Notwithstanding the interdiction in several councils against the practice
+of dancing in churches and church-yards, it was found impossible to
+abolish it altogether; and it therefore became necessary that something of
+a similar, but more decorous, nature should be substituted, which, whilst
+it afforded recreation and amusement, might, at the same time, convey with
+it a moral and religious sensation. It is, therefore, extremely probable,
+that, in furtherance of this intention, the clergy contrived and
+introduced the Dance or Pageant of Death, or, as it was sometimes called,
+the Dance of Macaber, for reasons that will hereafter appear. Mr. Warton
+states, "that in many churches of France there was an ancient show, or
+mimickry, in which all ranks of life were personated by the ecclesiastics,
+who danced together, and disappeared one after another."[30] Again,
+speaking of Lydgate's poem on this subject, he says, "these verses,
+founded on a sort of spiritual masquerade antiently celebrated in
+churches, &c."[31] M. Barante, in his History of the Dukes of Burgundy,
+adverting to the entertainments that took place at Paris when Philip le
+Bon visited that city in 1424, observes, "that these were not solely made
+for the nobility, the common people being likewise amused from the month
+of August to the following season of Lent with the Dance of Death in the
+church yard of the Innocents, the English being particularly gratified
+with this exhibition, which included all ranks and conditions of men,
+Death being, morally, the principal character."[32] Another French
+historian, M. de Villeneuve Bargemont, informs us that the Duke of Bedford
+celebrated his victory at Verneuil by a festival in the centre of the
+French capital. The rest of what this writer has recorded on the subject
+before us will be best given in his own words, "Nous voulons parler de
+cette fameuse _procession_ qu'on vit defiler dans les rues de Paris, sous
+le nom de _danse Macabrée ou infernale_, epouvantable divertissement,
+auquel présidoit un squelette ceint du diadême royal, tenant un sceptre
+dans ses mains décharnées et assis sur un trône resplendissant d'or et de
+pierreries. Ce spectacle repoussant, mêlange odieux de deuil et de joie,
+inconnu jusqu'alors, et qui ne s'est jamais renouvellé, n'eut guere pour
+témoins que des soldats étrangers, ou quelques malheureux échappés à tous
+les fléaux réunis, et qui avoient vu descendre tous leurs parens, tous
+leurs amis, dans ces sepulchres qu'on dépouilloit alors de leurs
+ossemens."[33] A third French writer has also treated the Dance of Death
+as a spectacle exhibited in like manner to the people of Paris.[34] M.
+Peignot, to whom the reader is obliged for these historical notices in his
+ingenious researches on the present subject, very plausibly conceives that
+their authors have entirely mistaken the sense of an old chronicle or
+journal under Charles VI. and VII. which he quotes in the following
+words.--"Item. L'an 1424 fut faite la Danse Maratre (pour Macabre) aux
+Innocens, et fut comencée environ le moys d'Aoust et achevée au karesme
+suivant. En l'an 1429 le cordelier Richard preschant aux Innocens estoit
+monté sur ung hault eschaffaut qui estoit près de toise et demie de hault,
+le dos tourné vers les charniers encontre la charounerie, à l'endroit de
+la danse Macabre." He observes, that the Dance of Death at the Innocents,
+having been commenced in August and finished at the ensuing Lent, could
+not possibly be represented by living persons, but was only a painting,
+the large dimensions of which required six months to complete it; and that
+a single Death must, in the other case, have danced with every individual
+belonging to the scene.[35] He might have added, that such a proceeding
+would have been totally at variance with the florid, but most inaccurate,
+description by M. Bargemont. The reader will, therefore, most probably
+feel inclined to adopt the opinion of M. Peignot, that the Dance of Death
+was not performed by living persons between 1424 and 1429.
+
+But although M. Peignot may have triumphantly demonstrated that this
+subject was not exhibited by living persons at the above place and period,
+it by no means follows that it was not so represented at some other time,
+and on some other spot. Accordingly, in the archives of the cathedral of
+Besançon, there is preserved an article respecting a delivery made to one
+of the officers of Saint John the Evangelist of four measures of wine, to
+be given to those persons who performed the Dance of Death after mass was
+concluded. This is the article itself, "Sexcallus [seneschallus] solvat D.
+Joanni Caleti matriculario S. Joannis quatuor simasias vini per dictum
+matricularium exhibitas illis qui choream Machabeorum fecerunt 10 Julii,
+1453, nuper lapsa hora misse in ecclesia S. Joannis Evangeliste propter
+capitulum provinciale fratrum Minorum."[36] This document then will set
+the matter completely at rest.
+
+At what time the personified exhibition of this pageant commenced, or when
+it was discontinued cannot now be correctly ascertained. If, from a moral
+spectacle, it became a licentious ceremony, as is by no means improbable,
+in imitation of electing a boy-bishop, of the feast of fools, or other
+similar absurdities, its termination may be looked for in the authority of
+some ecclesiastical council at present not easily to be traced.
+
+
+
+
+CHAPTER II.
+
+    _Places where the Dance of Death was sculptured or depicted.--Usually
+    accompanied by verses describing the several characters.--Other
+    Metrical Compositions on the Dance._
+
+
+The subject immediately before us was very often represented, not only on
+the walls, but in the windows of many churches, in the cloisters of
+monasteries, and even on bridges, especially in Germany and Switzerland.
+It was sometimes painted on church screens, and occasionally sculptured on
+them, as well as upon the fronts of domestic dwellings. It occurs in many
+of the manuscript and illuminated service books of the middle ages, and
+frequent allusions to it are found in other manuscripts, but very rarely
+in a perfect state, as to the number of subjects.
+
+Most of the representations of the Dance of Death were accompanied by
+descriptive or moral verses in different languages. Those which were added
+to the paintings of this subject in Germany appear to have differed very
+materially, and it is not now possible to ascertain which among them is
+the oldest. Those in the Basle painting are inserted in the editions
+published and engraved by Mathew Merian, but they had already occurred in
+the Decennalia humanæ peregrinationis of Gaspar Landismann in 1584. Some
+Latin verses were published by Melchior Goldasti at the end of his edition
+of the Speculum omnium statuum, a celebrated moral work by Roderic, Bishop
+of Zamora, 1613, 4to. He most probably copied them from one of the early
+editions of the Danse Macabre, but without any comment whatever, the
+above title page professing that they are added on account of the
+similarity of the subject.
+
+A Provençal poet, called _Marcabres_ or _Marcabrus_, has been placed among
+the versifiers, but none of his works bear the least similitude to the
+subject; and, moreover, the language itself is an objection. The English
+metrical translation will be noticed hereafter. Whether any of the
+paintings were accompanied by descriptive verses that might be considered
+as anterior to those ascribed to the supposed Macaber, cannot now be
+ascertained.
+
+There are likewise some Latin verses in imitation of those
+above-mentioned, which, as well as the author of them, do not seem to have
+been noticed by any biographical or poetical writer. They occur at the end
+of a Latin play, intitled Susanna, Antverp. apud Michaelem Hillenium,
+MDXXXIII. As the volume is extremely rare, and the verses intimately
+connected with the present subject, it has been thought worth while to
+reprint them. After an elegy on the vanity and shortness of human life,
+and a Sapphic ode on the remembrance of Death, they follow under this
+title, "Plausus luctificæ mortis ad modum dialogi extemporaliter ab
+Eusebio Candido lusus. Ad quem quique mortales invitantur omnes,
+cujuscujus sint conditionis: quibusque singulis Mors ipsa respondet."
+
+  Luctificæ mortis plausum bene cernite cuncti.
+  Dum res læta, mori et viventes discite, namque
+  Omnes ex æquo tandem huc properare necessum.
+
+Hic inducitur adolescens quærens, et mors vel philosophus respondens.
+
+  Vita quid est hominis? Fumus super aream missus.
+  Vita quid est hominis? Via mortis, dura laborum
+  Colluvies, vita est hominis via longa doloris
+  Perpetui. Vita quid est hominis? cruciatus et error,
+  Vita quid est hominis? vestitus gramine multo,
+  Floribus et variis campus, quem parva pruina
+  Expoliat, sic vitam hominum mors impia tollit.
+  Quamlibet illa alacris, vegeta, aut opulenta ne felix,
+  Icta cadit modica crede ægritudine mortis.
+  Et quamvis superes auro vel murice Croesum,
+  Longævum aut annis vivendo Nestora vincas,
+  Omnia mors æquat, vitæ meta ultima mors est.
+
+
+  IMPERATOR.
+
+  Quid fers? Induperator ego, et moderamina rerum
+  Gesto manu, domuit mors impia sceptra potentum.
+
+
+  REX RHOMANUS.
+
+  Quid fers? en ego Rhomulidum rex. Mors manet omnes.
+
+
+  PAPA.
+
+  En ego Pontificum primus, signansque resignans.
+  Et coelos oraque locos. Mors te manet ergo.
+
+
+  CARDINALIS.
+
+  Cardineo fulgens ego honore, et Episcopus ecce
+  Mors manet ecce omnes, Phrygeus quos pileus ornat.
+
+
+  EPISCOPUS.
+
+  Insula splendidior vestit mea, tempora latum
+  Possideo imperium, multi mea jura tremiscunt.
+  Me dicant fraudis docti, producere lites.
+  Experti, aucupium docti nummorum, et averni
+  Causidici, rixatores, rabulæque forenses.
+  Hos ego respicio, nihil attendens animarum,
+  Ecclesiæ mihi commissæ populive salutem
+  Sed satis est duros loculo infarcisse labores
+  Agricolûm, et magnis placuisse heroibus orbis.
+  Non tamen effugies mortis mala spicula duræ.
+
+
+  ECCLESIÆ PRÆLATUS.
+
+  Ecclesiæ prælatus ego multis venerandus
+  Muneribus sacris, proventibus officiorum.
+  Comptior est vestis, popina frequentior æde
+  Sacra, et psalmorum cantus mihi rarior ipso
+  Talorum crepitu, Veneris quoque voce sonora.
+  Morte cades, annos speras ubi vivere plures.
+
+
+  CANONICUS.
+
+  En ego melotam gesto. Mors sæva propinquat.
+
+
+  PASTOR.
+
+  En parochus quoque pastor ego, mihi dulce falernum
+  Notius æde sacra: scortum mihi charius ipsa
+  Est animæ cura populi. Mors te manet ergo.
+
+
+  ABBAS.
+
+  En abbas venio, Veneris quoque ventris amicus.
+  Coenobii rara est mihi cura, frequentior aula
+  Magnorum heroum. Chorea saltabis eadem.
+
+
+  PRIOR.
+
+  En prior, ornatus longa et splendente cuculla,
+  Falce cades mortis. Mors aufert nomina honoris.
+
+
+  PATER VESTALIUM.
+
+  Nympharum pater ecce ego sum ventrosior, offis
+  Pinguibus emacerans corpus. Mors te manet ipsa.
+
+
+  VESTALIS NYMPHA.
+
+  En monialis ego, Vestæ servire parata.
+  Non te Vesta potest mortis subducere castris.
+
+
+  LEGATUS.
+
+  Legatus venio culparum vincla resolvemus
+  Omnia pro auro, abiens coelum vendo, infera claudo
+  Et quicquid patres sanxerunt, munere solvo
+  Juribus à mortis non te legatio solvet.
+
+
+  DOMINUS DOCTOR.
+
+  Quid fers? Ecce sophus, divina humanaque jura
+  Calleo, et à populo doctor Rabbique salutor,
+  Te manet expectans mors ultima linea rerum.
+
+
+  MEDICUS.
+
+  En ego sum medicus, vitam producere gnarus,
+  Venis lustratis morborum nomina dico,
+  Non poteris duræ mortis vitare sagittas.
+
+
+  ASTRONOMUS.
+
+  En ego stellarum motus et sydera novi,
+  Et fati genus omne scio prædicere coeli.
+  Non potis es mortis duræ præscire sagittas.
+
+
+  CURTISANUS.
+
+  En me Rhoma potens multis suffarsit onustum
+  Muneribus sacris, proventibus, officiisque
+  Non potes his mortis fugiens evadere tela.
+
+
+  ADVOCATUS.
+
+  Causarum patronus ego, producere doctus
+  Lites, et loculos lingua vacuare loquaci
+  Non te lingua loquax mortis subducet ab ictu.
+
+
+  JUDEX.
+
+  Justitiæ judex quia sum, sub plebe salutor.
+  Vertice me nudo populus veneratur adorans.
+  Auri sacra fames pervertere sæpe coëgit
+  Justitiam. Mors te manet æquans omnia falce.
+
+
+  PRÆTOR.
+
+  Prætor ego populi, me prætor nemo quid audet.
+  Accensor causis, per me stant omnia, namque
+  Et dono et adimo vitam, cum rebus honorem.
+  Munere conspecto, quod iniquum est jure triumphat
+  Emitto corvos, censura damno columbas.
+  Hinc metuendus ero superis ereboque profundo.
+  Te manet expectans Erebus Plutoque cruentus.
+
+
+  CONSUL.
+
+  Polleo consiliis, Consul dicorque salutor.
+  Munere conspecto, quid iniquum est consulo rectum
+  Quod rectum est flecto, nihil est quod nesciat auri
+  Sacra fames, hinc ditor et undique fio opulentus
+  Sed eris æternum miser et mors impia tollet.
+
+
+  CAUSIDICUS.
+
+  Causidicus ego sum, causas narrare peritus,
+  Accior in causas, sed spes ubi fulserit auri
+  Ad fraudes docta solers utor bene lingua.
+  Muto, commuto, jura inflecto atque reflecto.
+  Et nihil est quod non astu pervincere possim.
+  Mors æqua expectat properans te fulmine diro.
+  Nec poteris astu mortis prævertere tela.
+
+
+  SCABINUS.
+
+  Ecce Scabinus ego, scabo bursas, prorogo causas.
+  Senatorque vocor, vulgus me poplite curvo,
+  Muneribusque datis veneratur, fronte retecta.
+  Nil mortem meditor loculos quando impleo nummis
+  Et dito hæredes nummis, vi, fraude receptis,
+  Justitiam nummis, pro sanguine, munere, vendo.
+  Quod rectum est curvo, quod curvum est munere rectum
+  Efficio, per me prorsus stant omnia jura.
+  Non poteris duræ mortis transire sagittas.
+
+
+  LUDIMAGISTER.
+
+  En ego pervigili cura externoque labore.
+  Excolui juvenum ingenia, et præcepta Minervæ
+  Tradens consenui, cathedræque piget sine fructu.
+  Quid dabitur fructus, tanti quæ dona laboris?
+  Omnia mors æquans, vitæ ultima meta laboris.
+
+
+  MILES AURATUS.
+
+  Miles ego auratus, fulgenti murice et auro
+  Splendidus in populo. Mors te manet omnia perdens.
+
+
+  MILES ARMATUS.
+
+  Miles ego armatus, qui bella ferocia gessi.
+  Nullius occursum expavi, quam durus et audax.
+  Ergo immunis ero. Mors te intrepida ipsa necabit.
+
+
+  MERCATOR.
+
+  En ego mercator dives, maria omnia lustro
+  Et terras, ut res crescant. Mors te metet ipsa.
+
+
+  FUCKARDUS.
+
+  En ego fuckardus, loculos gesto æris onustos,
+  Omnia per mundum coëmens, vendo atque revendo.
+  Heroës me solicitant, atque æra requirunt.
+  Haud est me lato quisquam modo ditior orbe.
+  Mortis ego jura et frameas nihil ergo tremisco
+  Morte cades, mors te rebus spoliabit opimis.
+
+
+  QUÆSTOR.
+
+  Quæstor ego, loculos suffersi arcasque capaces
+  Est mihi prænitidis fundata pecunia villis.
+  Hac dives redimam duræ discrimina mortis
+  Te mors præripiet nullo exorabilis auro.
+
+
+  NAUCLERUS.
+
+  En ego nauclerus spaciosa per æquora vectus,
+  Non timui maris aut venti discrimina mille.
+  Cymba tamen mortis capiet te quæque vorantis.
+
+
+  AGRICOLA.
+
+  Agricola en ego sum, præduro sæpe labore,
+  Et vigili exhaustus cura, sudore perenni,
+  Victum prætenuem quærens, sine fraude doloque
+  Omnia pertentans, miseram ut traducere possim
+  Vitam, nec mundo me est infelicior alter.
+  Mors tamen eduri fiet tibi meta laboris.
+
+
+  ORATOR.
+
+  Heroum interpres venio, fraudisque peritus,
+  Bellorum strepitus compono, et bella reduco,
+  Meque petunt reges, populus miratur adorans.
+  Nulla abiget fraudi linguéve peritia mortem.
+
+
+  PRINCEPS BELLI.
+
+  Fulmen ego belli, reges et regna subegi,
+  Victor ego ex omni præduro quamlibet ecce
+  Marte fui, vitæ hinc timeo discrimina nulla.
+  Te mors confodiet cauda Trigonis aquosi,
+  Atque eris exanimis moriens uno ictu homo bulla.
+
+
+  DIVES.
+
+  Sum rerum felix, foecunda est prolis et uxor,
+  Plena domus, lætum pecus, et cellaria plena
+  Nil igitur metuo. Quid ais? Mors te impia tollet.
+
+
+  PAUPER.
+
+  Iro ego pauperior, Codroque tenuior omni,
+  Despicior cunctis, nemo est qui sublevet heu heu.
+  Hinc parcet veniens mors: nam nihil auferet à me,
+  Non sic evades, ditem cum paupere tollit.
+
+
+  FOENERATOR.
+
+  Ut loculi intument auro, vi, fraude, doloque,
+  Foenore nunc quæstum facio, furtoque rapinaque,
+  Ut proles ditem, passim dicarque beatus,
+  Per fas perque nefas corradens omnia quæro.
+  Mors veniens furtim prædabitur, omnia tollens.
+
+
+  ADOLESCENS.
+
+  Sum juvenis, forma spectabilis, indole gaudens
+  Maturusque ævi, nullus præstantior alter,
+  Moribus egregiis populo laudatus ab omni.
+  Pallida, difformis mors auferet omnia raptim.
+
+
+  PUELLA.
+
+  Ecce puellarum pulcherrima, mortis iniquæ
+  Spicula nil meditor, juvenilibus et fruor annis,
+  Meque proci expectant compti, facieque venusti.
+  Stulta, quid in vana spe jactas? Mors metet omnes
+  Difformes, pulchrosque simul cum paupere dices.
+
+
+  NUNCIUS.
+
+  Nuncius ecce ego sum, qui nuncia perfero pernix
+  Sed retrospectans post terga, papæ audio quidnam?
+  Me tuba terrificans mortis vocat. Heu moriendum est.
+
+
+  PERORATIO.
+
+  Mortales igitur memores modo vivite læti
+  Instar venturi furis, discrimine nullo
+  Cunctos rapturi passim ditesque inopesque.
+  Stultus et insipiens vita qui sperat in ista,
+  Instar quæ fumi perit et cito desinit esse.
+  Fac igitur tota virtuti incumbito mente,
+  Quæ nescit mortem, sed scandit ad ardua coeli.
+  Quo nos à fatis ducat rex Juppiter, Amen.
+
+  Plaudite nunc, animum cuncti retinete faventes.
+
+  FINIS.
+
+  Antwerpiæ apud Michaelem Hillenium M.D.XXXIIII. Mense Maio.
+
+A very early allusion to the Dance of Death occurs in a Latin poem, that
+seems to have been composed in the twelfth century by our celebrated
+countryman Walter de Mapes, as it is found among other pieces that carry
+with them strong marks of his authorship. It is intitled "Lamentacio et
+deploracio pro Morte et consilium de vivente Deo."[37] In its construction
+there is a striking resemblance to the common metrical stanzas that
+accompany the Macaber Dance. Many characters, commencing with that of the
+Pope, are introduced, all of whom bewail the uncontrolable influence of
+Death. This is a specimen of the work, extracted from two manuscripts:
+
+  Cum mortem meditor nescit mihi causa doloris,
+  Nam cunctis horis mors venit ecce cito.
+  Pauperis et regis communis lex moriendi,
+  Dat causam flendi si bene scripta leges.
+  Gustato pomo missus transit sine morte
+  Heu missa sorte labitur omnis homo.
+
+  Vado mori Papa qui jussu regna    | Vado mori, Rex sum, quod honor,
+    subegi                          |   quod gloria regum,
+  Mors mihi regna tulit eccine vado | Est via mors hominis regia vado
+    mori.                           |   mori.
+
+Then follow similar stanzas, for presul, miles, monachus, legista,
+jurista, doctor, logicus, medicus, cantor, sapiens, dives, cultor,
+burgensis, nauta, pincerna, pauper.
+
+In Sanchez's collection of Spanish poetry before the year 1400,[38]
+mention is made of a Rabbi Santo as a good poet, who lived about 1360. He
+was a Jew, and surgeon to Don Pedro. His real name seems to have been
+Mose, but he calls himself Don Santo Judio de Carrion. This person is said
+to have written a moral poem, called "Danza General." It commences thus:
+
+  "_Dise la Muerte._
+
+  "Yo so la muerte cierta a todas criaturas,
+  Que son y seran en el mundo durante:
+  Demando y digo O ame! porque curas
+  De vida tan breve en punto passante?" &c.
+
+He then introduces a preacher, who announces Death to all persons, and
+advises them to be prepared by good works to enter his Dance, which is
+calculated for all degrees of mankind.
+
+  "Primaramente llama a su danza a dos doncellas,
+  A esta mi danza trax de presente,
+  Estas dos donzellas que vades fermosas:
+  Ellas vinieron de muy malamente
+  A oir mes canciones que son dolorosas,
+  Mas non les valdran flores nin rosas,
+  Nin las composturas que poner salian:
+  De mi, si pudiesen parterra querrian,
+  Mas non proveda ser, que son mis esposas."
+
+It may, however, be doubted whether the Jew Santo was the author of this
+Dance of Death, as it is by no means improbable that it may have been a
+subsequent work added to the manuscript referred to by Sanchez.
+
+In 1675, Maitre Jacques Jacques, a canon of the cathedral of Ambrun,
+published a singular work, intitled "Le faut mourir et les excuses
+inutiles que l'on apporte à cette nécessité. Le tout en vers burlesques."
+Rouen, 1675, 12mo. It is written much in the style of Scarron and some
+other similar poets of the time. It commences with a humorous description
+given by Death of his proceedings with various persons in every part of
+the globe, which is followed by several dialogues between Death and the
+following characters: 1. The Pope. 2. A young lady betrothed. 3. A galley
+slave. 4. Guillot, who has lost his wife. 5. Don Diego Dalmazere, a
+Spanish hidalgo. 6. A king. 7. The young widow of a citizen. 8. A citizen.
+9. A decrepit rich man. 10. A canon. 11. A blind man. 12. A poor peasant.
+13. Tourmenté, a poor soldier in the hospital. 14. A criminal in prison.
+15. A nun. 16. A physician. 17. An apothecary. 18. A lame beggar. 19. A
+rich usurer. 20. A merchant. 21. A rich merchant. As the book is uncommon,
+the following specimen is given from the scene between Death and the young
+betrothed girl:
+
+  LA MORT.
+
+  A vous la belle demoiselle,
+  Je vous apporte une nouvelle,
+  Qui certes vous surprendra fort.
+  C'est qu'il faut penser à la mort,
+  Tout vistement pliés bagage,
+  Car il faut faire ce voyage.
+
+
+  LA DEMOISELLE.
+
+  Qu'entends-je? Tout mon sens se perd,
+  Helas! vous me prener sans verd;
+  C'est tout à fait hors de raison
+  Mourir dedans une saison
+  Que je ne dois songer qu'à rire,
+  Je suis contrainte de vous dire,
+  Que très injuste est vostre choix,
+  Parce que mourir je ne dois,
+  N'estant qu'en ma quinzième année,
+  Voyez quelque vielle échinée,
+  Qui n'ait en bouche point de dent;
+  Vous l'obligerez grandement
+  De l'envoyer à l'autre monde,
+  Puis qu'ici toujours elle gronde;
+  Vous la prendrez tout à propos,
+  Et laissez moi dans le repos,
+  Moi qui suis toute poupinette,
+  Dans l'embonpoint et joliette,
+  Qui n'aime qu'à me réjouir,
+  De grâce laissez moi jouir, &c.
+
+
+
+
+CHAPTER III.
+
+    _Macaber not a German or any other poet, but a nonentity.--Corruption
+    and confusion respecting this word.--Etymological errors concerning
+    it.--How connected with the Dance.--Trois mors et trois
+    vifs.--Orgagna's painting in the Campo Santo at Pisa.--Its connection
+    with the trois mors et trois vifs, as well as with the Macaber
+    dance.--Saint Macarius the real Macaber.--Paintings of this dance in
+    various places.--At Minden; Church-yard of the Innocents at Paris;
+    Dijon; Basle; Klingenthal; Lubeck; Leipsic; Anneberg; Dresden;
+    Erfurth; Nuremberg; Berne; Lucerne; Amiens; Rouen; Fescamp; Blois;
+    Strasburg; Berlin; Vienna; Holland; Italy; Spain._
+
+
+The next subject for investigation is the origin of the name of Macaber,
+as connected with the Dance of Death, either with respect to the verses
+that have usually accompanied it, or to the paintings or representations
+of the Dance itself; and first of the verses.
+
+It may, without much hazard, be maintained that, notwithstanding these
+have been ascribed to a German poet called Macaber, there never was a
+German, or any poet whatever bearing such a name. The first mention of him
+appears to have been in a French edition of the Danse Macabre, with the
+following title, "Chorea ab eximio Macabro versibus Alemannicis edito, et
+à Petro Desrey emendata. Parisiis per Magistrum Guidonem Mercatorem pro
+Godefrido de Marnef. 1490, folio." This title, from its ambiguity, is
+deserving of little consideration as a matter of authority; for if a
+comma be placed after the word Macabro, the title is equally applicable to
+the author of the verses and to the painter or inventor of the Dance. As
+the subject had been represented in several places in Germany, and of
+course accompanied with German descriptions, it is possible that Desrey
+might have translated and altered some or one of these, and, mistaking the
+real meaning of the word, have converted it into the name of an author. It
+may be asked in what German biography is such a person to be found? how it
+has happened that this _famous_ Macaber is so little known, or whether the
+name really has a Teutonic aspect? It was the above title in Desrey's work
+that misled the truly learned Fabricius inadvertently to introduce into
+his valuable work the article for Macaber as a German poet, and in a work
+to which it could not properly belong.[39]
+
+M. Peignot has very justly observed that the Danse Macabre had been very
+long known in France and elsewhere, not as a literary work, but as a
+painting; and he further remarks that although the verses are German in
+the Basil painting, executed about 1440, similar verses in French were
+placed under the dance at the Innocents at Paris in 1424.[40]
+
+At the beginning of the text in the early French edition of the Danse
+Macabre, we have only the words "la danse Macabre sappelle," but no
+specific mention is made of the author of the verses. John Lydgate, in his
+translation of them from the French, and which was most probably adopted
+in many places in England where the painting occurred, speaks of "the
+Frenche Machabrees daunce," and "the daunce of Machabree." At the end,
+"Machabree the Doctoure," is abruptly and unconnectedly introduced at the
+bottom of the page. It is not in the French printed copy, from the text
+of which Lydgate certainly varies in several respects. It remains,
+therefore, to ascertain whether these words belong to Lydgate, or to whom
+else; not that it is a matter of much importance.
+
+The earliest authority that has been traced for the name of "Danse
+Macabre," belongs to the painting at the Innocents, and occurs in the MS.
+diary of Charles VII. under the year 1424. It is also strangely called
+"Chorea Machabæorum," in 1453, as appears from the before cited document
+at St. John's church at Besançon. Even the name of one _Maccabrees_, a
+Provençal poet of the 14th century, has been injudiciously connected with
+the subject, though his works are of a very different nature.
+
+Previously to attempting to account for the origin of the obscure and much
+controverted word Macaber, as applicable to the dance itself, it may be
+necessary to advert to the opinions on that subject that have already
+appeared. It has been disguised under the several names of Macabre,[41]
+Maccabees,[42] Maratre,[43] and even Macrobius.[44] Sometimes it has been
+regarded as an epithet. The learned and excellent M. Van Praet, the
+guardian of the royal library at Paris, has conjectured that _Macabre_ is
+derived from the Arabic _Magbarah_, magbourah, or magabir, all signifying
+a church-yard. M. Peignot seems to think that M. Van Praet intended to
+apply the word to the Dance itself,[45] but it is impossible that the
+intelligent librarian was not aware that personified sculpture, as well as
+the moral nature of the subject, cannot belong to the Mahometan religion.
+Another etymology extremely well calculated to disturb the gravity of the
+present subject, is that of M. Villaret, the French historian, when
+adverting to the spectacle of the Danse Macabre, supposed to have been
+given by the English in the church-yard of the Innocents at Paris. Relying
+on this circumstance, he unceremoniously decides that the name of the
+dance was likewise English; and that _Macabrée_ is compounded of the
+words, to _make_ and to _break_. The same silly etymology is referred to
+as in some historical dictionary concerning the city of Paris by Mons.
+Compan in his Dictionaire de Danse, article _Macaber_; and another which
+is equally improbable has been hazarded by the accomplished Marquis de
+Paulmy, who, noticing some editions of the Danse Macabre in his fine
+library, now in the arsenal at Paris, very seriously states that Macaber
+is derived from two Greek words, which denote its meaning to be an
+_infernal dance_;[46] but if the Greek language were to be consulted on
+the occasion, the signification would turn out to be very different.
+
+It must not be left unnoticed that M. De Bure, in his account of the
+edition of the Danse Macabre, printed by Marchant, 1486, has stated that
+the verses have been attributed to Michel Marot; but the book is dated
+before Marot was born.[47]
+
+Again,--As to the connexion between the word Macaber with the Dance
+itself.
+
+In the course of the thirteenth century there appeared a French metrical
+work under the name of "Li trois Mors et li trois Vis," _i. e._ Les trois
+Morts et les trois Vifs. In the noble library of the Duke de la Valliere,
+there were three apparently coeval manuscripts of it, differing, however,
+from each other, but furnishing the names of two authors, Baudouin de
+Condé and Nicolas de Marginal.[48] These poems relate that three noble
+youths when hunting in a forest were intercepted by the like number of
+hideous spectres or images of Death, from whom they received a terrific
+lecture on the vanity of human grandeur. A very early, and perhaps the
+earliest, allusion to this vision, seems to occur in a painting by Andrew
+Orgagna in the Campo Santo at Pisa; and although it varies a little from
+the description in the above-mentioned poems, the story is evidently the
+same. The painter has introduced three young men on horseback with
+coronets on their caps, and who are attended by several domestics whilst
+pursuing the amusement of hawking. They arrive at the cell of Saint
+Macarius an Egyptian Anachorite, who with one hand presents to them a
+label with this inscription, as well as it can be made out, "Se nostra
+mente fia ben morta tenendo risa qui la vista affitta la vana gloria ci
+sara sconfitta la superbia e sara da morte;" and with the other points to
+three open coffins, in which are a skeleton and two dead bodies, one of
+them a king.
+
+A similar vision, but not immediately connected with the present subject,
+and hitherto unnoticed, occurs at the end of the Latin verses ascribed to
+Macaber, in Goldasti's edition of the Speculum omnium statuum à Roderico
+Zamorensi. Three persons appear to a hermit, whose name is not mentioned,
+in his sleep. The first is described as a man in a regal habit; the second
+as a civilian, and the third as a beautiful female decorated with gold and
+jewels. Whilst these persons are vainly boasting of their respective
+conditions, they are encountered by three horrible spectres in the shape
+of dead human bodies covered with worms, who very severely reprove them
+for their arrogance. This is evidently another version of the "Trois mors
+et trois vifs" in the text, but whether it be older or otherwise cannot
+easily be ascertained. It is composed in alternate rhymes, in the manner,
+and probably by the author of Philibert or Fulbert's vision of the dispute
+between the soul and the body, a work ascribed to S. Bernard, and
+sometimes to Walter de Mapes. There are translations of it both in French
+and English.
+
+[Illustration]
+
+[Illustration]
+
+For the mention of S. Macarius as the hermit in this painting by Orgagna,
+we are indebted to Vasari in his life of that artist; and he had, no
+doubt, possessed himself of some traditionary information on the subject
+of it. He further informs us, that the person on horseback who is stopping
+his nostrils, is intended for Andrea Uguzzione della fagivola. Above is a
+black and hideous figure of Death mowing down with his scythe all ranks
+and conditions of men. Vasari adds that Orgagna had crowded his picture
+with a great many inscriptions, most of which were obliterated by time.
+From one of them which he has preserved in his work, as addressed to some
+aged cripples, it should appear that, as in the Macaber Dance, Death
+apostrophizes the several characters.[49] Baldinucci, in his account of
+Orgagna, mentions this painting and the story of the Three Kings and Saint
+Macarius.[50] Morona, likewise, in his Pisa illustrata, adopts the name of
+Macarius when describing the same subject. The figures in the picture are
+all portraits, and their names may be seen, but with some variation as to
+description, both in Vasari and Morona.[51]
+
+Now the story of _Les trois mors et les trois vifs_, was prefixed to the
+painting of the Macaber Dance in the church-yard of the Innocents at
+Paris, and had also been sculptured over the portal of the church, by
+order of the Duke de Berry in 1408.[52] It is found in numerous manuscript
+copies of Horæ and other service books prefixed to the burial office. All
+the printed editions of the Macaber Dance contain it, but with some
+variation, the figure of Saint Macarius in his cell not being always
+introduced. It occurs in many of the printed service books, and in some of
+our own for the use of Salisbury. The earliest wood engraving of it is in
+the black book of the "15 signa Judicii," where two of the young men are
+running away to avoid the three deaths, or skeletons, one of whom is
+rising from a grave. It is copied in Bibliotheca Spenceriana, vol. i. p.
+xxx.
+
+From the preceding statement then there is every reason to infer that the
+name of Macaber, so frequently, and without authority, applied to an
+unknown German poet, really belongs to the Saint, and that his name has
+undergone a slight and obvious corruption. The word _Macabre_ is found
+only in French authorities, and the Saint's name, which, in the modern
+orthography of that language, is _Macaire_, would, in many ancient
+manuscripts, be written _Macabre_ instead of _Macaure_, the letter _b_
+being substituted for that of _u_ from the caprice, ignorance, or
+carelessness of the transcribers.
+
+As no German copy of the verses describing the painting can, with any
+degree of certainty, be regarded as the original, we must substitute the
+Latin text, which may, perhaps, have an equal claim to originality. The
+author, at the beginning, has an address to the spectators, in which he
+tells them that the painting is called the Dance of Macaber. There is an
+end, therefore, of the name of Macaber, as the author of the verses,
+leaving it only as applicable to the painting, and almost, if not
+altogether confirmatory of the preceding conjecture. The French version,
+from which Lydgate made his translation, nearly agrees with the Latin.
+Lydgate, however, in the above address, has thought fit to use the word
+_translator_ instead of _author_, but this is of no moment, any more than
+the words _Machabrée the Doctour_, which, not being in the French text,
+are most likely an interpolation. He likewise calls the work _the
+daunce_; and it may, once for all, be remarked, that scarcely any two
+versions of it will be found to correspond in all respects, every new
+editor assuming fresh liberties, according to the usual practice in former
+times.
+
+The ancient paintings of the Macaber Dance next demand our attention. Of
+these, the oldest on record was that of Minden in Westphalia, with the
+date 1383, and mentioned by Fabricius in his Biblioth. med. et infimæ
+ætatis, tom. v. p. 2. It is to be wished that this statement had been
+accompanied with some authority; but the whole of the article is extremely
+careless and inaccurate.
+
+The earliest, of which the date has been satisfactorily defined, was that
+in the church-yard of the Innocents at Paris, and which has been already
+mentioned as having been painted in 1434.
+
+In the cloister of the church of the Sainte Chapelle at Dijon the Macaber
+Dance was painted by an artist whose name was Masonçelle. It had
+disappeared and was forgotten a long time ago, but its existence was
+discovered in the archives of the department by Mons. Boudot, an ardent
+investigator of the manners and customs of the middle ages. The date
+ascribed to this painting is 1436. The above church was destroyed in the
+revolution, previously to which another Macaber Dance existed in the
+church of Notre Dame in the above city. This was not a painting on the
+walls, but a piece of white embroidery on a black piece of stuff about two
+feet in height and very long. It was placed over the stalls in the choir
+on grand funeral ceremonies, and was also carried off with the other
+church moveables, in the abovementioned revolution.[53] Similar
+exhibitions, no doubt, prevailed in other places.
+
+The next Macaber Dance, in point of date, was the celebrated one at
+Basle, which has employed the pens and multiplied the errors of many
+writers and travellers. It was placed under cover in a sort of shed in the
+church-yard of the Dominican convent. It has been remarked by one very
+competent to know the fact, that nearly all the convents of the Dominicans
+had a Dance of Death.[54] As these friars were preachers by profession,
+the subject must have been exceedingly useful in supplying texts and
+matter for their sermons. The present Dance is said to have been painted
+at the instance of the prelates who assisted at the Grand Council of
+Basle, that lasted from 1431 to 1443; and in allusion, as supposed, to a
+plague that happened during its continuance. Plagues have also been
+assigned as the causes of other Dances of Death; but there is no
+foundation whatever for such an opinion, as is demonstrable from what has
+been already stated; and it has been also successfully combated by M.
+Peignot, who is nevertheless a little at variance with himself, when he
+afterwards introduces a conjecture that the painter of the first Dance
+imitated the violent motions and contortions of those affected by the
+plague in the dancing attitudes of the figures of Death.[55] The name of
+the original painter of this Basle work is unknown, and will probably ever
+remain so, for no dependance can be had on some vague conjectures, that
+without the smallest appearance of accuracy have been hazarded concerning
+it. It is on record that the old painting having become greatly injured by
+the ravages of time, John Hugh Klauber, an eminent painter at Basle, was
+employed to repair it in the year 1568, as appears from a Latin
+inscription placed on it at the time. This painter is said to have covered
+the decayed fresco with oil, and to have succeeded so well that no
+difference between his work and the original could be perceived. He was
+instructed to add the portrait of the celebrated Oecolampadius in the act
+of preaching, in commemoration of his interference in the Reformation,
+that had not very long before taken place. He likewise introduced at the
+end of the painting, portraits of himself, his wife Barbara Hallerin, and
+their little son Hans Birich Klauber. The following inscription, placed on
+the painting on this occasion, is preserved in Hentzner's Itinerary, and
+elsewhere.
+
+                     A. O. C.
+  Sebastiano Doppenstenio, Casparo Clugio Coss.
+  Bonaventura à Bruno, Jacobo Rudio Tribb. Pl.
+  Hunc mortales chorum fabulæ, temporis injuria vitiatum
+      Lucas Gebhart, Iodoc. Pfister. Georgius Sporlinus
+                Hujus loci Ædiles.
+    Integritati suæ restituendum curavere
+    Ut qui vocalis picturæ divina monita securius audiunt
+    Mutæ saltem poëseos miserab. spectaculo
+    Ad seriam philosophiam excitentur.
+         [Greek: ORATELOS MAKROU BIOU
+                 ARCHÊN ORAMAKARIOU]
+                 CI=C= I=C= LXIIX.
+
+In the year 1616 a further reparation took place, and some alterations in
+the design are said to have been then made. The above inscription, with an
+addition only of the names of the then existing magistrates of the city,
+was continued. A short time before, Mathew Merian the elder, a celebrated
+topographical draftsman, had fortunately copied the older painting, of
+which he is supposed to have first published engravings in 1621, with all
+the inscriptions under the respective characters that were then remaining,
+but these could not possibly be the same in many respects that existed
+before the Reformation, and which are entirely lost. A proof of this may
+be gathered from the lines of the Pope's answer to Death, whom he is thus
+made to apostrophize: "Shall it be said that I, a God upon earth, a
+successor of St. Peter, a powerful prince, and a learned doctor, shall
+endure thy insolent summons, or that, in obedience to thy decree, I should
+be compelled to ascertain whether the keys which I now possess will open
+for me the gates of Paradise?" None of the inscriptions relating to the
+Pope in other ancient paintings before the Reformation approach in the
+least to language of this kind.
+
+Merian speaks of a tradition that in the original painting the portrait of
+Pope Felix V. was introduced, as well as those of the Emperor Sigismund
+and Duke Albert II. all of whom were present at the council; but admitting
+this to have been the fact, their respective features would scarcely
+remain after the subsequent alterations and repairs that took place.
+
+That intelligent traveller, Mons. Blainville, saw this painting in
+January, 1707. He states that as it had been much injured by the weather,
+and many of the figures effaced, the government caused it to be retouched
+by a painter, whom they imagined to be capable of repairing the ravages it
+had sustained, but that his execution was so miserable that they had much
+better have let it alone than to have had it so wretchedly bungled. He
+wholly rejects any retouching by Holbein. He particularizes two of the
+most remarkable subjects, namely, the fat jolly cook, whom Death seizes by
+the hand, carrying on his shoulder a spit with a capon ready larded, which
+he looks upon with a wishful eye, as if he regretted being obliged to set
+out before it was quite roasted. The other figure is that of the blind
+beggar led by his dog, whom Death snaps up with one hand, and with the
+other cuts the string by which the dog was tied to his master's arm.[56]
+
+The very absurd ascription of the Basle painting to the pencil of Hans
+Holbein, who was born near a century afterwards, has been adopted by
+several tourists, who have copied the errors of their predecessors,
+without taking the pains to make the necessary enquiries, or possessing
+the means of obtaining correct information. The name of Holbein,
+therefore, as combined with this painting, must be wholly laid aside, for
+there is no evidence that he was even employed to retouch it, as some have
+inadvertently stated; it was altogether a work unworthy of his talents,
+nor does it, even in its latest state, exhibit the smallest indication of
+his style of painting. This matter will be resumed hereafter, but in the
+mean time it may be necessary to correct the mistake of that truly learned
+and meritorious writer, John George Keysler, who, in his instructive and
+entertaining travels, has inadvertently stated that the Basle painting was
+executed by Hans Bock or Bok, a celebrated artist of that city;[57] but it
+is well known that this person was not born till the year 1584.
+
+The Basle painting is no longer in existence; for on the 2d of August,
+1806, and for reasons that have not been precisely ascertained, an
+infuriated mob, in which were several women, who carried lanterns to light
+the expedition, tumultuously burst the inclosure which contained the
+painting, tore it piecemeal from the walls, and in a very short space of
+time completely succeeded in its total demolition, a few fragments only
+being still preserved in the collection of Counsellor Vischer at his
+castle of Wildensheim, near Basle. This account of its destruction is
+recorded in Millin's Magazin Encyclopédique among the nouvelles
+littéraires for that year; but the Etrenne Helvétique for the above year
+has given a different account of the matter; it states that the painting
+having been once more renovated in the year 1703, fell afterwards into
+great decay, being entirely peeled from the wall--that this circumstance
+had, in some degree, arisen from the occupation of the cloister by a
+ropemaker--that the wall having been found to stand much in the way of
+some new buildings erected near the spot, the magistrates ventured, but
+not without much hesitation, to remove the cloister with its painting
+altogether in the year 1805--and that this occasioned some disturbance in
+the city among the common people, but more particularly with those who had
+resided in its neighbourhood, and conceived a renewed attachment to the
+painting.
+
+Of this Dance of Death very few specific copies have been made. M.
+Heinecken[58] has stated that it was engraved in 1544, by Jobst Denneker
+of Augsburg; but he has confounded it with a work by this artist on the
+other Dance of Death ascribed to Holbein, and which will be duly noticed
+hereafter. The work which contained the earliest engravings of the Basle
+painting, can on this occasion be noticed only from a modern reprint of it
+under the following title: "Der Todten-Tantz wie derselbe in der
+weitberuhmten Stadt Basel als ein Spiegel menslicher beschaffenheit gantz
+kuntlich mit lebendigen farben gemahlet, nicht ohne nutzliche vernunderung
+zu schen ist. Basel, bey Joh. Conrad und Joh. Jacob von Mechel, 1769,
+12mo." that is, "The Dance of Death, painted most skilfully, and in lively
+colours, in the very famous town of Basel, as a mirror of human life, and
+not to be looked on without useful admiration."
+
+The first page has some pious verses on the painting in the church-yard of
+the Predicants, of which the present work contains only ten subjects,
+namely, the cardinal, the abbess, the young woman, the piper, the jew, the
+heathen man, the heathen woman, the cook, the painter, and the painter's
+wife. On the abbess there is the mark D. R. probably that of the engraver,
+two cuts by whom are mentioned in Bartsch's work.[59] On the cut of the
+young woman there is the mark G S with the graving knife. They are
+coarsely executed, and with occasional variations of the figures in
+Merian's plates. The rest of the cuts, thirty-two in number, chiefly
+belong to the set usually called Holbein's. All the cuts in this
+miscellaneous volume have German verses at the top and bottom of each page
+with the subjects. If Jansen, who usually pillages some one else, can be
+trusted or understood, there was a prior edition of this book in 1606,
+with cuts having the last-mentioned mark, but which edition he calls the
+Dance of Death at Berne;[60] a title, considering the mixture of subjects,
+as faulty as that of the present book, of which, or of some part of it,
+there must have been a still earlier edition than the above-mentioned one
+of 1606, as on the last cut but one of this volume there is the date 1576,
+and the letters G S with the knife. It is most probable that this artist
+completed the series of the Basle Dance, and that some of the blocks
+having fallen into the hands of the above printers, they made up and
+published the present mixed copy. Jost Amman is said to have engraved 49
+plates of the Dance of Death in 1587. These are probably from the Basle
+painting.[61]
+
+The completest copies of this painting that are now perhaps extant, are to
+be found in a well-known set of engravings in copper, by Matthew Merian,
+the elder, the master of Hollar. There are great doubts as to their first
+appearance in 1621, as mentioned by Fuessli and Heinecken, but editions
+are known to exist with the respective dates of 1649, 1696, 1698, 1725,
+1744, 1756, and 1789. Some of these are in German, and the rest are
+accompanied with a French translation by P. Viene. They are all
+particularly described by Peignot.[62] Merian states in his preface that
+he had copied the paintings several years before, and given his plates to
+other persons to be published, adding that he had since redeemed and
+retouched them. He says this Dance was repaired in 1568 by Hans Hugo
+Klauber, a citizen of Basle, a fact also recorded on the cut of the
+painter himself, his wife, Barbara Hallerin, and his son, Hans Birich, by
+the before-mentioned artist, G. S., and that it contained the portraits of
+Pope Felix V., the Emperor Sigismund, and Albert, King of the Romans, all
+of whom assisted at the Council of Basle in the middle of the 15th
+century, when the painting was probably executed.
+
+A greatly altered and modernised edition of Merian's work was published in
+1788, 8vo. with the following title, "La Danse des Morts pour servir de
+miroir à la nature humaine, avec le costume dessiné à la moderne, et des
+vers à chaques figures. Au Locle, chez S. Girardet libraire." This is on
+an engraved frontispiece, copied from that in Merian. The letter-press is
+extracted from the French translation of Merian, and the plates, which are
+neatly etched, agree as to general design with his; but the dresses of
+many of the characters are rather ludicrously modernised. Some moral
+pieces are added to this edition, and particularly an old and popular
+treatise, composed in 1593, intitled "L'Art de bien vivre et de bien
+mourir."
+
+A Dance of Death is recorded with the following title "Todtentantz durch
+alle Stande der Menschen," Leipsig, durch David de Necker, formschneider.
+1572, 4to.[63] Whether this be a copy of the Basle or the Berne painting,
+must be decided on inspection, or it may possibly be a later edition of
+the copy of the wood-cuts of Lyons, that will be mentioned hereafter.
+
+In the little Basle, on the opposite side of the Rhine, there was a
+nunnery called Klingenthal, erected towards the end of the 13th century.
+In an old cloister, belonging to it there are the remains of a Dance of
+Death painted on its walls, and said to have been much ruder in execution
+than that in the Dominican cemetery at Basle. On this painting there was
+the date 1312. In the year 1766 one Emanuel Ruchel, a baker by trade, but
+an enthusiastic admirer of the fine arts, made a copy in water colours of
+all that remained of this ancient painting, and which is preserved in the
+public library at Basle.[64]
+
+The numerous mistakes that have been made by those writers who have
+mentioned the Basle painting have been already adverted to by M. Peignot,
+and are not, in this place, worthy of repetition.[65] That which requires
+most particular notice, and has been so frequently repeated, is the making
+Hans Holbein the painter of it, who was not born till a considerable time
+after its execution, and even for whose supposed retouching of a work,
+almost beneath his notice in point of art, there is not the slightest
+authority.
+
+In the small organ chapel, or, according to some, in the porch, of the
+church of St. Mary at Lubeck in Lower Alsace, there is, or was, a very
+ancient Dance of Death, said to have been painted in 1463. Dr. Nugent, who
+has given some account of it, says, that it is much talked of in all parts
+of Germany; that the figures were repaired at different times, as in 1588,
+1642, and last of all in 1701. The verses that originally accompanied it
+were in low Dutch, but at the last repair it was thought proper to change
+them for German verses which were written by Nathaniel Schlott of
+Dantzick. The Doctor has given an English translation of them, made for
+him by a young lady of Lubeck.[66] This painting has been engraved, and
+will be again mentioned. Leipsic had also a Dance of Death, but no
+particulars of it seem to have been recorded.
+
+In 1525 a similar dance was painted at Anneberg in Saxony, which Fabricius
+seems alone to have noticed. He also mentions another in 1534, at the
+palace of Duke George at Dresden.[67] This is described in a German work
+written on the subject generally, by Paul Christian Hilscher, and
+published at Dresden, 1705, 8vo. and again at Bautzen, 1721, 8vo. It
+consisted of a long frieze sculptured in stone on the front of the
+building, containing twenty-seven figures. A view of this very curious
+structure, with the Dance itself, and also on a separate print, on a
+larger scale, varying considerably from the usual mode of representing the
+Macaber Dance, is given in Anthony Wecken's Chronicle of Dresden, printed
+in German at Dresden 1680, folio. It is said to have been removed in 1721
+to the church-yard of Old Dresden.
+
+Nicolai Karamsin has given a very brief, but ludicrous, account of a Dance
+of Death in the cross aisle of the Orphan House at Erfurth;[68] but
+Peignot places it in the convent of the Augustins, and seems to say that
+it was painted on the panels between the windows of the cell inhabited by
+Luther.[69] In all probability the same place is intended by both these
+writers.
+
+There is some reason to suppose that there was a Dance of Death at
+Nuremberg. Misson, describing a wedding in that city, states that the
+bridegroom and his company sat down on one side of the church and the
+bride on the other. Over each of their heads was a figure of Death upon
+the wall. This would seem very like a Dance of Death, if the circumstance
+of the figure being on both sides of the church did not excite a doubt on
+the subject.
+
+Whether there ever was a Macaber Dance at Berne of equal antiquity with
+that of Basle has not been ascertained: but Sandrart, in his article for
+Nicolas Manuel Deutch, a celebrated painter at Berne, in the beginning of
+the 16th century, has recorded a Dance of Death painted by him in oil, and
+regrets that a work materially contributing to the celebrity of that city
+had been so extremely neglected that he had only been able to lay before
+the readers the following German rhymes which had been inscribed on it:
+
+  Manuel aller welt figur,
+  Hastu gemahlt uf diese mur
+  Nu must sterben da, hilft kun fund:
+  Bist nit sicher minut noch stund.
+
+Which he thus translates:
+
+  Cunctorum in muris pictis ex arte figuris.
+  Tu quoque decedes; etsi hoc vix tempore credes.
+
+Then Manuel's answer:
+
+  Kilf eineger Heiland! dru ich dich bitt:
+  Dann hic ist gar kein Bleibens nit
+    So mir der Tod mein red wird stellen
+    So bhut euch Gott, mein liebe Gsellen.
+
+That is, in Latin:
+
+  En tibi me credo, Deus, hoc dum sorte recedo
+  Mors rapiat me, te, reliquos sociosque, valete!
+
+To which account M. Fuseli adds, that this painting, equally remarkable
+for invention and character, was retouched in 1553; and in 1560, to render
+the street in which it was placed more spacious, entirely demolished.
+There were, however, two copies of it preserved at Berne, both in water
+colours, one by Albrech Kauw, the other a copy from that by Wilhelm
+Stettler, a painter of Berne, and pupil of Conrad Meyer of Zurich. The
+painting is here said to have been in _fresco_ on the wall of the
+Dominican cemetery.[70]
+
+The verses that accompanied this painting have been mentioned as
+containing sarcastical freedoms against the clergy; and as Manuel had
+himself undergone some persecutions on the score of religion at the time
+of the Reformation, this is by no means improbable. There is even a
+tradition that he introduced portraits of some of his friends, who
+assisted in bringing about that event.
+
+In 1832, lithographic copies of the Berne painting, after the drawings of
+Stettler, were published at Berne, with a portrait of Manuel; and a set of
+very beautiful drawings in colours, made by some artist at Berne, either
+after those by Stettler or Kauw, in the public library, are in the
+possession of the writer of this essay. They, as well as the lithographic
+prints, exhibit Manuel's likeness in the subject of the painter.
+
+One of the bridges at Lucerne was covered with a Macaber Dance, executed
+by a painter named Meglinger, but at what time we are not informed. It is
+said to have been very well painted, but injured greatly by injudicious
+retouchings; yet there seems to be a difference of opinion as to the merit
+of the paintings, which are or were thirty-six in number, and supposed to
+have been copied from the Basle dance. Lucerne has also another of the
+same kind in the burial ground of the parish church of Im-hof. One of the
+subjects placed over the tomb of some canon, the founder of a musical
+society, is Death playing on the violin, and summoning the canon to
+follow him, who, not in the least terrified, marks the place in the book
+he was reading, and appears quite disposed to obey. This Dance is probably
+more modern than the other.[71] The subject of Death performing on the
+above instrument to some person or other is by no means uncommon among the
+old painters.
+
+M. Maurice Rivoire, in his very excellent description of the cathedral of
+Amiens, mentions the cloister of the Machabees, originally called, says
+he, the cloister of Macabré, and, as he supposes, from the name of the
+author of the verses. He gives some lines that were on one of the walls,
+in which the Almighty commands Death to bring all mortals before him.[72]
+This cloister was destroyed about the year 1817, but not before the
+present writer had seen some vestiges of the painting that remained on one
+of the sides of the building.
+
+M. Peignot has a very probable conjecture that the church-yard of Saint
+Maclou, at Rouen, had a Macaber Dance, from a border or frieze that
+contains several emblematical subjects of mortality. The place had more
+than once been destroyed.[73] On the pillars of the church at Fescamp, in
+Normandy, the Dance of Death was sculptured in stone, and it is in
+evidence that the castle of Blois had formerly this subject represented in
+some part of it.
+
+In the course of some recent alterations in the new church of the
+Protestants at Strasburg, formerly a Dominican convent, the workmen
+accidentally uncovered a Dance of Death that had been whitewashed, either
+for the purpose of obliteration or concealment. This painting seems to
+differ from the usual Macaber Dance, not always confined like that to two
+figures only, but having occasionally several grouped together. M.
+Peignot has given some more curious particulars relating to it, extracted
+from a literary journal by M. Schweighæuser, of Strasburg.[74] It is to be
+hoped that engravings of it will be given.
+
+Chorier has mentioned the mills of Macabrey, and also a piece of land with
+the same appellation, which he says was given to the chapter of St.
+Maurice at Vienne in Dauphiné, by one Marc Apvril, a citizen of that
+place. He adds, that he is well aware of the Dance of Macabre. Is it not,
+therefore, probable, that the latter might have existed at Vienne, and
+have led to the corruption of the above citizen's name by the common
+people.[75]
+
+Misson has noticed a Dance of Death in St. Mary's church at Berlin, and
+obscurely referred to another in some church at Nuremberg.
+
+Bruckmann, in his Epistolæ Itinerariæ, vol. v. Epist. xxxii. describes
+several churches and other religious buildings at Vienna, and among them
+the monastery of the Augustinians, where, he says, there is a painting of
+a house with Death entering one of the windows by a ladder.
+
+In the same letter he describes a chapel of Death in the above monastery,
+which had been decorated with moral paintings by Father Abraham à St.
+Clara, one of the monks. Among these were, 1. Death demolishing a student.
+2. Death attacking a hunter who had just killed a stag. 3. Death in an
+apothecary's shop, breaking the phials and medicine boxes. 4. Death
+playing at draughts with a nobleman. 5. Harlequin making grimaces at
+Death. A description of this chapel, and its painting was published after
+the good father's decease. Nuremberg, 1710, 8vo.
+
+The only specimen of it in Holland that has occurred on the present
+occasion is in the celebrated _Orange-Salle_, which constitutes the grand
+apartment of the country seat belonging to the Prince of Orange in the
+wood adjacent to the Hague. In three of its compartments, Death is
+represented by skeletons darting their arrows against a host of
+opponents.[76]
+
+Nor has Italy furnished any materials for the present essay. Blainville
+has, indeed, described a singular and whimsical representation of Death in
+the church of St. Peter the Martyr, at Naples, in the following words. "At
+the entrance on the left is a marble with a representation of Death in a
+grotesque form. He has two crowns on his head, with a hawk on his fist, as
+ready for hunting. Under his feet are extended a great number of persons
+of both sexes and of every age. He addresses them in these lines:
+
+  Eo sò la morte che caccio
+  Sopera voi jente mondana,
+  La malata e la sana,
+  Di, e notte la percaccio;
+  Non fugge, vessuna intana
+  Per scampare dal mio laczio
+  Che tutto il mondo abbraczio,
+  E tutta la jente humana
+  Perchè nessuno se conforta,
+  Ma prenda spavento
+  Ch'eo per comandamento
+  Di prender à chi viene la sorte.
+  Sia vi per gastigamento
+  Questa figura di morte,
+  E pensa vie di fare forte
+  Tu via di salvamento.
+
+Opposite to the figure of Death is that of a man dressed like a tradesman
+or merchant, who throws a bag of money on a table, and speaks thus:
+
+  Tutti ti volio dare
+  Se mi lasci scampare.
+
+To which Death answers:
+
+  Se mi potesti dare
+  Quanto si pote dimandare
+  Non te pote scampare la morte
+  Se te viene la sorte.[77]
+
+It can hardly be supposed that this subject was not known in Spain, though
+nothing relating to it seems to have been recorded, if we except the poem
+that has been mentioned in p. 25, but no Spanish painting has been
+specified that can be called a regular Macaber Dance. There are grounds,
+however, for believing that there was such a painting in the cathedral of
+Burgos, as a gentleman known to the author saw there the remains of a
+skeleton figure on a whitewashed wall.
+
+
+
+
+CHAPTER IV.
+
+    _Macaber Dance in England.--St. Paul's.--Salisbury.--Wortley
+    Hall.--Hexham.--Croydon.--Tower of London.--Lines in Pierce Plowman's
+    Vision supposed to refer to it._
+
+
+We are next to examine this subject in relation to its existence in our
+own country. On the authority of the work ascribed to Walter de Mapes,
+already noticed in p. 24, it is not unreasonable to infer that paintings
+of the Macaber Dance were coeval with that writer, though no specimens of
+it that now remain will warrant the conclusion. We know that it existed at
+Old Saint Paul's. Stowe informs us that there was a great cloister on the
+north side of the church, environing a plot of ground, of old time called
+Pardon church-yard. He then states, that "about this _cloyster_ was
+artificially and richly painted the Dance of Machabray, or Dance of Death,
+commonly called the Dance of Paul's: the like whereof was painted about
+St. Innocent's cloyster at Paris: the meters or poesie of this dance were
+translated out of French into English, by John Lidgate, Monke of Bury, the
+picture of Death leading all estates; at the dispence of Jenken Carpenter
+in the reigne of Henry the Sixt."[78] Lydgate's verses were first printed
+at the end of Tottell's edition of the translation of his Fall of Princes,
+from Boccaccio, 1554, folio, and afterwards, in Sir W. Dugdale's History
+of St. Paul's cathedral.[79] In another place Stowe records that "on the
+10th April, 1549, the cloister of St. Paul's church, called Pardon
+church-yard, with the Dance of Death, commonly called the Dance of Paul's,
+about the same cloister, costly and cunningly wrought, and the chappel in
+the midst of the same church-yard, were all begun to be pulled down."[80]
+This spoliation was made by the Protector Somerset, in order to obtain
+materials for building his palace in the Strand.[81]
+
+The single figure that remained in the Hungerford chapel at Salisbury
+cathedral, previously to its demolition, was formerly known by the title
+of "Death and the Young Man," and was, undoubtedly, a portion of the
+Macaber Dance, as there was close to it another compartment belonging to
+the same subject. In 1748, a print of these figures was published,
+accompanied with the following inscription, which differs from that in
+Lydgate. The young man says:
+
+  Alasse Dethe alasse a blesful thyng thou were
+  Yf thou woldyst spare us yn ouwre lustynesse.
+  And cum to wretches that bethe of hevy chere
+  Whene thay ye clepe to slake their dystresse
+  But owte alasse thyne own sely selfwyldnesse
+  Crewelly werneth me that seygh wayle and wepe
+  To close there then that after ye doth clepe.
+
+Death answers:
+
+  Grosless galante in all thy luste and pryde
+  Remembyr that thou schalle onys dye
+  Deth schall fro thy body thy sowle devyde
+  Thou mayst him not escape certaynly
+  To the dede bodyes cast down thyne ye
+  Beholde thayme well consydere and see
+  For such as thay ar such shalt thou be.
+
+This painting was made about the year 1460, and from the remaining
+specimen its destruction is extremely to be regretted, as, judging from
+that of the young gallant, the dresses of the time would be correctly
+exhibited.
+
+In the chapel at Wortley Hall, in Gloucestershire, there was inscribed,
+and most likely painted, "an history and Daunce of Deathe of all estatts
+and degrees." This inscribed history was the same as Lydgate's, with some
+additional characters.[82] From a manuscript note by John Stowe, in his
+copy of Leland's Itinerary, it appears that there was a Dance of Death in
+the church of Stratford upon Avon: and the conjecture that Shakespeare, in
+a passage in Measure for Measure, might have remembered it, will not,
+perhaps, be deemed very extravagant. He there alludes to Death and the
+fool, a subject always introduced into the paintings in question.[83]
+
+On the upper part of the great screen which closes the entrance to the
+choir of the church at Hexham, in Northumberland, are the painted remains
+of a Dance of Death.[84] These consist of the figures of a pope, a
+cardinal, and a king, which were copied by the ingenious John Carter, of
+well-deserved antiquarian memory.
+
+Vestiges of a Macaber Dance were not long since to be traced on the walls
+of the hall of the Archiepiscopal palace at Croydon, but so much obscured
+by time and neglect that no particular compartment could be ascertained.
+
+The tapestries that decorated the walls of palaces, and other dwelling
+places, were sometimes applied in extension of this moral subject. In the
+tower of London, the original and most ancient seat of our monarchs, there
+was some tapestry with the Macaber Dance.[85]
+
+The following lines in that admirable satire, the Vision of Pierce
+Plowman, written about the year 1350, have evidently an allusion to the
+Dance, unless they might be thought to apply rather to the celebrated
+triumph of Death by Petrarch, of which some very early paintings, and many
+engravings, still exist; or they may even refer to some of the ancient
+representations of the infernal regions that follow Death on the Pale
+horse of the Revelations, and in which is seen a grotesque intermixture of
+all classes of people.[86]
+
+  Death came driving after, and all to dust pashed
+  Kynges and Kaysers, Knightes and Popes,
+  Learned and lewde: he ne let no man stande
+  That he hitte even, he never stode after.
+  Many a lovely ladie and lemmans of knightes
+  Swouned and swelted for sorrowe of Deathes dyntes.
+
+It is probable that many cathedrals and other edifices, civil as well as
+ecclesiastical, in France, Germany, England, and probably other European
+countries, were ornamented with paintings and sculpture of this extremely
+popular subject.
+
+
+
+
+CHAPTER V.
+
+    _List of editions of the Macaber Dance.--Printed Horæ that contain
+    it.--Manuscript Horæ.--Other Manuscripts in which it occurs.--Various
+    articles with letter-press, not being single prints, but connected
+    with it._
+
+
+It remains only, so far as regards the Macaber Dance, to present the
+reader with a list of the several printed editions of that celebrated
+work, and which, with many corrections and additions, has been chiefly
+extracted from M. Peignot's "Recherches historiques et litteraires sur les
+Danses des Morts," Paris et Dijon, 1826, 8vo.
+
+The article that should stand at the head of this list, if any reliance
+could be had on a supposed date, is the German edition, intitled, "Der
+Dotendantz mit figuren. Clage und Antwort Schon von allen staten der
+welt," small folio. This is mentioned in Braun Notitia de libris in
+Bibliotheca Monasterii ad SS. Udalricum et Afram Augustæ, vol. ii. 62. The
+learned librarian expresses his doubts as to the date, which he supposes
+may be between 1480 and 1500. He rejects a marginal note by the
+illuminator of the letters, indicating the date of 1459. Every page of
+this volume is divided into two columns, and accompanied with German
+verses, which may be either the original text, or a translation from the
+French verses in some early edition of the Macaber Dance in that language.
+It consists of twenty-two leaves, with wood-cuts of the Pope, Cardinal,
+Bishop, Abbot, &c. &c. accompanied by figures of Death.
+
+1. "La Danse Macabre imprimée par ung nommé Guy Marchand, &c. Paris,
+1485," small folio. Mons. Champollion Figeac has given a very minute
+description of this extremely rare, and perhaps unique, volume, the only
+known copy of which is in the public library of Grenoble. This account is
+to be found in Millin's Magazin Encyclopedique, 1811, vol. vi. p. 355, and
+thence by M. Peignot, in his Recherches, &c.
+
+2. "Ce present livre est appelle Miroer salutaire pour toutes gens, et de
+tous estatz, et est de grant utilité et recreation pour pleuseurs
+ensegnemens tant en Latin comme en Francoys lesquels il contient ainsi
+compose pour ceulx qui desirent acquerir leur salut: et qui le voudront
+avoir. La Danse Macabre nouvelle." At the end, "Cy finit la Danse Macabre
+hystoriee augmentee de pleuseurs nouveaux pârsonnages (six) et beaux dis.
+et les trois mors et trois vif ensemble. Nouvellement ainsi composee et
+imprimee par Guyot Marchant demorant a Paris au grant hostel du college de
+Navarre en champ Gaillart lan de grace, 1486, le septieme jour de juing."
+A small folio of fifteen leaves, or thirty pages, twenty-four of which
+belong to the Danse Macabre, and six to the Trois morts et les trois vifs.
+
+On the authority of the above expression, "composée," and also on that of
+La Croix du Maine, Marchant has been made the author as well as the
+printer of the work; but M. De la Monnoye is not of that opinion, nor
+indeed is there any other metrical composition by this printer known to
+exist.
+
+3. "La Danse Macabre des femmes, &c. Paris, par Guyot Marchant, 1486, le
+septieme jour de Juillet," small folio, of fifteen leaves only. This is
+the first edition of the Macaber Dance of females; and though thirty-two
+of them are described, the Queen and Duchess only are engraved. See No. 6
+for the rest. This and the preceding edition are also particularly
+described by Messrs. Champollion Figeac and Peignot.
+
+4. "Chorea ab eximio Macabro versibus Alemanicis edita, et a Petro Desrey
+emendata. Parisiis per magistrum Guidonem Mercatorem pro Godeffrido de
+Marnef. 1490," folio. Papillon thought the cuts were in the manner of the
+French artist Jollat, but without foundation, for they are much superior
+to any work by that artist, and of considerable merit.
+
+5. "La nouvelle Danse Macabre des hommes dicte miroer salutaire de toutes
+gens et de touts etats, &c. Paris, Guyot Marchant. 1490." folio.
+
+6. "La Danse Macabre des femmes, toute hystoriée et augmentée de nouveaulx
+personnages, &c. Paris, Guyot Marchant, le 2 Mai, 1491," folio. This
+edition, the second of the Dance of females, has all the cuts with other
+additions. The list of the figures is in Peignot, but with some doubts on
+the accuracy of his description.
+
+7. An edition in the Low German dialect was printed at Lubeck, 1496,
+according to Vonder Hagen in his Deutschen Poesie, p. 459, who likewise
+mentions a Low German edition in prose, at the beginning of the 15th (he
+must mean 16th) century. He adds, that he has copied one page with cuts
+from _Kindeling's Remains_, but he does not say in what work.
+
+8. "La grant Danse Macabre des hommes et des femmes hystorice et augmentée
+de beaulx dits en Latin, &c. &c. Le tout composé en ryme Francoise et
+accompagné de figures. Lyon, le xviii jour de Fevrier, l'an 1499," folio.
+This is supposed to be the first edition that contains both the men and
+the women.
+
+9. There is a very singular work, intitled "Icy est le compost et
+kalendrier des _Bergeres_, &c. Imprimè à Paris en lostel de beauregart en
+la rue Cloppin à lenseigne du roy Prestre Jhan. ou quel lieu sont à
+vendre, ou au lyon dargent en la rue Sainct Jaques." At the end, "Imprimè
+à Paris par Guy Marchant maistre es ars ou lieu susdit. Le xvii iour
+daoust mil cccciiiixx·xix." This extremely rare volume is in the British
+Museum, and is mentioned by Dr. Dibdin, in vol. ii. p. 530 of his edition
+of Ames's typographical antiquities, and probably nowhere else. It is
+embellished with the same fine cuts that relate to the females in the
+edition of the Macaber Dance, Nos. 4 and 11. The work begins with the
+words "Deux jeunes Bergeres seulettes," and appears to have been composed
+for females only, differing very materially from the well-known
+"Kalendrier des Bergers," though including matter common to both.
+
+10. "Chorea ab eximio Macabro versibus Alemanicis edita et à Petro Desrey
+Trecacio quodam oratore nuper emendata. Parisiis per Magistrum Guidonem
+Mercatorem pro Godeffrido Marnef. 15 Octob. 1499," folio, with cuts.
+
+11. "La Danse Macabre, &c. Ant. Verard, no date, but about 1500," small
+folio. A vellum copy of this rare edition is described by M. Van Praet in
+his catalogue of vellum books in the royal library at Paris. A copy is in
+the Archb. Cant. library at Lambeth.
+
+12. "La Danse Macabre, &c. Ant. Verard, no date, but about 1500," folio.
+Some variations from No. 9 are pointed out by M. Van Praet. This
+magnificent volume on vellum, and bound in velvet, came from the library
+at Blois. It is a very large and thin folio, consisting of three or four
+leaves only, printed on pasteboard, with four pages or compartments on
+each leaf. The cuts are illuminated in the usual manner of Verard's books.
+In the beginning it is marked "Marolles, No. 1601." It is probably
+imperfect, the fool not being among the figures, and all the females are
+wanting, though, perhaps, not originally in this edition. It is in the
+royal library at Paris, where there is another copy of the work printed by
+Verard, with coloured prints, but differing materially from the other in
+the press-work. It is a common-sized folio, and was purchased at the sale
+of the Count Macarthy's books.[87]
+
+13. "La grant Danse Macabre des hommes et des femmes, &c. Imprimèe à
+Troyes par Nicolas Le Rouge demourant en la grant rue à l'enseigne de
+Venise auprès la belle croix." No date, folio. With very clever wood-cuts,
+probably the same as in the edition of 1490; and if so, they differ much
+from the manner of Jollat, and have not his well-known mark.
+
+14. "La grant Danse Macabre des hommes et des femmes, &c. Rouen, Guillaume
+de la Mare." No date, 4to. with cuts, and in the Roman letter.
+
+15. "La grande Danse Macabre des hommes et des femmes, ou est démonstré
+tous humains de tous estats estre du bransle de la Mort. Lyon, Olivier
+Arnoulet." No date, 4to.
+
+16. "La grant Danse Macabre des hommes et des femmes, &c. Lyon, Nourry,
+1501," 4to. cuts.
+
+17. "La grant Danse Macabre des hommes et des femmes, &c. Imprimé à
+Genesve, 1503," 4to. cuts.
+
+18. "La grant Danse Macabre, &c. Paris, Nicole de la Barre, 1523," 4to.
+with very indifferent cuts, and the omission of some of the characters in
+preceding editions. This has been privately reprinted, 1820, by Mr.
+Dobree, from a copy in the British Museum.
+
+19. "La grant Danse Macabre des hommes et des femmes. Troyes, Le Rouge,
+1531," folio, cuts.
+
+20. "La grand Danse Macabre des hommes et des femmes. Paris, Denys Janot.
+1533," 8vo. cuts.
+
+21. "La grand Danse Macabre des hommes et des femmes, tant en Latin qu'en
+Francoys. Paris, par Estienne Groulleau libraire juré en la rue neuve
+Nostre Dame à l'enseigne S. Jean Baptiste." No date, 16mo. cuts. The first
+edition of this size, and differing in some respects from the preceding.
+
+22. "La grand Danse Macabre des hommes et des femmes, &c. Paris, Estienne
+Groulleau, 1550," 16mo. cuts.
+
+23. "La grande Danse des Morts, &c. Rouen, Morron." No date, 8vo. cuts.
+
+24. "Les lxviii huictains ci-devant appellés la Danse Machabrey, par
+lesquels les Chrestiens de tous estats tout stimulés et invités de penser
+à la mort. Paris, Jacques Varangue, 1589," 8vo. In Roman letter, without
+cuts.
+
+25. "La grande Danse Macabre des hommes et des femmes, &c. Troyes, Oudot,"
+1641, 4to. cuts. One of the bibliothèque bleue books.
+
+26. "La grande Danse Macabre des hommes et des femmes, renouvellée de
+vieux Gaulois en langage le plus poli de notre temps, &c. Troyes, Pierre
+Garnier rue du Temple." No date, but the privilege is in 1728, 4to. cuts.
+The _polished_ language is, of course, for the worse, and Macaber is
+called "des Machabées," no doubt, the editor's improvement.
+
+27. "La grande Danse _Macabre_ des hommes et des femmes, renouvellée, &c.
+Troyes, chez la veuve Oudot, et Jean Oudot fils, rue du Temple, 1729,"
+4to. cuts. Nearly the same as No. 25.
+
+These inferior editions continued, till very lately, to be occasionally
+reprinted for the use of the common people, and at the trifling expense of
+a very few sous. They are, nevertheless, of some value to those who feel
+interested in the subject, as containing tolerable copies of all the fine
+cuts in the preceding edition, No. 11.
+
+Dr. Dibdin saw in the public library at Munich a very old series of a
+Macaber Dance, that had been inserted, by way of illustration, into a
+German manuscript of the Dance of Death. Of these he has given two
+subjects in his "Bibliographical Tour," vol. iii. p. 278.
+
+But it was not only in the above volumes that the very popular subject of
+the Macaber Dance was particularly exhibited. It found its way into many
+of the beautiful service books, usually denominated Horæ, or hours of the
+Virgin. These principally belong to France, and their margins are
+frequently decorated with the above Dance, with occasional variety of
+design. In most of them Death is accompanied with a single figure only,
+characters from both sexes being introduced. It would be impossible to
+furnish a complete list of them; but it is presumed that the mention of
+several, and of the printers who introduced them, will not be
+unacceptable.
+
+No. I. "Las Horas de nuestra Senora con muchos otros oficios y oraçiones."
+Printed in Paris by Nicolas Higman for Simon Vostre, 1495, 8vo. It has two
+Dances of Death, the first of which is the usual Macaber Dance, with the
+following figures: "Le Pape, l'Empereur, le Cardinal, l'Archevesque, le
+Chevalier, l'Evesque, l'Escuyer, l'Abè, le Prevost, le Roy, le Patriarche,
+le Connestable, l'Astrologien, le Bourgoys, le Chanoine, le Moyne,
+l'Usurier, le Medesin, l'Amoureux, l'Advocat, le Menestrier, le Marchant,
+le Chartreux, le Sergent, le Cure, le Laboureur, le Cordelier." Then the
+women: "La Royne, la Duchesse, la Regente, la Chevaliere, l'Abbesse, la
+Femme descine, la Prieure, la Damoissele, la Bourgoise, la Cordeliere, la
+Femme daceul, la Nourice, la Theologienne, la nouvelle mariee, la Femme
+grosse, la Veufve, la Marchande, la Ballive, la Chamberiere, la
+Recommanderese, la vielle Damoise, l'Espousée, la Mignote, la Fille
+pucelle, la Garde d'accouchée, la jeune fille, la Religieuse, la Vielle,
+la Revenderesse, l'Amoureuse, la Sorciere, la Bigote, la Sote, la Bergere,
+la Femme aux Potences, la Femme de Village; to which are added, l'Enfant,
+le Clerc, l'Ermite."
+
+The second Dance of Death is very different from the preceding, and
+consists of groupes of figures. The subjects, which have never yet been
+described, are the following:
+
+1. Death sitting on a coffin in a church-yard. "Discite vos choream cuncti
+qui cernitis istam."
+
+2. Death with Adam and Eve in Paradise. He draws Adam towards him. "Quid
+tum prosit honor glorie divitie."
+
+3. Death helping Cain to slay Abel. "Esto meorum qui pulvis eris et
+vermibus esca."
+
+4. Death holding by the garment a cardinal, followed by several persons.
+"In gelida putrens quando jacebis humo."
+
+5. Death mounted on a bull strikes three persons with his dart. "Vado mori
+dives auro vel copia rerum."
+
+6. Death seizing a man sitting at a table with a purse in his hand, and
+accompanied by two other persons. "Nullum respectum dat michi, vado mori."
+
+7. An armed knight killing an unarmed man, Death assisting. "Fortium
+virorum est magis mortem contemnere vitam odisse."
+
+8. Death with a rod in his hand, standing upon a groupe of dead persons.
+"Stultum est timere quod vitari non potest."
+
+9. Death with a scythe, having mowed down several persons lying on the
+ground. "Est commune mori mors nulli parcit honori."
+
+10. A soldier introducing a woman to another man, who holds a scythe in
+his hand. Death stands behind. "Mors fera mors nequam mors nulli parcit et
+equam."
+
+11. Death strikes with his dart a prostrate female, who is attended by two
+others. "Hec tua vita brevis: que te delectat ubique."
+
+12. A man falling from a tower into the water. Death strikes him at the
+same time with his dart. "Est velut aura levis te mors expectat ubique."
+
+13. A man strangling another, Death assisting. "Vita quid est hominis nisi
+res vallata ruinis."
+
+14. A man at the gallows, Death standing by. "Est caro nostra cinis modo
+principium modo finis."
+
+15. A man about to be beheaded, Death assisting. "Quid sublime genus quid
+opes quid gloria prestant."
+
+16. A king attended by several persons is struck by Death with his dart.
+"Quid mihi nunc aderant hec mihi nunc abeunt."
+
+17. Two soldiers armed with battle-axes. Death pierces one of them with
+his dart. "Ortus cuncta suos: repetunt matremque requirunt."
+
+18. Death strikes with his dart a woman lying in bed. "Et redit in nihilum
+quod fuit ante nihil."
+
+19. Death aims his dart at a sleeping child in a cradle, two other figures
+attending. "A, a, a, vado mori, nil valet ipsa juventus."
+
+20. A man on the ground in a fit, Death seizes him. Others attending.
+"Mors scita sed dubia nec fugienda venit."
+
+21. Death leads a man, followed by others. "Non sum securus hodie vel cras
+moriturus."
+
+22. Death interrupts a man and woman at their meal. "Intus sive foris est
+plurima causa timoris."
+
+23. Death demolishes a group of minstrels, from one of whom he has taken a
+lute. "Viximus gaudentes, nunc morimur tristes et flentes."
+
+24. Death leads a hermit, followed by other persons. "Forte dies hec est
+ultima, vado mori."
+
+This Dance is also found in the Horæ printed by Godar, Vostre, and Gilles
+Hardouyn, but with occasional variations, as to size and other matters, in
+the different blocks which they respectively used. The same designs have
+also been adopted, and in a very singular style of engraving, in a work
+printed by Antony Verard, that will be noticed elsewhere.
+
+Some of the cuts, for they are not all by the same artist, in this very
+rare and beautiful volume, and not found in others printed by or for Simon
+Vostre, may be very justly compared, in point of the delicacy of design
+and engraving, though on wood, with the celebrated pax of Maso Finiguerra
+at Florence, accurately copied in Mr. Ottley's history of engraving. They
+are accompanied with this unappropriated mark [monogram].
+
+No. II. "Ordinarium beate Marie Virginis ad usum Cisterciensem impressum
+est caracteribus optimis una cum expensis honesti viri Symonis Vostre
+commorantis Parisiis in vico novo Dive Marie in intersignio Sancti Joannis
+Evangeliste, 1497," 12mo. This beautiful book is on vellum, with the same
+Danse Macabre as in the preceding, but the other cuts are different.
+
+No. III. "Hore presentes ad usum Sarum impresse fuerunt Parisiis per
+Philippum Pigouchet Anno Salutis MCCCCXCVIII die vero xvi Maii pro Symone
+Vostre librario commorante, &c." 8vo. as above.
+
+Another beautiful volume on vellum, with the same Danse Macabre. He
+printed a similar volume of the same date, for the use of Rome, also on
+vellum.
+
+A volume of prayers, in 8vo. mentioned by M. Peignot, p. 145, after M.
+Raymond, but the title is not given. It is supposed to be anterior to
+1500, and seems to contain the same personages in its Danse Macabre, as in
+the preceding volumes printed by Simon Vostre.
+
+No. IV. "Heures à l'usage de Soissons." Printed by Simon Vostre, on
+vellum, 1502, 8vo. With the same Danse Macabre.
+
+No. V. "Heures à l'usage de Rheims, nouvellement imprimées avec belles
+histoires, pour Simon Vostre," 1502, 8vo. This is mentioned by M. Peignot,
+on the authority of Papillon. It was reprinted 1513, 8vo. and has the same
+cuts as above.
+
+No. VI. "Heures à l'usage de Rome. Printed for Simon Vostre by Phil.
+Pigouchet," 1502, large 8vo. on vellum. With the same Danse Macabre. This
+truly magnificent volume, superior to all the preceding by the same
+printer in beauty of type and marginal decoration, differs from them in
+having stanzas at the bottom of each page of the Dance, but which apply
+to the figure at the top only. They are here given.
+
+  POPE.
+
+  Vous qui vivez certainement
+  Quoy qu'il tarde ainsi danserez
+  Mais quand Dieu le scet seulement
+  Avisez comme vous ferez
+
+  Dam Pape vous commencerez
+  Comme le plus digne Seigneur
+  En ce point honorire serez
+  Au grant maistre est deu l'honneur.
+
+
+  KING.
+
+  Mais maintenant toute haultesse
+  Laisserez vous nestes pas seul
+  Peu aurez de votre richesse
+  Le plus riche n'a qung linseul
+
+  Venez noble Roy couronne
+  Renomme de force et prouesse
+  Jadis fustez environne
+  De grans pompes de grant noblesse.
+
+
+  ARCHBISHOP.
+
+  Que vous tirez la teste arriere
+  Archevesque tirez vous près,
+  Avez vous peur qu'on ne vous fiere
+  Ne doubtez vous viendres après
+
+  N'est pas tousjours la mort empres
+  Tout homme suyvant coste a coste
+  Rendre comment debtez et pres
+  Une foys fault coustera loste.
+
+
+  SQUIRE.
+
+  Il n'est rien que ne preigne cours
+  Dansez et pensez de suyr
+  Vous ne povez avoir secours
+  Il n'est qui mort puisse fuyr
+
+  Avencez vous gent escuyer
+  Qui scavez de danser les tours
+  Lance porties et escuz hyer
+  Aujourdhuy finerez voz jours.
+
+
+  ASTROLOGER.
+
+  Maistre pour vostre regarder
+  En hault ne pour vostre clergie
+  Ne pouvez la mort retarder
+  Ci ne vault rien astrologie
+
+  Toute la genealogie
+  D'Adam qui fust le premier homme
+  Mort prent se dit theologie
+  Tous fault mourir pour une pomme.
+
+
+  MERCHANT.
+
+  Vecy vostre dernier marche
+  Il convient que par cy passez
+  De tout soing serez despechie
+  Tel convoiste qui a assez
+
+  Marchant regardes par deca
+  Plusieurs pays avez cerchie
+  A pied a cheval de pieca
+  Vous n'en serez plus empeschie.
+
+
+  MONK.
+
+  Ha maistre par la passeres
+  N'est ja besoing de vous defendre
+  Plus homme nespouvanteres
+  Apres Moyne sans plus attendre
+
+  Ou pensez vous cy fault entendre
+  Tantost aurez la bouche close
+  Homme n'est fors que vent et cendre
+  Vie donc est moult peu de chose.
+
+
+  LOVER.
+
+  Trop lavez ayme cest foleur
+  Et a mourir peu regarde
+  Tantost vous changerez couleur
+  Beaulte n'est que ymage farde
+
+  Gentil amoureux gent et frique
+  Qui vous cuidez de grant valeur
+  Vous estez pris la mort vous pique
+  Ce monde lairez a douleur.
+
+
+  CURATE.
+
+  Passez cure sans long songier
+  Je sans questes habandonne
+  Le vif le mort soulier menger
+  Mais vous serez aux vers donne
+
+  Vous fustes jadis ordonne
+  Miroir dautruy et exemplaire
+  De voz faitz serez guerdonne
+  A toute peine est deu salaire.
+
+
+  CHILD.
+
+  Sur tout du jour de la naissance
+  Convient chascun a mort offrir
+  Fol est qui n'en a congnoissance
+  Qui plus vit plus a assouffrir
+
+  Petit enfant naguerez ne
+  Au monde aures peu de plaisance
+  A la danse sera mene
+  Comme autre car mort a puissance.
+
+
+  QUEEN.
+
+  Noble Royne de beau corsage
+  Gente et joyeuse a ladvenant
+  Jay de par le grant maistre charge
+  De vous enmener maintenant
+
+  Et comme bien chose advenant
+  Ceste danse commenseres
+  Faictes devoir au remenant
+  Vous qui vivez ainsi feres.
+
+
+  LADY.
+
+  C'est bien chasse quand on pourchasse
+  Chose a son ame meritoire
+  Car au derrain mort tout enchasse
+  Ceste vie est moult transitoire
+
+  Gentille femme de chevalier
+  Que tant aymes deduit et chasse
+  Les engins vous fault habiller
+  Et suyvre le train de ma trasse.
+
+
+  PRIORESS.
+
+  Se vous avez sans fiction
+  Tout vostre temps servi à Dieu
+  Du cueur en sa religion
+  La quelle vous avez vestue
+
+  Celuy qui tous biens retribue
+  Vous recompenserer loyalment
+  A son vouloir en temps et lieu
+  Bien fait requiert bon payment.
+
+
+  FRANCISCAN NUN.
+
+  Se vos prieres sont bien dignes
+  Elles vous vauldront devant Dieu
+  Rien ne vallent soupirs ne signes
+  Bone operacion tient lieu
+
+  Femme de grande devocion
+  Cloez voz heures et matines
+  Et cessez contemplacion
+  Car jamais nyres a matines.
+
+
+  CHAMBER-MAID.
+
+  Dictez jeune femme a la cruche
+  Renommée bonne chambriere
+  Respondez au moins quant on huche
+  Sans tenir si rude maniere
+
+  Vous nirez plus a la riviere
+  Baver au four na la fenestre
+  Cest cy vostre journee derniere
+  Ausy tost meurt servant que maistre.
+
+
+  WIDOW.
+
+  Cest belle chose de tenir
+  Lestat ou on est appellee
+  Et soy tousjours bien maintenir
+  Vertus est tout par tout louee.
+
+  Femme vesve venez avant
+  Et vous avancez de venir
+  Vous veez les aultres davant
+  Il convient une fois finir.
+
+
+  LYING-IN NURSE.
+
+  Venez ca garde dacouchees
+  Dresse aves maintz bainz perdus
+  Et ses cortines attachees
+  Ou estoient beaux boucques pendus
+
+  Biens y ont estez despendus
+  Tant de motz ditz que cest ung songe
+  Qui seront cher vendus
+  En la fin tout mal vient en ronge.
+
+
+  SHEPHERDESS.
+
+  Aux camps ni rez plus soir ne matin
+  Veiller brebis ne garder bestes
+  Rien ne sera de vous demain
+  Apres les veilles sont les festes
+
+  Pas ne vous oublieray derriere
+  Venez apres moy sa la main
+  Entendez plaisante bergiere
+  Ou marcande cy main a main.
+
+
+  OLD WOMAN.
+
+  Et vous madame la gourree
+  Vendu avez maintz surplis
+  Donc de largent est fourree
+  Et en sont voz coffres remplis
+
+  Apres tous souhaitz acomplis
+  Convient tout laisser et ballier
+  Selon la robe on fait le plis
+  A tel potaige tel cuiller.
+
+
+  WITCH.
+
+  Est condannee comme meurtriere
+  A mourir ne vivra plus gaire
+  Je la maine en son cimitiere
+  Cest belle chose de bien faire
+
+  Oyez oyez on vous fait scavoir
+  Que ceste vielle sorciere
+  A fait mourir et decepvoir
+  Plusieurs gens en mainte maniere.
+
+In the cut of the adoration of the shepherds their names are introduced as
+follows: Gobin le gay; le beau Roger; Aloris; Ysauber; Alison, and
+Mahault. The same cut is in two or three other Horæ mentioned in this
+list.
+
+No. VII. "Heures à l'usaige de Rouan. Simon Vostre, 1508, 8vo." With the
+same Danse Macabre.
+
+No. VIII. "Horæ ad usum Romanum. Thielman Kerver," 1508, 8vo. Vellum. With
+the same Danse Macabre.
+
+No. IX. "Hore christofere virginis Marie secundum usum Romanum ad longum
+absque aliquo recursu, &c." Parisiis. Simon Vostre, 1508, 8vo. M. Peignot
+has given a very minute description of this volume with a list of the
+different persons in the Danse Macabre.
+
+No. X. "Heures à l'usage de ... Ant. Verard," 1509, 8vo. with the same
+Danse Macabre.
+
+No. XI. "Heures à l'usaige d'Angers. Simon Vostre," 1510, 8vo. With the
+same Danse Macabre. Particularly described by M. Peignot.
+
+No. XII. "Heures à l'usaige de Rome. Guil. Godar," 1510, large 8vo. vellum
+illuminated. A magnificent book. It contains the Danse Macabre as in No.
+I. But it is remarkable for a third Dance of Death on the margins at
+bottom, consisting of small compartments with a single figure, but
+unaccompanied in the usual manner by Death, who, in various shapes and
+attitudes, is occasionally introduced. The characters are the following,
+without the arrangement commonly observed, and here given in the order in
+which they occur. 1. La Prieuse. 2. La Garde dacouche. 3. L'Abesse. 4. Le
+Promoteur. 5. Le Conestable. 6. Le Moine, without a label. 7. La Vielle
+Demoiselle. 8. La Baillive. 9. La Duchesse. 10. Le Sergent. 11. La
+Nourrice. 12. La femme du Chevallier. 13. La Damoiselle. 14. Le Maistre
+descole. 15. La Femme du village. 16. La Rescomanderese. 17. La
+Revenderese. 18. Le Laboureur. 19. La Bourgoise. 20. L'Usurier. 21. Le
+Pelerin. 22. Le Berger. 23. La Religieuse. 24. L'Home d'armes. 25. La
+Sorciere. 26. Le Petit enfant. 27. Le Clerc. 28. Le Patriarche. 29. Le
+Cardinal. 30. L'Empereur. 31. Le Roy. 32. La Marchande. 33. Le Curé. 34.
+La Theologienne. 35. La Jeune fille. 36. Le Sot. 37. Le Hallebardier. 38.
+La Pucelle vierge. 39. L'Hermite. 40. L'Escuier. 41. La Chamberiere. 42.
+La Femme de lescuier. 43. La Cordeliere. 44. La Femme veuve. 45. Le
+Chartreux. 46. La Royne. 47. La Regente. 48. La Bergere. 49. L'Advocat.
+50. L'Espousée. 51. La Femme amoureuse. 52. La Nouvelle Mariee. 53. Le
+Medecin. Wherever the figure of Death is introduced, he is accompanied
+with the motto "Amort, amort."
+
+No. XIII. "Hore ad usum Romanum. Thielman Kerver," 1511, 8vo. Vellum, with
+the Danse Macabre.
+
+No. XIV. "Heures à l'usage de Langres. Simon Vostre," 1512, 8vo. In the
+possession of Mons. G. M. Raymond, who has described it in Millin's
+"Magazin Encyclopédique," 1814, tom. iii. p. 13. Mentioned also by M.
+Peignot.
+
+No. XV. "Heures à l'usage de Paris. Simon Vostre," 1515, 8vo. With the
+Danse Macabre, and the other mentioned in No. I.
+
+No. XVI. "Heures de Nostre Dame à l'usage de Troyes." Th. Englard, pour G.
+Goderet, vers 1520. Vellum. Described by M. Peignot.
+
+No. XVII. "Hore ad usum Romanum. Thielman Kerver," 1526, 8vo. Vellum. A
+beautiful volume. Prefixed to the Danse Macabre are two prints of the
+Trois morts et trois vifs.
+
+In all the above Horæ the Macaber Dance is represented nearly alike in
+design, the variations being chiefly in the attitudes of the figures,
+which are cut on different blocks, except in a few instances where the
+printers have borrowed the latter from each other. Thus Vostre uses
+Verard's, and Pigouchet Godar's. The number of the subjects also varies,
+Vostre and Kerver having more than Verard, Godar, and Pigouchet.
+
+Exceptions to the above manner of representing the Macaber Dance, occur in
+two Horæ of singular rarity, and which are therefore worthy of particular
+notice.
+
+No. XVIII. "Officium beatæ Mariæ Virginis ad usum Romane ecclesie.
+Impressum Lugduni expensis Bonini de Boninis Dalmatini," die xx martij,
+1499, 12mo. On vellum. Here the designs are very different, and three of
+the subjects are placed at the bottom of the page. They consist of the
+following personages, there being no females among them. It was reprinted
+by the same printer in 1521.
+
+  Papa                Astrologus
+  Imperator           Cives
+  Cardinales.         Canonicus.
+
+  Archiepiscopus      Scutifer
+  Eques               Abbas
+  Episcopus.          Pretor.
+
+  Rex                 Monachus
+  Patriarche          Usurarius
+  Capitanus.          Medicus.
+
+  Plebanus            Mercator
+  Laborator           Certosinus
+  Frater Minor.       Nuncius.
+
+  Amans               Puer
+  Advocatus           Sacristanus
+  Joculator.          Heremita.
+
+No. XIX. "Hore beate Marie Virginis ad usum insignis ac preclare ecclesie
+Sarum cum figuris passionis mysterium representantibus recenter additis.
+Impresse Parisiis per Johannem Bignon pro honesto viro Richardo Fakes,
+London, librario, et ibidem commorante cymeterie Sancti Pauli sub signo A.
+B. C." 1521. A ledger-like 12mo. This Macaber Dance is unfortunately
+imperfect in the only copy of the book that has occurred. The figures that
+remain are those of the Pope, King, Cardinal, Patriarch, Judge,
+Archbishop, Knight, Mayor, and Earl.
+
+Under each subject are Lydgate's verses, with some slight variation; and
+it is therefore very probable that we have here a copy, as to many of the
+figures, of the Dance that was painted at St. Paul's in compartments like
+the other Macaber Dance, and not as the group in Dugdale, which has been
+copied from a wood-cut at the end of Lydgate's "Fall of Prynces." As all
+the before-mentioned Horæ were printed at Paris, with one exception only,
+and many of them at a very early period, it is equally probable that they
+may be copies of the Dance at the Innocents, unless a preference in that
+respect should be given to the figures in the French editions of the Danse
+Macabre.
+
+Manuscript Horæ, or books of prayers, which contain the Macaber Dance are
+in the next place deserving of our attention. These are extremely rare,
+and two only have occurred on the present occasion.
+
+1. A manuscript prayer book of the fifteenth century is very briefly
+described by M. Peignot,[88] which he states to be the only one that has
+come to his knowledge.
+
+2. An exquisitely beautiful volume, in large 8vo. bound in brass and
+velvet. It is a Latin Horæ, elegantly written in Roman type at the
+beginning of the 16th century. It has a profusion of paintings, every page
+being decorated with a variety of subjects. These consist of stories from
+scripture, sports, games, trades, grotesques, &c. &c. the several
+employments of the months, which have also the signs of the zodiac, are
+worth describing, there being two sets for each month.
+
+  January.   1. A man sitting at table, a servant bringing
+                in a dish of viands. The white tablecloth
+                is beautifully diapered. 2. Boys
+                playing at the game called Hockey.
+
+  February.  1. A man warming himself by a fire, a
+                domestic bringing in faggots. 2. Men
+                and women at table, two women cooking
+                additional food in the same apartment.
+
+  March.     1. A man pruning trees. 2. A priest confirming
+                a group of people.
+
+  April.     1. A man hawking. 2. A procession of
+                pilgrims.
+
+  May.       1. A gentleman and lady on the same horse.
+                2. Two pairs of lovers: one of the men
+                plays on a flute, the other holds a
+                hawk on his fist.
+
+  June.      1. A woman shearing sheep. 2. A bridal
+                procession.
+
+  July.      1. A man with a scythe about to reap. He
+                drinks from his leathern bottle. 2. Boys
+                and girls at the sport called Threading
+                the needle.
+
+  August.    1. A man reaping with a sickle. 2. Blind
+                man's buff.
+
+  September. 1. A man sowing. 2. The games of hot
+                cockles and ...
+
+  October.   1. Making wine. 2. Several men repairing
+                casks, the master of the vineyard
+                directing.
+
+  November.  1. A man threshing acorns to feed his hogs.
+                2. Tennis.
+
+  December.  1. Singeing a hog. 2. Boys pelting each
+                other with snow balls.
+
+The side margins have the following Danse Macabre, consisting as usual of
+two figures only. Papa, Imperator, Cardinalis, Rex, Archiepiscopus,
+Comestabilis, Patriarcha, Eques auratus, Episcopus, Scutarius, Abbas,
+Prepositus, Astrologus, Mercator, Cordiger, Satelles, Usurarius,
+Advocatus, Mimus, Infans, Heremita.
+
+The margins at bottom contain a great variety of emblems of mortality.
+Among these are the following:
+
+1. A man presents a mirror to a lady, in which her face is reflected as a
+death's head.
+
+2. Death shoots an arrow at a man and woman.
+
+3. A man endeavouring to escape from Death is caught by him.
+
+4. Death transfixes a prostrate warrior with a spear.
+
+5. Two very grotesque Deaths, the one with a scythe, the other with a
+spade.
+
+6. A group of five Deaths, four dancing a round, the other drumming.
+
+7. Death on a bull, holding a dart in his hand.
+
+8. Death in a cemetery running away with a coffin and pick-axe.
+
+9. Death digging a grave for two shrouded bodies on the ground.
+
+10. Death seizing a fool.
+
+11. Death seizing the master of a family.
+
+12. Death seizing Caillette, a celebrated fool mentioned by Rabelais, Des
+Periers, &c. He is represented in the French translation of the Ship of
+Fools.
+
+13. Death seizing a beggar.
+
+14. Death seizing a man playing at tennis.
+
+15. Death striking the miller going to his mill.
+
+16. Death seizing Ragot, a famous beggar in the reign of Louis XII. He is
+mentioned by Rabelais.
+
+This precious volume is in the present writer's possession.
+
+Other manuscripts connected with the Macaber Dance are the following:
+
+1. No. 1849, a Colbert MS. in the King of France's library, appears to
+have been written towards the end of the fifteenth century, and is
+splendidly illuminated on vellum with figures of men and women led by
+Death, the designs not much differing from those in Verard's printed copy.
+
+2. Another manuscript in the same library, formerly No. 543 in that of
+Saint Victor, is at the end of a small volume of miscellanies written on
+paper about the year 1520; the text resembles that of the immediately
+preceding article, and occasionally varies from the printed editions. It
+has no illuminations. These are the only manuscript Macaber Dances in the
+royal library at Paris.
+
+3. A manuscript of the Dance of Death, in German, is in the library of
+Munich. See Dr. Dibdin's bibliographical Tour, vol. iii. 278; and Vonder
+Hagen's history of German poetry. Berlin, 1812, 8vo. p. 459. The date of
+1450 is given to this manuscript on the authority of Docen in his
+Miscellanies, vol. ii. p. 148, and new Literary Advertizer for 1806, No.
+22, p. 348. Vonder Hagen also states that Docen has printed it in his
+Miscellanies, p. 349-52, and 412-16.
+
+4. A manuscript in the Vatican, No. 314. See Vonder Hagen, ubi supra, who
+refers to Adelung, vol. ii. p. 317-18, where the beginning and other
+extracts are given.
+
+5. In the Duke de la Valliere's catal. No. 2801, is "La Danse Macabre par
+personnages, in 4to. Sur papier du xv siecle, contenant 12 feuillets."
+
+In the course of this enquiry no manuscript, decorated with a regular
+series of a Dance of Death, has been discovered.
+
+The Abbé Rive left, in manuscript, a bibliography of all the editions of
+the Macaber Dance, which is at present, with other manuscripts by the
+Abbé, in the hands of M. Achard, a bookseller at Marseilles. See Peignot,
+Diction. de Bibliologie, iii. 284.
+
+The following articles, accompanied by letter-press, and distinguishable
+from single prints, appear to relate to the Macaber Dance.
+
+1. The Dance and song of Death is among books licensed to John
+Awdeley.[89]
+
+2. "The roll of the Daunce of Death, with pictures and verses upon the
+same," was entered on the Stationers' books, 5th Jan. 1597, by Thomas
+Purfort, sen. and jun. The price was 6_d._ This, as well as that licensed
+to Awdeley, was in all probability the Dance at St. Paul's.
+
+3. "Der Todten Tantz au Hertzog Georgens zu Sachsen schloss zu Dresden
+befindlich." _i. e._ "Here is found the Dance of Death on the Saxon palace
+of Duke George at Dresden." It consists of twenty-seven characters, as
+follow: 1. Death leading the way; in his right hand he holds a drinking
+glass or cup, and in his left a trumpet which he is blowing. 2. Pope. 3.
+Cardinal. 4. Abbot. 5. Bishop. 6. Canon. 7. Priest. 8. Monk. 9. Death
+beating a drum with bones. 10. Emperor. 11. King. 12. Duke. 13. Nobleman.
+14. Knight. 15. Gentleman. 16. Judge. 17. Notary. 18. Soldier. 19.
+Peasant. 20. Beggar. 21. Abbess. 22. Duchess. 23. Old woman. 24. Old man.
+25. Child. 26. Old beggar. 27. Death with a scythe. This is a single print
+in the Chronicle of Dresden, by Antony Wecken, Dresden, 1680, folio,
+already mentioned in p. 44.
+
+4. In the catalogue of the library of R. Smith, which was sold by auction
+in 1682, is this article "Dance of Death, in the cloyster of Paul's, with
+figures, very old." It was sold for six shillings to Mr. Mearne.
+
+5. A sort of Macaber Dance, in a Swiss almanack, consisting of eight
+subjects, and intitled "Ein Stuck aus dem Todten tantz," or, "a piece of a
+Dance of Death:" engraved on wood by Zimmerman with great spirit, after
+some very excellent designs. They are accompanied with dialogues between
+Death and the respective characters. 1. The Postilion on horseback. Death
+in a huge pair of jack-boots, seizes him by the arm with a view to unhorse
+him. 2. The Tinker. Death, with a skillet on his head, plunders the
+tinker's basket. 3. The Hussar on horseback, accompanied by Death, also
+mounted, and, like his comrade, wearing an enormous hat with a feather. 4.
+The Physician. Death habited as a modern beau, with chapeau-bras, brings
+his urinal to the Doctor for inspection. 5. The fraudulent Innkeeper in
+the act of adulterating a cask of liquor is seized and throttled by a very
+grotesque Death in the habit of an alewife, with a vessel at her back. 6.
+The Ploughman, holding his implements of husbandry, is seized by Death,
+who sits on a plough and carries a scythe in his left hand. 7. The
+Grave-digger, is pulled by Death into the grave which he has just
+completed. 8. The lame Messenger, led by Death. The size of the print 11
+by 6-1/2 inches.
+
+6. Papillon states that Le Blond, an artist, then living at Orleans,
+engraved the Macaber Dance on wood for the Dominotiers, or venders of
+coloured prints for the common people, and that the sheets, when put
+together, form a square of three feet, and have verses underneath each
+figure.[90]
+
+
+
+
+CHAPTER VI.
+
+    _Hans Holbein's connexion with the Dance of Death.--A dance of
+    peasants at Basle.--Lyons edition of the Dance of Death, 1538.--Doubts
+    as to any prior edition.--Dedication to the edition of 1538.--Mr.
+    Ottley's opinion of it examined.--Artists supposed to have been
+    connected with this work.--Holbein's name in none of the old
+    editions.--Reperdius._
+
+
+The name of Holbein has been so strongly interwoven with the Dance of
+Death that the latter is seldom mentioned without bringing to recollection
+that extraordinary artist.
+
+It would be a great waste of time and words to dwell specifically on the
+numerous errors of such writers as Papillon, Fournier, and several others,
+who have inadvertently connected Holbein with the Macaber Dance, or to
+correct those of travellers who have spoken of the subject as it appeared
+in any shape in the city of Basle. The opinions of those who have either
+supposed or stated that Holbein even retouched or repaired the old
+painting at Basle, are entitled to no credit whatever, unaccompanied as
+they are by necessary proofs. The names of the artists who were employed
+on that painting have been already adverted to, and are sufficiently
+detailed in the volumes of Merian and Peignot; and it is therefore
+unnecessary to repeat them.
+
+Evidence, but of a very slight and unsatisfactory nature, has been adduced
+that Holbein painted some kind of a Death's Dance on the walls of a house
+at Basle. Whether this was only a copy of the old Macaber subject, or
+some other of his own invention, cannot now be ascertained. Bishop Burnet,
+in his letters from Switzerland,[91] states that "there is a _Dance_ which
+he painted on the walls of a house where he used to drink; yet so worn out
+that very little is now to be seen, except _shapes and postures_, but
+these shew the exquisiteness of the hand." It is much to be regretted that
+this painting was not in a state to have enabled the bishop to have been
+more particular in his description. He then mentions the older Dance,
+which he places "along the side of the convent of the Augustinians
+(meaning the Dominicans), now the French church, so worn out some time ago
+that they ordered the best painter they had to lay new colour on it, but
+this is so ill done, that one had rather see the dark shadow of Holbein's
+pencil than this coarse work." Here he speaks obscurely, and adopts the
+error that Holbein had some hand in it.
+
+Keysler, a man of considerable learning and ingenuity, and the author of a
+very excellent book of travels, mentions the old painting at Basle, and
+adds, that "Holbein had also drawn and painted a Death's Dance, and had
+likewise painted, as it were, a _duplicate_ of this piece on another
+house, but which time has entirely obliterated."[92] We are here again
+left entirely in the dark as to the first mentioned painting, and its
+difference from the other. Charles Patin, an earlier authority than the
+two preceding travellers, and who was at Basle in 1671, informs us that
+strangers behold, with a considerable degree of pleasure, the walls of a
+house at the corner of a little street in the above town, which are
+covered from top to bottom with paintings by Holbein, that would have done
+honour to the commands of a great prince, whilst they are, in fact,
+nothing more than the painter's reward to the master of a tavern for some
+meals that he had obtained.[93] In the list of Holbein's works, in his
+edition of Erasmus's Moriæ encomion, he likewise mentions the painting on
+a house in the Eisengassen, or Iron-street, near the Rhine bridge, and for
+which he is said to have received forty florins,[94] perhaps the same as
+that mentioned in his travels.
+
+This painting was still remaining in the year 1730, when Mr. Breval saw
+it, and described it as a _dance of boors_, but in his opinion unworthy,
+as well as the Dance of Death in that city, of Holbein's hand.[95] These
+accounts of the paintings on houses are very obscure and contradictory,
+and the only way to reconcile them is by concluding that Holbein might
+have decorated the walls of some houses with a Dance of Death, and of
+others with a dance of peasants.[96] The latter subject would indeed be
+very much to the taste of an inn-keeper, and the nature of his occupation.
+Some of the writers on engraving have manifested their usual inaccuracy on
+the subject of Holbein's Dance of Peasants. Joubert says it has been
+engraved, but that it is "a peu près introuvable."[97] Huber likewise
+makes them extremely rare, and adds, without the slightest authority, that
+Holbein engraved them.[98] There is, however, no doubt that his beautiful
+pencil was employed on this subject in various ways, of which the
+following specimens are worthy of being recorded. 1. In a set of initial
+letters frequently used in books printed at Basle and elsewhere. 2. In an
+edition of Plutarch's works, printed by Cratander at Basle, 1530, folio,
+and afterwards introduced into Polydore Vergil's "Anglicæ historiæ libri
+viginti sex," printed at Basle, 1540, in folio, where, on p. 3 at bottom,
+the subject is very elegantly treated. It occurs also, in other books
+printed in the same city. 3. In an edition of the "Nugæ" of Nicolas
+Borbonius, Basle, 1540, 12mo. at p. 17, there is a dance of peasants
+replete with humour: and, 4. A vignette in the first page of an edition of
+Apicius, printed at Basle, 1541, 4to. without the printer's name.
+
+After all, there seems to be a fatality of ambiguity in the account of the
+Basle paintings ascribed to Holbein; and that of the Dance of Death has
+not only been placed by several writers on the walls, inside and outside,
+of houses, but likewise in the fish-market; on the walls of the
+church-yard of St. Peter; and even in the cathedral itself of Basle; and,
+therefore, amidst this chaos of description, it is absolutely impossible
+to arrive at any conclusion that can be deemed in any degree satisfactory.
+
+We are now to enter upon the investigation of a work which has been
+somewhat erroneously denominated a "Dance of Death," by most of the
+writers who have mentioned it. Such a title, however, is not to be found
+in any of its numerous editions. It is certainly not a dance, but rather,
+with slight exception, a series of admirable groups of persons of various
+characters, among whom Death is appropriately introduced as an emblem of
+man's mortality. It is of equal celebrity with the Macaber Dance, but in
+design and execution of considerable superiority, and with which the name
+of Hans Holbein has been so intimately connected, and that great painter
+so generally considered as its inventor, that even to doubt his claim to
+it will seem quite heretical to those who may have founded their opinion
+on internal evidence with respect to his style of composition.
+
+In the year 1538 there appeared a work with the following title, "Les
+simulachres et historiees faces de la mort, autant elegamment
+pourtraictes, que artificiellement imaginées." A Lyon Soubz lescu de
+Coloigne, 4to. and at the end, "Excudebant Lugduni Melchior et Gaspar
+Trechsel fratres, 1538." It has forty-one cuts, most exquisitely designed
+and engraved on wood, in a manner which several modern artists only of
+England and Germany have been competent to rival. As to the designs of
+these truly elegant prints, no one who is at all skilled in the knowledge
+of Holbein's style and manner of grouping his figures, would hesitate
+immediately to ascribe them to that artist. Some persons have imagined
+that they had actually discovered the portrait of Holbein in the subject
+of the nun and her lover; but the painter, whoever he may have been, is
+more likely to be represented in the last cut as one of the supporters of
+the escutcheon of Death. In these designs, which are wholly different from
+the dull and oftentimes disgusting Macaber Dance, which is confined, with
+little exception, to two figures only, we have the most interesting
+assemblage of characters, among whom the skeletonized Death, with all the
+animation of a living person, forms the most important personage;
+sometimes amusingly ludicrous, occasionally mischievous, but always busy
+and characteristically occupied.
+
+Doubts have arisen whether the above can be regarded as the first edition
+of these justly celebrated engravings in the form of a volume accompanied
+with text. In the "Notices sur les graveurs," Besançon, 1807, 8vo. a work
+ascribed to M. Malpé,[99] it is stated to have been originally published
+at Basle in 1530; and in M. Jansen's "Essai sur l'origine de la gravure,"
+&c. Paris, 1808, 8vo. a work replete with plagiarisms, and the most
+glaring mistakes, the same assertion is repeated. This writer adds, but
+unsupported by any authority, that soon afterwards another edition
+appeared with Flemish verses. Both these authors, following their blind
+leader Papillon, have not ventured to state that they ever saw this
+supposed edition of 1530, and it may indeed be asked, who has? Or in what
+catalogue of any library is it recorded? Malpé acknowledges that the
+earliest edition he had seen was that of 1538. M. Fuseli, in his edition
+of Pilkington's Dictionary of Painters, has appended a note to the article
+for Hans Holbein, where, alluding perhaps to the former edition of the
+present dissertation, he remarks, that "Holbein's title to the Dance of
+Death would not have been called in question, had the ingenious author of
+the dissertation on that subject been acquainted with the German edition."
+This gentleman seems, however, to have inadvertently forgotten a former
+opinion which he had given in one of his lectures, where he says, "The
+scrupulous precision, the high finish, and the Titianesque colour of Hans
+Holbein would make the least part of his excellence, if his right to that
+series of emblematic groups known under the name of Holbein's Dance of
+Death had not, of late, been too successfully disputed." M. Fuseli would
+have rendered some service to this question by favouring us with an
+explicit account of the above German edition, if he really intended by it
+a complete work; but it is most likely that he adverted to some separate
+impressions of the cuts with printed inscriptions on them, but which are
+only the titles of the respective characters or subjects. To such
+impressions M. Malpé has certainly referred, adding that they have, at
+top, passages from the Bible in German, and verses at bottom in the same
+language. Jansen follows him as to the verses at bottom only. Now, on
+forty-one of these separate impressions, in the collection of the accurate
+and laborious author of the best work on the origin and early history of
+engraving that has ever appeared, and on several others in the present
+writer's possession, neither texts of scripture, nor verses at bottom, are
+to be found, and nothing more than the above-mentioned German titles of
+the characters. M. Huber, in his "Manuel des curieux et des amateurs de
+l'art," vol. i. p. 155, after inaccurately stating that Holbein _engraved_
+these cuts, proceeds to observe, that in order to form a proper judgment
+of their merit, it is necessary to see the earliest impressions, printed
+on one side only of the paper; and refers to twenty-one of them in the
+cabinet of M. Otto, of Leipsig, but without stating any letter-press as
+belonging to them, or regarding them as a part of any German edition of
+the work.
+
+In the public library of Basle there are proof impressions, on four
+leaves, of all the cuts which had appeared in the edition of 1538, except
+that of the astrologer. Over each is the name of the subject printed in
+German, and without any verses or letter-press whatever at bottom.
+
+It is here necessary to mention that the first known edition in which
+these cuts were used, namely, that of 1538, was accompanied with French
+verses, descriptive of the subjects. In an edition that soon afterwards
+appeared, these French verses were translated into Latin by George
+Æmylius, a _German_ divine; and in another edition, published at Basle, in
+1554, the Latin verses were continued. In both these cases, had there been
+any former _German verses_, would they not have been retained in
+preference?
+
+There is a passage, however, in Gesner's Pandectæ, a supplemental volume
+of great rarity to his well-known Bibliotheca, that slightly adverts to a
+German edition of this work, and at the same time connects Holbein's name
+with it. It is as follows: "Imagines mortis expressæ ab optimo pictore
+Johanne Holbein cum epigrammatibus Geo. Æmylii, excusæ Francofurti et
+Lugduni apud Frellonios, quorum editio plures habet picturas. Vidi etiam
+cum metris Gallicis et _Germanicis si bene memini_."[100] But Gesner
+writes from imperfect recollection only, and specifies no edition in
+German. It is most probable that he refers to an early copy of the cuts on
+a larger scale with a good deal of text in German, and printed and perhaps
+engraved by Jobst Denecker, at Augsburg, 1544, small folio.
+
+The forty-one separate impressions of the cuts in the collection of Mr.
+Ottley, as well as those in the present writer's possession, are printed
+on one side of the paper only, another argument that they were not
+intended to be used in any book; and although they are extremely clear and
+distinct, many of them that were afterwards used in the various editions
+of the book are not less brilliant in appearance. It is well known to
+those who are conversant with engravings on wood, that the earliest
+impressions are not always the best; a great deal depending on the care
+and skill with which they were taken from the blocks, and not a little on
+the quality of the paper. As they were most likely engraved at Basle by an
+excellent artist, of whom more will be said hereafter, and at the instance
+of the Lyons booksellers or publishers, it is very probable that a few
+impressions would be taken off with German titles only for the use of the
+people of Basle, or other persons using the German language. Proofs might
+also be wanted for the accommodation of amateurs or other curious persons,
+and therefore it would be only necessary to print the names or titles of
+the subjects. This conjecture derives additional support from the
+well-known literary intercourse between the cities of Lyons and Basle, and
+from their small distance from each other. On the whole, therefore, the
+Lyons edition of 1538 may be safely regarded as the earliest, until some
+other shall make its appearance with a well ascertained prior date, either
+in German or any other language.
+
+In the edition of 1538 there is a dedication, not in any of the others,
+and of very considerable importance. It is a pious, quaint, and jingling
+address to Jeanne de Touszele, Abbess of the convent of St. Peter, at
+Lyons, in which the author, whose name is obscurely stated to be Ouzele,
+compliments the good lady as the pattern of true religion, from her
+intimate acquaintance with the nature of Death, rushing, as it were, into
+his hands, by her entrance into the sepulchre of a cloister. He enlarges
+on the various modes of representing the mortality of human nature, and
+contends that the image of Death has nothing terrific in the eyes of the
+Christian. He maintains that there is no better method of depicting
+mortality than by a dead person, especially by those images which so
+frequently occur on sepulchral monuments. Adverting then to the figures in
+the present work he _regrets the death of him who has here conceived
+[imaginé] such elegant designs, greatly exceeding all other patterns of
+the kind, in like manner as the paintings of Apelles and Zeuxis have
+surpassed those of modern times_. He observes that these funereal
+histories, accompanied by their grave descriptions in rhyme, induce the
+admiring spectators to behold the dead as alive, and the living as dead;
+which leads him to believe that Death, apprehensive lest this admirable
+_painter_ should exhibit him so lively that he would no longer be feared
+as Death, and that he should thereby become immortal himself, had hastened
+his days to an end, and thus prevented him from completing many other
+figures, which _he_ had already _designed_, especially that of the carman
+crushed and wounded beneath his demolished waggon, the wheels and horses
+of which are so frightfully overthrown that as much horror is excited in
+beholding their downfall, as pleasure in contemplating the lickerishness
+of one of the Deaths, who is clandestinely sucking with a reed the wine in
+a bursting cask.[101] That in these imperfect subjects no one had dared to
+put the finishing hand, on account of the boldness of their outline,
+shadow, and perspective, _delineated_ in so graceful a manner, that by its
+contemplation one might indulge either in a joyful sorrow, or a melancholy
+pleasure. "Let antiquaries then," says he, "and lovers of ancient imagery
+discover any thing comparable to these figures of Death, in which we
+behold the Empress of all living souls from the creation, trampling over
+Cæsars, Emperors, and Kings, and with her scythe mowing down the
+tyrannical heroes of the earth." He concludes with admonishing the Abbess
+to take in good part this his sad but salutary present, and to persuade
+her devout nuns not only to keep it in their cells and dormitories, but in
+the cabinet of their memory, therein pursuing the counsel of St. Jerom,
+&c.
+
+The singularity of this curious and interesting dedication is deserving of
+the utmost attention. It seems very strongly, if not decisively, to point
+out the edition to which it is prefixed, as the first; and what is of
+still more importance, to deprive Holbein of any claim to the _invention_
+of the work. It most certainly uses such terms of art as can scarcely be
+mistaken as conveying any other sense than that of _originality in
+design_. There cannot be words of plainer import than those which describe
+the painter, as he is expressly called, _delineating_ the subjects, and
+leaving several of them unfinished: and whoever the artist might have
+been, it clearly appears that he was not living in 1538. Now it is well
+known that Holbein's death did not take place before the year 1554, during
+the plague which ravaged London at that time. If then the expressions used
+in this dedication signify any thing, it may surely be asked what becomes
+of any claim on the part of Holbein to the designs of the work in
+question, or does it not _at least_ remain in a situation of doubt and
+difficulty?
+
+It is, however, with no small hesitation that the author of the present
+dissertation still ventures to dispute, and even to deny, the title of
+Holbein to the invention of this Dance of Death, in opposition to his
+excellent and valuable friend Mr. Ottley, whose opinion in matters of
+taste, as well as on the styles of the different masters in the old
+schools of painting and engraving may be justly pronounced to be almost
+oracular. This gentleman has thus expressed himself: "It cannot be denied
+that were there nothing to oppose to this passage, it would seem to
+constitute very strong evidence that Holbein, who did not die until the
+year 1554, was not the author of the designs in question; but I am firmly
+persuaded that it refers in reality, not to the designer, but to the
+artist who had been employed, under his direction, to engrave the designs
+in wood, and whose name, there appears reason to believe, was Hans
+Lutzenberger.[102] Holbein, I am of opinion, had, shortly before the year
+1538, sold the forty-one blocks which had been some time previously
+executed, to the booksellers of Lyons, and had at the same time given him
+a promise of others which he had lately designed, as a continuation of the
+series, and were then in the hands of the wood-engraver. The
+wood-engraver, I suppose, died before he had completed his task, and the
+correspondent of the bookseller, who had probably deferred his publication
+in expectation of the new blocks, wrote from Basle to Lyons to inform his
+friend of the disappointment occasioned by the artist's death. It is
+probable that this information was not given very circumstantially, as to
+the real cause of the delay, and that the person who wrote the dedication
+of the book might have believed the designer and engraver to be one and
+the same person: it is still more probable that he thought the distinction
+of little consequence to his reader, and willingly omitted to go into
+details which would have rendered his quaint moralizing in the above
+passage less admissible. Besides, the additional cuts there spoken of
+(eight cuts of the Dance of Death and four of boys) were afterwards
+finished (doubtless by another wood-engraver, who had been brought up
+under the eye of Holbein), and are not apparently inferior, whether in
+respect of design or execution to the others. In short, these designs have
+always been ascribed to Holbein, and designedly ranked amongst his finest
+works."[103]
+
+Mr. Ottley having admitted that the edition of the Dance of Death, printed
+in quarto, at Lyons, 1538, is the earliest with which we are at present
+acquainted, proceeds to state his belief that the cuts had been previously
+and _certainly_ used at Basle. He then alludes to the supposed German
+edition, about the year 1530, but acknowledges that he had not been able
+to meet with or hear of any person who had seen it. He next introduces to
+his reader's notice, and afterwards describes at large, a set of forty-one
+impressions, being the complete series of the edition of 1538, except one,
+and taken off with the greatest clearness and brilliancy of effect, on one
+side of the paper only, each cut having over it its title printed in the
+German language, with moveable type. He thinks it possible that they may
+originally have had German verses underneath, and texts of Scripture
+above, in addition to the titles; a fact, he adds, not now to be
+ascertained, as the margins are clipped on the sides and at bottom. He
+says, it is greatly to be regretted that the blocks were never taken off
+with due diligence and good printing ink, after they got into the hands of
+the Lyons booksellers, and then introduces into his page two fac-similes
+of these cuts so admirably copied as to be almost undistinguishable from
+the originals.[104] One may, indeed, regret with Mr. Ottley the _general
+carelessness_ of the old printers in their mode of taking off impressions
+from blocks of wood when introducing them into their books, and which is
+so very unequally practised that, as already observed, the impressions are
+often clearer and more distinct in later than in preceding editions. The
+works of the old designers and engravers would, in many cases, have been
+much more highly appreciated, if they had had the same justice done to
+them by the printers as the editorial taste and judgment of Mr. Ottley,
+combined with the skill of the workmen, have obtained in the decoration of
+his own book. With respect to the impressions of the cuts in question,
+when the blocks were in the hands of the Lyons booksellers, the fact is,
+that in some of their editions they are occasionally as fine as those
+separately printed off; and at the moment of making this remark, an
+edition, published in 1547, at Lyons, is before the writer, in which many
+of the prints are uncommonly clear and even brilliant, a circumstance
+owing, in a great degree, to the nature of the paper on which they are
+impressed.
+
+It were almost to be wished that this perplexing evidence against
+Holbein's title to the invention of the work before us had never existed,
+and that he had consequently been left in the quiet possession of what so
+well accords with his exquisite pencil and extraordinary talents. True it
+is, that the person to whom we owe this stubborn testimony, has manifested
+a much more intimate acquaintance with the mode of conveying his pious
+ejaculations to the Lady Abbess in the quaintest language that could
+possibly have been chosen, than with the art of giving an accurate account
+of the prints in question. Yet it seems scarcely possible that he should
+have used the word _imagined_, which undoubtedly expresses originality of
+invention, and not the mere act of copying, if he had referred to an
+engraver on wood, whom he would not have dignified with the appellation of
+a painter on whom he was bestowing the highest possible eulogium. There
+would also have been much less occasion for the author's hyperbolical
+fears on the part of Death in the case of an engraver, than in that of a
+painter. He has stated that the rainbow subject, meaning probably that of
+the Last Judgment, was left unfinished; but it appears among the
+engravings in his edition. He must, therefore, have referred to a
+painting, with which likewise the expression "bold shadows and
+perspective," seem better to accord than with a slight engraving on wood.
+He had also seen the subject of the waggon with the wine casks in its
+unfinished state, and in this case we may almost with certainty pronounce
+it to have been a painting, as the cut of it does not appear in the first
+edition, furnishing, at the same time, an argument against Holbein's
+claim; nor may it be unimportant to add that the dedicator, a religious
+person, and probably a man of some eminence, was much more likely to have
+been acquainted with the painter than with the engraver. The dedicator
+also stamps the work as originating at Lyons; and Frellon, its printer, in
+a complaint against a Venetian bookseller, who pirated his edition,
+emphatically describes it as exclusively belonging to France.
+
+Again, it is improbable that the dedicator, whoever he was, should have
+preferred complimenting the engraver of the cuts, who, with all his
+consummate skill, must, in point of rank and genius, be placed below the
+painter or designer; and it is at the same time remarkable that the name
+of Holbein is not adverted to in any of the early and genuine editions of
+the work, published at Lyons, or any other place, whilst his designs for
+the Bible have there been so pointedly noticed by his friend the poet
+Borbonius.
+
+It would be of some importance, if it could be shown, that the engraver
+was dead in or before the year 1538, for that circumstance would
+contribute to strengthen Mr. Ottley's opinion: but should it be found that
+he did not die in or before 1538, it would follow, of course, that the
+painter was the person adverted to in the dedication, and who consequently
+could not be Holbein. It becomes necessary, therefore, to endeavour at
+least to discover some other artist competent to the invention of the
+beautiful designs in question; and whether the attempt be successful or
+otherwise, it may, perhaps, be not altogether misplaced or unprofitable.
+
+It must be recollected that Francis the First, on returning from his
+captivity at Pavia, imported with him a great many Italian and other
+artists, among whom were Lionardo da Vinci, Rosso, Primaticcio, &c. He is
+also known to have visited Lyons, a royal city at that time eminent in art
+of every kind, and especially in those of printing and engraving on wood;
+as the many beautiful volumes published at that place, and embellished
+with the most elegant decorations in the graphic art, will at this moment
+sufficiently testify. In an edition of the "Nugæ" of Nicolas Borbonius,
+the friend of Holbein, printed at Lyons, 1538, 8vo. are the following
+lines:
+
+  _De Hanso Ulbio, et Georgio Reperdio, pictoribus._
+
+  Videre qui vult Parrhasium cum Zeuxide,
+      Accersat à Britannia
+  Hansum Ulbium, et Georgium _Reperdium_.
+      _Lugduno_ ab urbe Galliæ.
+
+In these verses Reperdius is opposed to Holbein for the excellence of his
+art, in like manner as Parrhasius had been considered as the rival of
+Zeuxis.
+
+After such an eulogium it is greatly to be regretted that notwithstanding
+a very diligent enquiry has been made concerning an artist, who, by the
+poet's comparative view of him, is placed on the same footing with
+Holbein, and probably of the same school of painting, no particulars of
+his life or works have been discovered. It is clear from Borbonius's lines
+that he was then living at Lyons, and it is extremely probable that he
+might have begun the work in question, and have died before he could
+complete it, and that the Lyons publishers might afterwards have employed
+Holbein to finish what was left undone, as well as to make designs for
+additional subjects which appeared in the subsequent editions. Thus would
+Holbein be so connected with the work as to obtain in future such notice
+as would constitute him by general report the real inventor of it. If then
+there be any validity in what is here stated concerning Reperdius, the
+difficulty and obscurity in the preface to the Lyons edition of the Dance
+of Death in 1538 will be removed, and Holbein remain in possession of a
+share at least in the composition of that inestimable work. The mark or
+monogram [monogram: HL] on one of the cuts cannot possibly belong to
+Holbein, but may possibly be that of the engraver, of whom more
+hereafter.
+
+
+
+
+CHAPTER VII.
+
+    _Holbein's Bible cuts.--Examination of the claim of Hans Lutzenberger
+    as to the design or execution of the Lyons engravings of the Dance of
+    Death.--Other works by him._
+
+
+At this time the celebrated designs for the illustration of the Old
+Testament, usually denominated Holbein's Bible, made their appearance,
+with the following title, "Historiarum veteris instrumenti icones ad vivum
+expressæ. Una cum brevi, sed quoad fieri potuit, dilucida earundem
+expositione. Lugduni, sub scuto Coloniensi MDXXXVIII." 4to. They were
+several times republished with varied titles, and two additional cuts.
+Prefixed are some highly complimentary Latin verses by Holbein's friend
+Nicholas Bourbon, better known by his Latinized name of Borbonius, who
+again introduces Parrhasius and Zeuxis in Elysium, and in conversation
+with Apelles, who laments that they had all been excelled by Holbein.
+
+These lines by Borbonius do not appear, among others addressed by him to
+Holbein, in the first edition of his "Nugæ" in 1533, or indeed in any of
+the subsequent editions; but it is certain that Borbonius was at Lyons in
+1538, and might then have been called on by the publishers of the designs,
+with whom he was intimately connected, for the commendatory verses.
+
+The booksellers Frellon of Lyons, by some means with which we are not now
+acquainted, or indeed ever likely to be, became possessed of the copyright
+to these designs for the Old Testament. It is very clear that they had
+previously been in possession of those for the Dance of Death, and,
+finding the first four of them equally adapted to a Bible, they
+accordingly, and for the purpose of saving expense, made use of them in
+this Bible, though with different descriptions, having, in all
+probability, employed the same engraver on wood as in the Dance of Death,
+a task to which he had already demonstrated himself to be fully competent.
+Now, if the Frellons had regarded Holbein as the designer of the
+"Simulachres et historiees faces de la Mort," would they not rather have
+introduced into that work the complimentary lines of Borbonius on _some_
+painting by Holbein of a Dance of Death, and which will be hereafter more
+particularly adverted to, instead of inserting the very interesting and
+decisive dedication that has so emphatically referred to the then deceased
+painter of the above admirable composition?
+
+Nor is it by any means a matter of certainty that Holbein was the designer
+of _all_ the wood engravings belonging to the Bible in question. Whoever
+may take the pains to examine these biblical subjects with a strict and
+critical eye, will not only discover a very great difference in the style
+and drawing of them, but likewise a striking resemblance, in that respect,
+of several of them to those in the Dance of Death, as well as in the
+manner of engraving. The rest are in a bolder and broader style, in a
+careless but effective manner, corresponding altogether with such designs
+as are well ascertained to be Holbein's, and of which it would be
+impossible to produce a single one, that in point of delicacy of outline,
+or composition, accords with those in the Dance;[105] and the judgment of
+those who are best acquainted with the works of Holbein is appealed to on
+this occasion. It is, besides, extremely probable that the anonymous
+painter or designer of the Dance might have been employed also by the
+Frellons to execute a set of subjects for the Bible previously to his
+Death, and that Holbein was afterwards engaged to complete the work.
+
+A comparison of the 8th subject in the "Simulachres, &c." with that in the
+Bible for Esther I. II. where the canopy ornamented with fleurs-de-lis is
+the same in both, will contribute to strengthen the above conjecture, as
+will both the cuts to demonstrate their Gallic origin. It is most certain
+that the king sitting at table in the Simulachres is intended for Francis
+I. which, if any one should doubt, let him look upon the miniature of that
+king, copied at p. 214 in Clarke's "Repertorium bibliographicum," from a
+drawing in a French MS. belonging to M. Beckford, or at a wood-cut in fo.
+xcxix b. of "L'histoire de Primaleon de Grece." Paris, 1550, folio, where
+the art in the latter will be found to resemble very much that in the
+"Simulachres." The portraits also of Francis by Thomas De Leu, Boissevin,
+and particularly that in the portraits of illustrious men edited by Beza
+at Geneva, may be mentioned for the like purpose.
+
+The admission in the course of the preceding remarks that Holbein might
+have been employed in some of the additional cuts that appeared in the
+editions of the Lyons Dance of Death which followed that of 1538, may seem
+at variance with what has been advanced with respect to the Bible cuts
+ascribed to him. It is, however, by no means a matter of necessity that an
+artist with Holbein's talents should have been resorted to for the purpose
+of designing the additional cuts to the Lyons work. There were, during the
+middle of the 16th century, several artists equally competent to the
+undertaking, both as to invention and execution, as is demonstrable, among
+numerous other instances, from the spurious, but beautiful, Italian copy
+of the original cuts; from the scarcely distinguishable copies of the
+Lyons Bible cuts in an edition put forth by John Stelsius at Antwerp,
+1561, and from the works of several artists, both designers and
+wood-engravers, in the books published by the French, Flemish, and Italian
+booksellers at that period. An interesting catalogue raisonnè might be
+constructed, though with some difficulty, of such articles as were
+decorated with most exquisite and interesting embellishments. The above
+century was much richer in this respect than any one that succeeded it,
+displaying specimens of art that have only been rivalled, perhaps never
+outdone, by the very skilful engravers on wood of modern times.
+
+Our attention will, in the next place, be required to the excellent
+_engraver_ of the Dance of Death, the thirty-sixth cut of which represents
+the Duchess sitting up in bed, and accompanied with two figures of Death,
+one of which plays on a violin, whilst the other drags away the
+bed-clothes. On the base of one of the bed-posts is the mark or monogram
+[monogram: HL] which has, among other artists, been inconsiderately
+ascribed to Holbein. That it was intended to express the name of the
+designer cannot be supported by evidence of any kind. We must then seek
+for its meaning as belonging to the engraver, and whose name was, in all
+probability, Hans Leuczellberger or Lutzenberger, sometimes called Franck.
+M. de Mechel, the celebrated printseller and engraver at Basle, addressed
+a letter to M. de Murr, in which he states that on a proof sheet of an
+alphabet in the library in that city, containing several small figures of
+a Dance of Death, he had found the above name. M. Brulliot remarks that he
+had seen some of the letters of this alphabet, but had not perceived on
+them either the name of Lutzenberger, or the mark [monogram: HL];[106] but
+M. de Mechel has not said that the _mark_ was on the proof sheet, or on
+the letters themselves, but only the name of Lutzenberger, adding that the
+[monogram: HL] on the cut of the Duchess will throw some light on the
+matter, and that Holbein, although this monogram has been usually ascribed
+to him, never expressed his name by it, but used for that purpose an
+[monogram: H] joined to a [monogram: B]; in which latter assertion M. de
+Mechel was by no means correct.
+
+On another alphabet of a Dance of Peasants, in the possession of the
+writer of these pages, and undoubtedly by the same artists, M. de Mechel,
+to whom it was shown when in England, has written in pencil, the following
+memorandum: "[monogram: HL] gravè par Hans (John) Lutzenberger, graveur en
+patrons à Basle, vivant là au commencement du 16me siecle;" but he has
+inadvertently transferred the remark to the wrong alphabet, though both
+were undoubtedly the work of the same artist, as well as a third alphabet,
+equally beautiful, of groups of children.
+
+The late Pietro Zani, whose intimate experience in whatever relates to
+the art of engraving, together with the vast number of prints that had
+passed under his observation, must entitle his opinions to the highest
+consideration, has stated, in more places than one in his "Enciclopedia
+Metodica," that Holbein had no concern with the cuts of the Lyons Dance of
+Death, the engraving of which he decidedly ascribes to Hans Lutzenberger;
+and, without any reference to the inscription on the proof of one of the
+alphabets in the library at Basle before-mentioned, which he had probably
+neither seen nor heard of, mentions the copy of one of the alphabets which
+he had seen at Dresden, and at once consigns it to Lutzenberger. He
+promises to resume the subject at large in some future part of his immense
+work, which, if existing, has not yet made its appearance.
+
+As the prints by this fine engraver are very few in number, and extremely
+rare, the following list of them may not be unacceptable.
+
+1. An oblong wood engraving, in length 11 inches by 3-1/2. It represents,
+on one side, Christ requiring the attention of a group of eight persons,
+consisting of a monk, a peasant with a flail, a female, &c. to a lighted
+taper on a candelabrum placed in the middle of the print; on the other
+side, a group of thirteen or fourteen persons, preceded by one who is
+looking into a pit in which is the word PLATO. Over his head is inscribed
+ARISTOTELES; he is followed by a pope, a bishop, monks, &c. &c.
+
+2. Another oblong wood engraving, 6-1/2 inches by 2-1/2, in two
+compartments, divided by a pillar. In one, the Judgment of Solomon; in the
+other, Christ and the woman taken in adultery; he writes something on the
+ground with his finger. It has the date 1539.
+
+3. Another, size as No. 2. An emperor is sitting in a court of justice
+with several spectators attending some trial. This is doubtful.
+
+4. Another oblong print, 10-1/2 inches by 3, and in two compartments. 1.
+David prostrate before the Deity in the clouds, accompanied by Manasses
+and a youth, over whom is inscribed OFFEN SVNDER. 2. A pope on a throne
+delivering some book, perhaps letters of indulgence, to a kneeling monk.
+This very beautiful print has been called "The Traffic of Indulgences,"
+and is minutely and correctly described by Jansen.[107]
+
+5. A print, 12 inches by 6, representing a combat in a wood between
+several naked persons and a troop of peasants armed with instruments of
+husbandry. Below on the left, the letters [monogram: H =N=]. Annexed are
+two tablets, one of which is inscribed HANS LEVCZELLBVRGER FVRMSCHNIDER;
+on the other is an alphabet. Jansen has also mentioned this print.[108]
+Brulliot describes a copy of it in the cabinet of prints belonging to the
+King of Bavaria, in which, besides the name, is the date MDXXII.[109]
+
+6. A print of a dagger or knife case, in length 9 inches. At top, a figure
+inscribed VENVS has a lighted torch in one hand and a horn in the other;
+she is accompanied by Cupid. In the middle two boys are playing, and at
+bottom three others standing, one with a helmet.
+
+7. A copy of Albert Durer's decollation of John the Baptist, with the mark
+[monogram: H L] reversed, is mentioned by Zani as certainly belonging to
+this artist.[110] In the index of names, he says, he finds his name thus
+written HANNS LVTZELBVRGER FORMSCHNIDER GENANT (chiamato) FRANCK, and
+calls him the true prince of engravers on wood.
+
+8. An alphabet with a Dance of Death, the subjects of which, with a few
+exceptions, are the same as those in the other Dance; the designs,
+however, occasionally vary. In delicacy of drawing, in strength of
+character and in skill as to engraving they may be justly pronounced
+superior to every thing of the kind, and their excellence will probably
+remain a long time unrivalled. The figures are so small as almost to
+require the aid of lenses, the size of each letter being only an inch
+square. Zani had seen and admired this alphabet at Dresden.[111]
+
+9. Another alphabet by the same artists. It is a Dance of Peasants,
+intermixed with other subjects, some of which are not of the most delicate
+nature. They are smaller than the letters in the preceding article, and
+are probably connected in point of design with the Dance of Peasants that
+Holbein is said to have painted at Basle.
+
+10. Another alphabet, also by the same artists. This is in all respects
+equal in beauty and merit to the others, and exhibits groups of boys in
+the most amusing and playful attitudes and employments. The size of the
+letters is little more than half an inch square. These children much
+resemble those which Holbein probably added to the later editions of the
+Lyons engravings.[112]
+
+The proofs of the above alphabets, may have been deposited by Lutzenberger
+in the public library of his native city. Whether they were cut on wood or
+on metal may admit of a doubt; but there is reason to believe that the old
+printers and type-cutters occasionally used blocks of metal instead of
+wood for their figured initial letters, and the term _formschneider_
+equally applies to those who engraved in relief on either of those
+materials. Nothing can exceed the beauty and spirit of the design in these
+alphabets, nor the extreme delicacy and accurate minuteness of the
+engraving.
+
+The letters in these respective alphabets were intended for the use of
+printers, and especially those of Basle, as Cratander, Bebelius, and
+Isingrin. Copies and imitations of them are to be found in many books
+printed at Zurich, Strasburg, Vienna, Augsburg, Frankfort, &c. and a few
+even in books printed at London by Waley, Purslowe, Marsh, and Nicholson,
+particularly in a quarto edition of Coverdale's Bible, if printed in the
+latter city; and one of them, a capital A, is in an edition of Stowe's
+Survey of London, 1618, 4to.
+
+There is an unfortunate ambiguity connected with the marks that are found
+on ancient engravings in wood, and it has been a very great error on the
+part of all the writers who treat on such engravings, in referring the
+marks that accompany them to the block-cutters, or as the Germans properly
+denominate them the _formschneiders_, whilst, perhaps, the greatest part
+of them really belong to the designers, as is undoubtedly the case with
+respect to Albert Durer, Hans Schaufelin, Jost Amman, Tobias Stimmer, &c.
+It may be laid down as a rule that there is no certainty as to the marks
+of engravers, except where they are accompanied with some implement of
+their art, especially a graving tool. Where the designer of the subject
+put his mark on the drawing which he made on, or for, the block, the
+engraver would, of course, copy it. Sometimes the marks of both designer
+and engraver are found on prints, and in these cases the ambiguity is
+consequently removed.
+
+
+
+
+CHAPTER VIII.
+
+    _List of several editions of the Lyons work on the Dance of Death,
+    with the mark of Lutzenberger.--Copies of them on wood.--Copies on
+    copper by anonymous artists.--By Wenceslaus Hollar.--Other anonymous
+    artists.--Nieuhoff Picard.--Rusting.--Mechel.--Crozat's
+    drawings.--Deuchar.--Imitations of some of the subjects._
+
+
+I.
+
+"Les Simulachres et historiées faces de la Mort, autant elegamment
+pourtraictes, que artificiellement imaginées. A Lyon, Soubz l'escu de
+Coloigne, MDXXXVIII." At the end "Excudebant Lugduni Melchior et Gaspar
+Trechsel fratres, 1538," 4to. On this title-page is a cut of a
+triple-headed figure crowned with wings, on a pedestal, over which a book
+with [Greek: GNÔTHI SEAUTON]. Below, two serpents and two globes, with
+"usus me genuit." This has, 1. A dedication to Madame Jehanne de Touszele.
+2. Diverses tables de mort, non painctes, mais extraictes de l'escripture
+saincte, colorées par Docteurs Ecclesiastiques, et umbragées par
+philosophes. 3. Over each print, passages from scripture, allusive to the
+subject, in Latin, and at bottom the substance of them in four French
+verses. 4. Figures de la mort moralement descriptes et depeinctes selon
+l'authorité de l'scripture, et des Sainctz Peres. 5. Les diverses mors des
+bons, et des maulvais du viel, et nouveau testament. 6. Des sepultures des
+justes. 7. Memorables authoritez, et sentences des philosophes, et
+orateurs Payens pour conformer les vivans à non craindre la mort. 7. De la
+necessite de la mort qui ne laisse riens estre par durable." With
+forty-one cuts. This may be safely regarded as the first edition of the
+work. There is nothing in the title page that indicates any preceding one.
+
+II. "Les Simulachres et historiées faces de la mort, contenant la Medecine
+de l'ame, utile et necessaire non seulement aux malades mais à tous qui
+sont en bonne disposition corporelle. D'avantage, la forme et maniere de
+consoler les malades. Sermon de sainct Cecile Cyprian, intitulé de
+Mortalité. Sermon de S. Jan Chrysostome, pour nous exhorter à patience:
+traictant aussi de la consommation de ce siecle, et du second advenement
+de Jesus Christ, de la joye eternelle des justes, de la peine et damnation
+des mauvais, et autres choses necessaires à un chascun chrestien, pour
+bien vivre et bien mourir. A Lyon, à l'escu de Coloigne, chez Jan et
+François Frellon freres," 1542, 12mo. With forty-one cuts. Then a moral
+epistle to the reader, in French. The descriptions of the cuts in Latin
+and French as before, and the pieces expressed in the title page.
+
+III. "Imagines Mortis. His accesserunt, Epigrammata, è Gallico idiomate à
+Georgio Æmylio in Latinum translata. Ad hæc, Medicina animæ, tam iis qui
+firma, quàm qui adversa corporis valetudine præditi sunt, maximè
+necessaria. Ratio consolandi ob morbi gravitatem periculosè decumbentes.
+Quæ his addita sunt, sequens pagina commonstrabit. Lugduni, sub scuto
+Coloniensi, 1545." With the device of the crab and the butterfly. At the
+end, "Lugduni Excudebant Joannes et Franciscus Frellonii fratres," 1545,
+12mo. The whole of the text is in Latin, and translated, except the
+scriptural passages, from the French, by George Æmylius, as he also states
+in some verses at the beginning; but several of the mottoes at bottom are
+different and enlarged. It has forty-two cuts, the additional one,
+probably not by the former artist, being that of the beggar sitting on the
+ground before an arched gate: extremely fine, particularly the beggar's
+head. This subject has no connection with the Dance of Death, and is
+placed in another part of the volume, though in subsequent editions
+incorporated with the other prints. The "Medicina animæ" is very different
+from the French one. There is some reason for supposing that the Frellons
+had already printed an edition with Æmylius's text in 1542. This person
+was an eminent German divine of Mansfelt, and the author of many pious
+works. In the present edition the first cut of the creation exhibits a
+crack in the block from the top to the bottom, but it had been in that
+state in 1543, as appears from an impression of it in Holbein's Bible of
+that date. It is found so in all the subsequent editions of the present
+work, with the exception of those in Italian of 1549 and in the Bible of
+1549, in which the crack appears to have been closed, probably by
+cramping; but the block again separated afterwards.
+
+This edition is of some importance with respect to the question as to the
+priority of the publication of the work in France or Germany, or, in other
+words, whether at Lyons or Basle. It is accompanied by some lines
+addressed to the reader, which begin in the following manner:
+
+  Accipe jucundo præsentia carmina vultu,
+    Seu Germane legis, sive ea Galle legis:
+  In quibus extremæ qualis sit mortis imago
+    Reddidit imparibus Musa Latina modis
+  _Gallia quæ dederat lepidis epigrammata verbis
+    Teutona convertens est imitata manus._
+  Da veniam nobis doctissime Galle, videbis
+    Versibus appositis reddita si qua parum.
+
+Now, had the work been originally published in the German language,
+Æmylius, himself a German, would, as already observed, scarcely have
+preferred a French text for his Latin version. This circumstance furnishes
+likewise, an argument against the supposed existence of German verses at
+the bottom of the early impressions of the cuts already mentioned.
+
+A copy of this edition, now in the library of the British Museum, was
+presented to Prince Edward by Dr. William Bill, accompanied with a Latin
+dedication, dated from Cambridge, 19 July, 1546, wherein he recommends the
+prince's attention to the figures in the book, in order to remind him that
+all must die to obtain immortality; and enlarges on the necessity of
+living well. He concludes with a wish that the Lord will long and happily
+preserve his life, and that he may finally reign to all eternity with his
+_most Christian father_. Bill was appointed one of the King's chaplains in
+ordinary, 1551, and was made the first Dean of Westminster in the reign of
+Elizabeth.
+
+IV. "Imagines Mortis. Duodecim imaginibus præter priores, totidemque
+inscriptionibus præter epigrammata è Gallicis à Georgio Æmylio in Latinum
+versa, cumulatæ. Quæ his addita sunt, sequens pagina commonstrabit.
+Lugduni sub scuto Coloniensi, 1547." With the device of the crab and
+butterfly. At the end, "Excudebat Joannes Frellonius, 1547," 12mo. This
+edition has twelve more cuts than those of 1538 and 1542, and eleven more
+than that of 1545, being, the soldier, the gamblers, the drunkards, the
+fool, the robber, the blind man, the wine carrier, and four of boys. In
+all fifty-three. Five of the additional cuts have a single line only in
+the frames, whilst the others have a double one. All are nearly equal in
+merit to those which first appeared in 1538.
+
+V. "Icones Mortis, Duodecim imaginibus præter priores, totidemque
+inscriptionibus, præter epigrammata è Gallicis à Georgio Æmylio in Latinum
+versa, cumulatæ. Quæ his addita sunt, sequens pagina commonstrabit,
+Lugduni sub scuto Coloniensi, 1547." 12mo. At the end, Excudebat Johannes
+Frellonius, 1547. This edition contains fifty-three cuts, and is precisely
+similar to the one described immediately before, except that it is
+entitled _Icones_, instead of _Imagines_ Mortis.
+
+VI. "Les Images de la Mort. Auxquelles sont adjoustées douze figures.
+Davantage, la medecine de l'ame, la consolation des malades, un sermon de
+mortalité, par Sainct Cyprian, un sermon de patience, par Sainct Jehan
+Chrysostome. A Lyon. A l'escu de Cologne, chez Jehan Frellon, 1547." With
+the device of the crab and butterfly. At the end, "Imprimé a Lyon à l'escu
+de Coloigne, par Jehan Frellon, 1547. 12mo." The verses at bottom of the
+cuts the same as in the edition of 1538, with similar ones for the
+additional. In all, fifty-three cuts.
+
+VII. "Simolachri historie, e figure de la morte. La medicina de l'anima.
+Il modo, e la via di consolar gl'infermi. Un sermone di San Cipriano, de
+la mortalità. Due orationi, l'un a Dio, e l'altra à Christo. Un sermone di
+S. Giovan. Chrisostomo, che ci essorta à patienza. Aiuntovi di nuovo molte
+figure mai piu stampate. In Lyone appresso Giovan Frellone MDXLIX." 12mo.
+With the device of the crab and butterfly. At the end, the same device on
+a larger scale in a circle. Fifty-three cuts. The scriptural passages are
+in Latin. To this edition Frellon has prefixed a preface, in which he
+complains of a pirated copy of the work in Italian by a printer at Venice,
+which will be more particularly noticed hereafter. He maintains that the
+cuts in this spurious edition are far less beautiful than the _French_
+ones, and this passage goes very far in aid of the argument that they are
+not of German origin. Frellon, by way of revenge, and to save the trouble
+of making a new translation of the articles that compose the volume, makes
+use of that of his Italian competitor.
+
+VIII. "Icones Mortis. Duodecim Imaginibus præter priores, totidemque
+inscriptionibus, præter epigrammata è Gallicis à Georgio Æmylio in Latinum
+versa, cumulatæ. Quæ his addita sunt, sequens pagina commonstrabit.
+Basileæ, 1554. 12mo." With fifty-three cuts. It would not be very easy to
+account for the absence of the name of the Basle printer.
+
+IX. "Les Images de la Mort, auxquelles sont adjoustees dix sept figures.
+Davantage, la medecine de l'ame. La consolation des malades. Un sermon de
+mortalité, par Saint Cyprian. Un sermon de patience, par Saint Jehan
+Chrysostome. A Lyon, par Jehan Frellon, 1562." With the device of the crab
+and butterfly. At the end, "A Lyon, par Symphorien Barbier," 12mo. This
+edition has five additional cuts, viz. 1. A group of boys, as a triumphal
+procession, with military trophies. 2. The bride; the husband plays on a
+lute, whilst Death leads the wife in tears. 3. The bridegroom led by Death
+blowing a trumpet. Both these subjects are appropriately described in the
+verses below. 4. A group of boy warriors, one on horseback with a
+standard. 5. Another group of boys with drums, horns, and trumpets. These
+additional cuts are designed and engraved in the same masterly style as
+the others, but it is now impossible to ascertain the artists who have
+executed them. From the decorations to several books published at Lyons it
+is very clear that there were persons in that city capable of the task.
+Holbein had been dead eight years, after a long residence in London.
+
+Du Verdier, in his Bibliothèque Françoise, mentions this edition, and adds
+that it was translated from the French into Latin, Italian, Spanish,
+German, and English;[113] a statement that stands greatly in need of
+confirmation as to the last three languages, but this writer, on too many
+occasions, deserves but small compliment for his accuracy.
+
+X. "Imagines Mortis: item epigrammata è Gall. à G. Æmilio in Latinum
+versa. Lugdun. Frellonius, 1574." 12mo.[114]
+
+XI. In 1654 a Dutch work appeared with the following title, "De Doodt
+vermaskert met swerelts ydelheyt afghedaen door G. V. Wolsschaten,
+verciert met de constighe Belden vanden maerden Schilder Hans Holbein.
+_i. e._ Death masked, with the world's vanity, by G. V. Wolsschaten,
+ornamented with the ingenious images of the famous painter Hans Holbein.
+T'Antwerpen, by Petrus Bellerus." This is on an engraved frontispiece of
+tablet, over which are spread a man's head and the skin of two arms
+supported by two Deaths blowing trumpets. Below, a spade, a pilgrim's
+staff, a scepter, and a crosier, with a label, on which is "sceptra
+ligonibus æquat." Then follows another title-page, with the same words,
+and the addition of Geeraerdt Van Wolsschaten's designation, "Prevost van
+sijne conincklijcke Majesteyts Munten des Heertoogdoms van Brabant, &c.
+MDCLIV." 12mo. The author of the text, which is mixed up with poetry and
+historical matter, was prefect of the mint in the Duchy of Brabant.[115]
+This edition contains eighteen cuts, among which the following subjects
+are from the original blocks. 1. Three boys. 2. The married couple. 3. The
+pedlar. 4. The shipwreck. 5. The beggar. 6. The corrupt judge. 7. The
+astrologer. 8. The old man. 9. The physician. 10. The priest with the
+eucharist. 11. The monk. 12. The abbess. 13. The abbot. 14. The duke. Four
+others, viz. the child, the emperor, the countess, and the pope, are
+copies, and very badly engraved. The blocks of the originals appear to
+have fallen into the hands of an artist, who probably resided at Antwerp,
+and several of them have his mark, [monogram: SA], concerning which more
+will be said under one of the ensuing articles. As many engravings on wood
+by this person appeared in the middle of the sixteenth century, it is
+probable that he had already used these original blocks in some edition of
+the Dance of Death that does not seem to have been recorded. There are
+evident marks of retouching in these cuts, but when they first appeared
+cannot now be ascertained. The mark might have been placed on them, either
+to denote ownership, according to the usual practice at that time, or to
+indicate that they had been repaired by that particular artist.
+
+All these editions, except that of 1574, have been seen and carefully
+examined on the present occasion: the supposed one of 1530 has not been
+included in this list, and remains to be seen and accurately described, if
+existing, by competent witnesses.
+
+Papillon, in his Traité de la gravure en bois, has given an elaborate,
+but, as usual with him, a very faulty description of these engravings. He
+enlarges on the beauty of the last cut with the allegorical coat of arms,
+and particularly on that of the gentleman whose right hand he states to be
+placed on its side, whilst it certainly is extended, and touches with the
+back of it the mantle on which the helmet and shield of arms are placed.
+He errs likewise in making the female look towards a sort of dog's head,
+according to him, under the mantle and right hand of her husband, which,
+he adds, might be taken for the pummell of his sword, and that she fondles
+this head with her right hand, &c. not one word of which is correct. He
+says that a good impression of this print would be well worth a Louis d'or
+to an amateur. He appears to have been in possession of the block
+belonging to the subject of the lovers preceded by Death with a drum; but
+it had been spoiled by the stroke of a plane.
+
+
+COPIES OF THE ABOVE DESIGNS, AND ENGRAVED ALSO ON WOOD.
+
+I. At the head of these, in point of merit, must be placed the Italian
+spurious edition mentioned in No. VII. of the preceding list. It is
+entitled "Simolachri historie, e figure de la morte, ove si contiene la
+medicina de l'anima utile e necessaria, non solo à gli ammalati, ma tutte
+i sani. Et appresso, il modo, e la via di consolar gl'infermi. Un sermone
+di S. Cipriano, de la mortalità. Due orationi, l'una a Dio, e l'altra à
+Christo da dire appresso l'ammalato oppresso da grave infermitá. Un
+sermone di S. Giovan Chrisostomo, che ci essorta à patienza; e che tratta
+de la consumatione del secolo presente, e del secondo avenimento di Jesu
+Christo, de la eterna felicita de giusti, de la pena e dannatione de rei;
+et altre cose necessarie à ciascun Christiano, per ben vivere, e ben
+morire. Con gratia e privilegio de l'illustriss. Senato Vinitiano, per
+anni dieci. Appresso Vincenzo Vaugris al segno d'Erasmo, MDXLV." 12mo.
+With a device of the brazen serpent, repeated at the end. It has all the
+cuts in the genuine edition of the same date, except that of the beggar at
+the gate. It contains a very moral dedication to Signor Antonio Calergi by
+the publisher Vaugris or Valgrisi; in which, with unjustifiable
+confidence, he enlarges on the great beauty of the work, the cuts in which
+are, in his estimation, not merely equal, but far superior to those in the
+French edition in design and engraving. They certainly approach the
+nearest to the fine originals of all the imitations, but will be found on
+comparison to be inferior. The mark [monogram: HL] on the cut of the
+duchess sitting up in bed, with the two Deaths, one of whom is fiddling,
+whilst the other pulls at the clothes, is retained, but this could not be
+with a view to pass these engravings as originals, after what is stated in
+the dedication. An artist's eye will easily perceive the difference in
+spirit and decision of drawing. In the ensuing year 1546, Valgrisi
+republished this book in Latin, but without the dedication, and there are
+impressions of them on single sheets, one of which has at the bottom, "In
+Venetia, MDLXVIII. Fra. Valerio Faenzi Inquis. Apreso Luca Bertelli." So
+that they required a license from the Inquisition.
+
+II. In the absence of any other Italian editions of the "Simolachri," it
+is necessary to mention that twenty-four of the last-mentioned cuts were
+introduced in a work of extreme rarity, and which has escaped the notice
+of bibliographers, intitled "Discorsi Morali dell' eccell. Sig. Fabio
+Glissenti contra il dispiacer del morire. Detto Athanatophilia Venetia,
+1609." 4to. These twenty-four were probably all that then remained; and
+five others of subjects belonging also to the "Simolachri," are inserted
+in this work, but very badly imitated, and two of them reversed. In the
+subject of the Pope there is in the original a brace of grotesque devils,
+one of which is completely erased in Glissenti, and a plug inserted where
+the other had been scooped out. A similar rasure of a devil occurs in the
+subject of the two rich men in conversation, the demon blowing with a
+bellows into his ear, whilst a poor beggar in vain touches him to be
+heard. Besides these cuts, Glissenti's work is ornamented with a great
+number of others, connected in some way or other with the subject of
+Death, which the author discusses in almost every possible variety of
+manner. He appears to have been a physician, and an exceedingly pious man.
+His portrait is prefixed to every division of the work, which consists of
+five dialogues.
+
+III. In an anonymous work, intitled "Tromba sonora per richiamar i morti
+viventi dalla tomba della colpa alla vita della gratia. In Venetia, 1670."
+8vo. Of which there had already been three editions; there are six of the
+prints from the originals, as in the "Simolachri," &c. No. I. and a few
+others, the same as the additional ones to Glissenti's work.
+
+In another volume, intitled "Il non plus ultra di tutte le scienze
+ricchezze honori, e diletti del mondo, &c. In Venetia, 1677." 24mo. There
+are twenty-five of the cuts as in the Simolachri, and several others from
+those added to Glissenti.
+
+IV. A set of cuts which do not seem to have belonged to any work. They are
+very close copies of the originals. On the subject of the Duchess in bed,
+the letter [monogram: S] appears on the base of one of the pillars or
+posts, instead of the original [monogram: HL], and it is also seen on the
+cut of the soldier pierced by the lance of Death. Two have the date 1546.
+In that of the monk, whom, in the original, Death seizes by the cowl or
+hood, the artist has made a whimsical alteration, by converting the hood
+into a fool's cap with bells and asses' ears, and the monk's wallet into a
+fool's bauble. It is probable that he was of the reformed religion.
+
+V. "Imagines Mortis, his accesserunt epigrammata è Gallico idiomate à
+Georgio Æmylio in Latinum translata, &c. Coloniæ apud hæredes Arnoldi
+Birckmanni, anno 1555. 12mo." With fifty-three cuts. This may be regarded
+as a surreptitious edition of No. IV. of the originals by [monogram: HL]
+p. 106. The cuts are by the artist mentioned in No. IX. of those
+originals, whose mark is [monogram: SA] which is here found on five of
+them. They are all reversed, except the nobleman; and although not devoid
+of merit, they are not only very inferior to the fine originals, but also
+to the Italian copies in No. I. The first two subjects are newly designed;
+the two Devils in that of the Pope are omitted, and there are several
+variations, always for the worse, in many of the others, of which a
+tasteless example is found in that of Death and the soldier, where the
+thigh bone, as the very appropriate weapon of Death, is here converted
+into the common-place dart. The mark [monogram: HL] in the original cut of
+the Duchess in bed, is here omitted, without the substitution of any
+other. This edition was republished by the same persons, without any
+variation, successively in 1557, 1566, 1567, and 1573.[116]
+
+Papillon, in his "Traité sur la gravure en bois,"[117] when noticing the
+above-mentioned mark, has, amidst the innumerable errors that abound in
+his otherwise curious work, been led into a mistake of an exceedingly
+ludicrous nature, by converting the owner of the mark into a cardinal. He
+had found it on the cuts to an edition of Faerno's fables, printed at
+Antwerp, 1567, which is dedicated to Cardinal Borromeo by Silvio
+Antoniano, professor of Belles Lettres at Rome, afterwards secretary to
+Pope Pius IV. and at length himself a Cardinal. He was the editor of
+Faerno's work. Another of Papillon's blunders is equally curious and
+absurd. He had seen an edition of the Emblems of Sambucus, with cuts,
+bearing the mark [monogram: SA] in which there is a fine portrait of the
+author with his favourite dog, and under the latter the word BOMBO, which
+Papillon gravely states to be the name of the engraver; and finding the
+same word on another of the emblems which has also the dog, he concludes
+that all the cuts which have not the [monogram: SA] were engraved by the
+same BOMBO. Had Papillon, a good artist in his time, but an ignorant man,
+been able to comprehend the verses belonging to that particular emblem, he
+would have seen that the above word was merely the name of the dog, as
+Sambucus himself has declared, whilst paying a laudable tribute to the
+attachment of the faithful companion of his travels. Brulliot, in his
+article on the mark [monogram: SA][118] has mentioned Papillon's ascription
+of it to Silvio Antoniano, but without correcting the blunder, as he ought
+to have done. This monogram appears on five of the cuts to the present
+edition of the "Imagines Mortis;" but M. De Murr and his follower Janssen,
+are not warranted in supposing the rest of them to have been engraved by a
+different artist.
+
+It will perhaps not be deemed an unimportant digression to introduce a few
+remarks concerning the owner of the above monogram. It is by no means
+clear whether he was a designer or an engraver, or even both. There is a
+chiaroscuro print of a group of saints, engraved by Peter Kints, an
+obscure artist, with the name of Antony Sallaerts at length, and the mark.
+Here he appears as a designer. M. Malpé, the Besançon author of "Notices
+sur les graveurs," speaks of Sallaerts as an excellent painter, born at
+Brussels about 1576, which date cannot possibly apply to the artist in
+question; but at the same time, he adds, that he is said to have engraved
+on wood the cuts in a little catechism printed at Antwerp that have the
+monogram [monogram: SA]. These are certainly very beautiful, in accordance
+with many others with the same mark, and very superior in design to those
+which have it in the "Imagines Mortis." M. Malpé has also an article for
+Antony Silvyus or Silvius, born at Antwerp about 1525, and he mentions
+several books with engravings and the mark in question, which he gives to
+the same person. M. Brulliot expresses a doubt as to this artist; but it
+is very certain there was a family of that name, and surnamed, or at least
+sometimes called, Bosche or Bush, which indeed is more likely to have been
+the real Flemish name Latinized into Silvius. Foppens[119] has mentioned
+an Antony Silvius, a schoolmaster at Antwerp, in 1565, and several other
+members of this family. Two belonging to it were engravers, and another a
+writing master.
+
+Whether the artist in question was a Sallaerts or a Silvius, it is certain
+that Plantin, the celebrated printer, employed him to decorate several of
+his volumes, and it is to be regretted that an unsuccessful search has
+been made for him in Plantin's account books, that were not long since
+preserved, with many articles belonging to him, in his house at Antwerp.
+His mark also appears in several books printed in England during the reign
+of Elizabeth, and particularly on a beautiful set of initial letters, some
+of which contain the story of Cupid and Psyche, from the supposed designs
+by Raphael, and other subjects from Ovid's Metamorphoses: these have been
+counterfeited, and perhaps in England. The initial [monogram: G], in this
+alphabet, with the subject of Leda and the swan, was inadvertently
+prefixed to the sacred name at the beginning of St. Paul's Epistle to the
+Hebrews in the Bishop's Bible, printed by Rd. Jugge in 1572, and in one of
+his Common Prayer Books. An elegant portrait of Edward VI. with the mark
+[monogram: SA] is likewise on Jugge's edition of the New Testament, 1552,
+4to. and there is reason to believe that Jugge employed this artist, as
+the same monogram appears on a cut of his device of the pelican.
+
+VI. In the German volume, the title of which is already given in the first
+article of the engravings from the Basle painting,[120] there are
+twenty-nine subjects belonging to the present work; the rest relating to
+the Basle dance, except two or three that are not in either of them. These
+have fallen into the hands of a modern bookseller, but there can be no
+doubt that there were other editions which contained the whole set. The
+most of them have the letters [monogram: G. S.] with the graving tool, and
+one has the date 1576. The name of this artist is unknown; but M. Bartsch
+has mentioned several other engravings by him, omitting, however, the
+present, which, it is to be observed, sometimes vary in design from the
+originals.
+
+VII. "Imagines Mortis illustratæ epigrammatis Georgii Æmylii theol.
+doctoris. Fraxineus Æmylio Suo. Criminis ut poenam mortem mors sustulit
+una: sic te immortalem mortis imago facit." With a cut of Death and the
+old man. This is the middle part only of a work, intitled "Libellus
+Davidis Chytræi de morte et vita æterna. Editio postrema; cui additæ sunt
+imagines mortis, illustrata Epigrammatis D. Georgio Æmylio, Witebergæ.
+Impressus à Matthæo Welack, anno MDXC." 12mo. The cuts, fifty-three in
+number, are, on the whole, tolerably faithful, but coarsely engraved. In
+the subject of the Pope the two Devils are omitted, and, in that of the
+Counsellor, the Demon blowing with a bellows into his ear is also wanting.
+Some have the mark [monogram: cross], and one that of [monogram: W] with a
+knife or graving tool.
+
+VIII. "Todtentanz durch alle stendt der menschen, &c. furgebildet mit
+figuren. S. Gallen, 1581." 4to. See Janssen, Essai sur l'origine de la
+gravure, i. 122, who seems to make them copies of the originals.
+
+IX. The last article in this list of the old copies, though prior in date
+to some of the preceding, is placed here as differing materially from them
+with respect to size. It is a small folio, with the following title,
+"Todtentantz,
+
+  Das menschlichs leben anders nicht
+    Dann nur ain lauff zum Tod
+  Und Got ain nach seim glauben richt
+    Dess findstu klaren tschaid
+  O Mensch hicrinn mit andacht lisz
+    Und fassz zu hertzen das
+  So wirdsttu Ewigs hayls gewisz
+    Kanst sterben dester bas.
+
+  MDXLIIII.
+
+  Desine longævos exposcere sedulus annos
+    Inque bonis multos annumerare dies
+  Atque hodie, fatale velit si rumpere filum
+    Atropos, impavido pectore disce mori."
+
+At the end, "Gedruckt inn der kaiserlichen Reychstatt Augspurg durch Jobst
+Denecker Formschneyder." This edition is not only valuable for its extreme
+rarity, but for the very accurate and spirited manner in which the fine
+original cuts are copied. It contains all the subjects that were then
+published, but not arranged as those had been. It has the addition of one
+singular print, intitled "Der Eebrecher," _i. e._ the Adulterer,
+representing a man discovering the adulterer in bed with his wife, and
+plunging his sword through both of them, Death guiding his hands. On the
+opposite page to each engraving there is a dialogue between Death and the
+party, and at bottom a Latin hexameter. The subject of the Pleader has the
+unknown mark [monogram], and on that of the Duchess in bed, there is the
+date 1542. From the above colophon we are to infer that Dennecker, or as
+he is sometimes, and perhaps more properly, called De Necker or De Negher,
+was the engraver, as he is known to have executed many other engravings on
+wood, especially for Hans Schaufelin, with whom he was connected. He was
+also employed in the celebrated triumph of Maximilian, and in a collection
+of saints, to whom the family of that emperor was related.
+
+X. "Emblems of Mortality, representing, in upwards of fifty cuts, Death
+seizing all ranks and degrees of people, &c. Printed for T. Hodgson, in
+George's Court, St. John's Lane, Clerkenwell, 1789. 12mo." With an
+historical essay on the subject, and translations of the Latin verses in
+the Imagines Mortis, by John Sidney Hawkins, esq. The cuts were engraved
+by the brother of the celebrated Bewick, of Newcastle-upon-Tyne, and a
+pupil of Hodgson, who was an engraver on wood of some merit at that time.
+They are but indifferently executed, but would have been better had the
+artist been more liberally encouraged by the master, who was the publisher
+on his own account, Mr. Hawkins very kindly furnishing the letter-press.
+They are faithful copies of all the originals, except the first, which,
+containing a figure of the Deity habited as a Pope, was scrupulously
+exchanged for another design. A frontispiece is added, representing Death
+leading up all classes of men and women.
+
+XI. "The Dance of Death of the celebrated Hans Holbein, in a series of
+fifty-two engravings on wood by Mr. Bewick, with letter-press
+illustrations.
+
+                  What's yet in this
+  That bears the name of life? Yet in this life
+  Lie hid more thousand Deaths: yet Death we fear,
+  That makes these odds all even.
+                                  SHAKSPEARE.
+
+London. William Charlton Wright." 12mo. With a frontispiece, partly copied
+from that in the preceding article, a common-place life of Holbein, and an
+introduction pillaged verbatim from an edition with Hollar's cuts,
+published by Mr. Edwards. The cuts, with two or three exceptions, are
+imitated from the originals, but all the human figures are ridiculously
+modernised. The text to the subjects is partly descriptions in prose, and
+partly Mr. Hawkins's verses, and the cuts, if Bewick's, very inferior to
+those in his other works.
+
+XII. "Emblems of Mortality, representing Death seizing all ranks and
+degrees of people. Imitated in a series of wood cuts from a painting in
+the cemetery of the Dominican church at Basil in Switzerland, with
+appropriate texts of scripture, and a poetical apostrophe to each, freely
+translated from the Latin and French. London. Printed for Whittingham and
+Arliss, juvenile library, Paternoster-row." 12mo. The frontispiece and the
+rest of the cuts, with two exceptions, from the same blocks as those used
+for the last-mentioned edition. The preface, with very slight variation,
+is abridged from that by Mr. Hawkins in No. VIII. and the descriptive
+verses altogether the same as those in that edition. Both the last
+articles seem intended for popular and juvenile use. It will be
+immediately perceived that the title page is erroneous in confounding the
+Basle Dance of Death with that in the volume itself.
+
+XIII. The last in this list is "Hans Holbein's Todtentanz in 53 getreu
+nach den holtz schnitten lithographirten Blattern. Herausgegeben von J.
+Schlotthauer, K. Professor. Mit erklärendem Texte. Munschen, 1832. Auf
+kosten des Herausgebers," 12mo. or, "Hans Holbein's Dance of Death in
+fifty-three lithographic leaves, faithfully taken from wood engravings.
+Published by J. Schlotthauer, royal professor, with explanatory text.
+Munich, 1832. At the cost of the editors." This work is executed in so
+beautiful and accurate a manner that it might easily be mistaken for the
+wood originals.
+
+The professor has substituted German verses, communicated by a friend,
+instead of the former Latin ones. He states that the subject will be taken
+up by Professor Massman, of Munich, whose work will satisfy all enquiries
+relating to it. Massman, however, has added to this volume a sort of
+explanatory appendix, in which some of the editions are mentioned. He
+thinks it possible that the cholera may excite the same attention to this
+work as the plague had formerly excited to the old Macaber Dance at Basle,
+and concludes with a promise to treat the subject more at large at some
+future time.
+
+
+COPIES OF THE SAME DESIGNS, ENGRAVED IN COPPER.
+
+I. "Todten Dantz durch alle stande und Beschlecht der Menschen, &c."
+_i. e._ "Death's Dance through all ranks and conditions of men." This
+title is on a frontispiece representing a gate of rustic architecture, at
+the top of which are two boy angels with emblems of mortality between
+them, and underneath are the three Fates. At the bottom, Adam and Eve with
+the tree of knowledge, each holding the apple presented by the serpent.
+Between them is a circular table, on which are eight sculls of a Pope,
+Emperor, Cardinal, &c. with appropriate mottoes in Latin. On the outer
+edge of the table STATVTVM EST OMNIBVS HOMINIBVS SEMEL MORI POST HOC AVTEM
+IVDICIVM. In the centre the letters MVS, the terminating syllable of each
+motto. Before the gate are two pedestals, inscribed MEMENTO MORI and
+MEMORARE NOVISSIMA, on which stand figures of Death supporting two
+pyramids or obelisks surmounted with sculls and a cross, and inscribed
+ITER AD VITAM. Below, "Eberh. Kieser excudit." This frontispiece is a copy
+of a large print engraved on wood long before. Without date, in quarto.
+
+The work consists of sixty prints within borders of flowers, &c. in the
+execution of which two different and anonymous artists have been employed.
+At the top of each print is the name of the subject, accompanied with a
+passage from scripture, and at the bottom three couplets of German verses.
+Most of the subjects are copied from the completest editions of the Lyons
+cuts, with occasional slight variations. They are not placed in the same
+order, and all are reversed, except Nos. 57 and 60. No. 12 is not
+reversed, but very much altered, a sort of duplicate of the Miser. No. 50,
+the Jew, and No. 51, the Jewess, are entirely new. The latter is sitting
+at a table, on which is a heap of money, and Death appears to be giving
+effective directions to a demon to strangle her. No. 52 is also new. A
+castle within a hedge. Death enters one of the windows by a ladder, whilst
+a woman looks out of another.[121] The subject is from Jeremiah, ch. ix.
+v. 21. "Death is come up into our windows, &c." In the subject of the
+Pope, the two Devils are omitted. Two military groups of boys, newly
+designed, are added. The following are copies from Aldegrever, Nos. 1, 2,
+3, 4, 6, 11, and 12. At the beginning and end of the book there are moral
+poems in the German language.
+
+II. Another edition of the same cuts. The title-page of the copy here
+described is unfortunately lost. It has a dedication in Latin to three
+patricians of Frankfort on the Maine by Daniel Meisner à Commenthaw, Boh.
+Poet. L. C. dated, according to the Roman capitals, in a passage from
+Psalm 46, in the year 1623. This is followed by the Latin epigram, or
+address to the reader, by Geo. Æmylius, whose translations of the original
+French couplets are also given, as well as the originals themselves. These
+are printed on pages opposite to the subjects, but they are often very
+carelessly transposed. At the end the date 1623 is twice repeated by means
+of the Roman capitals in two verses from Psalms 78 and 63, the one German,
+the other Latin. 12mo.
+
+III. "Icones Mortis sexaginta imaginibus totidemque inscriptionibus
+insignitæ, versibus quoque Latinis et novis Germanicis illustratæ.
+Vorbildungen desz Todtes. In sechtzig figuren durch alle Stande und
+Geschlechte, derselbigen nichtige Sterblichkeit furzuweisen, aus gebruckt,
+und mit so viel ubors schriffren, auch Lateinischen und neuen Teutschen
+Verszlein erklaret. Durch Johann Vogel. Bey Paulus Fursten Kunsthandlern
+zu finden." On the back of this printed title is an engraving of a hand
+issuing from the clouds and holding a pair of scales, in one of which is a
+scull, in the other a Papal tiara, sceptre, &c. weighing down the scull.
+On the beam of the scales an hour glass and an open book with Arabic
+numerals. In the distance, at bottom, is seen a traveller reposing in a
+shed. Above is a label, inscribed "Metas et tempora libro," and below,
+"Ich Wage ziel und zeitten ab." Then follows a neatly engraved and regular
+title-page. At top, a winged scull surmounted with an hour-glass, and
+crossed with a spade and scythe. At bottom, three figures of Death sitting
+on the ground; one of them plays on a hautboy, or trumpet, another on a
+bagpipe, and the third has a drum behind him. The middle exhibits a
+circular Dance of Death leading by the hand persons of all ranks from the
+Emperor downwards. In the centre of this circle "Toden Tantz zu finden bey
+Paulus Furst Kunst handlern," and quite at the bottom of the page, "G.
+Stra. in. A. Khol fecit." Next comes an exhortation on Death to the reader
+in Latin verse, followed by several poems in German and Latin, those in
+German signed G. P. H. Immediately afterwards, and before the first cut of
+the work is another elegantly engraved frontispiece representing an arched
+gate of stone surmounted with three sculls of a Pope, a Cardinal, and a
+King, between a vase of flowers on the right, and a pot of incense, a cock
+standing near it, on the left. On the keystone of the gate are two tilting
+lances in saltier, to which a shield and helmet are suspended. Through the
+arch is seen a chamber, in which there seems to be a bier, and near it a
+cross. On the left of the gate is a niche with a scull and bones in it.
+Below are two large figures of Death. That on the left has a wreath of
+flowers round its head, and is beating a bell with a bone. Under him is an
+owl, and on the side of his left knee a scythe. The other Death has a cap
+and feather, in his right hand an hour-glass, the left pointing to the
+opposite figure. On the ground between them, a bow, a quiver of arrows and
+a dart. On the left inner side of the gate a pot with holy water is
+suspended to a ring, the sprinkler being a bone. Further on, within the
+gate, is a flat stone, on which are several sculls and bones, a snake
+biting one of the sculls. On the right hand corner at bottom is the letter
+[monogram: A], perhaps the mark of the unknown engraver. The explanations
+on the pages opposite to each print are in German and Latin verses, the
+latter by Æmylius, with occasional variations. This edition has the sixty
+prints in the two preceding Nos. some of them having been retouched; and
+the cut of the King at table, No. 9, is by a different engraver from the
+artist of the same No. in the preceding 4to. edition, No. I. The present
+edition has also an additional engraving at the end, representing a gate,
+within which are seen several sculls and bones, other sculls in a niche,
+and in the distance a cemetery with coffins and crosses. Over the gate a
+scull on each side, and on the outer edge of the arch is the inscription,
+"Quis Rex, quis subditus hic est?" At bottom,
+
+  Hie sage wer es sagen kan     | Here let tell who may:
+  Wer konig sey? wer unterthan. | Or, which be the king? which the subject?
+                         Paulus Furst Excu.
+
+The whole of the print in a border of sculls, bones, snakes, toads, and a
+lizard. Opposite to it the date 1647 is to be gathered from the Roman
+capitals in two scriptural quotations, the one in Latin, the other in
+German, ending with this colophon, "Gedrucht zu Nuremberg durch Christoff
+Lochner. In Verlegung Paul Fursten Kunsthandlern allda." 12mo.
+
+IV. A set of engravings, 8 inches by 8, of which the subject of the
+Pedlar, only has occurred on the present occasion. Instead of the
+trump-marine, which one of the Deaths plays on in the original cut, this
+artist has substituted a violin, and added a landscape in the back-ground.
+Below are these verses:
+
+  LA MORT.
+
+  Sus? cesse ton traficq, car il fault à ceste heure
+  Que tu sente l'effort de mon dard asseré.
+  Tu as assez vescu, il est temps que tu meure,
+  Mon coup inevitable est pour toy preparé.
+
+
+  LE MARCHANT.
+
+  Et de grace pardon, arreste ta cholere.
+  Je suis pauvre marchant appaise ta rigueur.
+  Permete qu'encore un temps je vive en ceste terre:
+  Et puis tu recevras l'offrande de mon coeur.
+
+V. A set of thirty etchings by Wenceslaus Hollar, within elegant frames or
+borders designed by Diepenbecke, of which there are three varieties. The
+first of these has at the top a coffin with tapers, at bottom, Death lying
+prostrate. The sides have figures of time and eternity. At bottom, _Ab.
+Diepenbecke inv. W. Hollar fecit_. The second has at top a Death's head
+crowned with the Papal tiara; at bottom, a Death's head with cross-bones
+on a tablet, accompanied by a saw, a globe, armour, a gun, a drum, &c. On
+the sides are Hercules and Minerva. At bottom, _Ab. Diepenbecke inv. W.
+Hollar fecit, 1651_. The third has at top a Death's head, an hour-glass
+winged between two boys; at bottom, a Death's head and cross-bones on a
+tablet between two boys holding hour-glasses. On the sides, Democritus and
+Heraclitus with fools' caps. This border has no inscription below. As
+these etchings are not numbered, the original arrangement of them cannot
+be ascertained. The names of Diepenbecke and Hollar are at the bottom of
+several of the borders, &c. On the subject of the Queen is the mark
+[monogram: UH] and on three others that of [monogram: WH]. This is the
+first and most desirable state of the work, the borders having afterwards
+fallen into the hands of Petau and Van Morle, two foreign printsellers,
+whose impressions are very inferior. It has not been ascertained what
+became of these elegant additions, but the work afterwards appeared
+without them, and with the additional mark [monogram: HB] _i._ on every
+print, and intended for Holbein invenit. It is very certain that Hollar
+himself did not place this mark on the prints; he has never introduced it
+in any of his copies from Holbein, always expressing that painter's name
+in these several ways: [monogram: HH], [monogram: HHolbein] _inv._
+[monogram: HHolbein] _pinxit_, H. HOLBEIN inv. H. HOLBEIN inventor. On one
+of his portraits from the Arundel collection he has placed "[monogram:
+HHolbein] _incidit in lignum_." No copy, however, of this portrait has
+occurred in wood, and, if this be only a conjecture on the part of the
+engraver, the distance of time between the respective artists is an
+objection to its validity, though it is possible that Holbein might have
+engraved on wood, because there are prints which have all the appearance
+of belonging to him, that have his usual mark, accompanied by an engraving
+tool. There is no text to these etchings, except the Latin scriptural
+passages under each, that occur in the original editions in that language.
+As a sort of frontispiece to the work, Hollar has transferred the last cut
+of the allegorical shield of arms, supported by a lady and gentleman, to
+the beginning, with the appropriate title of MORTALIVM NOBILITAS. The
+other subjects are, 1. Adam and Eve in Paradise. 2. Their expulsion from
+Paradise. 3. Adam digging, Eve spinning. 4. The Pope. 5. The Emperor. 6.
+The Empress. 7. The Queen. 8. The Cardinal. 9. The Duke. 10. The Bishop.
+11. The Nobleman. 12. The Abbot. 13. The Abbess. 14. The Friar. 15. The
+Nun. 16. The Preacher. 17. The Physician. 18. The Soldier, or Warrior. 19.
+The Advocate. 20. The Married Couple. 21. The Duchess. 22. The Merchant.
+23. The Pedlar. 24. The Miser. 25. The Waggoner with wine casks. 26. The
+Gamesters. 27. The Old Man. 28. The Old Woman. 29. The Infant. Of these,
+Nos. 1, 5, 6, 8, 9, 13, 14, 23, 27, and 28, correspond with the Lyons
+wood-cuts, except that in No. 1 a stag is omitted, and there are some
+variations; in No. 6, the windows of the palace are altered; in No. 13, a
+window is added to the house next to the nunnery; and in No. 9, a figure
+is introduced, and the ducal palace much altered; in No. 23, a sword is
+omitted. They are all reverses, except No. 5. The rest of the subjects are
+reversed, with one exception, from the copies by [monogram: SA] in the
+spurious edition first printed at Cologne in 1555, with occasional very
+slight variations. Hollar's copies from the original cuts are in a small
+degree less both in width and depth. In the subject of Death and the
+Soldier he has not shown his judgment in making use of the spurious
+edition rather than the far more elegant and interesting original,[122]
+and it is remarkable that this is the only print belonging to the spurious
+ones that is not reversed.
+
+It is very probable that Hollar executed this work at Antwerp, where, at
+the time of its date, he might have found Diepenbecke and engaged him to
+make designs for the borders which are etched on separate plates, thus
+supplying passe-par-touts that might be used at discretion. Many sets
+appear without the borders, which seem to have strayed, and perhaps to
+have been afterwards lost or destroyed. As Rubens is recorded to have
+admired the beauty of the original cuts, so it is to be supposed that
+Diepenbecke, his pupil, would entertain the same opinion of them, and that
+he might have suggested to Hollar the making etchings of them, undertaking
+himself to furnish appropriate borders. But how shall we account for the
+introduction of so many of the spurious and inferior designs, if he had
+the means of using the originals? Many books were formerly excessively
+rare, which, from peculiar circumstances, not necessary to be here
+detailed, but well known to bibliographers and collectors, have since
+become comparatively common. Hollar might not have had an opportunity of
+meeting with a perfect copy of the original cuts, or he might, in some way
+or other, have been impeded in the use of them, when executing his work,
+and thus have been driven to the necessity of pursuing it by means of the
+spurious edition. These, however, are but conjectures, and it remains for
+every one to adopt his own opinion.
+
+The copper-plates of the above thirty etchings appear to have fallen into
+the hands of an English noble family, from which the late Mr. James
+Edwards, a bookseller of well merited celebrity, obtained them, and about
+the year 1794 caused many impressions to be taken off after they had been
+_rebitten_ with great care, so as to prevent that injury, with respect to
+outline, which usually takes place where etchings or engravings upon
+copper are _retouched_. Previously to this event good impressions must
+have been extremely rare, at least on the continent, as they are not found
+in the very rich collections of Winckler or Brandes, nor are they
+mentioned by the foreign writers on engraving. To Mr. Edwards's
+publication of Hollar's prints there was prefixed a short dissertation on
+the Dance of Death, which is here again submitted to public attention in a
+considerably enlarged form, and corrected from the errors and
+imperfections into which its author had been misled by preceding writers
+on the subject, and by the paucity of the materials which he was then able
+to obtain. This edition was reprinted verbatim, and with the same
+etchings, in 1816, for J. Coxhead, in Holywell Street, Strand, but without
+any mention of the former, and accompanied with the addition of a brief
+memoir of Holbein.
+
+It is most likely that Hollar, having discovered the error which he had
+committed in copying the spurious engravings before-mentioned, and
+subsequently procured a set of genuine impressions, resolved to make
+another set of etchings from the original work, four only of which he
+appears to have executed, his death probably taking place before they
+could be completed. These are, 1. The Pope crowning the Emperor, with
+"Moriatur sacerdos magnus." 2. The rich man disregarding the beggar, with
+"Qui obturat aurem suam ad clamorem pauperis, &c." and the four Latin
+lines, "Consulitis, dites, &c." at bottom, as in the original. It is
+beautifully and most faithfully copied, with [monogram: HHolbein] _inv.
+Hollar fecit_. 3. The Ploughman, with "In sudore vultus, &c." 4. The
+Robber, with "Domine vim patior."
+
+In Dugdale's History of St. Paul's, and also in the Monasticon, there is a
+single etching by Hollar of Death leading all ranks of people. It is only
+an improved copy of an old wood-cut in Lydgate's works, already mentioned
+in p. 52, and which is altogether imaginary, not being taken from any real
+series of the Dance.
+
+VI. "Varii e veri ritratte della morte disegnati in immagini, ed espressi
+in Essempii al peccatore duro di cuore, dal padre Gio. Battista Marmi
+della compagnia de Giesu." Venetia, 1669, 8vo. It has several engravings,
+among which are the following, after the original designs. 1. Queen. 2.
+Nobleman. 3. Merchant. 4. Gamblers. 5. Physician. 6. Miser. The last five
+being close copies from the same subjects, in the Basle edit. 1769, No. V.
+of the copies in wood.
+
+VII. "Theatrum mortis humanæ tripartitum. I. Pars. Saltum Mortis. II.
+Pars. Varia genera Mortis. III. Pars. Pænas Damnatorum continens, cum
+figuris æneis illustratum." Then the same repeated in German, with the
+addition "Durch Joannem Weichardum Valvasor. Lib. Bar. cum facultate
+superiorum, et speciali privilegio Sac. Cæs. Majest. Gedrucht zu Laybach,
+und zu finden ben Johann Baptista Mayr, in Saltzburg. Anno 1682. 4to."
+Prefixed is an engraved frontispiece representing a ruined arch, under
+which is a coffin, and before it the King of Terrors between two other
+figures of Death mounted respectively on an elephant and camel. In the
+foreground, Adam and Eve, tied to the forbidden tree of knowledge, between
+several other Deaths variously employed. Two men digging graves, &c.
+Underneath, "[monogram: W.] inven. [monogram: W.] excud. Jo. Koch del.
+And. Trost sculp. Wagenpurgi in Carniola." It is the first part only with
+which we are concerned. The artist, with very little exception, has
+followed and reversed the spurious wood-cuts of 1555, by [monogram: SA].
+To the groups of boys he has added a Death leading them on.
+
+VIII. "De Doodt vermaskert met des werelts ydelheyt afghedaen door
+Geeraerdt Van Wolschaten." This is another edition of No. IX. of the
+original wood-cuts, here engraved on _copper_. The text is the same as
+that of 1654, with the addition of seven leaves, including a cut of Death
+leading all ranks of men. In that of the Pedler the artist has introduced
+some figures in the distance of the original _soldier_. Among other
+variations the costume of the time of William III. is sometimes very
+ludicrously adopted, especially in the frontispiece, where the author is
+represented writing at a desk, and near him two figures of a man in a full
+bottom wig, and a woman with a mask and a perpendicular cap in several
+stories, usually called a _Fontange_, both having skeleton faces. At
+bottom, the mark [monogram: L B.f.]. This edition was printed at Antwerp
+by Jan Baptist Jacobs, without date, but the privilege has that of 1698.
+12mo.
+
+IX. "Imagines Mortis, or the Dead Dance of Hans Holbeyn, painter of King
+Henry the VIII." This title is on a copper-plate within a border, and
+accompanied with nineteen etchings on copper, by Nieuhoff Piccard, a
+person who will be more particularly adverted to hereafter. They consist
+of, 1. The emblem of Mortality. 2. The temptation. 3. The expulsion from
+Paradise. 4. Adam digging, Eve spinning. 5. Concert of Deaths. 6. The
+Infant. 7. The new married couple. 8. The Duke. 9. The Advocate. 10. The
+Abbot. 11. The Monk. 12. The Abbess. 13. The Soldier. 14. The Merchant.
+15. The Pedler. 16. The Fool. 17. The Blind Man. 18. The Old Woman. 19.
+The Old Man. The designs, with some occasional variations, correspond with
+those in the original wood-cuts. The plates of these etchings must have
+passed into the hands of some English printsellers, as broken sets of them
+have not long since been seen, one only of which, namely, that of the
+Temptation, had these lines on it:
+
+  "All that e'er had breath
+  Must dance after Death."
+
+with the date 1720. Several were then numbered at bottom with Arabic
+numerals.
+
+X. "Schau-platz des Todes, oder Todten Tanz, von Sal. Van Rusting Med.
+Doct. in Nieder-Teutscher-Spracke nun aber in Hoch Teutscher mit nothigen
+Anmerchungen heraus gegeben von Johann Georg. Meintel Hochfurstl
+Brandenburg-Onoltzbachischen pfarrer zu Petersaurach." Nurnberg, 1736.
+8vo. Or, "The Theatre of Death, or Dance of Death, by Sol. Van Rusting,
+doctor of medicine, in Low German language, but now in High German, with
+necessary notes by John George Meintel in the service of his Serene
+Highness of Brandenburg, and parson of Petersaurach." It is said to have
+been originally published in 1707, which is very probable, as Rusting, of
+whom very little is recorded, was born about 1650. In the early part of
+his life he practised as an army surgeon. He was a great admirer and
+follower of the doctrines of Balthasar Bekker in his "Monde enchanté."
+There are editions in Dutch only, 1735 and 1741. 12mo. the plates being
+copies. In the above-mentioned edition by Meintel there is an elaborate
+preface, with some account of the Dance of Death, and its editions, but
+replete with the grossest errors, into which he has been misled by
+Hilscher, and some other writers. His text is accompanied with a profusion
+of notes altogether of a pious and moral nature.
+
+Rusting's work consists of thirty neat engravings, of which the following
+are copied from the Lyons wood-cuts. 1. The King, much varied. 2. The
+Astrologer. 3. The Soldier. 4. The Monk. 5. The Old Man. 6. The Pedler.
+The rest are, on the whole, original designs, yet with occasional hints
+from the Lyons cuts; the best of them are, the Masquerade, the
+Rope-dancer, and the Skaiters. The frontispiece is in two compartments;
+the upper one, Death crowned, sitting on a throne, on each side of him a
+Death trumpeter; the lower, a fantastic Dance of seven Deaths, near a
+crowned skeleton lying on a couch.
+
+XI. "Le triomphe de la Mort." A Basle, 1780, folio. This is the first part
+of a collection of the works of Hans Holbein, engraved and published by M.
+Chretien de Mechel, a celebrated artist, and formerly a printseller in the
+above city. It has a dedication to George III. followed by explanations in
+French of the subjects, in number 46, and in the following order; No. 1. A
+Frontispiece, representing a tablet of stone, on one side of which Holbein
+appears behind a curtain, which is drawn aside by Death in order to
+exhibit to him the grand spectacle of the scenes of human life which he is
+intended to paint; this is further designated by a heap of the attributes
+of greatness, dignities, wealth, arts, and sciences, intermixed with
+Deaths' heads, all of which are trampled under foot by Death himself. At
+bottom, Lucan's line, "Mors sceptra ligonibus æquat." The tablet is
+surmounted by a medallion of Holbein, supported by two genii, one of whom
+decorates the portrait with flowers, whilst another lets loose a
+butterfly, and a third is employed in blowing bubbles. On the tablet
+itself is a second title, "Le triomphe de la mort, gravé d'apres les
+dessins originaux de Jean Holbein par Chr{n}. de Mechel, graveur à Basle,
+MDCCLXXX." This frontispiece has been purposely inverted for the present
+work. The other subjects are: No. 2. The Temptation. 3. Expulsion from
+Paradise. 4. Adam digging, Eve spinning. 5. The Pope. 6. The Cardinal. 7.
+The Duke. 8. The Bishop. 9. The Canon. 10. The Monk. 11. The Abbot. 12.
+The Abbess. 13. The Preacher. 14. The Priest. 15. The Physician. 16. The
+Astrologer. 17. The Emperor. 18. The King. 19. The Empress. 20. The Queen.
+21. The Duchess. 22. The Countess. 23. The New-married Couple. 24. The
+Nun. 25. The Nobleman. 26. The Knight. 27. The Gentleman. 28. The Soldier.
+29. The Judge. 30. The Counsellor. 31. The Advocate. 32. The Merchant. 33.
+The Pedler. 34. The Shipwreck. 35. The Wine-carrier. 36. The Plowman. 37.
+The Miser. 38. The Robber. 39. The Drunkard. 40. The Gamblers. 41. The Old
+Man. 42. The Old Woman. 45. The Blind Man. 44. The Beggar. 45. The Infant.
+46. The Fool.
+
+M. Mechel has added another print on this subject, viz. the sheath of a
+dagger, a design for a chaser. It is impossible to exceed the beauty and
+skill that are manifested in this fine piece of art. The figures are, a
+king, queen, warrior, a young woman, a monk, and an infant, all of whom
+most unwillingly accompany Death in the dance. The despair of the king,
+the dejection of the queen, accompanied by her little dog, the terror of
+the soldier who hears the drum of Death, the struggling of the female, the
+reluctance of the monk, and the sorrow of the poor infant, are depicted
+with equal spirit and veracity. The original drawing is in the public
+library at Basle, and ascribed to Holbein. There is a general agreement
+between these engravings and the original wood-cuts. Twenty-three are
+reversed. In No. 13 the jaw-bone in the hand of Death is not distinct. In
+No. 16 a cross is added, and in No. 17 two heads.
+
+Mr. Coxe, in his Travels in Switzerland, has given some account of the
+drawings copied as above by M. de Mechel, in whose possession he saw them.
+He states that they were sketched with a pen, and slightly shaded with
+Indian ink. He mentions M. de Mechel's conjecture that they were once in
+the Arundel collection, and infers from thence that they were copied by
+Hollar, which, however, from what has been already stated on the subject
+of Hollar's print of the Soldier and Death, as well as from other
+variations, could not have been the case. Mr. Coxe proceeds to say that
+four of the subjects in M. de Mechel's work are not in the drawings, but
+were copied from Hollar. It were to be wished that he had specified them.
+The particulars that follow were obtained by the compiler of the present
+dissertation from M. de Mechel himself when he was in London. He had not
+been able to trace the drawings previously to their falling into the hands
+of M. de Crozat,[123] at whose sale, about 1771, they were purchased by
+Counsellor Fleischmann of Strasburg, and M. de Mechel having very
+emphatically expressed his admiration of them whilst they were in the
+possession of M. Fleischmann, that gentleman very generously offered them
+as a present to him. M. de Mechel, however, declined the offer, but
+requested they might be deposited in the public library at Basle, among
+other precious remains of Holbein's art. This arrangement, however, did
+not take place, and it happened in the mean time that two nephews of
+Prince Gallitzin, minister from Russia to the court of Vienna, having
+occasion to visit M. Fleischmann, then much advanced in years, and his
+memory much impaired, prevailed on him to concede the drawings to their
+uncle, who, on learning from M. de Mechel what had originally passed
+between himself and M. Fleischmann, sent the drawings to him, with
+permission to engrave and publish them, which was accordingly done, after
+they had been detained two years for that purpose. They afterwards passed
+into the Emperor of Russia's collection of fine arts at Petersburg.
+
+It were greatly to be wished that some person qualified like Mr. Ottley,
+if such a one can be found, would take the trouble to enter on a critical
+examination of these drawings in their present state, with a view to
+ascertain, as nearly as possible, whether they carry indisputable marks of
+Holbein's art and manner of execution, or whether, as may well be
+suspected, they are nothing more than copies, either by himself or some
+other person, from the original wood engravings.
+
+M. de Mechel had begun this work in 1771, when he had engraved the first
+four subjects, including a frontispiece totally different from that in the
+volume here described. There are likewise variations in the other three.
+He was extremely solicitous that these should be cancelled.
+
+XII. David Deuchar, sometimes called the Scottish Worlidge, who has etched
+many prints after Ostade and the Dutch masters, published a set of
+etchings by himself, with the following printed title: "The Dances of
+Death through the various stages of human life, wherein the capriciousness
+of that tyrant is exhibited in forty-six copper-plates, done from the
+original designs, which were cut in wood and afterwards painted by John
+Holbein in the town house at Basle, to which is prefixed descriptions of
+each plate in French and English, with the scripture text from which the
+designs were taken. Edinburgh, MDCCLXXXVIII." Before this most inaccurate
+title are two engraved leaves, on one of which is Deuchar's portrait, in a
+medallion, supported by Adam and Eve holding the forbidden fruit. Over the
+medallion, the three Fates, the whole within an arch before a pediment. On
+each side, a plain column, supporting a pyramid, &c. On the other leaf a
+copy of the engraved title to M. de Mechel's work with the substitution of
+Deuchar's name. After the printed title is a portrait, as may be supposed,
+of Holbein, within a border containing six ovals of various subjects, and
+a short preface or account of that artist, but accompanied with some very
+inaccurate statements. The subjects are inclosed, like Hollar's, within
+four different borders, separately engraved, three of them borrowed, with
+a slight variation in one, from Diepenbeke, the fourth being probably
+Deuchar's invention. The etchings of the Dance of Death are forty-six in
+number, accompanied with De Mechel's description and English translation.
+At the end is the emblematical print of mortality, but not described, with
+the dagger sheath, copied from De Mechel. Thirty of these etchings are
+immediately copied from Hollar, No. X. having the distance altered. The
+rest are taken from the spurious wood copies of the originals by
+[monogram: SA] with variation in No. XVIII.; and in No. XXXIX. and XLIII.
+Deuchar has introduced winged hour-glasses. These etchings are very
+inferior to those by Hollar. The head of Eve in No. III. resembles that of
+a periwigged Frenchman of the time of Louis XIV. but many of the subjects
+are very superior to others, and intitled to much commendation.
+
+XIII. The last in this list is "Der Todtentanz ein gedicht von Ludwig
+Bechstein mit 48 kupfern in treuen Conturen nach H. Holbein. Leipzig.
+1831," 12mo.; or, "Death's Dance, a poem by Ludwig Bechstein, with
+forty-eight engravings in faithful outlines from H. Holbein." These very
+elegant etchings are by Frenzel, inspector of the gallery of engravings
+of the King of Saxony at Dresden. The poem, which is an epic one, relates
+entirely to the power of Death over mankind.
+
+It is necessary to mention that the artist who made the designs for the
+Lyons Dance of Death is not altogether original with respect to a few of
+them. Thus, in the subject of Adam digging and Eve spinning, he has partly
+copied an ancient wood engraving that occurs in some of the Horæ printed
+by Francis Regnault at Paris. In the subject of the Queen, and on that of
+the Duke and Duchess, he has made some use of those of Death and the Fool,
+and Death and the Hermit, in the old Dance at Basle. On the other hand, he
+has been imitated, 1. in "La Periere Theatre des bons engins. 1561." 24mo.
+where the rich man bribing the judge is introduced at fo. 66. 2. The
+figure of the Swiss gentleman in "Recueil de la diversité des habits."
+Paris, 1567. 12mo. is copied from the last print in the Lyons book. 3.
+From the same print the Death's head has been introduced in an old wood
+engraving, that will be more particularly described hereafter. 4.
+Brebiette, in a small etching on copper, has copied the Lyons plowman. 5.
+Mr. Dance, in his painting of Garrick, has evidently made use of the
+gentleman who lifts up his sword against Death. The copies of the portrait
+of Francis I. have been already noticed.
+
+
+
+
+CHAPTER IX.
+
+    _Further examination of Holbein's title.--Borbonius.--Biographical
+    notice of Holbein.--Painting of a Dance of Death at Whitehall by him._
+
+
+It may be necessary in the next place to make some further enquiry
+respecting the connection that Holbein is supposed to have had _at any
+time_ with the subject of the Dance of Death.
+
+The numerous errors that have been fallen into in making Holbein a
+participator in any manner whatever with the old Basle Macaber Dance, have
+been already noticed, and are indeed not worth the trouble of refuting. It
+is wholly improbable that he would interfere with so rude a piece of art;
+nor has his name been recorded among the artists who are known to have
+retouched or repaired it. The Macaber Dance at Basle, or any where else,
+is, therefore, with respect to Holbein, to be altogether laid aside; and
+if the argument before deduced from the important dedication to the
+edition of the justly celebrated wood-cuts published at Lyons in 1538 be
+of any value, his claim to their invention, at least to those in the first
+edition, must also be rejected.[124] There is indeed but very slight
+evidence, and none contemporary, that he painted any Dance of Death at
+Basle. The indefinite statements of Bishop Burnet and M. Patin, together
+with those of the numerous and careless travellers who have followed
+blind leaders, and too often copied each other without the means or
+inclination of obtaining correct information, are deserving of very little
+attention. The circumstance of Holbein's having painted a Dance of
+Peasants somewhere in the above city, in conjunction with the usual
+mistake of ascribing to him the old Macaber Dance, seems to have
+occasioned the above erroneous statements as to a Dance of Death by his
+pencil. It is hardly possible that Zuinger, almost a contemporary, when
+describing the Dance of Peasants and other paintings by Holbein at Basle
+would have omitted the mention of any Dance of Death:[125] but even
+admitting the former existence of such a painting, it would not constitute
+him the inventor of the designs in the Lyons work. He might have imitated
+or copied those designs, or the wood-cuts themselves, or perhaps have
+painted subjects that were different from either.
+
+We are now to take into consideration some very clear and important
+evidence that Holbein actually _did paint a Dance of Death_. This is to be
+found in the _Nugæ_ of Borbonius in the following verses:
+
+  _De morte picta à Hanso pictore nobili._
+
+  Dum mortis Hansus pictor imaginum exprimit,
+  Tanta arte mortem retulit, ut mors vivere
+  Videatur ipsa: et ipse se immortalibus
+  Parem Diis fecerit, operis hujus gloria.[126]
+
+It has been already demonstrated that these lines could not refer to the
+old painting of the Macaber Dance at the Dominican convent, whilst, from
+the important dedication to the edition of the wood-cuts first published
+at Lyons in 1538, it is next to impossible that that work could then have
+been in Borbonius's contemplation. It appears from several places in his
+Nugæ that he was in England in 1535, at which time Holbein drew his
+portrait in such a manner as to excite his gratitude and admiration in
+another copy of verses.[127] This was probably the chalk drawing still
+preserved in the fine collection of portraits of the eminent persons in
+the court of Henry VIII. formerly at Kensington, and thence removed to
+Buckingham House, and which has been copied in an elegant wood-cut, that
+first appeared in the edition of the Paidagogeion of Borbonius, Lyons,
+1536, and afterward in two editions of his Nugæ. It is inscribed NIC.
+BORBONIVS VANDOP. ANNO ÆTATIS XXXII. 1535. He returned to Lyons in 1536,
+and it is known that he was there in 1538, when he probably wrote the
+complimentary lines in Holbein's Biblical designs a short time before
+their publication, either out of friendship to the painter, or at the
+instance of the Lyons publisher with whom he was certainly connected.
+
+Now if Borbonius, during his residence at Lyons, had been assured that the
+designs in the wood-cuts of the Dance of Death were the production of
+Holbein, would not his before-mentioned lines on that subject have been
+likewise introduced into the Lyons edition of it, or at least into some
+subsequent editions, in none of which is any mention whatever made of
+Holbein, although the work was continued even after the death of that
+artist? The application, therefore, of Borbonius's lines must be sought
+for elsewhere; but it is greatly to be regretted that he has not adverted
+to the place where the painting, as he seems to call it, was made.
+
+Very soon after the calamitous fire at Whitehall in 1697, which consumed
+nearly the whole of that palace, a person calling himself T. Nieuhoff
+Piccard, probably belonging to the household of William the Third, and a
+man who appears to have been an amateur artist, made the etchings in the
+article IX. already described in p. 130. Copies of them were presented to
+some of his friends, with manuscript dedications to them. Three of these
+copies have been seen by the author of this Dissertation, and as the
+dedications differ from each other, and are of very considerable
+importance on the present occasion, the following extracts from them are
+here translated and transcribed:
+
+    "TO MYNHEER HEYMANS.
+
+    "Sir,--The costly palace of Whitehall, erected by Cardinal Wolsey, and
+    the residence of King Henry VIII. contains, among other performances
+    of art, a _Dance of Death_, painted by Holbein in its galleries,
+    which, through an unfortunate conflagration, has been reduced to
+    ashes; and even the little work which he has engraved with his own
+    hand, and which I have copied as near as possible, is so scarce, that
+    it is known only to a few lovers of art. And since the court has
+    thought proper, in consideration of your singular deserts, to cause a
+    dwelling to be built for you at Whitehall, I imagined it would not be
+    disagreeable to you to be made acquainted with the former decorations
+    of that palace. It will not appear strange that the artist should have
+    chosen the above subject for ornamenting the _royal_ walls, if we
+    consider that the founder of the Greek monarchy directed that he
+    should be daily reminded of the admonition, 'Remember, Philip, that
+    thou art a man.' In like manner did Holbein with his pencil give
+    tongues to these walls to impress not only the king and his court, but
+    every one who viewed them with the same reflection."
+
+He then proceeds to describe each of the subjects, and concludes with some
+moral observations.
+
+In another copy of these etchings the dedication is to
+
+    "The high, noble, and wellborn Lord William Benting, Lord of Rhoon,
+    Pendreght, &c."
+
+    "Sir,--In the course of my constant love and pursuit of works of art,
+    it has been my good fortune to meet with that scarce little work of
+    Hans Holbein neatly engraved on wood, and which he himself had painted
+    as large as life in fresco on the walls of Whitehall. In the copy
+    which I presume to lay before you, as being born in the same palace, I
+    have followed the original as nearly as possible, and considering the
+    partiality which every one has for the place of his birth, a
+    description of what is remarkable and curious therein and now no
+    longer existing on account of its destruction by a fatal fire, must
+    needs prove acceptable, as no other remains whatever have been left of
+    that once so famous court of King Henry VIII. built by Cardinal
+    Wolsey, than your own dwelling."
+
+He then repeats the story of Philip of Macedon, and the account of the
+subjects of his etchings.
+
+At the end of this dedication there is a fragment of another, the
+beginning of which is lost. The following passages only in it are worthy
+of notice. "The residence of King William." "I flatter myself with a
+familiar acquaintance with Death, since I have already lived long enough
+to seem to be buried alive, &c." In other respects, the same, in
+substance, as the preceding.
+
+It is almost needless to advert to M. Nieuhoff Piccard's mistake in
+asserting that Holbein made the engravings which he copied; but it would
+have been of some importance if, instead of his pious ejaculations, he had
+described all the subjects that Holbein painted on the walls of the
+galleries at Whitehall. He must have used some edition of the wood-cuts
+posterior to that of 1545, which did not contain the subjects of the
+German soldier, the fool, and the blind man, all of which he has
+introduced. It is possible, however, that he has given us all the subjects
+that were then remaining, the rest having become decayed or obliterated
+from dampness and neglect, and even those which then existed would soon
+afterwards perish when the remains of the old palace were removed. His
+copies are by no means faithful, and seem to be rather the production of
+an amateur than of a regular artist. For his greater convenience, he
+appears to have preferred using the wood engravings instead of the
+paintings; and it is greatly to be regretted that we have no better or
+further account of them, especially of the time at which they were
+executed. The lives of Holbein that we possess are uniformly defective in
+chronological arrangement. There seems to be a doubt whether the Earl of
+Arundel recommended him to visit England; but certain it is that in the
+year 1526 he came to London with a letter of that date addressed by
+Erasmus to Sir Thomas More, accompanied with his portrait, with which More
+was so well satisfied that he retained him at his house at Chelsea upwards
+of two years, until Henry VIII. from admiration of his works, appointed
+him his painter, with apartments at Whitehall. In 1529 he visited Basle,
+but returned to England in 1530. In 1535 he drew the portrait of his
+friend Nicholas Bourbon or Borbonius at London, probably the
+before-mentioned crayon drawing at Buckingham House, or some duplicate of
+it. In 1538 he painted the portrait of Sir Richard Southwell, a privy
+counsellor to Henry VIII. which was afterwards in the gallery of the Grand
+Duke of Tuscany.[128] About this time the magistrates of the city of Basle
+settled an annuity on him, but conditionally that he should return in two
+years to his native place and family, with which terms he certainly did
+not comply, preferring to remain in England. In the last-mentioned year he
+was sent by the king into Burgundy to paint the portrait of the Duchess of
+Milan, and in 1539 to Germany to paint that of Anne of Cleves. In some
+household accounts of Henry VIII. there are payments to him in 1538, 1539,
+1540, and 1541, on account of his salary, which appears to have been
+thirty pounds per annum.[129] From this time little more is recorded of
+him till 1553, when he painted Queen Mary's portrait, and shortly
+afterwards died of the plague in London in 1554.
+
+In the absence of positive evidence it may surely be allowed to substitute
+probable conjecture; and as it cannot be clearly proved that Holbein
+painted a Dance of Death at Basle, may not the before-mentioned verses of
+Borbonius refer to his painting at Whitehall, and which the poet must
+himself have seen? It is no objection that Borbonius remained a year only
+in England, when his portrait was painted by his friend Holbein in 1535,
+or that the verses did not make their appearance till 1538, for they seem
+rather to fix the date of the painting, if really belonging to it, between
+those years; and it is not unreasonable to suppose that Borbonius would
+hold some intercourse with the painter, even after leaving England, as is
+indeed apparent from other compliments bestowed on him in his Nugæ, the
+contents of which are by no means chronologically arranged, and many of
+the poems known to have been written long before their publication. The
+lines in question might have been written any where, and at any time, and
+this may be very safely stated until the real time in which the Whitehall
+painting was made shall be ascertained.
+
+In one of Vanderdort's manuscript catalogues of the pictures and rarities
+transported from St. James's to Whitehall, and placed there in the newly
+erected cabinet room of Charles I. and in which several works by Holbein
+are mentioned, there is the following article: "A little piece where Death
+with a green garland about his head, stretching both his arms to apprehend
+a Pilate in the habit of one of the spiritual Prince Electors of Germany.
+Copied by Isaac Oliver from Holbein."[130] There cannot be a doubt that
+this refers to the subject of the Elector, as painted by Holbein in the
+Dance of Death at Whitehall, proving at the same time the identity of the
+painting with the wood-cuts, whatever may be the inference.
+
+Sandrart, after noticing a remarkable portrait of Henry VIII. at
+Whitehall, states, that "there yet remains in that palace _another work_
+by Holbein that constitutes him the Apelles of the time."[131] This is
+certainly very like an allusion to a Dance of Death.
+
+It is by no means improbable that Mathew Prior may have alluded to
+Holbein's painting at Whitehall, as it is not likely that he would be
+acquainted with any other.
+
+  Our term of life depends not on our deed,
+  Before our birth our funeral was decreed,
+  Nor aw'd by foresight, nor misled by chance,
+  Imperious death directs the ebon lance,
+  Peoples great Henry's tombs, and leads up Holbein's Dance.
+                                _Ode to the Memory of George Villiers._
+
+
+
+
+CHAPTER X.
+
+    _Other Dances of Death._
+
+
+Having thus disposed of the two most ancient and important works on the
+subject in question, others of a similar nature, but with designs
+altogether different, and introduced into various books, remain to be
+noticed, and such are the following:
+
+I. "Les loups ravissans fait et composé par maistre Robert Gobin prestre,
+maistre es ars licencie en decret, doyen de crestienté de Laigny sur Marne
+au dyocese de Paris, advocat en court d'eglise. Imprimé pour Anthoine
+Verard a Paris, 4to." without date, but about 1500. This is a very bitter
+satire, in the form of a dream, against the clergy in general, but more
+particularly against Popes John XXII. and Boniface VIII. A wolf, in a
+lecture to his children, instructs them in every kind of vice and
+wickedness, but is opposed, and his doctrines refuted, by an allegorical
+personage called Holy Doctrine. In a second vision Death appears to the
+author, accompanied by Fate, War, Famine, and Mortality. All classes of
+society are formed into a Dance, as the author chooses to call it, and the
+work is accompanied with twenty-one very singular engravings on wood,
+executed in a style perhaps nowhere else to be met with. The designs are
+the same as those in the second Dance of the Horæ, printed by Higman for
+Vostre, No. I. page 61.
+
+II. "A booke of Christian prayers, collected out of the ancient writers,
+&c." Printed by J. Day, 1569. 4to. Afterwards in 1578, 1581, 1590, and
+1609. It is more frequently mentioned under the title of "Queen
+Elizabeth's prayer-book," a most unsuitable title, when it is recollected
+how sharply this haughty dame rebuked the Dean of Christchurch for
+presenting a common prayer to her which had been purposely ornamented with
+cuts by him.[132] This book was most probably compiled by the celebrated
+John Fox, and is accompanied with elegant borders in the margins of every
+leaf cut in wood by an unknown artist whose mark is [monogram: CI], though
+they have been most unwarrantably ascribed to Holbein, and even to Agnes
+Frey, the wife of Albert Durer, who is not known with any certainty to
+have practised the art of engraving. At the end is a Dance of Death
+different from every other of the kind, and of singular interest, as
+exhibiting the costume of its time with respect to all ranks and
+conditions of life, male and female.
+
+These are the characters. "The Emperor, the King, the Duke, the Marques,
+the Baron, the Vicount, the Archbishop, the Bishop, the Doctor, the
+Preacher, the Lord, the Knight, the Esquire, the Gentleman, the Judge, the
+Justice, the Serjeant at law, the Attorney, the Mayor, the Shirife, the
+Bailife, the Constable, the Physitian, the Astronomer, the Herauld, the
+Sergeant at arms, the Trumpetter, the Pursevant, the Dromme, the Fife, the
+Captaine, the Souldier, the Marchant, the Citizen, the Printers (in two
+compartments), the Rich Man, the Aged Man, the Artificer, the Husbandman,
+the Musicians (in two compartments), the Shepheard, the Foole, the Beggar,
+the Roge, of Youth, of Infancie." Then the females. "The Empresse, the
+Queene, the Princes, the Duchesse, the Countesse, the Vicountesse, the
+Baronnesse, the Lady, the Judge's Wife, the Lawyer's Wife, the
+Gentlewoman, the Alderman's Wife, the Marchantes Wife, the Citizen's Wife,
+the Rich Man's Wife, the Young Woman, the Mayde, the Damosell, the
+Farmar's Wife, the Husbandman's Wife, the Countriwoman, the Nurse, the
+Shepheard's Wife, the Aged Woman, the Creeple, the Poore Woman, the
+Infant, the (female) Foole." All these are designed in a masterly manner,
+and delicately engraved. The figures of the Deaths occasionally abound in
+much humour, and always with appropriate characters. The names of the
+unknown artists were worthy of being recorded.
+
+III. "Icones mortis, sexaginta imaginibus totidemque inscriptionibus
+insignitæ versibus quoque Latinis et novis Germanicis illustratæ.
+Norimbergæ Christ. Lockner, 1648, 8vo."[133]
+
+IV. "Rudolph Meyers S: Todten dantz ergantz et und heraus gegeben durch
+Conrad Meyern Maalern in Zurich, im jahr 1650." On an engraved title page,
+representing an angel blowing a trumpet, with a motto from the Apocalypse.
+Death or Time holds a lettered label with the above inscription or title.
+In the back ground groups of small figures allusive to the last judgment.
+Then follows a printed title "Sterbenspiegel das ist sonnenklare
+vorstellung menschlicher nichtigkeit durch alle Stand und Geschlechter:
+vermitlest 60 dienstlicher kupferblatteren lehrreicher uberschrifften und
+beweglicher zu vier stimmen auszgesetzter Todtengesangen, vor disem
+angefangen durch Rudolffen Meyern S. von Zurich, &c. Jetzaber zu erwekung
+nohtwendiger Todsbetrachtung verachtung irdischer eytelkeit; und beliebung
+seliger ewigkeit zuend gebracht und verlegt durch Conrad Meyern Maalern in
+Zurich und daselbsten bey ihme zufinden. Getruckt zu Zürich bey Johann
+Jacob Bodmer, MDCL." 4to. that is: The Mirror of Death--that is--a
+brilliant representation of human nothingness in all ranks and conditions,
+by means of 60 appropriate Copperplates, spiritual superscriptions, and
+moving songs of Death, arranged for four voices, formerly commenced by
+Rudolph Meyer of Zurich, &c. but now brought to an end and completed, for
+the awaking of a necessary consideration of death, a contempt of earthly
+vanity, and a love of blissful eternity, by _Conrad_ Meyer of Zurich, of
+whom they are to be had. Printed at Zurich, by John Jacob Bodmer, MDCL.
+
+The subjects are the following:--1. The Creation. 2. The Fall. 3.
+Expulsion from Paradise. 4. Punishment of Man. 5. Triumph of Death. 6. An
+allegorical frontispiece relating to the class of the Clergy. 6. The Pope.
+7. The Cardinal. 8. The Bishop. 9. The Abbot. 10. The Abbess. 11. The
+Priest. 12. The Monk. 13. The Hermit. 14. The Preacher. 15. An allegorical
+frontispiece to the class of Rulers and Governors. 15. The Emperor. 16.
+The Empress. 17. The King. 18. The Queen. 19. The Prince Elector. 20. The
+Earl and Countess. 21. The Knight. 22. The Nobleman. 23. The Judge. 24.
+The Steward, Widow, and Orphan. 25. The Captain. 26. An allegorical
+frontispiece to the Lower Classes. 26. The Physician. 27. The Astrologer.
+28. The Merchant. 29. The Painter and his kindred: among these the old man
+is Dietrich Meyern; the painter resembles the portrait of Conrad Meyern in
+Sandrart, and the man at the table is probably Rudolph Meyern. 30. The
+Handcraftsman. 31. The Architect. 32. The Innkeeper. 33. The Cook. 34. The
+Ploughman. 35. The Man and Maid Servant. 36. The old Man. 37. The old
+Woman. 38. The Lovers. 39. The Child. 40. The Soldier. 41. The Pedler. 42.
+The Highwayman. 43. The Quack Doctor. 44. The Blind Man. 45. The Beggar.
+46. The Jew. 47. The Usurer. 48. The Gamesters. 49. The Drunkards. 50. The
+Gluttons. 51. The Fool. 52. The Certainty of Death. 53. The Uncertainty
+of Death. 54. The Last Judgment. 55. Christ's Victory. 56. Salvation. 57.
+True and False Religion.
+
+The text consists chiefly of Death's apostrophe to his victims, with their
+remonstrances, verses under each subject, and various other matters. At
+the end are pious songs and psalms set to music. This work was jointly
+executed by two excellent artists, Rodolph and Conrad Meyer or Meyern,
+natives of Zurich. The designs are chiefly by Rodolph, and the etchings by
+Conrad, consisting of sixty very masterly compositions. The grouping of
+the figures is admirable, and the versatile representations of Death most
+skilfully characterized. Many of the subjects are greatly indebted to the
+Lyons wood engravings.
+
+In 1657 and 1759 there appeared other editions of the latter, with this
+title, "Die menschliche Sterblichkeit under dem titel Todten Tanz in LXI
+original-kupfern, von Rudolf und Conrad Meyern beruhmten kunstmahlern in
+Zurich abermal herausgegeben, nebst neven, dazu dienenden, moralischen
+versen und veber schriften." That is, "Human mortality, under the title of
+the Dance of Death, in 61 original copper prints of Rudolf and Conrad
+Meyern, renowned painters at Zurich, to which are added appropriate moral
+verses and inscriptions." Hamburg and Leipsig, 1759, 4to. The prolegomena
+are entirely different from those in the other edition, and an elaborate
+preface is added, giving an account of several editions of the Dance of
+Death. Instead of the Captain, No. 25, the Ensign is substituted, and the
+Cook is newly designed. Some of the numbers of the subjects are misplaced.
+The etchings have been retouched, and on many the date of 1637 is seen,
+which had no where occurred in the first edition here described.
+
+In 1704 copies of 52 of these etchings were published at Augsburg, under
+the title of "Tripudium mortis per victoriam super carnem universæ orbis
+terræ erectum. Ab A. C. Redelio S. C. M. T. P." on a label held by Death
+as before. Then the German title "Erbaulicher Sterb-Spiegel dast ist
+sonnen-klahre vorstellung menschlicher nichtigkeit durch alle stande und
+geschlechter: vermittelst schoner kupffern, lehr-reicher bey-schrifften
+und hertz-beweglich angehangter Todten-lieder ehmahls herauss gegeben
+durch Rudolph und Conrad Meyern mahlern in Zurch Anjetzo aber mit
+Lateinischen unterschrifften der kupffer vermehret und aussgezieret von
+dem Welt-beruhmten Poeten Augustino Casimiro Redelio, Belg. Mech. Sac.
+Cæs. Majest. L. P. Augsburg zu finden bey Johann Philipp Steudner.
+Druckts, Abraham Gugger. 1704." 4to. That is, "An edifying mirror of
+mortality, representing the nullity of man through all stations and
+generations, by means of beautiful engravings in copper, instructive
+inscriptions, and heart-moving lays of Death, as an appendix to the work
+formerly edited by Rudolph and Conrad Meyern of Zurich, but now published
+with Latin inscriptions, and engravings augmented and renewed by the
+worldly renowned poet Augustin Casimir Redel, &c."
+
+In this edition the Pope and all the other religious characters are
+omitted, probably by design. The etchings are very inferior to the fine
+originals, and without the name of the artist. The dresses are frequently
+modernised in the fashion of the time, and other variations are
+occasionally introduced.
+
+V. "Den Algemeynen dooden Spiegel van Pater Abraham à Sancta Clara,"
+_i. e._ The universal mirror of Death of Father Abraham à Sancta Clara. On
+a frontispiece engraved on copper, with a medallion of the author, and
+various allegorical figures. Then the printed title, "Den Algemeynen
+Dooden spiegel ofte de capelle der Dooden waer in alle Menschen sich al
+lacchende oft al weenende op recht konnen beschouwen verciert mer aerdige
+historien, Siu-rycke gedichten ende sedenleer-ende Beeldt-schetsen op
+gestelt door den eerweerdigen Pater Abraham à Sancta Clara Difinitor der
+Provincie van het order der ongeschoende Augustynen ende Predickant van
+syne Keyserlycke Majesteyt Leopoldus. Getrouwelyck overgeset vyt het
+hoogh-duyts in onse Nederduytsche Taele. Tot Brussel, by de Wed. G. Jacobs
+tegen de Baert-brugge in de Druckerye, 1730." 12mo. _i. e._ "The universal
+mirror of Death taken from the chapel of the dead; in which all men may
+see themselves properly, whether laughing or weeping, ornamented with
+pretty stories, spirited poems, and instructive prints, arranged by Father
+Abraham à Sancta Clara, of the Augustinian order, and preacher to his
+Imperial Majesty Leopold, and faithfully translated out of High Dutch into
+our Netherlandish language."
+
+The work consists of sixty-seven engravings on wood within borders, and of
+very indifferent execution in all respects; the text a mixture of prose
+and poetry of a religious nature, allusive to the subjects, which are not
+uniformly a dance of Death. The best among them are the Painter, p. 45;
+the Drunkard, p. 75; the dancing Couple, Death playing the Flageolet, p.
+103; the Fowler, p. 113; the hen-pecked Husband, p. 139; the Courtezan, p.
+147; the Musician, p. 193; the Gamester, p. 221; and the blind Beggar, p.
+289.
+
+VI. "Geistliche Todts-Gedanchen bey allerhand semahlden und Tchildereyn in
+vabildung Interschiedlichen geschlechts, alters, standes, und wurdend
+perschnen sich des Todes zucrinneren ans dessen lehrdie tugende zuüben und
+die Tundzu meyden Erstlich in kupfer entworffen nachmaler durch sittliche
+erdrtherung und aberlegung unter Todten-farben in vorschem gebracht,
+dardurch zumheyl der seelen im gemuth des geneighten lesers ein lebendige
+forcht und embsige vorsorg des Todes zu erwecken. Cum permissu superiorum.
+Passau Gedrucht bey Frederich Gabriel Mangold, hochfurst, hof
+buchdruckern, 1753. Lintz, verlegts Frantz Anton Ilger, Burgerl,
+Buchhandlern allda." Folio. In English, "The Spiritual Dance of Death in
+all kinds of pictures and representations, whereby persons of every age,
+sex, rank, and dignity, may be reminded of Death, from which lesson they
+may exercise themselves in virtue, and avoid sin. First put upon copper,
+and afterwards, through moral considerations and investigations brought to
+light in Death's own colours, thereby for the good of the souls of the
+well inclined readers to awaken in them a lively fear and diligent
+anticipation of Death."
+
+The subjects are: 1. The Creation. 2. Temptation. 3. Expulsion. 4.
+Punishment. 5. A charnel house, with various figures of Death, three in
+the back-ground dancing. 6. The Pope. 7. Cardinal. 8. Bishop. 9. Abbot.
+10. Canon. 11. Preacher. 12. Chaplain. 13. Monk. 14. Abbess. 15. Nun. 16.
+Emperor. 17. Empress. 18. King. 19. Queen. 20. Prince. 21. Princess. 22.
+Earl. 23. Countess. 24. Knight. 25. Nobleman. 26. Judge. 27. Counsellor.
+28. Advocate. 29. Physician. 30. Astrologer. 31. Rich man. 32. Merchant.
+33. Shipwreck. 34. Lovers. 35. Child. 36. Old man. 37. Old woman. 38.
+Carrier. 39. Pedler. 40. Ploughman. 41. Soldier. 42. Gamesters. 43.
+Drunkards. 44. Murderer. 45. Fool. 46. Blind man. 47. Beggar. 48. Hermit.
+49. Corruption. 50. Last Judgment. 51. Allegory of Death's Arms, &c.
+
+The designs and some of the engravings are by M. Rentz, for the most part
+original, with occasional hints from the Lyons wood-cuts.
+
+Another edition with some variation was printed at Hamburg, 1759, folio.
+
+VII. In the Lavenburg Calendar for 1792, are 12 designs by Chodowiecki for
+a Dance of Death. These are: 1. The Pope. 2. The King. 3. The Queen. 4.
+The General. 5. The Genealogist. 6. The Physician. 7. The Mother. 8. The
+Centinel. 9. The Fish Woman. 10. The Beggar. 11. The fille de joye and
+bawd. 12. The Infant.
+
+VIII. A Dance of Death in one of the Berne Almanacks, consisting of the 16
+following subjects. 1. Death fantastically dressed as a beau, seizes the
+city maiden. 2. Death wearing a Kevenhuller hat, takes the housemaid's
+broom from her. 3. Death seizes a terrified washerwoman. 4. He takes some
+of the apple-woman's fruit out of her basket. 5. The cellar maid or
+tapster standing at the door of an alehouse is summoned by death to
+accompany him. 6. He lays violent hands upon an abusive strumpet. 7. In
+the habit of an old woman he lays hold of a midwife with a newly born
+infant in her hands. 8. With a shroud thrown over his shoulder he summons
+the female mourner. 9. In the character of a young man with a chapeau bras
+he brings a urinal for the physician's inspection. 10. The life-guardsman
+is accompanied by Death also on horseback and wearing an enormous military
+hat. 11. Death with a skillet on his head plunders the tinker's basket.
+12. Death in a pair of jack-boots leads the postilion. 13. The lame beggar
+led by Death. 14. Death standing in a grave pulls the grave digger towards
+him by the leg. 15. Death seated on a plough with a scythe in his left
+hand, seizes the farmer, who carries several implements of husbandry on
+his shoulders. 16. The fraudulent inn-keeper in the act of adulterating
+his liquor in the cask, is throttled by Death who carries an ale vessel at
+his back. These figures are cut on wood in a free and masterly manner, by
+Zimmerman, an artist much employed in the decoration of these calendars.
+The prints are accompanied with dialogues between Death and the respective
+parties.
+
+IX. "Freund Heins Erscheinungen in Holbeins manier von J. R. Schellenberg
+Winterthur, bey Heinrich Steiner und Comp. 1785, 8vo." That is--"Friend
+Heins appearance in the manner of Holbein, by J. R. Schellenberg." The
+preface states that from the poverty of the German language in synonymous
+expressions for the allegorical or ideal Death, the author has ventured to
+coin the jocose appellation of Friend Hein, which will be understood from
+its resemblance to Hain or Hayn, a word signifying a grove. The sagacity
+of the German reader will perhaps discover the analogy. The subjects are
+24 in number, as follow:
+
+1. Love interrupted. The lovers are caught by Death in a net, and in no
+very decent attitude.
+
+2. Suicide. A man shoots himself with a pistol, and falls into the arms of
+Death.
+
+3. Death in the character of a beau visits a lady at her toilet.
+
+4. The Aeronaut. The balloon takes fire, and the aeronaut is precipitated.
+
+5. Death's visit to the school. He enters at a door inscribed SILENTIUM,
+and puts the scholars to flight.
+
+6. Bad distribution of alms.
+
+7. Expectation deluded. Death disguised as a fine lady lays hands upon a
+beau, who seems to have expected a very different sort of visitor.
+
+8. Unwelcome officiousness. Death feeding an infant with poison, the nurse
+wringing her hands in despair.
+
+9. The dissolution of the monastery. The Abbot followed by his monks
+receives the fatal summons in a letter delivered to him by Death.
+
+10. The company of a friend. An aged man near a grave wrings his hands.
+Death behind directs his attention to heaven.
+
+11. The lottery gambler. Death presents him with the unlucky ticket.
+
+12. The woman of Vienna and the woman of Rome. Death seizes one, and
+points to the other.
+
+13. The Usurer. Death shuts him into his money chest.
+
+14. The Glutton. Death seizes him at table, and forcibly pours wine down
+his throat.
+
+15. The Rope-dancer. Death mounted on an ass, and fantastically
+apparelled, enters the circle of spectators, and seizes the performer by
+one of his legs.
+
+16. The lodge of secrecy (freemasonry). Death introduces a novice
+blindfold to the lodge.
+
+17. The recruiting Officer. Death enlists some country fellows, a fiddler
+preceding.
+
+18. Berthold Swartz. Death ignites the contents of the mortar, and blows
+up the monk. In the usual representations of this story the Devil is
+always placed near the monk.
+
+19. The Duel. A man strikes with a sword at Death, who is lifting up the
+valves of a window.
+
+20. The plunder of the falling-trap. Death demolishes a student by
+throwing a bookcase filled with books upon him.
+
+21. Silence surrendered. Death appears to a schoolmistress. The children
+terrified, escape.
+
+22. The privilege of the strong. Death lays violent hands on a lady, whom
+her male companions in vain endeavour to protect.
+
+23. The apothecary. Death enters his shop, and directs his attention to
+the poor patients who are coming in.
+
+24. The Conclusion. Two anatomists joining hands are both embraced by
+Death.
+
+The best of these subjects are Nos. 4, 13, 14, 15, and 18. The text is a
+mixture of prose and verse.
+
+X. "The English Dance of Death, from the designs of Thomas Rowlandson,
+with metrical illustrations by the author of Doctor Syntax." 2 vols. 8vo.
+1815-1816. Ackermann.
+
+In seventy-two coloured engravings. Among these the most prominent and
+appropriate are, the last Chase; the Recruit; the Catchpole; the
+Death-blow; the Dramshop; the Skaiters; the Duel; the Kitchen; the
+Toastmaster; the Gallant's downfall; and the fall of four in hand. The
+rest are comparatively feeble and irrelevant, and many of the subjects
+ill-chosen, and devoid of that humour which might have been expected from
+the pencil of Rowlandson, whose grotesque predominates as usual in the
+groups.
+
+XI. "Death's Doings, consisting of numerous original compositions in prose
+and verse, the friendly contributions of various writers, principally
+intended as illustrations of 24 plates designed and etched by R. Dagley,
+author of "Select gems from the antique," &c." 1826. 8vo.
+
+From the intrinsic value and well deserved success of this work, a new
+edition was almost immediately called for, which received many important
+additions from the modest and ingenious author. Among these a new
+frontispiece, from the design of Adrian Van Venne, the celebrated Dutch
+poet and painter, is particularly to be noticed. This edition is likewise
+enriched with numerous elegant contributions, both in prose and verse,
+from some of the best writers of the age.
+
+XII. A modern French Dance of Death, under the title of "Voyage pour
+l'Eternité, service général des omnibus accélérés, depart à tout heure et
+de tous les point du globe." Par J. Grandville. No date, but about 1830. A
+series of nine lithographic engravings, including the frontispiece. Oblong
+4to. These are the subjects:
+
+1. Frontispiece. Death conducting passengers in his omnibus to the
+cemetery of Père la Chaise.
+
+2. "C'est ici le dernier relai." Death as a postilion gives notice to a
+traveller incumbered with his baggage, &c.
+
+3. "Vais-je bien? ... vous avancez horriblement." Death enters a
+watchmaker's shop, and shews his hour-glass to the master and his
+apprentice.
+
+4. "Monsieur le Baron, on vous demande.--Dites que je n'y suis pas." Death
+having entered the apartment, the valet communicates his summons to his
+gouty master lying on a couch.
+
+5. "Soyez tranquille, j'ai un garçon qui ne se trompe jamais." The
+apothecary addresses these words to some cautious patients whilst he fills
+a vessel which they have brought to his shop. Death, as an apprentice in
+another room, pounds medicines in a mortar.
+
+6. "Voila, Messieurs, un plat de mon metier." A feast. Death as a waiter
+enters with a plate of poisonous fruit.
+
+7. "Voulez vous monter chez moi, mon petit Monsieur, vous n'en serez pas
+fâché, allez." Death, tricked out as a fille de joye with a mask, entices
+a youth introduced by a companion.
+
+8. "--Pour une consultation, Docteur, j'en suis j'vous suis ..." Death in
+the character of an undertaker, his hearse behind, invites an old man to
+follow him.
+
+9. "Oui, Madame, ce sera bien la promenade la plus delicieuse! une voiture
+dans le dernier goût! un cheval qui fend l'air, et le meilleur groom de
+France." Death, habited as a beau, conducts a lady followed by her maid to
+a carriage in waiting.
+
+XIII. The British Dance of Death, exemplified by a series of engravings
+from drawings by Van Assen, with explanatory and moral essays. Printed by
+and for George Smeeton, Royal Arcade, Pall Mall. 8vo. no date. With a
+frontispiece designed by Geo. Cruikshank, representing a crowned sitting
+Death, holding a scythe in one hand, and with the other leaning on a
+globe. This is circular in the middle. Over it two small compartments of
+Death striking an infant in the cradle, and a sick man. At bottom, two
+others of Death demolishing a glutton and a drunkard. A short preface
+states that the work is on the plan of "the celebrated designs of
+Holbein," meaning of course the Lyons work, but to which it has not the
+smallest resemblance, and refers to Lord Orford for the mention of the
+Basle dance, which, as having two or sometimes three figures only, it
+does resemble. It then states that the late Mr. Van Assen had no intention
+of publishing these designs, which now appear in compliance with the
+wishes of many of his friends to possess them. They are very neatly
+engraved, and tinted in imitation of the original drawings, but are wholly
+destitute of that humour which might have been expected from the pencil of
+the ingenious inventor, and which he has manifested on many other
+occasions. The subjects are the following: 1. The Infant. 2. Juvenile
+piety. 3. The Student. 4. The Sempstress. 5. The musical Student. 6. The
+Dancer. 7. The female Student. 8. The Lovers. 9. The industrious Wife. 10.
+The Warrior. 11. The Pugilists. 12. The Glutton. 13. The Drunkard. 14. The
+Watchman. 15. The Fishwoman. 16. The Physician. 17. The Miser. 18. Old
+Age. Death with his dart is standing near all these figures, but does not
+seem to be noticed by any of them.
+
+XIV. A Dance of Death in Danish rimes is mentioned in Nyerup's "Bidragh
+til den Danske digtakunst historie." 1800. 12mo.
+
+XV. John Nixon Coleraine, an amateur, and secretary to the original Beef
+Stake Club, etched a dance of Death for ladies' fans. He died only a few
+years ago. Published by Mr. Fores, of Piccadilly, who had the
+copper-plates, but of which no impressions are now remaining.
+
+
+
+
+CHAPTER XI.
+
+    _Dances of Death, with such text only as describes the subjects._
+
+
+I. Six small circles on a single sheet, engraved on copper by Israel Van
+Meckenen. 1. Christ sitting on his cross. 2. Three skulls on a table. 3.
+Death and the Pope. 4. Death riding on a lion, and the Patriarch. 5. Death
+and the Standard-bearer. 6. Death and the Lady. At top "memento mori," at
+bottom "Israhel V. M."
+
+II. A Dance of Death, engraved on copper, by Henry Aldegrever. 1. Creation
+of Eve. 2. Adam and Eve eating the forbidden fruit. 3. Expulsion from
+Paradise. 4. Adam digging, Eve spinning. 5. Death and the Pope. 6. Death
+and the Cardinal. 7. Death and the Bishop. 8. Death and the Abbot. All
+these have the date 1541, and with some variations follow the Lyons
+woodcuts. They have scriptural texts in Latin. 12mo. The whole were
+afterwards copied in a work by Kieser, already described, p. 121.
+
+III. A Dance of Death, consisting of eight subjects, engraved on copper by
+an unknown artist, whose mark is [monogram: AC]. 1. Death beating a drum,
+precedes a lady and gentleman accompanied by a little dog. 2. Death
+playing on a stickado, precedes a lady and gentleman dancing back to back,
+below an hour-glass. 3. Death, with an hour-glass in his right hand, lays
+his left on the shoulder of a gentleman taking hold of a lady with his
+right hand, and carrying a hawk with his left. 4. Death crowned with a
+garland, and holding an hour-glass in his left hand, stands between a lady
+and gentleman joining hands. 5. Death, with a fool's cap and hood, a
+dagger of lath, and a bladder, holds up an hour-glass with his right hand;
+with his left he seizes the hand of a terrified lady accompanied by a
+gentleman, who endeavours to thrust away the unwelcome companion. 6.
+Another couple led by Death. 7. Death with a cap and feathers holds an
+hour-glass in his right hand, and with his left seizes a lady, whom a
+gentleman endeavours to draw away from him. All have the date 1562. 12mo.
+Size, three inches by two. They are described also in Bartsch, Peintre
+Graveur, ix. 482, and have been sometimes erroneously ascribed to
+Aldegrever.
+
+[Illustration]
+
+IV. A Dance of Death, extremely well executed on wood, the designs of
+which have been taken from a set of initial letters, that will hereafter
+be particularly described. They are upright, and measure two inches by one
+and a half. Each subject is accompanied with two German verses.
+
+V. On the back of the title page to "Die kleyn furstlich Chronica,"
+Strasb. 1544, 4to. are three subjects that appear to be part of a series.
+1. Death and the Pope, who has a book and triple crosier. Death kneels to
+him whilst he plays on a tabor and drum. 2. Death and the King. Death
+blows a trumpet. 3. Death shoots an arrow at a warrior armed with sword
+and battle-axe. All these figures are accompanied with German verses, and
+are neatly engraved on wood.
+
+VI. A series of single figures, etched with great spirit by Giovanni Maria
+Mitelli. They are not accompanied by Death, but hold dialogues with him in
+Italian stanzas. The characters are, 1. The Astrologer. 2. The Doctor of
+universal science. 3. The Hunter. 4. The Mathematician. 5. The Idolater.
+They are not mentioned in Bartsch, nor in any other list of the works of
+engravers. It is possible that there are more of them.
+
+VII. The five Deaths, etched by Della Bella. 1. A terrific figure of Death
+on a galloping horse. In his left hand a trumpet, to which a flag,
+agitated by the wind, is attached. In the back ground, several human
+skeletons, variously employed. 2. Death carrying off an infant in his
+arms. In the back-ground, the church-yard of the Innocents at Paris. 3.
+Death walking away with a young child on his back. In the distance,
+another view of the above cemetery. 4. Death carrying off a female on his
+shoulders, with her head downwards, followed at a distance by another
+Death holding a corpse in his arms. 5. Death dragging a reluctant old man
+towards a grave, in which another Death, with an hour-glass in his hand,
+awaits him. All these are extremely fine, and executed in the artist's
+best time. There is a sixth of the series, representing Death throwing a
+young man into a well, but it is very inferior to the others. It was begun
+by Della Bella a short time before his death, and finished by his pupil
+Galestruzzi, about 1664. Della Bella likewise etched a long print of the
+triumph of Death.
+
+VIII. A single anonymous French engraving on copper, 14-1/2 by 6-1/2,
+containing three subjects. 1. Death and the soldier. 2. Death standing
+with a pruning knife in his right hand, and a winged hour-glass in his
+left. Under him are three prostrate females, one plays on a violin; the
+next, who represents Pride, holds a peacock in one hand and a mirror in
+the other; the third has a flower in her left hand. 3. Death and the lady.
+He holds an hour-glass and dart, and she a flower in her right hand. Under
+each subject are French verses. This may perhaps be one only of a set.
+
+IX. A German Dance of Death, in eight oblong engravings on copper, 11 by
+8-1/2, consisting of eight sheets and twenty-five subjects, as follow. 1.
+A fantastic figure of a Death, with a cap and feathers, in the attitude of
+dancing and playing on a flute. He is followed by another dancing skeleton
+carrying a coffin on his shoulder. 2. Pope. 3. Emperor. 4 Empress. 5.
+Cardinal. 6. King. 7. Bishop. 8. Duke or General. 9. Abbot. 10. Knight.
+11. Carthusian. 12. Burgomaster. 13. Canon. 14. Nobleman. 15. Physician.
+16. Usurer. 17. Chaplain. 18. Bailiff or Steward. 19. Churchwarden. 20.
+Merchant. 21. Hermit. 22. Peasant. 23. Young Man. 24. Maiden. 25. Child.
+This is a complete set of the prints, representing the Lubeck painting,
+already described in p. 43. In the translation of the inscriptions, as
+given by Dr. Nugent, two more characters are added at the end, viz. the
+Dancing Master and the Fencing Master. On the spectator's left hand of No.
+1. of these engravings, is a column containing the following inscription
+in German, in English as follows: "Silence, fool-hardy one, whoever thou
+art, who, with needless words, profanest this holy place. This is no
+chapel for talking, but thy sure place is in Death's Dance. Silence then,
+silence, and let the painting on these silent walls commune with thee, and
+convince thee that man is and will be earth:" and on Nos. 4 and 5, the
+words "Zu finden in Lubeck by Christian Gotfried Donatius."
+
+X. The following entry is in the Stationers' books:
+
+  28 b.                  v{o} Januarij [1597.]
+  Tho. Purfoote, sen.} Entered their c. Mr. Dix and Wm. M. The
+  Tho. Purfoote, jun.}   roll of the Daunce of Death, with pictures
+                     }   and verses upon the same           VI_d_.
+
+XI. In the catalogue of the library of R. Smith, secretary of the Poultry
+Compter, which was sold by auction in 1682, is this article "Dance of
+Death in the cloyster of Paul's, with figures, very old." Probably a
+single sheet.
+
+XII. "The Dance of Death;" a single sheet, engraved on copper, with the
+following figures. In the middle, Death leading the king; the beggar hand
+in hand with the king; Death leading the old man, followed by a child; the
+fool; the wise man, as an astrologer, led by Death. On the spectator's
+left hand, Death bringing a man before a judge; with the motto, "The
+greatest judge that sits in honour's seat, must come to grave, where't
+boots not to intreate." A man and woman in a brothel, Death behind; with
+the motto, "Leave, wanton youth, thou must no longer stay; if once I call
+all mortals must obey." On the opposite side, the Miser and Death; the
+motto, "Come, worldling, come, gold hath no power to save, leave it thou
+shalt, and dance with me to grave." Death and the Prisoner; the motto,
+"Prisoner arise, ile ease thy fetterd feet, and now betake thee to thy
+winding sheet." In the middle of the print sits a minstrel on a stool
+formed of bones placed on a coffin with a pick-axe and spade. He plays on
+a tabor and pipe; with this motto, "Sickness, despaire, sword, famine,
+sudden death, all these do serve as minstrells unto Death; the beggar,
+king, fool, and profound, courtier and clown all dance this round." Under
+the above figures is a poem of sixty-six lines on the power of Death,
+beginning thus:
+
+  Yea, Adam's brood and earthly wights which breath now on the earth,
+  Come dance this dance, and mark the song of this most mighty Death.
+  Full well my power is known and seen in all the world about,
+  When I do strike of force do yeeld both noble, wise, and stout, &c.
+
+Printed cullored and sould by R. Walton at the Globe and Compasses at the
+West end of St. Paules church turning down towards Ludgate.
+
+XIII. A large anonymous German engraving on copper, in folio. In the
+middle is a circular Dance of Death, with nine females, from the Empress
+to the Fool. In the four corners, two persons kneeling before a crucifix;
+saints in heaven; the temptation; and the infernal regions. At top, a
+frame with these verses:
+
+  Vulneris en nostri certam solamque medelam
+  En data divina præmia larga manu.
+  Der Todt Christi Zunicht hat gmacht
+  Den Todt und Sleben wider bracht.
+
+At bottom in a similar frame:
+
+  Per unius peccatum Mors intravit in mundum.
+  Den Todt und ewig hellisch pein
+  Hat veruhr sagt die Sund allein.
+
+This is within a broad frame, containing a Dance of Death, in twelve
+ovals. The names of the characters are in German: 1. The Pope. 2. Emperor.
+3. King. 4. Cardinal. 5. Bishop. 6. Duke. 7. Earl. 8. Gentleman. 9.
+Citizen. 10. Peasant. 11. Soldier and Beggar. 12. Fool and Child. Under
+each subject is an appropriate inscription in Latin and German. In the
+middle at top, a Death's head and bones, an hour-glass and a dial. In the
+middle at bottom, a lamp burning on a Death's head, and a pot of holy
+water with an aspergillum. On the sides, in the middle, funereal
+implements.
+
+XIV. Heineken, in his "Dictionnaire des Graveurs," iii. 77, mentions a
+Dance of Death engraved about 1740 by Maurice Bodenehr of Friburg, but
+without any further notice.
+
+XV. Another very large print, 2 feet by 1-1/2, in mezzotinto, the subject
+as in No. 10. but the figures varied, and much better drawn. At bottom,
+"Joh. El. Ridinger excud. Aug. Vindel."
+
+XVI. Newton's Dances of Death. Published July 12, 1796, by Wm. Holland,
+No. 50, Oxford Street, consisting of the following grotesque subjects
+engraved on copper. The size 6 inches by 5. 1. Auctioneer. 2. Lawyer. 3.
+Old Maid on Death's back. 4. Gamblers. 5. Scolding Wife. 6. Apple-woman.
+7. Blind Beggar. 8. Distressed Poet and Bailiff. 9. Undertaker. 10.
+Sleeping Lady. 11. Old Woman and her Cats. 12. Gouty Parson feeding on a
+tythe pig. 12. Same subject differently treated. 13. Sailor and
+Sweetheart. 14. Physician, Gravedigger, and Death dancing a round. 15.
+Market-man. 16. Doctor, sick Patient, and Nurse. 17. Watchman. 18.
+Gravedigger putting a corpse into the grave. 19. Old maid reading, Death
+extinguishes the candle. 20. Gravedigger making a grave. 21. Old Woman.
+22. Barber. 23. Lady and Death reflected in the mirror. 24. Waiter. 25.
+Amorous Old Man and Young Woman. 26. Jew Old Clothes-man. 27. Miser. 28.
+Female Gin-drinker.
+
+XVII. The Dance of Death modernised. Published July 13, 1800, and designed
+by G. M. Woodward, Berners' Street, Oxford Street. Contains the following
+caricatures. Size 5 by 4-1/2.
+
+1. King. "Return the diadem and I'll follow you."
+
+2. Cardinal. "Zounds, take care of my great toe, or I shall never rise
+higher than a cardinal."
+
+3. Bishop. "I cannot go, I am a bishop."
+
+4. Old Man. "My good friend, I am too old, I assure you."
+
+5. Dancing-master. "I never practised such an Allemande as this since I
+have been a dancing-master."
+
+6. Alderman. "If you detain me in this way my venison will be quite cold."
+
+7. Methodist Preacher. "If you wo'nt take I, I'll never mention you or the
+Devil in my sarmons as long as I lives."
+
+8. Parson. "I can't leave my company till I've finish'd my pipe and
+bottle."
+
+9. Schoolmaster. "I am only a poor schoolmaster, and sets good examples in
+the willage."
+
+10. Miser. "Spare my money, and I'll go contented."
+
+11. Politician. "Stay till I have finished the newspaper, for I am told
+there is great intelligence from the continent."
+
+12. Press-gang Sailor. "Why d-- me I'm one of your apprentices."
+
+13. Beggar. "This is the universal dance from a king to a beggar."
+
+14. Jockey. "I assure you I am engaged at Newmarket."
+
+15. Undertaker. "A pretty dance this for an undertaker."
+
+16. Gouty Man. "Buzaglo's exercise was nothing to this."
+
+17. Poet. "I am but a poor poet, and always praised the ode to your honour
+written by the late King of Prussia."
+
+18. Physician. "Here's fine encouragement for the faculty."
+
+19. Lawyer. "The law is always exempt by the statutes."
+
+20. Old Maid. "Let me but stay till I am married, and I'll ask no longer
+time."
+
+21. Fine Lady. "Don't be so boisterous, you filthy wretch. I am a woman of
+fashion."
+
+22. Empress. "Fellow, I am an empress."
+
+23. Young Lady. "Indeed, Sir, I am too young."
+
+24. Old Bawd. "You may call me old bawd, if you please, but I am sure I
+have always been a friend to your worship."
+
+XVIII. Bonaparte's Dance of Death. Invented, drawn, and etched by Richard
+Newton, 7 by 5.
+
+1. Stabb'd at Malta. 2. Drown'd at Alexandria. 3. Strangled at Cairo. 4.
+Shot by a Tripoline gentleman. 5. Devoured by wild beasts in the desert.
+6. Alive in Paris.
+
+
+
+
+CHAPTER XII.
+
+    _Books in which the subject is occasionally introduced._
+
+
+To offer any thing in the shape of a perfect list of these, would be to
+attempt an impossibility, and therefore such only as have come under the
+author's immediate inspection are here presented to the curious reader.
+The same remark will apply to the list of single prints that follows.
+
+There is a very singular book, printed, as supposed, about 1460, at
+Bamberg, by Albert Pfister. It is in German, and a sort of moral allegory
+in the shape of complaints against Death, with his answers to these
+accusations. It is very particularly described from the only known perfect
+copy in the royal library at Paris, by M. Camus, in vol. ii. of "Memoires
+de l'institut. national des sciences et arts: litterature et beaux arts,"
+p. 6 et seq. It contains five engravings on wood, the first of which
+represents Death seated on a throne. Before him stands a man with an
+infant to complain that Death has taken the mother, who is seen wrapped in
+a shroud upon a tomb. The second cut represents Death also on a throne
+with the same person as before, making his complaint, accompanied by
+several other persons at the feet of Death, sorrowfully deposing the
+attributes of their respective conditions, and at the head of them a Pope
+kneeling with one knee on the ground. The third cut has two figures of
+Death, one of which, on foot, mows down several boys and girls; the other
+is on horseback, and pursues some cavaliers, against whom he shoots his
+arrows. The fourth cut is in two compartments, the upper representing, as
+before, a man complaining to Death seated on a throne with a crown on his
+head. Below, on the spectator's left hand, is a convent whence several
+monks are issuing towards a garden encircled with hurdles, in which is a
+tree laden with fruit by the side of a river; a woman is seen crowning a
+child with a chaplet, near whom stands another female in conversation with
+a young man. M. Camus, in the course of his description of this cut, has
+fallen into a very ludicrous error. He mistakes the very plain and obvious
+gate of the garden, for a board, on which, he says, _several characters
+are engraved which may be meant to signify the arts and sciences, none of
+which are competent to protection against the attacks of Death_. These
+supposed characters, however, are nothing more than the flowered hinges,
+ring or knocker, and lock of the door, which stands ajar. The fifth cut is
+described as follows, and probably with greater accuracy than in M. Camus,
+by Dr. Dibdin, from a single leaf of this very curious work in the
+Bibliotheca Spenceriana, vol. i. p. 104, accompanied with a copy of part
+of it only. "Above the figures there seen sits the Almighty upon a throne,
+with an attendant angel on each side. He is putting the forefinger of his
+left hand into the centre of his right, and upon each of the hands is an
+eye, denoting, I presume, the omniscience of the Deity." The fac-simile
+cut partly corresponds with M. Camus's description of Death, and the
+complainant before Christ seated on a throne in a heaven interspersed with
+stars. The above fourth cut among these is on a single leaf in the
+possession of the author, which had Dr. Dibdin seen, he would not have
+introduced M. Camus's erroneous account of it, who has also referred to
+Heineken's Idée, &c. p. 276, where it certainly is not in the French
+edition of 1771. 8vo.
+
+In the celebrated Nuremberg Chronicle, printed in that city, 1493, large
+folio, there is at fo. cclxiiii. a fine wood-cut of three Deaths dancing
+hand in hand, another playing to them on a haut-boy. Below is a skeleton
+rising from a grave. It is inscribed IMAGO MORTIS.
+
+In the "Stultifera navis" of Sebastian Brant, originally printed in German
+at Basle and Nuremberg, 1494, are several prints, finely cut on wood, in
+which Death is introduced. In an edition printed at Basle, 1572, 12mo.
+with elegant wood engravings, after the designs of Christopher Maurer, and
+which differ very materially from those in the early editions, there is a
+cut of great merit to the verses that have for their title, "Qui alios
+judicat." It represents a man on his death bed; and as the poet's
+intention is to condemn the folly of those who, judging falsely or
+uncharitably of others, forget that they must die themselves, Death is
+introduced as pulling a stool from under a fool, who sits by the bed-side
+of the dying man. In the original cut the fool is tumbling into the jaws
+of hell, which, as usual, is represented by a monstrous dragon.
+
+In the "Calendrier des Bergers," Paris, 1500, folio, at sign. g. 6, is a
+terrific figure of Death on the pale horse; and at sign. g. 5. Death in a
+cemetery, with crosses and monuments; in his left hand the lid of a coffin
+in which his left foot is placed. These cuts are not in the English
+translation.
+
+"Ortulus Rosarum," circa 1500, 12mo. A wood-cut of Death bearing a coffin
+on his shoulder, leads a group consisting of a pope, a cardinal, &c.
+
+In the dialogue "Of lyfe and death," at the end of "the dialoges of
+creatures moralysed," probably printed abroad without date or printer's
+name soon after 1500, are two engravings in wood, one representing Death
+appearing to a man with a falcon on his fist, the other Death with his
+spade leading an emperor, a king, and a duke. The latter is not found in
+the Latin editions of this work, and has probably formed a part of some
+very old Dance of Death.
+
+In an edition of "Boetius de consolatione," Strasburg, 1501, folio, is a
+figure of Death on a lean horse throwing his dart at a group of warriors.
+
+In the "Freidanck," Strasburg, 1508, 4to, near the end is a wood-cut of a
+garden, in which two men and two women are feasting at a table. They are
+interrupted by the unexpected appearance of Death, who forcibly seizes one
+of the party, whilst the rest make their escape.
+
+In the "Mortilogus" of Conrad Reitter, Prior of Nordlingen, printed at
+Augsbourg by Erhard Oglin and Geo. Nadler, 1508, 4to. there is a wood-cut
+of Death in a church-yard, holding a spade with one hand and with the
+other showing his hour-glass to a young soldier; and another of Death
+shooting an arrow at a flying man.
+
+In "Heures à l'usaige de Sens," printed at Paris by Jean de Brie, 1512,
+8vo. the month of December in the calendar is figured by Death pulling an
+old man towards a grave; a subject which is, perhaps, nowhere else to be
+found as a representation of that month. It is certainly appropriate, as
+being at once the symbol of the termination of the year and of man's life.
+
+In the "Chevalier de la Tour," printed by Guillaume Eustace, Paris, 1514,
+folio, there is an allegorical cut, very finely engraved on wood, at fo.
+xxii. nearly filling the page. The subject is the expulsion of Adam and
+Eve from Paradise, the gate of which exhibits a regular entrance, with
+round towers and portcullis. Behind this gate is seen the forbidden tree,
+at the bottom of which is the Devil, seemingly rejoicing at the expulsion,
+with an apple in his hand. Near the gate stands the angel with his sword,
+and a cross on his head. Between him and the parties expelled is a
+picturesque figure of Death with a scythe ready for action.
+
+"Horæ ad usum Romanum," printed for Geoffrey Tory of Tours, 1525. Before
+the Vigiliæ Mortuorum is a wood-cut of a winged Death holding a clock in
+one hand; with the other he strikes to the ground and tramples on several
+men and women. Near him is a tree with a crow uttering CRAS CRAS. In
+another edition, dated 1527, is a different cut of a crowned figure of
+Death mounted on a black mule and holding a scythe and hour-glass. He is
+trampling on several dead bodies, and is preceded by another Death, armed
+also with a scythe, whilst a third behind strikes the mule, who stops to
+devour one of the prostrate figures. Above is a crow.
+
+In a beautiful Officium Virg. printed at Venice, 1525, 12mo. is a vignette
+of Death aiming an arrow at a group consisting of a pope, cardinal, &c.
+Another Death is behind, on the spectator's left.
+
+In "Heures de Notre Dame mises en reyne, &c." par Pierre Gringoire, 1527,
+8vo. there is a cut at fo. lx. before the vigilles de la mort, of a king
+lying on a bier in a chapel with tapers burning, several mourners
+attending, and on the ground a pot of holy water. A hideous figure of
+Death holding a scythe in one hand and a horn in the other, tramples on
+the body of the deceased monarch.
+
+In a folio missal for the use of Salisbury, printed at Paris by Francis
+Regnault, 1531, there is a singular cut prefixed to the Officium
+Mortuorum, representing two Deaths seizing a body that has the horrible
+appearance of having been some time in its grave.
+
+In a Flemish metrical translation of Pope Innocent III.'s work, "De
+vilitate conditionis humanæ," Ghend, 1543, 12mo. there is a wood-cut of
+Death emerging from hell, armed with a dart and a three-pronged fork,
+with which he attacks a party taking their repast at a table.
+
+In the cuts to the Old Testament, beautifully engraved on wood by Solomon
+or le petit Bernard, Lyons, 1553, 12mo. Death is introduced in the vision
+of Ezekiel, ch. xxxvii. In this work the expulsion from Paradise is
+imitated from the same subject in the Lyons wood-cuts.
+
+In "Hawes's History of Graund Amoure and la bel Pucell, called the Pastime
+of Pleasure," printed by R. Tottel, 1555, 4to. are two prints; the first
+exhibits a female seated on a throne, in contemplation of several men and
+animals, some of whom are lying dead at her feet; behind the throne Death
+is seen armed with a dart, which he seems to have been just making use of:
+there is no allusion to it in the text, and it must have been intended for
+some other work. The second print has two figures of Death and a young
+man, whom he threatens with a sort of mace in his right hand, whilst he
+holds a pickaxe with his left.
+
+"Imagines elegantissimæ quæ multum lucis ad intelligendos doctrinæ
+Christianæ locos adferre possunt, collectæ à Johann Cogelero verbi divini
+ministro, Stetini." Viteberg, 1560, 12mo. It contains a wood-print, finely
+executed, of the following subject. In the front Death, armed with a
+hunting-spear, pushes a naked figure into the mouth of hell, in which are
+seen a pope and two monks. Behind this group, Moses, with a pair of bulls'
+horns, and attended by two Jews, holds the tables of the law. In the
+distance the temptation, and the brazen serpent.
+
+A German translation of the well known block book, the "Ars Moriendi," was
+printed at Dilingen, 1569, 12mo. with several additional engravings on
+wood. It is perhaps the last publication of the work. On the title-page is
+an oval cut, representing a winged boy sleeping on a scull, and Death
+shooting an arrow at him. The first cut exhibits a sort of Death's dance,
+in eight small compartments. 1. A woman in bed just delivered of a child,
+with which Death is running away. 2. A man sitting at a table, Death
+seizes him behind, and pulls him over the bench on which he is sitting. 3.
+Death drowning a man in a river. 4. Flames of fire issue from a house,
+Death tramples on a man endeavouring to escape. 5. Two men fighting, one
+of whom pierces the other with his sword. The wounded man is seized by
+Death, the other by the Devil. 6. A man on horseback is seized by Death
+also mounted behind. 7. Death holds his hour-glass to a man on his
+death-bed. 8. Death leading an aged man to the grave. At the end of this
+curious volume is a singular cut, intitled "Symbolum M. Joannis Stotzinger
+Presbyteri Dilingensis." It exhibits a young man sitting at a table, on
+which is a violin, music books, and an hour-glass. On the table is written
+RESPICE FINEM. Near him his guardian angel holding a label, inscribed
+ANGELVS ASTAT. Behind them Death about to strike the young man with his
+dart, and over him MORS MINATVR. At the end of the table Conscience as a
+female, whom a serpent bites, with the label CONSCIENTIA MORDET, and near
+her the Devil, with the label DIABOLVS ACCVSAT. Above is the Deity looking
+down, and the motto DEVS VIDET.
+
+"Il Cavallero Determinado," Antwerp, 1591, 4to. A translation from the
+French romance of Olivier de la Marche, with etchings by Vander Borcht.
+The last print represents Death, armed with a coffin lid as a shield,
+attacking a knight on horseback. In several of the other prints Death is
+represented under the name of Atropos, as president in tournaments. In
+other editions the cuts are on wood by the artist with the mark [monogram:
+A].
+
+In the margins of some of the Horæ, printed by Thielman Kerver, there are
+several grotesque figures of Death, independently of the usual Dance.
+
+In many of the Bibles that have prints to the Revelations, that of Death
+on the pale horse is to be noticed.
+
+In Petrarch's work "de remediis utriusque fortunæ," both in the German and
+Latin editions, there are several cuts that relate materially to the
+subject. It may be as well to mention that this work has been improperly
+ascribed to Petrarch.
+
+In many of the old editions of Petrarch's works which contain the
+triumphs, that of Death is usually accompanied with some terrific print of
+Death in a car drawn by oxen, trampling upon all conditions of men from
+the pope to the beggar.
+
+"Guilleville, Pelerin de la vie humaine." The pilgrim is conducted by
+Abstinence into a refectory, where he sees many figures of Death in the
+act of feeding several persons sitting at table. These are good people
+long deceased, who during their lives have been bountiful to their
+fellow-creatures. At the end, the pilgrim is struck by Death with two
+darts whilst on his bed.
+
+Death kicking at a man, his wife, and child. From some book printed at
+Strasburg in the 16th century.
+
+Death, as an ecclesiastic, sitting on the ground and writing in a book.
+Another Death holding an inscribed paper in one hand, seizes with the
+other a man pointing to a similar paper. The Deity in a cloud looking on.
+From the same book.
+
+"Mors," a Latin comedy, by William Drury, a professor of poetry and
+rhetoric in the English college at Douay. It was acted in the refectory of
+the college and elsewhere, and with considerable applause, which it very
+well deserved. There is as much, and sometimes more, wit and humour in it
+than are found in many English farces. It was printed at Douay, 1628,
+12mo. with two other Latin plays, but not of equal interest.
+
+A moral and poetical Drama, in eleven scenes, intitled, "Youth's Tragedy,
+by T. S." 1671 and 1707, 4to. in which the interlocutors are, Youth, the
+Devil, Wisdom, Time, Death, and the Soul. It is miserable stuff.
+
+"La Historia della Morte," Trevigi, 1674, 4to. four leaves only. It is a
+poem in octave stanzas. The author, wandering in a wood, is overwhelmed
+with tears in reflecting on the approach of Death and his omnipotent
+dominion over mankind. He is suddenly accosted by the king of terrors, who
+is thus described:
+
+  Un ombra mi coperse prestamente
+  Che mi fece tremar in cotal sorte
+  Ell'era magra, e longa in sua figura,
+  Che chi la vede perde gioco, e festa,
+  Dente d'acciaio haveva in bocca oscura,
+  Corna di ferro due sopra la testa
+  Ella mi fe tremar dalla paura, &c.
+
+The work consists of a long dialogue between the parties. The author
+enquires of Death if he was born of father and mother. Death answers that
+he was created, by Jesus Christ, "che e signor giocondo," with the other
+angels; that after Adam's sin he was called _Death_. The author tells him
+that he seems rather to be a malignant spirit, and presses for some
+further information. He is referred to the Bible, and the account of
+David's destroying angel:
+
+  Quando Roma per me fu tribulata
+  Gregorio videmi con suo occhio honesto
+  Con una spada ch'era insanguinata
+  Al castel de Sant Angelo chiamato
+  Da l'hora in qua cosi fu appellato.
+
+This corresponds with the usual story, that during a plague Gregory saw an
+angel hovering over the castle, who, on the Pope's looking up to him,
+immediately sheathed his flaming sword. More questions are then propounded
+by Death, particularly as to the use of his horns and teeth, and the
+curiosity of the author is most condescendingly gratified.
+
+Bishop Warburton and Mr. Malone have referred to old Moralities, in which
+the fool escaping from the pursuit of Death is introduced. Ritson has
+denied the existence of any such farces, and he is perhaps right with
+respect to printed ones; but vestiges of such a drama were observed
+several years ago at the fair of Bristol by the present writer. See the
+notes to Measure for Measure, Act iii. sc. 1, and to Pericles, Act iii.
+sc. 2.
+
+In "Musart Adolescens Academicus sub institutione Salomonis," Duaci, 1633,
+12mo. is an engraving on copper of a modern Bacchus astride upon a wine
+cask drawn by two tigers. In one hand he holds a thyrsus composed of
+grapes and vine leaves, and in the other a cup or vase, from which a
+serpent springs, to indicate poison. Behind this Bacchus Death is seated,
+armed with his scythe and lying in wait for him. The motto, "Vesani
+calices quid non fecere," a parody on the line, "Fecundi calices quem non
+fecere disertum?" Horat. lib. i. epist. v. 1. 19.
+
+In "Christopher Van Sichem's Bibels' Tresoor," 1646, 4to. there is a
+wood-cut of Death assisting Adam to dig the ground, partly copied from the
+subject of "the Curse," in the work printed at Lyons.
+
+In "De Chertablon, maniere de se bien preparer à la mort, &c." Anvers,
+1700, 4to. there is an allegorical print in which a man is led by his
+guardian angel to the dwelling of Faith, Hope, and Charity, but is
+violently seized by Death, who points to his last habitation, in the shape
+of a sepulchral monument.
+
+In Luyken's "Onwaardige wereld," Amst. 1710, 12mo. are three allegorical
+engravings relating to this subject.
+
+In a very singular book, intitled "Confusio disposita rosis
+rhetorico-poeticis fragrans, sive quatuor lusus satyrico morales, &c.
+authore Josepho Melchiore Francisco a Glarus, dicto Tschudi de Greplang."
+Augsburg, 1725, 12mo. are the following subjects. 1. The world as Spring,
+represented by a fine lady in a flower-garden, Death and the Devil behind
+her. 2. Death and the Devil lying in wait for the miser. 3. Death and the
+Devil hewing down the barren fig-tree. 4. A group of dancers at a ball
+interrupted by Death. 5. Death striking a lady in bed attended by her
+waiting maid. 6. Death gives the coup-de-grace to a drunken fellow who had
+fallen down stairs. 7. Death mounted on a skeleton-horse dashes among a
+group of rich men counting their gold, &c. 8. A rich man refused entrance
+into heaven. He has been brought to the gate in a sedan chair, carried by
+a couple of Deaths in full-bottom periwigs.
+
+In Luyken's "Vonken der lief de Jezus," Amst. 1727, 12mo. are several
+engravings relating to the subject. In one of them Death pours a draught
+into the mouth of a sick man in bed.
+
+In Moncrief's "March of Intellect," 1830, 18mo. scene a workhouse, Death
+brings in a bowl of soup, a label on the ground, inscribed "Death in the
+pot." An engraving in wood after Cruikshank.
+
+In Jan Huygen's "Beginselen van Gods koninryk," Amst. 1738, 12mo. with
+engravings by Luyken, a dying man attended by his physician and friends;
+Death at the head of the bed eagerly lying in wait for him.
+
+In one of the livraisons of "Goethe's Balladen und Romanzen," 1831, in
+folio, with beautiful marginal decorations, there is a Dance of Death in a
+church-yard, accompanied with a description, of which an English
+translation is inserted in the "Literary Gazette" for 1832, p. 731, under
+the title of "The Skeleton Dance," with a reference to another indifferent
+version in the "Souvenir."
+
+The well-known subjects of Death and the old man with the bundle of
+sticks, &c. and Cupid and Death in many editions of Æsopian fables.
+
+
+
+
+CHAPTER XIII.
+
+    _Books of emblems and fables.--Frontispieces and title-pages, in some
+    degree connected with the Dance of Death._
+
+
+EMBLEMS AND FABLES.
+
+It is very seldom that in this numerous and amusing class of books a
+subject relating to Death, either moral or of a ludicrous nature does not
+occur. It may be sufficient to notice a few of them.
+
+"La Morosophie de Guillaume de la Perriere," 1553, 12mo.
+
+"Emblemes ou devises Chretiennes," par Georgette de Montenaye, 1571, 4to.
+
+"Le Imprese del S. Gab. Symeoni." Lyons, 1574, 4to.
+
+"Enchiridion artis pingendi, fingendi et sculpendi. Auth. Justo Ammanno,
+Tig." Francof. 1578, 4to. This is one of Jost Amman's emblematical books
+in wood, and contains at the end a figure of Death about to cut off two
+lovers with his scythe, Cupid hovering over them.
+
+"Apologi creaturarum." Plantin, 1590, 4to. with elegant etchings by Marc
+Gerard. It has one subject only of Death summoning a youth with a hawk on
+his fist to a church-yard in the back-ground.
+
+Reusner's "aureolorum emblematum liber singularis," Argentorati, 1591,
+12mo. A print of Death taking away a lady who has been stung by a serpent;
+designed and engraved by Tobias Stimmer.
+
+"De Bry Proscenium vitæ humanæ," Francof. 1592 and 1627, 4to. This
+collection has two subjects: 1. Death and the Young Man. 2. Death and the
+Virgin.
+
+"Jani Jacobi Boissardi Emblematum liber, a Theodoro de Bry sculpta."
+Francof. 1593. Contains one print, intitled "Sola virtus est funeris
+expers." The three Fates, one of whom holds a tablet with SIC VISVM
+SVPERIS. Death attending with his hour-glass. Below, crowns, sceptres, and
+various emblems of human vanity. On the spectator's left, a figure of
+Virtue standing, with sword and shield.
+
+"De Bry Emblemata." Francof. 1593, 4to. The last emblem has Death striking
+an old man, who still clings to the world, represented as a globe.
+
+"Rolandini variar. imaginum, lib. iii." Panormi, 1595, 12mo.
+
+"Alciati Emblemata," one of the earliest books of its kind, and a
+favourite that has passed through a great many editions.
+
+"Typotii symbola divina et humana Pontificum Imperatorum, Regum, &c."
+Francofurti, 1601, folio.
+
+"Friderich's Emblems," 1617, 8vo. Several engravings on the subject.
+
+"Das erneurte Stamm-und Stechbuchlein." By Fabian Athyr. Nuremberg, 1654.
+Small obl. 4to.
+
+"Mannichii Emblemata." Nuremberg, 1624, 4to.
+
+"Minne Beelden toe-ghepast de Lievende Jonckheyt," Amst. 1635, 12mo. The
+cuts on the subject are extremely grotesque and singular.
+
+"Sciographia Cosmica." A description of the principal towns and cities in
+the world, with views engraved by Paul Furst, and appropriate emblems. By
+Daniel Meisner: in eight parts. Nuremberg, 1637. Oblong 4to. In the print
+of the town of Freyburg, Death stands near an old man, and holds a clock
+in one hand. In that of the city of Toledo Death accompanies a female who
+has a mirror in her hand.
+
+In the same work, at vol. A. 4, is a figure of Death trampling on Envy,
+with the motto, "Der Todt mach dem Neyd ein ende." At A. 39, Death
+intercepting a traveller, the motto, "Vitam morti obviam procedit." At A.
+74, Death standing near a city, the motto, "Tros Tyriusve mihi nullo
+discrimine habetur." At C. 9, a man and woman in the chains of matrimony,
+which Death dissolves by striking the chain with a bone, the motto,
+"Conjugii vinculum firmissimum est." At C. 30, Death about to mow down a
+philosopher holding a clock, the motto, "Omnis dies, omnis hora, quam
+nihil sumus ostendit." At E. 32, Death standing in the middle of a
+parterre of flowers, holding in one hand a branch of laurel, in the other
+a palm branch, the motto, "Ante mortem nullus beatus est." At E. 35, Death
+shooting with a cross-bow at a miser before his chest of money, the motto,
+"Nec divitiis nec auro." At E. 44, Death seizes a young man writing the
+words, "sic visum superis" on a tablet, the motto, "Viva virtus est
+funeris expers." At G. 32, Death pursues a king and a peasant, all on
+horseback, the motto, "Mors sceptra ligonibus æquat." At G. 66, a woman
+looking in a mirror sees Death, who stands behind her reflected, the
+motto, "Tota vita sapientis est meditatio mortis." At H. 66, a company of
+drunkards. Death strikes one of them behind when drinking, the motto,
+"Malus inter poculo mos est." At H. 80, Death cuts down a genealogical
+tree, with a young man and woman, the motto, "Juventus proponit, mors
+disponit."
+
+"Conrad Buno Driestandige Sinnbilder," 1643. Oblong 4to.
+
+"Amoris divini et humani antipathia." Antw. 1670. 12mo.
+
+"Typotii Symbola varia diversorum principum sacrosanctæ ecclesiæ et sacri
+Imperii Romani." Arnheim, 1679. 12mo.
+
+In Sluiter's "Somer en winter leven," Amst. 1687, 12mo. is a figure of
+Death knocking at the door of a house and alarming the inhabitants with
+his unexpected visit. The designer most probably had in his recollection
+Horace's "Mors æquo pede pulsat pauperum tabernas regumque turres."
+
+"Euterpe soboles hoc est emblemata varia, &c." with stanzas in Latin and
+German to each print. No date. Oblong 4to. The engravings by Peter Rollo.
+Republished at Paris, with this title, "Le Centre de l'amour, &c." A Paris
+chez Cupidon. Same form, and without date. This edition has several
+additional cuts.
+
+"Rollenhagii nucleus Emblematum." The cuts by Crispin de Passe.
+
+In Herman Krul's "Eerlyche tytkorting, &c." a Dutch book of emblems, 4to.
+n. d. there are some subjects in which Death is allegorically introduced,
+and sometimes in a very ludicrous manner.
+
+Death enters the study of a seated philosopher, from whose mouth and
+breast proceed rays of light, and presents him with an hour-glass. Below a
+grave, over which hangs one foot of the philosopher. A. Venne invent. Obl.
+5-1/2 by 4-1/2.
+
+"Catz's Emblems," in a variety of forms and editions, containing several
+prints relating to the subject.
+
+"Oth. Vænii Emblemata Horatiana." Several editions, with the same prints.
+
+"Le Centre de l'Amour decouvert soubs divers emblesmes galans et
+facetieux. A Paris chez Cupidon." Obl. 4to. without date. One print only
+of a man sitting in a chair seized by Death, whilst admiring a female,
+who, not liking the intrusion, is making her escape. The book contains
+several very singular subjects, accompanied by Latin and German subjects.
+It occurs also under the title of "Euterpæ soboles hoc est emblemata
+varia eleganti jocorum mistura, &c."
+
+"Fables nouvelles par M. de la Motte." 4to. edition. Amsterd. 1727, 12mo.
+
+"Apophthegmata Symbolica, &c." per A. C. Redelium Belgam. Augspurg, 1700.
+Oblong 4to. Death and the soldier; Death interrupting a feast; Death and
+the miser; Death and the old man; Death drawing the curtain of life, &c.
+&c.
+
+"Choice emblems, divine and moral." 1732. 12mo.
+
+
+FRONTISPIECES AND TITLE PAGES TO BOOKS.
+
+"Arent Bosman." This is the title to an old Dutch legend of a man who had
+a vision of hell, which is related much in the manner of those of Tundale
+and others. It was printed at Antwerp in 1504, 4to. The frontispiece has a
+figure of Death in pursuit of a terrified young man, and may probably
+belong to some other work.
+
+On a portion of the finely engraved wood frontispiece to "Joh. de Bromyard
+Summa predicantium." Nuremberg, 1518, folio. Death with scythe and
+hour-glass stands on an urn, supported by four persons, and terrifies
+several others who are taking flight and stumbling over each other.
+
+"Schawspiel Menchliches Lebens." Frankfort, 1596, 4to. Another edition in
+Latin, intitled, "Theatrum vitæ humanæ," by J. Boissard, the engravings by
+De Bry. At the top of the elegant title or frontispiece to this work is an
+oblong oval of a marriage, interrupted by Death, who seizes the
+bridegroom. At bottom a similar oval of Death digging the grave of an old
+man who is looking into it. On one side of the page, Death striking an
+infant in its cradle; on the other, a merchant about to ship his goods is
+intercepted by Death.
+
+On the title-page to a German jeu d'esprit, in ridicule of some anonymous
+pedant, there is a wood-cut of Death mounted backwards on an ass, and near
+him a fool hammering a block of some kind on an anvil. The title of this
+satirical morsel is "Res Mira. Asinus sex linguarum jucundissimis
+anagrammatismis et epigrammatibus oneratus, tractionibus, depositionibus,
+et fustuariis probè dedolatus, hero suo remissus, ac instar prodromi
+præmissus, donec meliora sequantur, Asininitates aboleantur, virique boni
+restituantur: ubi etiam ostenditur ab asino salso intentata vitia non esse
+vitia. Ob variam ejus jucunditatem, suavitatem et versuum leporem recusus,
+anno 1625." The address to the reader is dated from Giessen, 19th June,
+1606, and the object of the satire disguised under the name of Jonas
+Melidæus.
+
+"Les Consolations de l'ame fidelle contre les frayeurs de la mort, par
+Charles Drelincourt." Amsterdam, 1660. 8vo.
+
+"Deugden Spoor De Vijfte Der-Eeringe Aen de Medicijas met sampt Monsieur
+Joncker Doctor Koe-Beest ende alle sijne Complicen." Death introduces an
+old man to a physician who is inspecting a urinal. 12mo.
+
+Death leading an old man with a crutch, near a charnel-house, inscribed
+MEMENTO MORI. At top these verses:
+
+  Il faut sans diferer me suivre
+    Tu dois être prèt a partir
+  Dieu ne t'a fait si longtemps vivre
+    Que pour l'aprendre à bien mourir.
+
+A Amsterdam chez Henri Desbordes. Another print, with the same design. "Se
+vendent à Londres par Daniel Du Chemin." On a spade, the monogram
+[monogram: HF] 8vo.
+
+"Reflexions sur les grands hommes." In the foreground various pranks of
+Death. In the distance, a church-yard with a regular dance, in a circle,
+of men, women, and Deaths, two of the latter sitting on a monument and
+playing on a violin and violoncello. Engraved by A. D. Putter. 12mo.
+
+"La Dance Macabre, or Death's Duell," by W. C. _i. e._ Colman. Printed by
+Wm. Stansby, no date, 12mo. It has an elegantly engraved frontispiece by
+T. Cecill, with eight compartments, exhibiting Death with the pope, the
+emperor, the priest, the nobles, the painter, the priest, and the peasant.
+The poem, in six line stanzas, is of considerable merit, and entirely
+moral on the subject of Death, but it is not the Macaber Dance of Lydgate.
+At the end, the author apologizes for the title of his book, which, he
+says, was injuriously conferred by Roger Muchill upon a sermon of Dr.
+Donne's, and adds a satirical epistle against "Muchill that never did
+good." There certainly was a sermon by Donne, published by Muchill or
+Michel, with the title of "Death's Duell."
+
+There appears to have been another edition of this book, the title-page
+only of which is preserved among Bagford's collections among the Harl.
+MSS. No. 5930. It has the same printed title, with the initials W. C. and
+the name of W. Stansby. It is also without date. This frontispiece is on a
+curtain held by two winged boys. At the top, a figure of Death, at bottom
+another of Time kneeling on a globe. In the right-hand corner, which is
+torn, there seems to have been a hand coupé with a bracelet as a crest; in
+the left, a coat of arms with a cross boutonné arg. and sable, and four
+mullets, arg. and sable. On each side, four oval compartments, with the
+following subjects. 1. A pope, a cardinal, and four bishops. 2. Several
+monks and friars. 3. Several magistrates. 4. A schoolmaster reading to his
+pupils. 5. An emperor, a king, a queen, a duke, a duchess, and a male
+attendant. 6. A group of noblemen or gentlemen. 7. A painter painting a
+figure of Death, in the back ground a woman who seems to be purchasing
+articles of dress. 8. Two men with spades, one of them digging. This very
+beautiful print is engraved by T. Cecil. On the top of each of the above
+compartments, Death holds a string with both his hands.
+
+"Theatrum omnium miserarum." A theatre filled with a vast number of
+people. In the centre, an obelisk on a pedestal, behind which is a small
+stage with persons sitting. In the foreground, Death holding a cord, with
+which three naked figures are bound, and another Death with a naked figure
+in a net. Between these figures symbols of the world, the flesh, and the
+Devil. 4to.
+
+"Les Consolations de l'Ame fidelle contre les frayeurs de la mort." Death
+holds his scythe over a group of persons, consisting of an old man and a
+child near a grave, who are followed by a king, queen, and a shepherd,
+with various pious inscriptions. 8vo.
+
+"La maniere de se bien preparer à la mort, par M. de Chertablon." Anvers,
+1700, 4to.
+
+In an engraved frontispiece, a figure of Time or Death trampling upon a
+heap of articles expressive of worldly pomp and grandeur, strikes one end
+of his scythe against the door of a building, on which is inscribed
+"STATVTVM EST OMNIBVS HOMINIBVS. SEMEL MORI. Hebr. ix."
+
+At the bottom, within a frame ornamented with emblems of mortality, a
+sarcophagus with the skeleton of a man raised from it. Two Deaths are
+standing near, one of whom blows a trumpet, the other points upward with
+one hand, and holds a scythe in the other. On one side of the sarcophagus
+are several females weeping; on the other, a philosopher sitting, who
+addresses a group of sovereigns, &c. who are looking at the skeleton.
+
+"Palingenii Zodiacus Vitæ." Rotterdam, 1722. 12mo. Death seizes a sitting
+figure crowned with laurel, perhaps intended for Virtue, who clings to a
+bust of Minerva, &c.
+
+Death leading a bishop holding his crosier. He is preceded by another
+Death as a bellman with bell and lanthorn. Above, emblems of mortality
+over a label, inscribed "A Vision." 12mo.
+
+Scene, a church-yard. Death holding an hour-glass in one hand levels his
+dart at a young man in the habit of an ecclesiastic, with a mask in his
+hand. "Worlidge inv. Boitard sculp." The book unknown. 8vo.
+
+Three figures of Death uncovering a circular mirror, with a group of
+persons dying, &c. At bottom, INGREDIMVR. CVNCTI. DIVES. CVM. PAUPERE.
+MIXTVS. J. Sturt sculp.
+
+Death touching a globe, on which is inscribed VANITY, appears to a man in
+bed. "Hayman inv. C. Grignion sc." 8vo.
+
+To a little French work, intitled "Spectriana," Paris, 1817, 24mo. there
+is a frontispiece on copper representing the subject of one of the
+stories. A figure of Death incumbered with chains beckons to an armed man
+to follow him into a cave.
+
+
+
+
+CHAPTER XIV.
+
+    _Single prints connected with the Dance of Death._
+
+
+1500-1600.
+
+(N. B. The right and left hands are those of the spectator. The prints on
+_wood_ are so specified.)
+
+An ancient engraving, in the manner of Israel Van Meckenen. Death is
+playing at chess with a king, who is alarmed at an impending check-mate. A
+pope, cardinal, bishop, and other persons are looking on. Above are three
+labels. Bartsch x. 55. No. 32.
+
+Albert Durer's knight preceded by Death, and followed by a demon, a
+well-known and beautiful engraving.
+
+A very scarce and curious engraving, representing the interior of a
+brothel. At the feet of a bed a man is sitting by a woman almost naked,
+who puts her hand into his purse, and clandestinely delivers the money she
+takes from it to a fellow standing behind one of the curtains. On the
+opposite side is a grinning fool making significant signs with his fingers
+to a figure of Death peeping in at a window. This singular print has the
+mark L upon it, and is something in the manner of Lucas Van Leyden, but is
+not mentioned in Bartsch's catalogue of his prints. Upright 7-1/2 by
+5-1/2.
+
+A small etching, very delicately executed, and ascribed to Lucas Van
+Leyden, whose manner it certainly resembles. At a table on the left a
+family of old and young persons are assembled. They are startled by the
+appearance of a hideous figure of Death with a long beard and his head
+covered. Near him is a young female, crowned with a chaplet of flowers,
+holding in her hand a scull, Death's head, and hour-glass, and which the
+father of the family turns round to contemplate. Above is an angel or
+genius shooting an arrow at the family, and as it were at random. At top
+on the right is the letter L, and the date 1523. See Bartsch, vol. vii. p.
+435. Oblong, 5-1/2 by 4.
+
+A small upright print of Death with a spade on his shoulder, and leading
+an armed soldier. The mark L below on a tablet. Not mentioned by Bartsch.
+
+A small circular engraving, of several persons feasting and dancing. Death
+lies in wait behind a sort of canopy. Probably a brothel scene, as part of
+the story of the prodigal son. The mark is L. Not noticed by Bartsch.
+
+A reverse of this engraving, marked S.
+
+An engraving on wood of Death presenting an hour-glass, surmounted by a
+dial, to a soldier who holds with both his hands a long battle-axe. The
+parties seem to be conversing. With Albert Durer's mark, and the date
+1510. It has several German verses. See Bartsch, vii. 145, No. 132.
+
+A wood print of Death in a tree pointing with his right hand to a crow on
+his left, with which he holds an hour-glass. At the foot of the tree an
+old German soldier holding a sword pointed to the ground. On his left,
+another soldier with a long pike. A female sitting by the side of a large
+river with a lap-dog. The mark of Urs Graaf [monogram: VG] and the date
+1524 on the tree. Upright, 8 by 4-1/2.
+
+Death as a buffoon, with cap, bauble, and hour-glass, leading a lady. The
+motto, OMNEM IN HOMINE VENVSTATEM MORS ABOLET. With the mark and date
+[monogram] 1541. Bartsch, viii. 174.
+
+An engraving of Adam and Eve near the tree of life, which is singularly
+represented by Death entwined with a serpent. Adam holds in one hand a
+flaming sword, and with the other receives the apple from Eve, who has
+taken it from the serpent's mouth. At top is a tablet with the mark and
+date [monogram] 1543. A copy from Barthol. Beham. Bartsch, viii. 116.
+
+Death seizing a naked female. A small upright engraving. The motto, OMNEM
+IN HOMINE VENVSTATEM MORS ABOLET. With the mark and date [monogram] 1546.
+Bartsch, viii. 175.
+
+A small upright engraving, representing Death with three naked women, one
+of whom he holds by the hair of her head. A lascivious print. The mark
+[monogram] on a label at bottom. Bartsch, viii. 176, who calls the women
+sorceresses.
+
+A small upright engraving of Death holding an hour-glass and dial to a
+soldier with a halberd. At top, the mark and date [monogram] 1532.
+Bartsch, viii. 276.
+
+An upright engraving of Death seizing a soldier, who struggles to escape
+from him. Below, an hour-glass. In a corner at top, the mark [monogram].
+
+An upright engraving of Death trampling upon a vanquished soldier, who
+endeavours to parry with his sword a blow that with one hand his adversary
+aims at him, whilst with the other he breaks the soldier's spear. In a
+corner at top, the mark [monogram]. A truly terrific print, engraved also
+by [monogram: AC]. Bartsch, viii. 277.
+
+A naked female seized by a naked man in a very indecent manner. Death who
+is behind seizes the man whose left hand is placed on a little boy taking
+money out of a bag. The motto, HO: MORS VLTIMA LINEA RERVM, with the mark
+and date [monogram] 1529. See Bartsch, viii. 176.
+
+Near the end of an English Primer, printed at Paris, 1538, 4to. is a small
+print of Death leading a pope, engraved with great spirit on wood, but it
+has certainly not formed part of a series of a Dance of Death.
+
+An upright engraving of a pair of lovers interrupted by Death with scythe
+and hour-glass, with the mark and date [monogram: HM] 1550. Not in
+Bartsch.
+
+A small wood print of a gentleman conducting a lady, whose train is held
+up by Death with one hand, whilst he holds up an hour-glass with the
+other. In a corner below, the supposed mark of Jost de Negher, [monogram].
+Upright, 2 by 1-3/4.
+
+A German anonymous wood print of the prodigal son at a brothel, a female
+fool attending. Death unexpectedly appears and takes him by the hand,
+whilst another female is caressing him. Oblong, 4-1/2 by 4.
+
+An upright engraving on wood, 14 by 11, of a naked female on a couch.
+Death with a spade and hour-glass approaches her. With her left hand she
+holds one corner of a counterpane, Death seizing the other, and trampling
+upon it. Under the counterpane, and at the foot of the couch is a dead and
+naked man grasping a sword in one hand. There is no indication of the
+artist of this singular print.
+
+An upright wood engraving, 14-1/2 by 11, of a whole-length naked female
+turning her head to a mirror, which she holds behind her with both hands.
+Death, unnoticed, with an hour-glass, enters the apartment; before him a
+wheel. On the left at bottom a blank tablet, and near the woman's left
+foot a large wing.
+
+An engraving on wood by David Hopfer of Death and the Devil surprizing a
+worldly dame, who admires herself in a mirror. Oblong, 8 inches by 5-1/2.
+
+An upright engraving of a lady holding in one hand a bunch of roses and in
+the other a glove. Death behind with his hour-glass; the motto, OMNEM IN
+HOMINE VENVSTATEM MORS ABOLET. and the mark F. B. Bartsch, ix. 464.
+
+A wood print of Death seizing a child. On the left, at top, is a blank
+tablet. Upright, 2-1/2 by 2.
+
+A small oblong anonymous engraving of a naked female asleep on a couch. A
+winged Death places an hour-glass on her shoulder. A lascivious print.
+
+An ancient anonymous wood print: scene, a forest. Death habited as a
+woodman, with a hatchet at his girdle and a scythe, shoots his arrows into
+a youth with a large plume of feathers, a female and a man lying prostrate
+on the ground; near them are two dead infants with amputated arms; the
+whole group at the foot of a tree. In the back-ground, a stag wounded by
+an arrow, probably by the young man. 4to. size.
+
+A small wood-cut of Death seizing a child. Anonymous, in the manner of A.
+Durer. 2-1/4 by 1-7/8.
+
+A very old oblong wood-cut, which appears to have been part of a Dutch or
+Flemish Macaber Dance. The subjects are, Death and the Pope, with "Die
+doot seyt," "die paens seyt," &c. and the Cardinal with "Die doot seyt,"
+and "Die Cardinael seyt." There have been verses under each character.
+9-1/2 by 6-1/2.
+
+A small wood print of a tree, in which are four men, one of whom falls
+from the tree into a grave at the foot of it. Death, as a woodman, cuts
+down the tree with a hatchet. In the back-ground, another man fallen into
+a grave.
+
+A figure of Death as a naked old man with a long beard. He leans on a
+pedestal, on which are placed a scull and an hour-glass, and with his left
+hand draws towards him a draped female, who holds a globe in her left
+hand. At the bottom of the print, MORS OMNIA MVTAT, with the unknown
+monogram [monogram: BAD]. Upright, 5 inches by 2-3/4. It is a very rare
+print on copper, not mentioned by Bartsch.
+
+A small anonymous wood print of Death playing on a vielle, or beggar's
+lyre.
+
+An ancient anonymous copper engraving of Death standing on a bier, and
+laying hands upon a youth over whom are the words, "Ach got min sal ich,"
+and over Death, "hie her by mich." Both inscriptions on labels. Bartsch,
+x. p. 54, No. 30.
+
+An allegorical engraving on copper by Cuerenhert, after Martin Heemskirk,
+1550. A naked man bestrides a large sack of money, on which a figure or
+statue of Hope is standing. Death with one hand levels his dart at the
+terrified man, and holds a circle in the other. The money is falling from
+the sack, and appears to have demolished the hour-glass of Death. Upright,
+11 inches by 8. At bottom, these lines:
+
+  Maer als hemdie eininghe doot comt voer ogen
+  Dan vint hii hem doer üdele hope bedrogen.
+
+There is a smaller copy of it.
+
+A circular engraving, two inches diameter, of a pair of lovers in a
+garden. The lady is playing on a harp, her companion's lute is on the
+ground. They are accompanied by a fool, and Death behind is standing with
+a dart in his hand ready for aim at the youthful couple.
+
+A very large engraving on wood tinted in chiaroscuro. It represents a sort
+of triumphal arch at the top of which is a Death's head, above, an
+hour-glass between two arm bones, that support a stone; evidently borrowed
+from the last cut of the arms of Death in the Lyons wood-cuts. Underneath,
+the three Fates between obelisks crowned with Deaths' heads and crosses,
+with the words [Greek: MNÊMONEUE APOPSYCHEIN] and ITER AD VITAM. In the
+middle, a circle with eight compartments, in which are skeleton heads of a
+pope, an emperor, &c. with mottoes. In the extremity of the circle, the
+words "Post hoc autem judicium statutum est omnibus hominibus semel mori."
+The above obelisks are supported by whole length figures of Death, near
+which are shields with BONIS BONA and MALIS MALA. On the pedestals that
+support the figures of Death are shields inscribed MEMENTO MORI and
+MEMORARE NOVISSIMA. Underneath the circle, a sort of table monument with
+Death's head brackets, and on its plinth a sceptre, cardinal's cross,
+abbot's crozier, a vessel with money, and two books. Between the brackets,
+in capitals:
+
+  TRIA SUNT VERE
+  QVÆ ME FACIVNT
+      FLERE.
+
+And underneath in italics:
+
+  Primum quidem durum, quia scio me moriturum.
+  Secundum vero plango, quia moriar, et nescio quando.
+  Tertium autem flebo, quia nescio ubi manebo.
+
+In a corner at bottom, "Ill. D. Petro Caballo J. C. Poutrém Relig. D.
+Steph. ordinisq. milit. Ser. M. D. Hetr: Auditori mon: Joh. Fortuna
+Fortunius Inven. Seni..... MDLXXXVIII." It is a very fine print, engraved
+with considerable spirit.
+
+
+1600-1700.
+
+A very beautiful engraving by John Wierix, of a large party feasting and
+dancing, with music, in a garden. Death suddenly enters, and strikes a
+young female supported by her partner. At bottom, "Medio, lusu, risuque
+rapimur æternum cruciandi." Oblong, 6-1/2 by 4-1/2.
+
+Its companion--Death, crowned with serpents, drags away a falling female,
+round whom he has affixed his chain, which is in vain held back by one of
+the party who supplicates for mercy. At bottom these lines:
+
+  Divitibus mors dura venit, redimita corona
+  Anguifera, et risus ultimo luctus habet.
+
+On the top of the print, "O mors quam amara est memoria tua homini pacem
+habenti in substantiis suis, etc." Eccl. cap. xli.
+
+An allegorical print by one of the Wierxes, after H. Van Balen. The Virgin
+Mary and a man are kneeling before and imploring Christ, who is about to
+strike a bell suspended to the branch of a tree, the root of which Death
+cuts with an axe, whilst the Devil assists in pulling at it with a rope.
+Upright, 4-1/2 by 3-1/2.
+
+Time holding a mirror to two lovers, Death behind waiting for them. At
+bottom, "Luxuries predulce malum cui tempus, &c." Engraved by Jerom Wierx.
+Oblong, 12 by 8.
+
+An allegorical engraving by Jerom Wierx, after Martin De Vos, with four
+moral stanzas at bottom, beginning "Gratia magna Dei cælo demittitur
+alto." A figure of Faith directs the attention of a man, accompanied with
+two infants, to a variety of worldly vanities scattered in a sun-beam. On
+the right, a miser counting his gold is seized and stricken by Death. At
+top, four lines of Latin and Dutch. Oblong, 13 by 10.
+
+A rare etching, by Rembrant, of a youthful couple surprized by Death.
+Date, 1639. Upright, 4-1/4 by 3.
+
+Rembrant's "Hour of Death." An old man sitting in a tent is visited by a
+young female. He points to a figure of Death with spade and hour-glass.
+Upright, 5-1/4 by 3-1/2.
+
+An engraving by De Bry. In the middle, an oblong oval, representing a
+marriage, Death attending. On the sides, grotesques of apes, goats, &c. At
+bottom, S. P. and these lines:
+
+  Ordo licet reliquos sit præstantissimus inter
+  Conjugium, heu nimium sæpe doloris habet.
+
+Oblong, 5-1/2 by 2-1/4.
+
+Its companion--Death digging a grave for an old man, who looks into it.
+Psal. 49 and 90.
+
+An engraving by Crispin de Pas of Death standing behind an old man, who
+endeavours, by means of his money spread out upon a table, to entice a
+young female, who takes refuge in the arms of her young lover. At bottom,
+the following dialogue.
+
+  SENEX.
+
+  Nil aurei? nil te coronati juvant?
+    Argenteis referto bulga nil movet?
+
+
+  MORS.
+
+  Varios quid at Senex amores expetis:
+    Tumulum tuæ finemque vitæ respice.
+
+
+  JUVENIS.
+
+  Quid aureorum me beabit copia.
+    Amore si privata sim dulcissimo.
+
+Its companion--Death with his hour-glass stands behind an old woman, who
+offers money to a youth turning in disdain to his young mistress. At
+bottom, these lines:
+
+  JUVENIS.
+
+  Facie esse quid mihi gratius posset tua
+    Ipsius haud Corinthi gaza divitis.
+
+
+  VETULA.
+
+  Formam quid ah miselle nudam respicis
+    Cum plus beare possit auri copia.
+
+
+  MORS.
+
+  At tu juventa quid torquêre frustra anus
+    Quin jam sepulchri instantis es potius memor.
+
+Both oblong, 6 by 4.
+
+An engraving by Bosse of a queen reposing on a tent bed, Death peeps in
+through the curtains, another Death stands at the corner of the bed,
+whilst a female with a shield, inscribed PIETAS, levels a dart at the
+queen. Underneath, these verses:
+
+  Grand Dieu je suis donc le victime
+      Qu'une vengeance legitime
+      Doit immoler à tes autels
+  Je n'ay point de repos qui n'augmente ma peine
+  Et les tristes objets d'une face inhumaine
+      Me sont autant de coups mortels.
+
+Oblong, 4-1/2 by 3.
+
+An engraving by John Sadeler, after Stradanus, of an old couple, with
+their children and grandchildren, in the kitchen of a farm-house. Death
+enters, fantastically crowned with flowers and an hour-glass, and with a
+bagpipe in his left hand. Round his right arm and body is a chain with a
+hook at the extremity. He offers his right hand to the old woman, who on
+her knees is imploring him for a little more delay. In the back-ground, a
+man conducted to prison; beggars receiving alms, &c. At bottom, these
+lines:
+
+  "Pauperibus mors grata venit; redimita corona
+  Florifera, et luctus ultima risus habet."
+
+On the top of the print, "O mors bonum est judicium tuum homini indigenti,
+et qui minoratur viribus defecto ætate, &c." Eccl. cap. xli. Oblong, 11 by
+8-1/2.
+
+An exceedingly clever etching by Tiepolo of a group of various persons, to
+whom Death, sitting on the ground and habited grotesquely as an old woman,
+is reading a lecture. Oblong, 7 by 5-1/2.
+
+A small circle, engraved by Le Blond, of Death appearing to the
+astrologer, copied from the same subject in the Lyons wood-cuts.
+
+A print, painted and engraved by John Lyvijus of two card players
+quarrelling. Death seizes and strikes at them with a bone. Below,
+
+  Rixas atque odia satagit dispergere serpens,
+  Antiquus, cuncta at jurgia morte cadunt.
+
+Oblong, 10 by 7-1/2.
+
+An engraving by Langlois. Death with a basket at his shoulder, on which
+sits an owl, and holding with one hand a lantern, seizes the dice of a
+gambler sitting at a table with his winnings spread before him. At top,
+these verses:
+
+  Alarme O le pipeur, chassez, chassez le moy,
+  Je ne veux pas jouer a la raffle avec toy.
+
+  LA MORT.
+
+  A la raffle je joue avec toutes personnes
+  Toutes pieces je prends, tant meschantes que bonnes.
+
+At bottom, a dialogue between the gambler and Death, in verse, beginning
+"J'ay ramenè ma chance il n'y a plus reméde." Upright, 10 by 7-1/2.
+
+A print by De Gheyn, but wanting his name, of an elegantly attired lady,
+with a feather on her head, and a fan mirror in her hand. She is
+accompanied by Death handsomely attired, with a similar feather, and
+holding an hour-glass. At bottom,
+
+  Qui genio indulges, media inter gaudia morti
+  Non dubiæ certum sis memor esse locum.
+
+Upright, 8 by 5-1/2.
+
+Hollar's etching in Dugdale's Monasticon and his history of St. Paul's,
+from the old wood-cut in Lydgate's Dance of Macaber, already described,
+and an outline copy in Mr. Edwards's publication of Hollar's Dance of
+Death.
+
+Death and two Misers, 11-3/4 by 10. Engraved by Michael Pregel, 1616. At
+bottom, six Latin lines, beginning "Si mihi divitiæ sint omnes totius
+orbis."
+
+An oblong allegorical print, 14 by 10-1/2. Death and Time at war with man
+and animals. In the foreground, Death levels three arrows at a numerous
+group of mortals of all ranks and conditions, who endeavour, in every
+possible way, to repel his attack. In the back-ground, he shoots a single
+arrow at various animals. It is a very rare and beautiful engraving by
+Bolsverd, after Vinck-boons, dated 1610. At bottom, six lines in Latin, by
+J. Semmius, beginning "Cernis ut imperio succumbant omnia Mortis."
+
+An oblong print, 18-1/2 by 13, intitled, "Alle mans vrees," _i. e._ "Every
+man's terror," and engraved by Cornelius Van Dalen, after Adrian Van
+Venne. It exhibits Death armed with a spade, and overturning and putting
+to flight a variety of persons. At bottom, four stanzas of Dutch verses,
+beginning "Dits de vrees van alle man."
+
+A large allegorical oblong engraving, 18-1/2 by 13, by Peter Nolpe, after
+Peter Potter. On the left, a figure of religion, an angel hovering over
+her with a crown and palm branch. She points to several figures bearing
+crosses, and ascending a steep hill to heaven. On the right, the Devil
+blowing into the ear of a female, representing worldly vanity. In the
+middle, Death beating a drum to a man and woman dancing. In the
+back-ground, several groups of people variously employed, and a city in
+flames.
+
+An anonymous Venetian engraving of Death striking a lady sitting at a
+table covered with various fruits, a lute, &c. She falls into the arms of
+her lover or protector. Oblong, 9-1/2 by 7.
+
+A print, after Martin Heemskirk, of Charon ferrying over souls. On the
+right, a winged Death supporting an emperor about to enter the fatal boat.
+Below, four lines, beginning "Sed terris debentur opes, quas linquere
+fato."
+
+An oblong engraving, 14 by 12, after John Cossiers. On the right, Death
+entering at a door, seizes a young man. In the middle, a music-master
+teaching a lady the lute, Death near them holding a violin and music-book.
+On the left, in another apartment, Death in a dancing attitude, with a
+double bagpipe, leads an aged man with a rosary in his left hand, and
+leaning on a staff with his right. At bottom, three stanzas of French
+verses, beginning "La Mort qui n'a point d'oreilles."
+
+A very small wood print, that seems to have belonged to some English book,
+about 1600. It represents Death behind a female, who sees his reflected
+image in a mirror which she holds, instead of her own. 1-1/2 by 1-1/2.
+
+The Devil's Ruff shop, into which a young gallant introduces his mistress,
+whose ruff one of the Devils is stiffening with a poking-stick. Death,
+with a ruff on his neck, waits at the door, near which is a coffin. This
+very curious satirical print, after Martin De Vos, is covered with
+inscriptions in French and Dutch. Oblong, 11-1/2 by 8.
+
+A small anonymous engraving of two Deaths hand in hand; the one holds a
+flower, the other two serpents; a man and woman also hand in hand; the
+latter holds a flower in her hand; they are preceded by a little boy on a
+cock-horse and a girl with a doll. Underneath, four lines, beginning "Quid
+sit, quid fuerit, quid tandem aliquando futurus."
+
+An anonymous engraving of a young gallant looking up to an image of Hope
+placed on a bag of money, near which plate, jewels, and money lie
+scattered on the ground. Death enters at a door, holding a circle in one
+hand and a dart with the other, in a menacing attitude. At bottom, these
+Latin lines:
+
+  Namque ubi Mors trucibus supra caput adstitit armis,
+  Hei quam tunc nullo pondere nummus erit.
+
+The same in Dutch. Upright, 8-1/2 by 6. This print was afterwards copied
+in a reduced form into a book of emblems, with the title, "Stulte hoc
+nocte repetent animam tuam," with verses in Latin, French, and German.
+
+A small anonymous wood engraving of five Deaths dancing in a circle; the
+motto, DOODEN DANS OP LESTEM, _i. e._ the last Dance of Death.
+
+A very clever etching of a winged and laurelled Death playing on the
+bagpipe and making his appearance to an old couple at table. The man puts
+off his cap and takes the visitor by the hand, as if to bid him welcome.
+Below, two Dutch lines, beginning "Maerdie hier sterven, &c." At top, on
+the left, "W. V. Valckert, in. fe. 1612." Oblong, 8-1/2 by 6-1/2.
+
+A very complicated and anonymous allegorical print, with a great variety
+of figures. In the middle, Death is striking with a sledge-hammer at a
+soul placed in a crucible over a sort of furnace. A demon with bellows is
+blowing the fire, and a female, representing the world, is adding fuel to
+it. In various parts of the print are Dutch inscriptions. Oblong, 10-1/2
+by 6.
+
+Two old misers, a man and a woman. She weighs the gold, and he enters it
+in a book. Death with an hour-glass peeps in at one window, and the Devil
+at another. On the left, stands a demon with a book and a purse of money.
+On the right, in a corner, I. V. BRVG: F. "Se vend chez Audran rue S.
+Jaques aux deux piliers d'or." An upright mezzotint, 11-1/2 by 8-1/2.
+
+Two old misers, a man and a woman. He holds a purse, and she weighs the
+money. Death behind lies in wait for them. Below, a French stanza,
+beginning "Fol en cette nuit on te redemande ton ame," and the same in
+Latin. Below, "J. Meheux sculp. A Paris chez Audran rue St. Jaques aux
+deux pilliers d'or." An upright mezzotint, 10 by 7-1/2.
+
+An oval engraving in a frame of slips of trees. Death pulling down a fruit
+tree; a hand in a cloud cutting a flower with a sickle. Motto, "Fortior
+frango, tenera meto." Upright, 6-1/2 by 4.
+
+An anonymous engraving of a lady sitting at her toilet. She starts at the
+reflected image of Death standing behind her, in her looking glass. Her
+lover stands near her in the act of drawing his sword to repel the
+unwelcome visitor. Upright, 7-1/4 by 6-1/2. To some such print or
+painting, Hamlet, holding a scull in his hand, evidently alludes in Act v.
+Sc. 1. "Now get you to my lady's chamber, and tell her let her paint an
+inch thick, to this favour she must come."
+
+A print of the tree of knowledge, the serpent holding the apple in his
+mouth. Below, several animals, as in the usual representations of
+Paradise. On one side a youth on horseback with a hawk on his fist; on the
+other, Death strikes at him with his dart. On the right, at bottom, the
+letters R. P. ex. and these verses:
+
+  Nor noble, valiant, youthfull or wise, have
+  The least exemption from the gloomy grave.
+
+Upright, 6 by 4.
+
+A large oblong engraving, on copper, 22 by 17. On the left, is an arched
+cavern, from which issue two Deaths, one of whom holds a string, the end
+of which is attached to an owl, placed as a bird decoy, on a pillar in the
+middle of the print. Under the string, three men reading. On the left,
+near a tree, is a ghastly sitting figure, whose head has been flayed. On
+the opposite side below, a musical group of three men and a woman. In the
+back-ground, several men caught in a net; near them, Death with a hound
+pursuing three persons who are about to be intercepted by a net spread
+between two trees. In the distance, a vessel with a Death's head on the
+inflated sail. On the top of the arched cavern, a group of seven persons,
+one of whom, a female, points to the interior of an urn; near them a
+flying angel holding a blank shield of arms. In the middle of the print,
+at bottom, some inscription has been erased.
+
+A print, intitled "Cursus Mundi." A woman holds, in one hand, a broken
+vessel with live coals; in the other, a lamp, at which a little boy is
+about to light a candle. Death appears on the left. At bottom, a Latin
+inscription stating that the picture was painted by William Panneels, the
+scholar of Rubens, in 1631, and that it is in the palace of Anselm
+Casimir, archbishop of Mentz. Upright, 9-1/2 by 6-1/2.
+
+A small anonymous engraving of Death sitting on a large fractured
+bass-viol, near which, on the ground, is a broken violin.
+
+An elegant small and anonymous engraving of a young soldier, whom Death
+strikes with his dart whilst he despoils him of his hat and feather. At
+bottom, six couplets of French verses, beginning "Retire toy de moy O
+monstre insatiable." Upright, 3-3/4 by 2-3/4.
+
+A small anonymous engraving of a merchant watching the embarkation of his
+goods, Death behind waiting for him. Motto from Psalm 39, "Computat et
+parcit nec quis sit noverit, hæres, &c." Upright, 3-1/4 by 1-1/2.
+
+Its companion--Death striking a child in a cradle. Job 14. "Vita brevis
+hominum variis obnoxia curis, &c." These were probably part of a series.
+
+An anonymous engraving of a man on his death-bed. On one side, the vision
+of a bishop saint in a cloud; on the other, Death has just entered the
+room to receive his victim. Oblong, 5-1/2 by 2-1/2.
+
+An anonymous engraving of a woman sitting under a tree. Sin, as a boy,
+with PECCATVM inscribed on his forehead, delivers a globe, on which a
+serpent is entwined, to Death. At bottom, "A muliere initium factum est
+peccati et per illam omnes morimur. Eccl. C. XXV."
+
+A small anonymous engraving of Death interrupting a Turkish sultan at
+table. In the back ground, another Turk contemplating a heap of sculls.
+
+A mezzotint by Gole, of Death appearing to a miser, treading on an
+hour-glass and playing on the violin. In the back-ground, a room in which
+is Death seizing a young man. The floor is covered with youthful
+instruments of recreation. This subject has been painted by Old Franks
+and Otho Vænius. Upright, 9 by 6-1/2. Another mezzotint of the same
+subject by P. Schenck is mentioned by Peignot, p. 19. It is inscribed
+"Mortis ingrata musica."
+
+A very singular, anonymous, and unintelligible engraving of a figure that
+seems intended for a blacksmith, who holds a large hammer in his hand. On
+his right, two monks, and behind him, Death folding his arms to his
+breast. Below, writing implements, &c. Upright, 4 by 3.
+
+The triumphal car of Time drawn by genii, and accompanied by a pope,
+cardinal, emperor, king, queen, &c. At the top of the car, Death blows a
+trumpet, to which a banner is suspended, with "Je trompe tout le monde."
+In the back-ground a running fountain, with "Ainsi passe la gloire du
+monde." An anonymous upright engraving, 4 by 2-1/2.
+
+A very neat engraving by Le Blon of several European coins. In the centre,
+a room in which Death strikes at two misers, a man and a woman sitting at
+a table covered with money. On the table cloth, "Luc. 12 ca."
+
+Its companion--Death and the Miser. The design from the same subject in
+the Lyons wood-cuts. A label on the wall, with "Luc. 12." Oblong, 6-1/2 by
+3-1/2.
+
+A German anonymous print, apparently from a book of emblems, representing
+Death waiting with a scythe to cut off the following persons: 1. A lady.
+2. A gentleman. 3. An advocate. 4. A soldier: and, 5. A preacher. Each has
+an inscription. 1. Ich todt euch alle (I kill you all). 2. Ich erfrew euch
+alle (I rejoice you all). 3. Ich eruhr euch alle (I honour you all). 4.
+Ich red fur euch alle (I speak for you all). 5. Ich fecht fur euch alle (I
+fight for you all). 6. Ich bett fur euch alle (I pray for you all). With
+verses at bottom, in Latin and German. Oblong, 5-1/4 by 4.
+
+An anonymous engraving of a naked youth who with a sword strikes at the
+head of Death pursuing another youth. Oblong, 9-1/2 by 5-1/2.
+
+An upright engraving, 5-1/2 by 4, representing a young man on horseback
+holding a hawk on his fist, and surrounded by various animals. Death
+holding an hour-glass, strikes at him with his dart. Behind, the tree of
+knowledge, with the serpent and apple. At bottom, on the right, are the
+initials T. P. ex.
+
+An engraving of the Duke of Savoy, who, attended by his guards, receives
+petitions from various persons. Before him stands in a cloud the angel of
+Death, who points towards heaven. At bottom, on the left, "Delphinus
+pinxit. Brambilla del. 1676," and on the right, "Nobilis de Piene S. R. C.
+Prim. cælator f. Taur." Oblong, 10-1/2 by 7-1/2.
+
+An engraving by De Gheyn, intitled, "Vanitas, idelheit." A lady is sitting
+at a table, on which is a box of jewels and a heap of money. A hideous
+female Death strikes at her with a flaming dart, which, at the same time,
+scatters the leaves of a flower which she holds in her left hand. Upright,
+9 by 7.
+
+A very small circular wood-cut, apparently some printer's device,
+representing an old and a young man, holding up a mirror, in which is
+reflected the figure of Death standing behind them, with the motto,
+"Beholde your glory."
+
+An anonymous print of Death and the miser. Death seizes his money, which
+he conveys into a dish. Upright, 3-1/2 by 2-1/2. It is a copy from the
+same subject in the Lyons wood-cuts.
+
+
+1700-1800.
+
+An anonymous modern copy of Death and the bridegroom, copied from the
+Lyons wood-cuts, edition 1562.
+
+An etching of Death, with an hour-glass in one hand and a cane in the
+other, entering a room where a poor poet has been writing, and who would
+willingly dispense with the visit. At bottom "And when Death himself
+knocked at my door, ye bad him come again; and in so gay a tone of
+careless indifference did ye do it, that he doubted of his commission.
+There must certainly be some mistake in this matter, quoth he." The same
+in Italian. This is one of Patch's caricatures after Ghezzi. Upright,
+16-1/2 by 12.
+
+A print intitled "Time's lecture to man," with eight stanzas in verse,
+beginning "Why start you at that skeleton." It consists of three
+divisions. At top a young man starts at the appearance of time and death.
+Under the youth "Calcanda semel via lethi." At each extremity of this
+division is a figure of Death sitting on a monument. The verses, in double
+columns, are placed between two borders with compartments. That on the
+right a scull crowned with a mitre; an angel with a censer; time carrying
+off a female on his back; Death with an infant in his arms; Death on
+horseback with a flag; Death wrestling with a man. The border on the left
+has a scull with a regal crown; an angel dancing with a book; Death
+carrying off an old man; Death leading a child; Death with a naked corpse;
+Death digging a grave. At bottom "Sold by Clark and Pine, engravers, in
+Castle Yard, near Chancery Lane, T. Witham, frame-maker, in Long Lane,
+near West Smithfield, London." With a vignette of three Deaths' heads. 13
+by 9-1/2.
+
+There is a very singular ancient gem engraved in "Passeri de Gemmis
+Astriferis," tom. ii. p. 248. representing a skeleton Death standing in a
+car drawn by two animals that may be intended for lions; he holds a whip
+in his hand, and is driving over other skeletons. It is covered with
+barbarous and unintelligible words in Greek characters, and is to be
+classed among those gems which are used as amulets or for magical
+purposes. It seems to have suggested some of the designs that accompany
+the old editions of Petrarch's Triumph of Death.
+
+A folio mezzotint of J. Daniel von Menzel, an Austrian hussar. Behind him
+is a figure of Death with the hussar's hat on his head, by whom he is
+seized. There are some German verses, and below
+
+  Mon amis avec moi à la danse
+  C'est pour vous la juste recompense.
+
+The print is dated 1744.
+
+A Dutch anonymous oblong engraving on copper, 10-1/2 by 10, intitled
+"Bombario, o dood! te schendig in de nood." Death leads a large group of
+various characters. At bottom verses beginning "De Boertjes knappen al
+temaal." On each side caricatures inscribed Democritus and Heraclitus. It
+is one of the numerous caricatures on the famous South Sea or Mississippi
+bubble.
+
+An engraving, published by Darly, entitled "Macaronies drawn after the
+life." On the left a macaroni standing. On the floor dice and dice-box. On
+a table cards and two books. On the right, Death with a spade, leaning on
+a sarcophagus, inscribed "Here lies interred Dicky Daffodil, &c." Oblong,
+9 by 6.
+
+A very clever private etching by Colonel Turner, of the Guards, 1799,
+representing, in the foreground, three Deaths dancing in most grotesque
+attitudes. In the distance several groups of skeletons, some of whom are
+dancing, one of them beating a drum. Oblong, 5-1/2 by 3-1/2.
+
+A small engraving by Chodowiecki. Death appears to a medical student
+sitting at a table; underneath these lines,
+
+  De grace epargne moi, je me fais medecin,
+  Tu recevras de moi la moitié des malades.
+
+Upright, 3-1/2 by 2. This is not included in his Dance of Death.
+
+The same slightly retouched, with German verses.
+
+A small engraving, by Chodowiecki, of Death approaching a dying man
+attended by his family and a physician. Oblong, 2-1/2 by 2.
+
+A modern engraving, intitled "An emblem of a modern marriage." Death
+habited as a beau stands by a lady, who points to a monument inscribed
+"Requiescat in pace." Above a weeping Cupid with an inverted torch. At
+bottom
+
+          ... No smiles for us the Godhead wears,
+  His torch inverted and his face in tears.
+
+Drawn by M. H. from a sketch cut with a diamond on a pane of glass.
+Published according to act of parliament, June 15, 1775.
+
+A modern caricature intitled "A patch for t'other eye." Death is about to
+place a patch on the right eye of an old general, who has one already on
+the other. His hat and truncheon lie on the ground, and he is drawing his
+sword for the purpose of opposing the intention of his grim adversary,
+exclaiming at the same time, "Oh G--d d--n ye, if that's your sport, have
+at ye." Upright, 8 inches by 7.
+
+A small engraving by Chr. de Mechel, 1775, of an apothecary's shop. He
+holds up a urinal to a patient who comes to consult him, behind whom Death
+is standing and laying hands upon him. Below these verses:
+
+  Docteur, en vain tu projettes
+    De prononcer sur cette eau,
+  La mort rit de tes recettes
+    Et conduit l'homme au tombeau.
+
+Oblong, 4 by 3.
+
+An anonymous and spirited etching of Death obsequiously and with his arms
+crossed entering a room in which is a woman in bed with three infants.
+With uplifted arms she screams at the sight of the apparition. Below in a
+corner the husband, accompanied with four other children. Upright, 11 by
+10-1/2.
+
+"The lawyer's last circuit." He is attacked by four Deaths mounted on
+skeleton horses. He is placed behind one of them, and all gallop off with
+him. A road-post inscribed "Road to hell." Below, the lines from Hamlet,
+"Where be his quiddits now? his quillets, his cases, his tenures, and his
+tricks, &c." Published April 25, 1782, by R. Smith, opposite the Pantheon,
+Oxford Street. Oblong, 10 by 6-1/2.
+
+
+1800.
+
+A modern wood-cut of a drinking and smoking party. Demons of destruction
+hover over them in the characters of Poverty, Apoplexy, Madness, Dropsy,
+and Gout. In the bowl on the table is a monstrous head inscribed
+"Disease." Behind, a gigantic figure of Death with scythe and hour-glass.
+Oblong, 3-1/2 by 3.
+
+A Sketch by Samuel Ireland, after Mortimer, in imitation of a chalk
+drawing, apparently exhibiting an Englishman, a Dutchman, and a Spaniard.
+Death behind stretching his arms upon all of them. Oblong 10-1/2 by 8.
+
+A wood print intitled "Das betruhte Brautfest." Death seizes a man looking
+at a table covered with wedding-cakes, &c. From a modern Swiss almanack.
+Oblong 6-1/2 by 5-1/2.
+
+A mezzotint of a physician, who attending a sick patient in bed is
+attacked by a group of Deaths bearing standards, inscribed "Despair,"
+"l'amour," "omnia vincit amor," and "luxury." Oblong, 11 by 8-1/2.
+
+An etching from a drawing by Van Venne of Death preaching from a
+charnel-house to a group of people. His text book rests on the figure of a
+skeleton as a reading desk. It is prefixed to Mr. Dagley's "Death's
+Doings," mentioned in p. 157. Oblong, 5-1/2 by 4-1/4.
+
+Mr. Dagley, in the second edition of his "Death's Doings," p. 9, mentions
+a print of "a man draining an enormous bowl, and Death standing ready to
+confirm the title of the print, "the last drop."
+
+An etching by Dagley, after Birch, of Baxter, a famous cricketer, bowled
+out by Death. Below, his portrait at full length. Oblong, 9 by 7.
+
+"Sketches of the celebrated skeletons, originally designed on the long
+wall between Turnham-Green and Brentford." Etchings of various groups; the
+subjects, billiards, drafts, cards, dice, toss, and pitch. Oblong, 18 by
+11.
+
+"Humorous sketches of skeletons engaged in the various sciences of
+Singing, Dancing, Music, Oratory, Painting, and Sculpture." Drawn by H.
+Heathcote Russell as a companion to the skeletons copied from the long
+wall at Brentford. Published 3d June, 1830. Same size as the preceding
+print.
+
+A lithographic print of a conjurer pointing with his magic wand to a table
+on which are cups, a lanthorn, &c. In the back-ground, the Devil running
+away with a baker, and a group of three dancing Deaths. Below, birds in
+cages, cards, &c. Oblong, 8 by 6.
+
+A small modern wood-cut of Death seizing a lady at a ball. He is disguised
+as one of the party. Underneath, "Death leads the dance."--_Young--Night
+5._
+
+From "the Christian's Pocket Magazine." Oblong, 2-1/2 by 1-1/2.
+
+A design for the ballad of Leonora, by Lady Diana Beauclerc. A spectre, as
+Death, carrying off a lady on horseback, and striking her with his dart.
+Other Death-like spectres waiting for her. Oblong, 11-3/4 by 9.
+
+A small modern engraving of Death presenting a smelling bottle to a
+fainting butcher with one hand, and with the other fanning him. The motto,
+"A butcher overcome with extreme sensibility, is as strangely revived."
+
+A modern halfpenny wood-cut of several groups, among which is a man
+presenting an old woman to Death. The motto, "Death come for a wicked
+woman."
+
+An oval etching, by Harding, intitled "Death and the Doctor." Upright,
+4-1/2 by 3-1/2.
+
+A modern etching of Death striking a sleeping lady leaning on a table, on
+which little imps are dancing. At bottom, "Marks fecit." Oblong, 4 by 3.
+
+An anonymous modern wood-cut of Death seizing a usurer, over whom another
+Death is throwing a counterpane. Square, 4 by 4.
+
+An etching, intitled "the Last Drop." A fat citizen draining a punch-bowl.
+Death behind is about to strike him with his dart. Upright, 8-1/2 by
+6-1/2.
+
+In an elegant series of prints, illustrative of the poetical works of
+Goethe, there is a poem of seven stanzas, intitled "Der Todtentanz," where
+the embellishment represents a church-yard, in which several groups of
+skeletons are introduced, some of them rising, or just raised, from their
+graves; others in the attitude of dancing together or preparing for a
+dance. These prints are beautifully etched in outline in the manner of the
+drawings in the margins of Albert Durer's prayer-book in the library of
+Munich.
+
+Prefixed to a poem by Edward Quillinan, in a volume of wood-cuts used at
+the press of Lee Priory, the seat of Sir Egerton Brydges, intitled "Death
+to Doctor Quackery," there is an elegant wood-cut, representing Death
+hob-and-nobbing with the Doctor at a table.
+
+In the same volume is another wood-cut on the subject of a dance given by
+the Lord of Death in Clifton Halls. A motley group of various characters
+are dancing in a circle whilst Death plays the fiddle.
+
+In 1832 was published at Paris "La Danse des Morts, ballade dediée à
+Madame la Comtesse de Tryon Montalembert. Paroles et musique de P.
+Merruau." The subject is as follows: A girl named Lise is admonished by
+her mother not to dance on a Saturday, the day on which Satan calls the
+dead to the infernal _Sabbat_. She promises obedience, but whilst her
+mother is napping, escapes to the ball. She forgets the midnight hour,
+when a company of damned souls, led by Satan, enter the ball-room
+hand-in-hand, exclaiming "Make way for Death." All the party escape,
+except Lise, who suddenly finds herself encircled by skeletons, who
+continue dancing round her. From that time, on every Saturday at midnight,
+there is heard under ground, in the church-yard, the lamentation of a soul
+forcibly detained, and exclaiming "Girls beware of dancing Satan!" At the
+head of this ballad is a lithographic print of the terrified Lise in
+Satan's clutches, surrounded by dancing, piping, and fiddling Deaths.
+
+About the same time there appeared a silly ballad, set to music, intitled
+"the Cork Leg," accompanied by a print in which the man with the cork leg
+falling on the ground drops his leg. It is seized by Death, who stalks
+away with it in a very grotesque manner.
+
+
+
+
+CHAPTER XV.
+
+    _Initial or capital Letters with the Dance of Death._
+
+
+It is very well known that the use of initial or capital letters,
+especially with figures of any kind, is not coeval with the invention of
+printing. It was some time before they were introduced at all, a blank
+being left, or else a small letter printed for the illuminators to cover
+or fill up, as they had been accustomed to do in manuscripts; for,
+although the art of printing nearly put an end to the occupation of that
+ingenious class of artists, they continued to be employed by the early
+printers to decorate their books with elegant initials, and particularly
+to illuminate the first pages of them with beautiful borders of foliage or
+animals, for the purpose of giving them the appearance of manuscripts.
+
+It has more than once been most erroneously asserted by bibliographers and
+writers on typography, that Erhard Ratdolt, a printer at Venice, was the
+first person who made use of initial letters about the year 1477; for
+instances are not wanting of their introduction into some of the earliest
+printed books. Among the latter the most beautiful specimen of an
+ornamented capital letter is the B in the Psalter of 1457, of which Dr.
+Dibdin has given a very faithful copy in vol. I. p. 107, of the
+Bibliotheca Spenceriana. This truly elegant letter seems to have been
+regarded as the only one of its kind; but, in a fragment of an undescribed
+missal in folio, printed in the same type as the above-mentioned Psalter,
+there is an equally beautiful initial T, prefixed to the "Te igitur"
+canon of the mass. It is ornamented with flowers and foliage, and in both
+these precious volumes there are many other smaller capitals, but whether
+printed with the other type, or afterwards stamped, may admit of some
+doubt. This unique and valuable fragment is in the collection of the
+present writer.
+
+As the art of printing advanced, the initial letters assumed every
+possible variety of form, with respect to the subjects with which they
+were ornamented. Incidents from scripture and profane history, animals of
+every kind, and the most ludicrous grotesques, constitute the general
+materials; nor has the Dance of Death been forgotten. It was first
+introduced into the books printed at Basle by Bebelius and Cratander about
+the year 1530, and for one or the other of these celebrated printers an
+alphabet of initial letters was constructed, which, in elegance of design
+and delicacy of engraving, have scarcely ever been equalled, and certainly
+never exceeded. Whether they were engraved in relief on blocks of type or
+printer's metal, in the manner of wood-cutting, or executed in wood in the
+usual manner, is a matter of doubt, and likely to remain so. They may, in
+every point of view be regarded as the chef d'oeuvre of ancient block
+engraving, and to copy them successfully at this time might require the
+utmost efforts of such artists as Harvey, Jackson, and Byfield.[134]
+
+A proof set of this alphabet, in the possession of the present writer, was
+shown to M. De Mechel when he was in London, on which occasion he stated
+that he had seen in the public library of Basle another proof set on a
+single sheet, with the inscription "Hans Lutzelburger," who is elsewhere
+called _formschneider_, or block-cutter, of which he has written a
+memorandum on the leaf containing the first abovementioned set of proofs.
+M. de Mechel, with great probability, inferred that this person was either
+the designer or engraver of the alphabet as well as of the cuts to the
+"Historiées faces de la mort," on one of which, as already stated, the
+mark [monogram: HL] is placed;[135] but to whomsoever this mark may turn
+out to belong, certain it is that Holbein never made use of it.[136] These
+letters measure precisely 1 inch by 7/8 of an inch, and the subjects are
+as follow:
+
+A. A group of Deaths passing through a cemetery covered with sculls. One
+of them blows a trumpet, and another plays on a tabor and pipe.
+
+B. Two Deaths seize upon a pope, on whom a demon fastens, to prevent their
+dragging him along.
+
+C. An emperor in the clutches of two Deaths, one of whom he resists,
+whilst the other pulls off his crown.
+
+D. A king thrown to the ground and forcibly dragged away by two Deaths.
+
+E. Death and the cardinal.
+
+F. An empress sitting in a chair is attacked by two Deaths, one of whom
+lifts up her petticoat.
+
+G. A queen seized by two Deaths, one of whom plays on a fife.
+
+H. A bishop led away by Death.
+
+I. A duke with his hands clasped in despair is seized behind by Death in
+the grotesque figure of an old woman.
+
+K. Death with a furred cap and mantle, and a flail in his right hand,
+seizes a nobleman.
+
+L. Death in the habit of a priest with a vessel of holy water takes
+possession of the canon.
+
+M. Death behind a physician in his study lays his hand on a urinal which
+he is inspecting.
+
+N. One Death lays hold on a miser, whilst another carries off his money
+from a table.
+
+O. Death carries off a terrified monk.
+
+P. Combat between Death and the soldier.
+
+Q. Death very quietly leads away a nun.
+
+R. Death and the fool who strikes at him with his bauble.
+
+S. Exhibits two Deaths, one of whom is in a very licentious action with a
+female, whilst the other runs off with an hour-glass on his back.
+
+T. A minstrel with his pipe, lying prostrate on the ground, is dragged
+away by one Death, whilst another pours something from a vessel into his
+mouth.
+
+V. A man on horseback endeavouring to escape from Death is seized by him
+behind.
+
+W. Death and the hermit.
+
+X. Death and the Devil among the gamblers.
+
+Y. Death, the nurse, and the infant.
+
+Z. The last Judgment.
+
+But they were not only used at Basle by Bebelius Isingrin and Cratander,
+but also at Strasburg by Wolfgang Cephaleus, and probably by other
+printers; because in an edition of Huttichius's "Romanorum principum
+effigies," printed by Cephaleus at Strasburg in 1552, they appear in a
+very worn and much used condition. In his Greek Bible of 1526, near half
+the alphabet were used, some of them by different hands.
+
+They were separately published in a very small volume without date, each
+letter being accompanied with appropriate scriptural allusions taken from
+the Vulgate Bible.
+
+They were badly copied, and with occasional variations, for books printed
+at Strasburg by J. Schott about 1540. Same size as the originals. The same
+initials were used by Henry Stainer of Augsburg in 1530.
+
+Schott also used two other sets of a larger size, the same subjects with
+variations, and which occur likewise in books printed at Frankfort about
+1550 by Cyriacus Jacob.
+
+Christopher Froschover, of Zurich, used two alphabets with the Dance of
+Death. In Gesner's "Bibliotheca Universalis," printed by him in 1545,
+folio, he used the letters A. B. C. in indifferent copies of the originals
+with some variation. In a Vulgate Bible, printed by him in 1544, he uses
+the A and C of the same alphabet, and also the following letters, with
+different subjects, viz. F. Death blowing a trumpet in his left hand, with
+the right seizes a friar holding his beads and endeavouring to escape. O.
+Death and the Swiss soldier with his battle-axe; and, S. a queen between
+two Deaths, one of whom leads her, the other holds up her train. The
+Gesner has also a Q from the same alphabet of Death and the nun. This
+second alphabet is coarsely engraved on wood, and both are of the same
+size as the originals.
+
+In Francolin's "Rerum præclare gestarum, intra et extra moenia civitatis
+Viennensis, pedestri et equestri prælio, terra et aqua, elapso Mense Junio
+Anni Domini MDLX. elegantissimis iconibus ad vivum illustratarum, in
+laudem et gloriam sere. poten. invictissimique principis et Domini, Domini
+Ferdinandi electi Roma: imperatoris, &c. Vienna excudebat Raphael
+Hofhalter," at fo. xxii. b. the letter D is closely copied in wood from
+the original, and appears to have been much used. This very rare work is
+extremely interesting for its large and spirited etchings of the various
+ceremonies on the above occasion, but more particularly for the
+tournaments. It is also valuable for the marks of the artists, some of
+which are quite unknown.
+
+Other copies of them on wood occur in English books, but whether the whole
+alphabet was copied would be difficult to ascertain. In a Coverdale's
+Bible, printed by James Nicolson in Southwark, the letters A. I. and T.
+occur. The subject of the A. is that of the fool and Death, from the R. of
+the originals, with the addition of the fool's bauble on the ground: the
+two other letters are like the originals. The size 2 inches by 1-1/2. The
+same letters, and no others, occur in a folio English Bible, the date of
+which has not been ascertained, it being only a fragment. The A is found
+as late as 1618 in an edition of Stowe's "Survey of London." In all these
+letters large white spots are on the back-ground, which might be taken for
+worm-holes, but are not so. The I occurs in J. Waley's "table of yeres of
+kings," 1567, 12mo.
+
+An X and a T, an inch and 1/2 square, with the same subjects as in the
+originals, and not only closely copied, but nearly as well engraved on
+wood, are in the author's collection. Their locality has not been traced.
+
+Hollar etched the first six letters of the alphabet from the initials
+described in p. 214. They are rather larger than the originals, but
+greatly inferior to them in spirit and effect.
+
+Two other alphabets, the one of peasants dancing, the other of boys
+playing, by the same artists, have been already described in p. 101, and
+were also used by the Basle and other printers.
+
+In Braunii Civitates Orbis terrarum, Par. I. No. 37, edit. 1576, there is
+an H, inch and 1/2 square. The subject, Death leading a Pope on horseback.
+It is engraved on wood with much spirit.
+
+In "Prodicion y destierro de los Moriscos de Castilla, por F. Marcos de
+Guadalajara y Xavier." Pamplona, 1614, 4to. there is an initial E cut in
+wood with the subject of the cardinal, varied from that in Lutzenberger's
+alphabet.
+
+A Greek [Greek: P] on wood, with Death leading away the pope, was used by
+Cephalæus in a Testament.
+
+In "Fulwell's Flower of Fame," printed by W. Hoskins, 1575, 4to. is an
+initial of Death leading a king, probably belonging to some alphabet.
+
+An S rudely cut on wood with Death seizing two children was used by the
+English printers, J. Herford and T. Marshe.
+
+An A well cut on wood, representing Death striking a miser, who is
+counting his money at a table. It occurs at fo. 5 of Quad's "fasciculus
+geographicus." Cologne, 1608, small folio, printed by John Buxemacher.
+
+An R indifferently cut on wood, two inches square. The subject, Death in a
+grave pulls an old man towards him. A boy making his escape. From some
+unknown book.
+
+An S indifferently cut on wood, two inches square. Death shovelling two
+sculls, one crowned, into a grave. On the shovel the word IDEM, and below,
+the initials of the engraver or designer, I. F. From some unknown book.
+
+An H, an inch and half square, very beautifully cut on wood. The letter is
+surrounded by a group of people, over whom Death below is drawing a net.
+It is from some Dutch book of emblems, about 1640.
+
+An M cut on wood in p. 353 of a Suetonius, edited by Charles Patin, and
+printed 1675, 4to. "Basle typis Genathianis." The subject is, Death
+seizing Cupid. Size, 1-1/2 square.
+
+A W, 2-1/8 square, engraved on copper, with the initials of Michael
+Burghers. A large palm tree in the middle, Death with his scythe
+approaches a shepherd sitting on a bank and tending his flock.
+
+In the second volume of Braun and Hogenberg Civitates orbis terrarum, and
+prefixed to a complimentary letter from Remaglus Lymburgus, a physician
+and canon of Liege, there is an initial letter about an inch and a half
+square, representing a pope and an emperor playing at cards. They are
+interrupted by Death, who offers them a cup which he holds in his left
+hand whilst he points to them with his right. Other figures are
+introduced. This letter is very finely engraved on wood.
+
+In Vol. II. p. 118 (misprinted 208) of Steinwich's "Bibliothecæ
+Ecclesiasticæ." Colon. Agrip. 1599, folio. There is a single initial
+letter V only, which may have been part of an alphabet with a Dance of
+Death. The subject is Death and the queen. The size nearly an inch square.
+
+At fo. 1. of "F. Marco de Guadalajara y Xavier, Memorable expulsion y
+justissimo destierro de los Moriscos de Espana, Pamplona, 1613, 4to."
+there is an initial E, finely drawn and well engraved in wood. The subject
+has been taken from two cuts in the Lyons Dance of Death, viz. the
+cardinal and the emperor. From the first, the figures of the cardinal and
+Death seizing his hat; and from the other, the figures of the kneeling
+man, and of Death seizing the emperor's crown, are introduced as a
+complete group in the above initial letter. Size, 1-1/2 inch square.
+
+In p. 66 of the same work there is another letter that has probably
+belonged to a set of initials with a Dance of Death. It is an H, and
+copied from the subject of the bishop taken by Death from his flock, in
+the Lyons series. It is engraved in a different and inferior style from
+that last mentioned, yet with considerable spirit. Size, 1-1/2 inch.
+
+
+
+
+CHAPTER XVI.
+
+    _Paintings.--Drawings.--Miscellaneous._
+
+
+Rene of Anjou is said to have painted a sort of Death's Dance at Avignon,
+which was destroyed in the French revolution.
+
+In one of the wardrobe accounts of Henry VIII. a picture at Westminster is
+thus described: "Item, a table with the picture of a woman playing upon a
+lute, and an old manne holding a glasse in th' one hande and a deadde
+mannes headde in th' other hande." MS. Harl. No. 1419.
+
+A round painting in oil, by or from Hans Holbein. The subject, an old man
+making love to a young girl. Death pulling him back, hints at the
+consequences, whilst the absurdity is manifested by the presence of a
+fool, with cockscomb and bauble, on the other side. Diameter, 15 inches.
+From the striking resemblance in the features of the old lover to those of
+Erasmus, there is no doubt that Holbein intended by this group to retort
+upon his friend, who, on one of the drawings which Holbein had inserted in
+a copy of Erasmus's Praise of Folly, now in the public library at Basle,
+and which represented a fat epicure at table embracing a wench, had
+written the name of HOLBEIN, in allusion to his well-known intemperance.
+In the present writer's possession.
+
+The small painting by Isaac Oliver, from Holbein, formerly at Whitehall,
+of Death with a green garland, &c. already more particularly described at
+p. 145.
+
+A small painting in oil, by Old Franks, of a gouty old miser startled at
+the unexpected appearance of Death, who approaches him playing on a
+violin, one of his feet resting on an hour-glass. In the distance, and in
+another room, Death is seen in conversation with a sitting gentleman.
+Upright, 7-1/2 by 5-1/2.
+
+The same subject, painted in oil by Otho Vænius, in which a guitar is
+substituted for the violin. This picture was in the collection of Richard
+Cosway, Esquire. Upright, 12 by 6, and is now belonging to the present
+writer.
+
+A Mr. Knowles, a modern artist, is said to have painted a miser counting
+his hoard, and Death putting an extinguisher over him.
+
+At p. 460 of the memoirs of that most ingenious artist, Charles Alfred
+Stothard, by his widow, mention is made of an old picture, at Nettlecombe
+Hall, Somersetshire, belonging to its owner, a clergyman, of a Dance of
+Death.
+
+Mr. Tyssen, a bookseller at Bristol, is said to possess a will of the 15th
+century, in which the testator bequeaths a painting of the Dance of Death.
+
+
+DRAWINGS.
+
+In a beautifully illuminated Psalter, supposed to have been made for
+Richard II. and preserved among the Cotton MSS. Domit. xvii. is a very
+singular painting, representing part of the choir of a cathedral, with ten
+monks sitting in their stalls, and chaunting the service. At the top of
+these stalls, and behind it, are five grotesque Deaths looking down on the
+monks. One of the Deaths has a cardinal's hat, two have baronial crowns on
+their heads, and those of the remaining two are decorated with a sort of
+imperial crowns, shaped like the papal tiara. A priest celebrates mass at
+the altar, before which another priest or monk prostrates himself. What
+the object of the painter was in the introduction of these singular
+figures of Death is difficult to comprehend.
+
+[Illustration]
+
+In the manuscript and illuminated copies of the "Romance of the Rose," the
+"Pelerin de la vie humaine" and the "Chevalier Deliberé," representations
+of Death as Atropos, are introduced.
+
+A very ancient and masterly drawing of Death and the beggar, the outlines
+black on a blue ground, tinted with white and red. The figures [monogram]
+at bottom indicate its having been part of a Macaber Dance. Upright, 5-1/4
+by 4. In the author's possession.
+
+Sir Thomas Lawrence had four very small drawings by Callot that seemed to
+be part of an intended series of a Dance of Death. 1. Death and the
+bishop. 2. Death and the soldier. 3. Death and the fool. 4. Death and the
+old woman.
+
+An extremely fine drawing by Rembrandt of four Deaths, their hands joined
+in a dance, their faces outwards. One has a then fashionable female cap on
+his head, and another a cap and feather. Upright, 9-1/2 by 6-1/2. In the
+author's possession.
+
+A very singular drawing in pen and ink and bistre. In the middle, a
+sitting figure of a naked man holding a spindle, whilst an old woman,
+leaning over a tub on a bench, cuts the thread which he has drawn out.
+Near the old woman Death peeps in behind a wall. Close to the bench is a
+woman sitting on the ground mending a piece of linen, a child leaning on
+her shoulder. On the other side is a sitting female weaving, and another
+woman in an upright posture, and stretching one of her hands towards a
+shelf. Oblong, 11-1/4 by 8. In the author's possession.
+
+An anonymous drawing in pen and ink of a Death embracing a naked woman.
+His companion is mounted on the back of another naked female, and holds a
+dart in each hand. Oblong, 4 by 3-1/4. In the author's possession.
+
+A single sheet, containing four subjects, skilfully drawn with a pen and
+tinted in Indian ink. 1. An allegorical, but unknown figure sitting on a
+globe, with a sort of sceptre in his right hand. Death seizes him by his
+garment with great vigour, and endeavours to pull him from his seat. 2.
+Two men eating and drinking at a table. Death, unperceived, enters the
+room, and levels his dart at them. 3. Death seizes two naked persons very
+amorously situated. 4. Death seizes a miser counting his money. In the
+author's possession.
+
+Twenty-four very beautiful coloured drawings by a modern artist from those
+in the public library at Berne that were copied by Stettler from Kauw's
+drawings of the original painting by Nicolas Manuel Deutch. In the
+author's possession, together with lithographic copies of them that have
+been recently published at Berne.[137]
+
+A modern Indian ink drawing of a drunken party of men and women. Death
+above in a cloud levels his dart at them. Upright, 5-1/4 by 3-1/2. In the
+author's possession.
+
+A spirited drawing in Indian ink of two Deaths as pugilists with their
+bottle-holders. Oblong, 7 by 4-1/2. In the author's possession.
+
+A pen and ink tinted drawing, intitled "The Last Drop." A female seated
+before a table on which is a bottle of gin or brandy. She is drinking a
+glass of it, Death standing by and directing his dart at her. In the
+author's possession.
+
+Mr. Dagley, in the second edition of his "Death's Doings," p. 7, has
+noticed some very masterly designs chalked on a wall bordering the road
+from Turnham-Green towards Kew-Bridge. They exhibited figures of Death as
+a skeleton ludicrously occupied with gamblers, dancers, boxers, &c. all
+of the natural size. They were unfortunately swept away before any copies
+were made to perpetuate them, as they well deserved. It was stated in The
+Times newspaper that these sketches were made by a nephew of Mr. Baron
+Garrow, then living in retirement near the spot, but who afterwards
+obtained a situation in India. These drawings were made in 1819.
+
+Four very clever coloured drawings by Rowlandson, being probably a portion
+of an unfinished series of a Death's Dance. 1. The Suicide. A man seated
+near a table is in the act of discharging a pistol at his head. The sudden
+and terrific appearance of Death, who, starting from behind a curtain,
+significantly stares at him through an eye-glass. One of the candles is
+thrown down, and a wine-glass jerked out of the hand of the suicide, who,
+from a broken sword and a hat with a cockade, seems intended for some
+ruined soldier of fashion. A female servant, alarmed at the report of the
+pistol, rushes into the apartment. Below, these verses:
+
+  Death smiles, and seems his dart to hide,
+  When he beholds the suicide.
+
+2. The Good Man, Death, and the Doctor. A young clergyman reads prayers to
+the dying man; the females of his family are shedding tears. Death
+unceremoniously shoves out the physician, who puts one hand behind him, as
+expecting a fee, whilst with the other he lifts his cane to his nostrils.
+Below, these lines:
+
+  No scene so blest in Virtue's eyes,
+  As when the man of virtue dies.
+
+3. The Honey-moon. A gouty old fellow seated on a sopha with his youthful
+bride, who puts her hand through a window for a military lover to kiss it.
+A table covered with a desert, wine, &c. Death, stretching over a screen,
+pours something from a bottle into the glass which the husband holds in
+his hand. Below, these verses:
+
+  When the old fool has drunk his wine,
+  And gone to rest, I will be thine.
+
+4. The Fortune-teller. Some females enter the conjurer's study to have
+their fortunes told. Death seizes the back of his chair and oversets him.
+Below, these verses:
+
+  All fates he vow'd to him were known,
+  And yet he could not tell his own.
+
+These drawings are oblong, 9 by 5 inches. In the author's possession.
+
+
+MISCELLANEOUS.
+
+A circular carving on wood, with the mark of Hans Schaufelin [monogram:
+HS], representing Death seizing a naked female, who turns her head from
+him with a very melancholy visage. It is executed in a masterly manner.
+Diameter, 4 inches. In the author's possession.
+
+In Boxgrove church, Sussex, there is a splendid and elaborately sculptured
+monument of the Lords Delawar; and on the side which has not been engraved
+in Mr. Dallaway's history of the county, there are two figures of Death
+and a female, wholly unconnected with the other subjects on the tomb.
+These figures are 9-1/2 inches in height, and of rude design. Many persons
+will probably remember to have seen among the ballads, &c. that were
+formerly, and are still exhibited on some walls in the metropolis, a poem,
+intitled "Death and the Lady." This is usually accompanied with a
+wood-cut, resembling the above figures. It is proper to mention likewise
+on this occasion the old alliterative poem in Bishop Percy's famous
+manuscript, intitled _Death and Liffe_, the subject of which is a
+vision wherein the poet sees a contest for superiority between "our
+Lady Dame Life," and the "ugly fiend, Dame Death." See "Percy's Reliques
+of ancient English poetry," in the Essay on the Metre of Pierce Plowman's
+Vision. Whether there may have been any connexion between these respective
+subjects must be left to the decision of others. There is certainly some
+reason to suppose so.
+
+[Illustration]
+
+The sculptures at Berlin and Fescamp have been already described.
+
+Among the subjects of tapestry at the Tower of London, the most ancient
+residence of our kings, was "the Dance of Macabre." See the inventory of
+King Henry VIII.'s Guardrobe, &c. in MS. Harl. 1419, fo. 5.
+
+Two panes of glass with a portion of a Dance of Death. 1. Three Deaths,
+that appear to have been placed at the beginning of the Dance. Over them,
+in a character of the time of Henry VII. these lines:
+
+  ... ev'ry man to be contented w{t} his chaunce,
+  And when it shall please God to folowe my daunce.
+
+2. Death and the Pope. No verses. Size, upright, 8-1/2 by 7 inches. In the
+author's possession. They have probably belonged to a Macaber Dance in the
+windows of some church.
+
+
+
+
+CHAPTER XVII.
+
+    _Trois vifs et trois morts.--Negro figure of Death.--Danse aux
+    Avengles._
+
+
+The first of these subjects, as connected with the Macaber Dance, has been
+already introduced at p. 31-33; what is now added will not, it is
+presumed, be thought unworthy of notice.
+
+It is needless to repeat the descriptions that have been given by M.
+Peignot of the manuscripts in the Duke de la Valliere's catalogue. The
+following are some of the printed volumes in which representations of the
+_trois vifs et trois morts_ occur.
+
+They are to be found in all the editions of the Danse Macabre that have
+already been described, and in the following Horæ and other service books
+of the catholic church.
+
+"Horæ ad usum Sarum," 1495, no place, no printer. 4to. Three Deaths, three
+horsemen with hawks and hounds. The hermit, to whom the vision appeared,
+in his cell.
+
+"Heures à l'usaige de Rome." Paris. Nicolas Higman, for Guil. Eustace,
+1506, 12mo.
+
+"Horæ ad usum Traject." 1513. 18mo.
+
+"Breviarium seu horarium domesticum ad usum Sarum." Paris, F. Byrckman,
+1516. Large folio. Three Deaths and three young men.
+
+"Horæ ad usum Romanum." Paris. Thielman Kerver, 1522. 8vo. And again,
+1535. 4to.
+
+A Dutch "Horæ." Paris. Thielman Kerver, 1522. 8vo.
+
+"Heures à l'usage de Paris." Thielman Kerver's widow, 1525. 8vo.
+
+"Missale ad usum Sarum." Paris, 1527. Folio. Three horsemen as noblemen,
+but without hawks or hounds.
+
+"Enchiridion preclare ecclesie Sarum." Paris. Thielman Kerver, 1528. 32mo.
+
+"Horæ ad usum fratrum predicatorum ordinis S. Dominici." Paris. Thielman
+Kerver, 1529. 8vo.
+
+"Horæ ad usum Romanum." Paris. Yolande Bonhomme, widow of T. Kerver, 1531.
+8vo.
+
+"Missale ad usum Sarum." Paris. F. Regnault, 1531. Three Deaths only;
+different from the others.
+
+"Prayer of Salisbury." Paris. Francois Regnault, 1531, 12mo.
+
+"Horæ ad usum Sarum." Paris. Widow of Thielman Kerver, 1532. 12mo.
+
+"Heures à l'usage de Paris." Francois Regnault, 1535. 12mo.
+
+"Horæ ad usum Romanum." Paris. Gilles Hardouyn, 1537. 18mo. The subject is
+different from all the others, and very curiously treated.
+
+"Heures à l'usage de Paris." Thielman Kerver, 1558. 12mo.
+
+"Heures à l'usage de Rome." Paris. Thielman Kerver, 1573. 12mo.
+
+"Heures à l'usage de Paris." Jacques Kerver, 1573. 12mo. And again, 1575.
+12mo.
+
+In "The Contemplation of Sinners," printed by Wynkyn de Worde. 4to.
+
+All the above articles are in the collections of the author of this
+dissertation.
+
+In an elegant MS. "Horæ," in the Harl. Coll. No. 2917, 12mo. three Deaths
+appear to a pope, an emperor, and a king coming out of a church. All the
+parties are crowned.
+
+At the end of Desrey's "Macabri speculum choreæ mortuorum," a hermit sees
+a vision of a king, a legislator, and a vain female. They are all lectured
+by skeletons in their own likenesses.
+
+In a manuscript collection of unpublished and chiefly pious poems of John
+Awdeley, a blind poet and canon of the monastery of Haghmon, in
+Shropshire, anno 1426, there is one on the "_trois vifs et trois morts_,"
+in alliterative verses, and composed in a very grand and terrific style.
+
+
+NEGRO FIGURE OF DEATH.
+
+In some degree connected with the old painting of the Macaber Dance in the
+church-yard of the Innocents at Paris, was that of a black man over a
+vaulted roof, constructed by the celebrated N. Flamel, about the year
+1390. This is supposed to have perished with the Danse Macabre; but a copy
+of the figure has been preserved in some of the printed editions of the
+dance. It exhibits a Negro blowing a trumpet, and was certainly intended
+as a personification of Death. In one of the oldest of the above editions
+he is accompanied with these verses:
+
+  CRY DE MORT.
+
+  Tost, tost, tost, que chacun savance
+  Main à main venir a la danse
+  De Mort, danser la convient,
+  Tous et a plusieurs nen souvient.
+  Venez hommes femmes et enfans,
+  Jeunes et vieulx, petis et grans,
+  Ung tout seul nen eschapperoit,
+  Pour mille escuz si les donnoit, &c.
+
+Before the females in the dance the figure is repeated with a second "Cry
+de Mort."
+
+  Tost, tost, venez femmes danser
+  Apres les hommes incontinent,
+  Et gardez vous bien de verser,
+  Car vous danserez vrayment;
+  Mon cornet corne bien souvent
+  Apres les petis et les grans.
+  Despecte vous legierement,
+  Apres la pluye vient le beau temps.
+
+These lines are differently given in the various printed copies of the
+Danse Macabre.
+
+This figure is not to be confounded with an alabaster statue of Death that
+remained in the church-yard of the Innocents, when it was entirely
+destroyed in 1786. It had been usually regarded as the work of Germain
+Pilon, but with greater probability belonged to Francois Gentil, a
+sculptor at Troyes, about 1540. It was transported to Notre Dame, after
+being bronzed and repaired, by M. Deseine, a distinguished artist. It was
+saved from the fury of the iconoclast revolutionists by M. Le Noir, and
+deposited in the Museum which he so patriotically established in the Rue
+des petits Augustins, but it has since disappeared. It was an upright
+skeleton figure, holding in one hand a lance which pointed to a shield
+with this inscription:
+
+  Il n'est vivant, tant soit plein d'art,
+    Ne de force pour resistance,
+  Que je ne frappe de mon dart,
+    Pour bailler aux vers leur pitance.
+                  Priez Dieu pour les trespassés.
+
+It is engraved in the second volume of M. Le Noir's "Musée des monumens
+Francais," and also in his "Histoire des arts en France," No. 91.
+
+
+DANSE AUX AVEUGLES.
+
+There is a poetical work, in some degree connected with the subject of
+this dissertation, that ought not to be overlooked. It was composed by
+one Pierre Michault, of whom little more seems to be known than that he
+was in the service of Charles, Count of Charolois, son of Philip le Bon,
+Duke of Burgundy. It is intitled "La Danse aux Aveugles," and the object
+of it is to show that all men are subject to the influence of three blind
+guides, Love, Fortune, and Death, before whom several persons are
+whimsically made to dance. It is a dialogue in a dream between the Author
+and Understanding, and the respective blind guides describe themselves,
+their nature, and power over mankind, in ten-line stanzas, of which the
+following is the first of those which are pronounced by Death:
+
+  Je suis la Mort de nature ennemie,
+  Qui tous vivans finablement consomme,
+  Anichillant à tous humains la vie,
+  Reduis en terre et en cendre tout homme.
+  Je suis la mort qui dure me surnomme,
+  Pour ce qu'il fault que maine tout affin;
+  Je nay parent, amy, frere ou affin
+  Que ne face tout rediger en pouldre,
+  Et suis de Dieu ad ce commise affin,
+  Que l'on me doubte autant que tonnant fouldre.
+
+Some of the editions are ornamented with cuts, in which Death is
+occasionally introduced, and that portion of the work which exclusively
+relates to him seems to have been separately published, M. Goujet[138]
+having mentioned that he had seen a copy in vellum, containing twelve
+leaves, with an engraving to every one of the stanzas, twenty-three in
+number. More is unnecessary to be added, as M. Peignot has elaborately and
+very completely handled the subject in his interesting "Recherches sur les
+Danses des Morts." Dijon, 1826. octavo.
+
+
+
+
+CHAPTER XVIII.
+
+    _Errors of various writers who have introduced the subject of the
+    Dance of Death._
+
+
+To enumerate even a moiety of these mistakes would almost occupy a
+separate volume, but it may be as well to notice some of them which are to
+be found in works of common occurrence.
+
+TRAVELLERS.--The erroneous remarks of Bishop Burnet and Mr. Coxe have been
+already adverted to. See pp. 79, 134, and 138.
+
+Misson seems to regard the old Danse Macabre as the work of Holbein.
+
+The Rev. Robert Gray, in "Letters during the course of a tour through
+Germany and Switzerland in the year 1791 and 1792," has stated that Mechel
+has engraved _Rubens's designs_ from the Dance of Death, now perishing on
+the walls of the church-yard of the Predicant convent, where it was
+sketched in 1431.
+
+Mr. Wood, in his "View of the History of Switzerland," as quoted in the
+Monthly Review, Nov. 1799, p. 290, states, that "the Dance of Death in the
+church-yard of the Predicants has been falsely ascribed to Holbein, as it
+is proved that it was painted _long after the death of that artist, and
+not before he was born_, as the honourable Horace Walpole supposes." Here
+the corrector stands in need himself of correction, unless it be possible
+that he is not fairly quoted by the reviewer.
+
+Miss Williams, in her Swiss tour, 1798, when speaking of the Basle Dance
+of Death, says it was painted by Kleber, a _pupil of Holbein_.
+
+Those intelligent and amusing travellers, Breval, Keysler, and Blainville
+have carefully avoided the above strange mistakes.
+
+WRITERS ON PAINTING AND ENGRAVING.--Meyssens, in his article for Holbein
+in "the effigies of the Painters," mentions his "Death's Dance, in the
+town-hall of Basle, the design whereof he first neatly cut in wood and
+afterwards painted, which appeared so fine to the learned Erasmus, &c."
+English edition, 1694, p. 15.
+
+Felibien, in his "Entretiens sur les vies des Peintres," follows Meyssens
+as to the painting in the town-hall.
+
+Le Comte places the supposed painting by Holbein in the fish-market, and
+in other respects copies Meyssens. "Cabinet des Singularités, &c." tom.
+iii. p. 323, edit. 1702, 12mo.
+
+Bullart not only places the painting in the town-hall of Basle, but adds,
+that he afterwards engraved it in wood. "Acad. des Sciences et des Arts,"
+tom. ii. p. 412.
+
+Mr. Evelyn, in his "Sculptura," the only one of his works that does him no
+credit, and which is a meagre and extremely inaccurate compilation, when
+speaking of Holbein, actually runs riot in error and misconception. He
+calls him a Dane. He makes what he terms "the licentiousness of the friars
+and nuns," meaning probably Hollar's sixteen etchings after Holbein's
+satire on monks and friars and other members of the Romish church as the
+persecutors of Christ, and also the "Dance Machabre and Mortis imago," to
+have been cut in wood, and one or both of the latter to have been painted
+in the church of Basle. Mr. Evelyn's own copy of this work, with several
+additions in manuscript, is in the possession of Mr. Taylor, a retired and
+ingenious artist, of Cirencester-place. He probably intended to reprint
+it, and opposite the above-mentioned word "Dane," has inserted a query.
+
+Sandrart places the Dance of Death in the fish-market at Basle, and makes
+Holbein the painter as well as the engraver. "Acad. artis pictoriæ," p.
+238, edit. 1683, folio.
+
+Baldinucci speaks of twenty prints of the Dance of Death painted by
+Holbein in the Senate-house of Basle. "Notizie dè professori del disegno,
+&c." tom. iii. 313 and 319.
+
+M. Descamps inadvertently ascribes the old Dance of Death on the walls of
+the church-yard of Saint Peter to the pencil of Holbein. "Vie des Peintres
+Flamandi," &c. 1753. 8vo. Tom. i. p. 75.
+
+Papillon, in his account of the Dance of Death, abounds with inaccuracies.
+He says, that a magistrate of Basle employed him to paint a Dance of Death
+in the fish-market, near a church-yard; that the work greatly increased
+his reputation, and made much noise in the world, although it has many
+anatomical defects; that he engraved this painting on small blocks of wood
+with unparalleled beauty and delicacy. He supposes that they first
+appeared in 1530 at Basle or Zuric, and as he thinks with a title and
+German verses on each print. Now he had never seen any edition so early as
+1530, nor any of the cuts with German verses, and having probably been
+misled on this occasion, he has been the cause of misleading many
+subsequent writers, as Fournier, Huber, Strutt, &c. He adopts the error as
+to the mark [monogram: HL] on the thirty-sixth subject belonging to
+Holbein. He is entirely ignorant of the nature and character of the fool
+or idiot in No. xliii. whom he terms "un homme lascif qui a levé le devant
+de sa robbe:" and, to crown the whole, he makes the old Macaber Dance an
+_imitation_ of that ascribed to Holbein.
+
+De Murr, in tom. ii. p. 535 of his "Bibliothéque de Peinture, &c."
+servilely copies Papillon in all that he has said on the subject, with
+some additional errors of his own.
+
+The Abbé Fontenai, in the article for Holbein in his "Dictionnaire des
+Artistes," Paris, 1776, 8vo. not only makes him the painter of the old
+Macaber Dance, but places it in the town-house at Basle.
+
+Mr. Walpole, or rather Vertue, in the "Anecdotes of Painting in England,"
+corrects the error of those who give the old Macaber Dance to Holbein, but
+inadvertently makes that which is usually ascribed to him to have been
+borrowed from the other.
+
+Messrs. Huber and Rost make Holbein the engraver of the Lyons wood-cuts,
+and suppose the original drawings to be preserved in the public library at
+Basle. They probably allude to the problematical drawings that were used
+by M. de Mechel, and which are now in Russia. "Manuel des curieux et des
+amateurs de l'art." Tom. i. p. 155.
+
+In the "Notices sur les graveurs," Besancon, 1807, 8vo. a work that has,
+by some writers, been given to M. Malpé, and by others to the Abbé
+Baverel, Papillon is followed with respect to the supposed edition of
+1530, and its German verses.
+
+Mr. Janssen is more inaccurate than any of his predecessors, some of whom
+have occasionally misled him. He makes Albert Durer the inventor of the
+designs, the greater part of which, he says, are from the Dance of Death
+at Berne. He adopts the edition of 1530, and the German verses. He
+condemns the title-page of the edition of 1562 for stating an addition of
+seventeen plates, whereas, says he, there are but five; but the editor
+meant only that there were seventeen more cuts than in the original, which
+had only forty-one.
+
+MISCELLANEOUS WRITERS.--Charles Patin, a libeller of the English nation,
+has made Holbein the engraver on wood of a Dance of Death, which, he says,
+is "not much unlike that in the church-yard of the Predicants at Basle,
+painted, as some say, from the life, by Holbein." He ought to have known
+that this work was executed near a century before Holbein was born.
+"Erasmi stultitiæ laus." Basileæ, 1676, 8vo. at the end of the list of
+Holbein's works.
+
+Martiniere, in his Geographical Dictionary, makes Holbein the inventor of
+the Macaber Dance at Basle.
+
+Goujet, in his very useful "Bibliothéque Francoise," tom. x. p. 436, has
+erroneously stated that the Lyons engravings on wood were by the
+celebrated artist Salomon Bernard, usually called "Le petit Bernard." The
+mistake is very pardonable, as it appears that Bernard chiefly worked in
+the above city.
+
+M. Compan, in his "Dictionnaire de Danse," 1787, 12mo. under the article
+_Macabrée_, very gravely asserts that the author took his work from the
+Maccabees, "qui, comme tout le monde scait danserent, et en ont fait
+epoque pour les morts." He then quotes some lines from a modern edition of
+the "Danse Macabre," where the word _Machabées_ is ignorantly substituted
+for "Machabre."
+
+M. Fournier states that Holbein painted a Dance of Death in the
+fish-market at Basle, reduced it, and engraved it. "Dissertation sur
+l'imprimerie," p. 70.
+
+Mr. Warton has converted the imaginary Machabree into _a French poet_, but
+corrects himself in his "Hist. of Engl. Poetry." He supposes the single
+cut in Lydgate to represent _all_ the figures that were in St. Paul's
+cloister. He atones for these errors in referring to Holbein's cuts in
+Cranmer's Catechism, as entirely different in style from those published
+at Lyons, _but which he thinks, are probably the work of Albert Durer_,
+and also in his conjecture that the painter Reperdius might have been
+concerned in the latter. See "Observations on the Fairy Queen of Spenser,"
+vol. ii. 116, &c. In his most elegant and instructive History of English
+Poetry he relapses into error when he states that Holbein painted a Dance
+of Death in the Augustine monastery at Basle in 1543, and that Georgius
+Æmylius published this Dance at Lyons, 1542, one year before Holbein's
+painting at Basle appeared. Hist. Engl. Poetry, vol. ii. p. 364, edit.
+Price.
+
+The Marquis de Paulmy ascribes the old Macaber Dance at Basle to Holbein,
+and adds, "le sujet et l'execution en sont aussi singuliers que
+ridicules." "Mélanges tirés d'une grande bibliothéque," tom. Ff. 371.
+
+M. Champollion Figeac in Millin's "Magazin encyclopedique," 1811, tom. vi.
+has an article on an edition of the "Danse Macabre anterieure à celle de
+1486." In this article he states that Holbein painted a fresco Dance of
+Death at Basle near the end of the 15th century (Holbein was not born till
+1498!); that this Dance resembled the Danse Macabre, all the characters of
+which are in Holbein's style; that it is still more like the Dance in the
+Monasticon Anglicanum in a single print; and that the English Dance
+belongs to John Porey, an author who appears, however, to be unknown to
+all biographers. We should have been obliged to M. Figeac if he had
+mentioned where he met with this John Porey, whom he again mentions, but
+in such a manner as to leave a doubt whether he means to consider him as a
+poet or a painter. Even M. Millin himself, from whom more accuracy might
+have been expected, speaks of Holbein's work as at the Dominican convent
+at Basle.
+
+The "Nouveau Dictionnaire Historique," 1789, 8vo. gives the painting on
+the walls of the cemetery of St. Peter at Basle, to Holbein, confounding
+the two works as some other French biographical dictionaries have done,
+especially one that has cited an edition of the Danse Macabre in 1486 as
+the first of Holbein's painting, though it immediately afterwards states
+that artist to have been born in 1498.
+
+In that excellent work, the "Biographie universelle," in 42 vols. 8vo.
+1811-1828, M. Ponce, under the article "Holbein," inaccurately refers to
+"the Dance of Death painted in 1543 on the walls of a cemetery at Basle,"
+at the same time properly remarking that it was not Holbein's. He refers
+to the supposed original drawings of Holbein's work at Petersburg that
+were engraved by De Mechel, and concludes his brief note with a reference
+to a dissertation of M. Raymond in Millin's "Magazin encyclopedique,"
+1814, tom. v. which is nothing more than a simple notice of two editions
+of the Danse Macabre, described in the present dissertation.
+
+And lastly--The Reviewer of the first edition of the present dissertation
+prefixed to Mr. Edwards's engravings or etchings by Wenceslaus Hollar, has
+displayed considerable ingenuity in his attempt to correct supposed
+errors, by a lavish substitution of many of his own, some of which are the
+following:
+
+That the Dance of Death is found in _carvings in wood in the choirs of
+churches_. Not a single instance can be produced.
+
+That Hollar's etchings are on _wood_.
+
+"Black letter" is _corrected_ to "Black letters."
+
+That the book would have been more _complete if Lydgate's stanzas_ had
+been quoted, in common with others in _Piers Plowman_. Now all the stanzas
+of Lydgate are given, and not a single one is to be found in Piers
+Plowman.
+
+And they most _ingeniously and scientifically_ denominate the skeleton
+figure of Death "the Gothic monster of Holbein!"
+
+       *       *       *       *       *
+
+A short time after the completion of the present Dissertation, the author
+accidentally became possessed of a recently published German life of
+Holbein, in which not a single addition of importance to what has been
+gleaned from preceding writers can possibly be found. It contains a
+general, but extremely superficial account of the works of that artist,
+including the Dance of Death, which, as a matter of course, is ascribed to
+him. As the author, a Mr. Ulrich Hegner, who is said to be a _Swiss
+gentleman and amateur_, has not conducted himself with that urbanity and
+politeness which might have been looked for from such a _character_, and
+has thought proper, in adverting to the slight Essay by the present
+writer, prefixed, at the instance of the late Mr. Edwards, to his
+publication of Hollar's etchings of the Dance of Death, to speak of it
+with a degree of contempt, which, even with all its imperfections, others
+may think it may not have deserved; the above _gentleman_ will have but
+little reason to complain should he meet with a somewhat uncourteous
+retort in the course of the following remarks on his compilation.
+
+Had Mr. Hegner written with a becoming diffidence in his opinions, his
+work might have commanded and deserved respect, though greatly abounding
+in error and false conceit. He has undertaken a task for which he has
+shown himself wholly unqualified, and with much unseemly arrogance, and
+its usual concomitant, ignorance, has assumed to himself a monopoly of
+information on the subject which he discusses. His arguments, if worthy of
+the name, are, generally speaking, of a most weak and flimsy texture. In
+support of his dogmatical opinion that the original designs for the Lyons
+Dance of Death exclusively belong to Holbein he has not adduced a single
+fact. He has not been in possession of a tenth part of the materials that
+were necessary for the proper investigation of his subject, nor does he
+appear to have even seen them. The very best judges of whatever relates to
+the history and art of engraving are quite satisfied that most of the
+persons who have written on them, with the exception of Mr. Ottley, and of
+the modest and urbane Monsieur Peignot, are liable to the charge of
+extreme inaccuracy and imperfection in their treatment of the Dance of
+Death, and the list of such writers may now be closed with the addition of
+Herr Hegner.
+
+Some of his positions are now to be stated and examined.
+
+He makes Holbein the author of a new Dance of Death in the Crozat or
+Gallitzin drawings in Indian ink which have been already described in the
+present dissertation, adding that he also _engraved_ them, and suppressing
+any mention in this place of the monogram on one of the cuts which he
+_elsewhere admits not to belong to Holbein_. Soon afterwards, and with
+very good reason, he doubts the originality of the drawings, which he says
+M. de Mechel caused to be copied by Rudolph Schellenberg, a skilful
+artist, already mentioned as the author of a Dance of Death of his own
+invention; and proceeds to state, that from these copies De Mechel
+employed some inferior persons in his service to make engravings;
+advancing all this without the accompaniment of any proof whatever, and in
+direct contradiction to De Mechel's authority of having himself engraved
+them. An apparently bitter enemy to De Mechel, whose posthumous materials,
+now in the library at Basle, he nevertheless admits to have used for his
+work, he invidiously enlarges on the discrepancies between his engravings
+and the Lyons wood-cuts, both in size and manner; and then concludes that
+they were copied from the wood-cuts, the copyist allowing himself the
+privilege of making arbitrary variations, especially in the figure of the
+Eve in the second cut, which, he says, is of the family of Boucher, who,
+in spite of Hegner's opinion, is regarded by better judges as a clever
+painter. Whether the remarks on any deviations of De Mechel's prints from
+the Crozat drawings are just or otherwise can now be decided by comparison
+only, and Hegner does not appear to have seen them, or at least does not
+tell us so. His criticisms on the merit of the engravings in De Mechel's
+work cannot be justified, for though they may occasionally be faulty, they
+are very neatly, and many will think beautifully executed.
+
+What Hegner has said respecting the alphabets of initial letters, is at
+once futile and inaccurate; but his comment on Hans Lutzenberger deserves
+the severest censure. Adverting to the inscription with the name of this
+fine artist on one of the sets of the initials, he terms him "an itinerant
+_bookseller_, who had bought the blocks and put his name on them;" and
+this after having himself referred to a print on which Lutzenberger is
+called FORMSCHNEIDER, _i. e._ woodcutter: making in this instance a clumsy
+and dishonest effort to get rid of an excellent engraver, who stands so
+recorded in opposition to his own untenable system.
+
+The very important and indelible expressions in the dedication to the
+first known edition of the Lyons wood-cuts, he very modestly terms "a play
+upon words," and endeavours to account for the death of the painter by
+supposing Holbein's absence in England would warrant the language of the
+dedication. This is indeed a most desperate argument. Frellon, the
+publisher and proprietor of the work, must have known better than to have
+permitted the dedication to accompany his edition had it been susceptible
+of so silly a construction.
+
+He again adheres to the improbable notion that _Holbein engraved_ the cuts
+to the Lyons book, and this in defiance of the mark or monogram [monogram:
+HL] which this painter never used; nor will a single print with Holbein's
+accredited name be found to bear the slightest resemblance to the style of
+the wood-cuts. Even those in Cranmer's catechism, which approach the
+nearest to them, are in a different manner. His earlier engravings on
+wood, whether in design only, or as the engraver, resemble those by Urs
+Graaf, who, as well as Holbein, decorated the frontispieces or titles to
+many of the books printed at Basle. It is not improbable that Urs Graaf
+was at that time a pupil of Holbein.
+
+Hegner next endeavours to annihilate the painting at Whitehall recorded in
+Nieuhoff's etchings and dedications, but still by arguments of an entirely
+negative kind. He lays much stress on this painting not being specifically
+mentioned by Sandrart or Van Mander, who were in England; but where does
+it appear that the latter, during his short stay in this country, had
+visited Whitehall? Even admitting that both these persons had seen that
+palace, it is most probable that the fresco painting of the Dance of
+Death, would, from length of time, dampness of the walls, and neglect,
+have been in a condition that would not warrant the exhibition of it, and
+it was, moreover, placed in a gallery which scarcely formed, at that time,
+a part of Whitehall, and which was, probably, not shown to visitors. It
+must not, however, be omitted to mention that Sandrart, in p. 239 of his
+Acad. Pict. states, though ambiguously, that "there was still remaining at
+Whitehall a work by Holbein that would constitute him the Apelles of his
+time," an expression which we may remember had been also applied to
+Holbein by his friend Borbonius in the complimentary lines on a Dance of
+Death.
+
+The Herr Hegner has thought fit to speak of Mr. T. Nieuhoff in terms of
+indecorous and unjust contempt, describing him as "an unknown and
+unimportant Dutch copper-plate engraver," and arraigning his evidence as
+being in manuscript only; as if manuscripts that have never been printed
+were of no authority. But where has Hegner discovered that Nieuhoff was a
+Dutch copper-plate engraver, by which is meant a professed artist; or even
+though he had been such, would that circumstance vitiate his testimony? In
+his dedication to Lord William Benting the expressions allusive to his
+ardent love of the arts, seem to constitute him an amateur attempter of
+etching; for what he has left us in that way is indeed of a very
+subordinate character, and unworthy of a professed artist. He appears to
+have been one of the Dutchmen who accompanied King William to England, and
+to have had apartments assigned to him at Whitehall. At the end of his
+dedication to Lord W. Benting, he calls himself an old servant of that
+person's father, and subscribes himself "your and your illustrious
+family's most obedient and humble servant."
+
+The identification of William Benting must be left to the sagacity of
+others. He could not have been the Earl of Portland created in 1689, or he
+would have been addressed accordingly. He is, moreover, described as a
+youth born at Whitehall, and then residing there, and whose dwelling
+consisted of nearly the whole of the palace that remained after the fire.
+
+Again,--We have before us a person living in the palace of Whitehall
+anterior to its destruction, testifying what he had himself seen, and
+addressing one who could not be imposed upon, as residing also in the
+palace. There seems to be no possible motive on the part of Nieuhoff for
+stating an untruth, and his most clear and unimpeachable testimony is
+opposed by Hegner's wild and weak conjectures, and chiefly by the negative
+argument that a few strangers who visited England in a hasty manner have
+not mentioned the painting in question at Whitehall, amidst those
+inaccurate and superficial accounts of England which, with little
+exception, have been given by foreign travellers. Among these Hegner has
+selected Patin and Sandrart. Before adducing the former, he would have
+done well to have looked at his very imperfect and erroneous account of
+Holbein's works, in his edition of the [Greek: MÔRIAS EGKÔMION] of
+Erasmus; and, with respect to the latter, the stamp of inaccuracy has been
+long affixed to most of the works he has published. He has mentioned, that
+being in company with Rubens in a Dutch passage boat "the conversation
+fell upon Holbein's book of cuts, representing the Dance of Death; that
+Rubens gave them the highest encomiums, advising him, who was then a young
+man, to set the highest value upon them, informing him, at the same time,
+that he in his youth had copied them."[139] On this passage Mr. Warton has
+well remarked that if Rubens styled these prints Holbein's, in familiar
+conversation, it was but calling them by the name which the world had
+given them, and by which they were generally known; and that Sandrart has,
+in another place, confounded them with the Basle painting.[140]
+
+To conclude,--Juvenal's "hoc volo, sic jubeo, sit pro ratione voluntas,"
+may be regarded as Herr Hegner's literary motto. He has advocated the
+vague traditions of unauthenticated Dances of Death by Holbein, and has
+made a most unjustifiable attempt to deprive that truly great artist of
+the only painting on the subject which really appears to belong to him.
+Yet, if by fair and candid argument, supported by the necessary proofs,
+the usual and long standing claim on the part of Holbein can be
+substantiated, no one will thereby be more highly gratified than the
+author of this dissertation.
+
+
+
+
+ADDITIONS AND CORRECTIONS.
+
+
+P. 59. After No. 17 add "La Danse Macabre." Paris, Nicole de la Barre,
+1523, 4to. with very different cuts, and some characters omitted in former
+editions.
+
+P. 77, last line of the text. There is a German work intitled "The process
+or law-suit of Death," printed, and perhaps written, by Conrad Fyner in
+1477; but as it is not noticed in Panzer's list of German books, no
+further account of it can be given than that it is briefly mentioned by
+Joseph Heller, in a German work on the subject of engraving on wood, in
+which one cut from it is introduced, that exhibits Death conversing with a
+husbandman who holds a flail in one of his hands. It is probable that the
+book would be found to contain other figures relating to a Macaber Dance.
+
+P. 112, l. ult. There is another work by Glissenti, intitled "La Morte
+innamorata." Venet. 1608, 24mo. with a dedication to Sir Henry Wotton, the
+English ambassador at Venice, by Elisabetta Glissenti Serenella, the
+author's niece; in which, after stating that Sir Henry had seen it
+represented, she adds, that she had ventured to have it printed for the
+purpose of offering it to him as a very humble donation, &c. It is a
+moral, dramatic, and allegorical fable of five acts, in which _Man_, to
+avoid _Death_, who has fallen in love with him, retires with his family to
+the country of _Long Life_, where he takes up his abode in the house of
+_the World_, by whom and his wife _Fraud_, who is in strict friendship
+with _Fortune_, he is apparently made much of, and calculates on being
+very happy. _Death_ follows the _Man_, and being unknown in the above
+region, contrives, with the aid of _Infirmity_, the _Man's_ nurse, to make
+him fall sick. The _World_ being tired of his guest, and very desirous to
+get rid of, and plunder him of his property, under pretence of introducing
+him to _Fortune_, and consequent happiness, enters into a plot with _Time_
+to disguise _Death_, who is lodged in the same house with him, as
+_Fortune_, and thus to give him possession of the _Man_, who imagines that
+he is just about to secure _Fortune_. Each act of this piece is ornamented
+with some wood-cut that had been already introduced into the other work of
+Glissenti.
+
+P. 118, line 32. Ebert, in his "Bibliographisches Lexicon," Leipsig. 1821,
+4to. has mentioned some later editions of Denneker's engravings. See the
+article Denecker, p. 972.
+
+P. 126, l. 14. It is not impossible that Hollar may have copied a bust
+carved in wood, or some other material, by Holbein, as Albert Durer and
+other great artists are known to have practised sculpture in this manner.
+
+P. 135, l. 25. These four prints are in the author's possession.
+
+P. 137, l. ult. Other imitations of the Lyons cuts are, 1. A wood
+engraving of Adam digging and Eve spinning, by Corn. Van Sichem in the
+"Bibel's tresor," Amst. 1646, 4to. 2. The Astrologer, a small circular
+print on copper by Le Blond. 3. The Bridegroom, an anonymous modern
+engraving on wood. 4. The Miser, a small modern and anonymous print on
+copper.
+
+P. 147, l. 19. In the library at Lambeth palace, No. 1049, there is a copy
+of this book in Greek, Latin, Italian, Spanish, English, and French,
+printed by J. Day, 1569, 8vo. It was given by Archb. Tillotson, and from a
+memorandum in it supposed to have been the Queen's own copy. The cut of
+the Queen kneeling was used so late as 1652, in Benlowes' Theophila. Some
+of the cuts have the unexplained mark [monogram: CI].
+
+P. 164, Article xii. This print is a copy, with a few variations, of a
+much older one engraved on wood, and probably unique, in the very curious
+collection of single sheets and black letter ballads, belonging to George
+Daniel, Esquire, of Islington. The figures are executed in a style of
+considerable merit, and each of them is described in a stanza of four
+lines. It may probably be the same as No. 1 or No. 2, mentioned in p. 76,
+or either of Nos. x. or xi. described in p. 163.
+
+P. 226, line 12. Another drawing by Rowlandson, intitled "Death and the
+Drunkards." Five topers are sitting at a table and enjoying their punch.
+Death suddenly enters and violently seizes one of them. Another perceives
+the unwelcome and terrific intruder, whilst the rest are too intent on
+their liquor to be disturbed at the moment. It is a very spirited and
+masterly performance. 11 by 9. In the author's possession.
+
+P. 239, l. 12. There is likewise in the "Biographie Universelle" an
+article intitled "Macaber, poete Allemand" by M. Weiss, and it is to be
+regretted that a writer whose learning and research are so eminently
+conspicuous in many of the best lives in the work, should have permitted
+himself to be misled in much that he has said, by the errors of
+Champollion Figeac in the Magazin Encyclopedique. He certainly doubts the
+existence of Macaber as a writer, but inclines to M. Van Praet's Arabic
+_Magbarah_. He states, that the English version of the Macaber Dance
+belongs to John Porey, _a poet who remains unknown even to his
+countrymen_, and is inserted in the Monasticon Anglicanum. Now this
+_unknown poet_, who is likewise adopted by M. Peignot, is merely the
+person who contributed Hollar's plate in the Monasticon, already mentioned
+in p. 52, and whose coat of arms is at the top of that plate, with the
+following inscription, "Quo præsentes et posteri Mortis, ut vidimus, omni
+Ordini comunis, sint magis memores, posuit IOHANNES POREY." Mr. Weiss has
+likewise inadvertently adopted the error that Holbein painted the old
+Dance of Macaber in the convent of the Augustines at Basle.
+
+Two recently published Dances of Death have come to hand too late to have
+been noticed in their proper places.
+
+1. "Der Todtentantz. Ein Gedicht von Ludwig Bechstein, mit 48 kupfern in
+treuen Conturen nach H. Holbein. Leipzig bei Friedrich August Leo, 1831."
+8vo. These prints are executed in a faithful and elegant outline, and
+accompanied with modern German verses.
+
+2. "Hans Holbein's Todtentanz in 53 getreu nach den Holz schnitten
+lithographirten Blattern. Heraus gegeben von J. Schlotthaver k. Professor
+Mit erklärendem Texte. Munchen, 1832, Auf Rosten des Heraus gegebers."
+12mo. The prints are most accurately and elegantly lithographed in
+imitation of wood engraving. The descriptions are in German verse, and
+accompanied with some brief prefatory matter by Dr. H. F. Massmann, which
+is said to have been amplified in one of the German journals or reviews.
+
+
+
+
+DESCRIPTION OF THE CUTS GIVEN IN THE DISSERTATION.
+
+
+I. The frontispiece is a design for the sheath of a dagger, probably made
+by Holbein for the use of a goldsmith or chaser. The original drawing is
+in the public library at Basle. See some remarks on it in p. 133.
+
+II. These circular engravings by Israel Van Meckenen are mentioned in p.
+160.
+
+III. Copy of an ancient drawing, 1454, of Death and the Beggar. See p.
+223.
+
+IV. Figures of Death and the Lady, sculptured on a monument of the
+Delawars, in Boxgrove church, Sussex. See p. 226.
+
+V. A fac-simile of one of the cuts to a very early edition, printed
+without date at Troyes by Nicolas le Rouge. It represents the story of the
+_trois morts et trois vifs_, and the vision of Saint Macarius. See pp. 33,
+34, and 59.
+
+VI. A fac-simile of another cut from the edition of a Danse Macabre,
+mentioned in No. V.
+
+
+
+
+DESCRIPTION OF THE LYONS WOOD-CUTS OF THE DANCE OF DEATH.
+
+    _The Copies have been made by MR. BONNER from the Cuts belonging to
+    the "Imagines Mortis, Lugduni sub scuto Coloniensi, 1547," 12mo. and
+    which have been usually ascribed to Holbein._
+
+
+1. THE CREATION OF ALL THINGS. The Deity is seen taking Eve from the side
+of Adam. "Formavit Dominus Deus hominem de limo terræ, &c." Gen. i.
+
+2. THE TEMPTATION. Eve has just received the forbidden fruit from the
+serpent, who, on the authority of venerable Bede, is here, as well as in
+most ancient representations of the subject, depicted with a female human
+face. She holds it up to Adam, and entices him to gather more of it from
+the tree. "Quia audisti vocem uxoris tuæ, et comedisti de ligno, &c." Gen.
+iii.
+
+3. THE EXPULSION FROM PARADISE. Adam and Eve are preceded by Death, who
+plays on a vielle, or beggar's lyre, as if demonstrating his joy at the
+victory he has obtained over man. "Emisit eum Dominum Deus de Paradiso
+voluptatis, ut operaretur terram de qua sumptus est." Gen. iii.
+
+4. THE CONSEQUENCES OF THE FALL OF MAN. Adam is digging the ground,
+assisted by Death. In the distance Eve is suckling her first-born and
+holding a distaff. Whence the proverb in many languages:
+
+  When Adam delv'd and Eve span
+  Where was then the gentleman?
+
+"Maledicta terra in opere tuo, in laboribus comedes cunctis diebus vitæ
+tuæ, donec revertaris, &c." Gen. iii.
+
+5. A CEMETERY, in which several Deaths are assembled, most of whom are
+playing on noisy instruments of music, as a general summons to mortals to
+attend them. "Væ, væ, væ habitantibus in terra." Apoc. viii.
+
+6. THE POPE. He is crowning an Emperor, who kneels before him, two
+Cardinals attending, one of whom is ludicrously personated by Death. In
+the back-ground are bishops, &c. Death embraces the Pope with one hand,
+and with the other leans on a crutch. Two grotesque Devils are introduced
+into the cut, one of whom hovers over the Pope, the other in the air holds
+a diploma, to which several seals are appended. "Moriatur sacerdos
+magnus." Josue xx.
+
+7. THE EMPEROR. Seated on a throne, and attended by his courtiers, he
+seems to be listening to, or deciding, the complaint of a poor man who is
+kneeling before him, against his rich oppressor, whom the Emperor, holding
+the sword of justice, seems to regard with an angry countenance. Behind
+him Death lays hands upon his crown. "Dispone domui tuæ, morieris, enim
+tu, et non vives." Isaiæ xxxviii.
+
+8. THE KING. He is sitting at his repast before a well-covered table,
+under a canopy studded with fleurs-de-lis. Death intrudes himself as a
+cupbearer, and presents the King with probably his last draught. The
+figure of the King seems intended as a portrait of Francis I. "Sicut et
+Rex hodie est, et cras morietur; nemo enim ex regibus aliud habuit."
+Ecclesiast. x. et Sapient. vii.
+
+9. THE CARDINAL. There is some difficulty in ascertaining the real meaning
+of the designer of this subject. It has been described as the Cardinal
+receiving the bull of his appointment, or as a rich man making a purchase
+of indulgences. The latter interpretation seems warranted by the Latin
+motto. Death is twisting off the Cardinal's hat. "Væ qui justificatis
+impium pro muneribus, et justitiam justi aufertis ab eo." Isaiæ v.
+
+10. THE EMPRESS. Gorgeously attired and attended by her maids of honour,
+she is intercepted in her walk by Death in the character of a shrivelled
+old woman, who points to an open grave, and seems to say, "to this you
+must come at last." "Gradientes in superbia potest Deus humiliare." Dan.
+iv.
+
+11. THE QUEEN. She has just issued from her palace, when Death
+unexpectedly appears and forcibly drags her away. Her jester, in whose
+habiliments Death has ludicrously attired himself, endeavours in vain to
+protect his mistress. A female attendant is violently screaming. Death
+holds up his hour-glass to indicate the arrival of the fatal hour.
+"Mulieres opulentæ surgite, et audite vocem meam: post dies et annum, et
+vos conturbemini." Isaiæ xxxii.
+
+12. THE BISHOP. Quietly resigned to his fate he is led away by Death,
+whilst the loss of the worthy Pastor is symbolically deplored by the
+flight and terror of several shepherds in the distance amidst their
+flocks. The setting sun is very judiciously introduced. "Percutiam
+pastorem, et dispergentur oves gregis." Mat. xxvi. Mar. xiv.
+
+13. THE DUKE. Attended by his courtiers, he is accosted in the street for
+charity by a poor beggar woman with her child. He disdainfully turns aside
+from her supplication, whilst Death, fantastically crowned with leaves,
+unexpectedly lays violent hands upon him. "Princeps induetur moerore, et
+quiescere faciam superbiam potentium." Ezech. viii.
+
+14. THE ABBOT. Death having despoiled him of his mitre and crosier, drags
+him away. The Abbot resists with all his might, and is about to throw his
+breviary at his adversary. "Ipse morietur, quia non habuit disciplinam,
+et in multitudine stultitiæ suæ decipietur."
+
+15. THE ABBESS. Death, grotesquely crowned with flags, seizes the poor
+Abbess by her scapulary. A Nun at the convent gate, with uplifted hands,
+bewails the fate of her superior. "Laudavi magis mortuos quam viventes."
+Eccles. iv.
+
+16. THE GENTLEMAN. He vainly, with uplifted sword, endeavours to liberate
+himself from the grasp of Death. The hour-glass is placed on his bier.
+"Quis est homo qui vivet, et non videbit mortem, eruet animam suam de manu
+inferi?"
+
+17. THE CANON. Death holds up his hour-glass to him as he is entering a
+cathedral. They are followed by a noble person with a hawk on his fist,
+his buffoon or jester, and a little boy. "Ecce appropinquat hora." Mat.
+xxvi.
+
+18. THE JUDGE. He is deciding a cause between a rich and a poor man. From
+the former he is about to receive a bribe. Death behind him snatches his
+staff of office from one of his hands. "Disperdam judicem de medio ejus."
+Amos ii.
+
+19. THE ADVOCATE. The rich client is putting a fee into the hands of the
+dishonest lawyer, to which Death also contributes, but reminds him at the
+same time that his glass is run out. To this admonition he seems to pay
+little regard, fully occupied in counting the money. Behind this group is
+the poor suitor, wringing his hands, and lamenting that his poverty
+disables him from coping with his wealthy adversary. "Callidus vidit
+malum, et abscondit se: innocens pertransiit, et afflictus est damno."
+Prover. xxii.
+
+20. THE MAGISTRATE. A Demon is blowing corruption into the ear of a
+magistrate, who has turned his back on a poor man, whilst he is in close
+conversation with another person, to whose story he seems emphatically
+attentive. Death at his feet with an hour-glass and spade. "Qui obturat
+aurem suam ad clamorem pauperis, et ipse clamabit, et non exaudietur."
+Prover. xxi.
+
+21. THE PREACHER. Death with a stole about his neck stands behind the
+preacher, and holds a jaw-bone over his head, typifying perhaps thereby
+that he is the best preacher of the two. "Væ qui dicitis malum bonum, et
+bonum malum: ponentes tenebras lucem, et lucem tenebras: ponentes amarum
+in dulce, et dulce in amarum." Isaiæ v.
+
+22. THE PRIEST. He is carrying the viaticum, or sacrament, to some dying
+person. Attendants follow with tapers and holy water. Death strides on
+before, with bell and lanthern, to announce the coming of the priest. "Sum
+quidem et ego mortalis homo." Sap. vii.
+
+23. THE MENDICANT FRIAR. He is just entering his convent with his money
+box and wallet. Death seizes him by the cowl, and forcibly drags him away.
+"Sedentes in tenebris, et in umbra mortis, vinctos in mendicitate." Psal.
+cvi.
+
+24. THE NUN. Here is a mixture of gallantry and religion. The young lady
+has admitted her lover into her apartment. She is kneeling before an
+altar, and hesitates whether to persist in her devotions or listen to the
+amorous music of the young man, who, seated on a bed, touches a theorbo
+lute. Death extinguishes the candles on the altar, by which the designer
+of the subject probably intimates the punishment of unlawful love. "Est
+via quæ videtur homini justa: novissima autem ejus deducunt hominem ad
+mortem." Prover. iv.
+
+25. THE OLD WOMAN. She is accompanied by two Deaths, one of whom, playing
+on a stickado, or wooden psalter, precedes her. She seems more attentive
+to her rosary of bones than to the music, whilst the other Death
+impatiently urges her forward with blows. "Melior est mors quam vita."
+Eccle. xxx.
+
+26. THE PHYSICIAN. He holds out his hand to receive, for inspection, a
+urinal which Death presents to him, and which contains the water of a
+decrepid old man whom he introduces, and seems to say to the physician,
+"Canst thou cure this man who is already in my power?" "Medice cura te
+ipsum." Luc. iv.
+
+27. THE ASTROLOGER. He is seen in his study, looking attentively at a
+suspended sphere. Death holds out a skull to him, and seems, in mockery,
+to say, "Here is a better subject for your contemplation." "Indica mihi si
+nosti omnia. Sciebas quod nasciturus esses, et numerum dierum tuorum
+noveras?" Job xxxviii.
+
+28. THE MISER. Death has burst into his strong room, where he is sitting
+among his chests and bags of gold, and, seated on a stool, deliberately
+collects into a large dish the money on the table which the Miser had been
+counting. In an agony of terror and despair, the poor man seems to implore
+forbearance on the part of his unwelcome visitor. "Stulte, hac nocte
+repetunt animam tuam: et quæ parasti, cujus erunt?" Lucæ xii.
+
+29. THE MERCHANT. After having escaped the perils of the sea, and happily
+reached the wished-for shore with his bales of merchandize; this too
+secure adventurer, whilst contemplating his riches, is surprised by Death.
+One of his companions holds up his hands in despair. "Qui congregat
+thesauros lingua mendacii, vanus et excors est, et impingetur ad laqueos
+mortis." Proverb. xxi.
+
+30. THE SHIP IN A TEMPEST. Death is vigorously employed in breaking the
+mast. The owner of the vessel is wringing his hands in despair. One man
+seems perfectly resigned to his impending fate. "Qui volunt ditescere,
+incidunt in tentationem et laqueum, et cupiditates multas, stultas ac
+noxias, quæ demergunt homines in exitium et interitum." 1 ad Tim. vi.
+
+31. THE KNIGHT. After escaping the perils in his numerous combats, he is
+vanquished by Death, whom he ineffectually resists. "Subito morientur, et
+in media nocte turbabuntur populi, et auferent violentum absque manu." Job
+xxxiv.
+
+32. THE COUNT. Death, in the character of a ragged peasant, revenges
+himself against his proud oppressor by crushing him with his own armour.
+On the ground lie a helmet, crest, and flail. "Quoniam cum interierit non
+sumet secum omnia, neque cum eo descendet gloria ejus." Psal. xlviii.
+
+33. THE OLD MAN. Death leads his aged victim to the grave, beguiling him
+with the music of a dulcimer. "Spiritus meus attenuabitur, dies mei
+breviabuntur, et solum mihi superest sepulchrum." Job xvii.
+
+34. THE COUNTESS. She receives from an attendant the splendid dress and
+ornaments with which she is about to equip herself. On a chest are seen a
+mirror, a brush, and the hour-glass of Death, who, standing behind her,
+places on her neck a collar of bones. "Ducunt in bonis dies suos, et in
+puncto ad inferna descendant." Job xxi.
+
+35. THE NEW-MARRIED LADY. She is accompanied by her husband, who
+endeavours to divert her attention from Death, who is insidiously dancing
+before them and beating a tambour. "Me et te sola mors separabit." Ruth i.
+
+36. THE DUCHESS. She is sitting up, dressed, in her bed, at the foot of
+which are two Deaths, one of whom plays on a violin, the other is pulling
+the clothes from the bed. "De lectulo, super quem ascendisti, non
+descendes, sed morte morieris." 4 Reg. i.
+
+37. THE PEDLAR. Accompanied by his dog, and heavily laden, he is
+proceeding on his way, when he is intercepted by Death, who forcibly pulls
+him back. Another Death is playing on a trump-marine. "Venite ad me omnes
+qui laboratis, et onerati estis." Matth. xi.
+
+38. THE HUSBANDMAN. He is assisted by Death, who conducts the horses of
+his plough. "In sudore vultus tui vesceris pane tuo." Gen. iii.
+
+39. THE CHILD. A female cottager is preparing her family mess, when Death
+enters and carries off the youngest of her children. "Homo natus de
+muliere, brevi vivens tempore, repletur multis miseriis: qui quasi flos
+egreditur, et conteritur, et fugit velut umbra." Job xiv.
+
+40. THE SOLDIER. He is engaged in unequal combat with Death, who simply
+attacks him with a bone. On the ground lie some of his demolished
+companions. In the distance, Death is beating a drum, and leading on a
+company of soldiers to battle. "Cum fortis armatus custodit atrium suum,
+&c. Si autem fortior eo superveniens vicerit eum, universa ejus arma
+aufert, in quibus confidebat." Luc. xi.
+
+41. THE GAMESTERS. Death and the Devil are disputing the possession of one
+of the gamesters, whom both have seized. Another seems to be interceding
+with the Devil on behalf of his companion, whilst a third is scraping
+together all the money on the table. "Quid prodest homini, si universum
+mundum lucretur, animæ autem suæ detrimentum patiatur?" Mat. xvi.
+
+42. THE DRUNKARDS. They are assembled in a brothel, and intemperately
+feasting. Death pours liquor from a flaggon into the mouth of one of the
+party. "Ne inebriemini vino, in quo est luxuria." Ephes. v.
+
+43. THE IDEOT FOOL. He is mocking Death, by putting his finger in his
+mouth, and at the same time endeavouring to strike him with his
+bladder-bauble. Death smiling, and amused at his efforts, leads him away
+in a dancing attitude, playing at the same time on a bag-pipe. "Quasi
+agnus lasciviens, et ignorans, nescit quod ad vincula stultus trahatur."
+Prover. vii.
+
+44. THE ROBBER. Whilst he is about to plunder a poor market-woman of her
+property, Death comes behind and lays violent hands on him. "Domine vim
+patior." Isaiæ xxxviii.
+
+45. THE BLIND MAN. Carefully measuring his steps, and unconscious of his
+perilous situation, he is led on by Death, who with one hand takes him by
+the cloak, both parties having hold of his staff. "Cæcus cæcum ducit: et
+ambo in foveam cadunt." Matt. xv.
+
+46. THE WAGGONER. His cart, loaded with wine casks, has been overturned,
+and one of his horses thrown down by two mischievous Deaths. One of them
+is carrying off a wheel, and the other is employed in wrenching off a tie
+that had secured one of the hoops of the casks. The poor affrighted
+waggoner is clasping his hands together in despair. "Corruit in curru
+suo." 1 Chron. xxii.
+
+47. THE BEGGAR. Almost naked, his hands joined together, and his head
+turned upwards as in the agonies of death, he is sitting on straw near the
+gate of some building, perhaps an hospital, into which several persons are
+entering, and some of them pointing to him as an object fit to be
+admitted. On the ground lie his crutches, and one of his legs is swathed
+with a bandage. A female is looking on him from a window of the building.
+"Miser ego homo! quis me liberabit de corpore mortis hujus?" Rom. vii.
+
+48. THE LAST JUDGMENT. Christ sitting on a rainbow, and surrounded by a
+group of angels, patriarchs, &c. rests his feet on a globe of the
+universe. Below, are several naked figures risen from their graves, and
+stretching out their hands in the act of imploring judgment and mercy.
+"Memorare novissima, et in æternum non peccabis." Eccle. vii.
+
+49. THE ALLEGORICAL ESCUTCHEON OF DEATH. The coat or shield is fractured
+in several places. On it is a skull, and at top the crest as a helmet
+surmounted by two arm bones, the hands of which are grasping a ragged
+piece of stone, and between them is placed an hour-glass. The supporters
+are a gentleman and lady in the dresses of the times. In the description
+of this cut Papillon has committed some very absurd mistakes, already
+noticed in p. 110.
+
+
+I
+
+THE CREATION
+
+[Illustration]
+
+Formavit Dominus Deus hominem de limo terræ, &c. _Gen._ i.
+
+
+II
+
+THE TEMPTATION
+
+[Illustration]
+
+Quia audisti vocem uxoris tuæ, et comedisti de ligno, &c. _Gen._ iii.
+
+
+III
+
+THE EXPULSION
+
+[Illustration]
+
+Emisit eum Dominum Deus de Paradiso voluptatis, ut operaretur terram de
+qua sumptus est. _Gen._ iii.
+
+
+IV
+
+THE CONSEQUENCES OF THE FALL
+
+[Illustration]
+
+Maledicta terra in opere tuo, in laboribus comedes cunctis diebus vitæ
+tuæ, donec revertaris, &c. _Gen._ iii.
+
+
+V
+
+A CEMETERY
+
+[Illustration]
+
+Væ, væ, væ habitantibus in terra. _Apoc._ viii.
+
+
+VI
+
+THE POPE
+
+[Illustration]
+
+Moriatur sacerdos magnus. _Josue_ xx.
+
+
+VII
+
+THE EMPEROR
+
+[Illustration]
+
+Dispone domui tuæ, morieris, enim tu, et non vives. _Isaiæ_ xxxviii.
+
+
+VIII
+
+THE KING
+
+[Illustration]
+
+Sicut et Rex hodie est, et cras morietur; nemo enim ex regibus aliud
+habuit. _Eccles._ x. _et Sapient._ vii.
+
+
+IX
+
+THE CARDINAL
+
+[Illustration]
+
+Væ qui justificatis impium pro muneribus, et justitiam justi aufertis ab
+eo. _Isaiæ_ v.
+
+
+X
+
+THE EMPRESS
+
+[Illustration]
+
+Gradientes in superbia potest Deus humiliare. _Dan._ iv.
+
+
+XI
+
+THE QUEEN
+
+[Illustration]
+
+Mulieres opulentæ surgite, et audite vocem meam: post dies et annum, et
+vos conturbemini. _Isaiæ_ xxxii.
+
+
+XII
+
+THE BISHOP
+
+[Illustration]
+
+Percutiam pastorem, et dispergentur oves gregis. _Mat._ xxvi. _Mar._ xiv.
+
+
+XIII
+
+THE DUKE
+
+[Illustration]
+
+Princeps induetur moerore, et quiescere faciam superbiam potentium.
+_Ezech._ viii.
+
+
+XIV
+
+THE ABBOT
+
+[Illustration]
+
+Ipse morietur, quia non habuit disciplinam, et in multitudine stultitiæ
+suæ decipietur.
+
+
+XV
+
+THE ABBESS
+
+[Illustration]
+
+Laudavi magis mortuos quam viventes. _Eccles._ iv.
+
+
+XVI
+
+THE GENTLEMAN
+
+[Illustration]
+
+Quis est homo qui vivet, et non videbit mortem, eruet animam suam de manu
+inferi?
+
+
+XVII
+
+THE CANON
+
+[Illustration]
+
+Ecce appropinquat hora. _Mat._ xxvi.
+
+
+XVIII
+
+THE JUDGE
+
+[Illustration]
+
+Disperdam judicem de medio ejus. _Amos_ ii.
+
+
+XIX
+
+THE ADVOCATE
+
+[Illustration]
+
+Callidus vidit malum, et abscondit se: innocens pertransiit, et afflictus
+est damno. _Prover._ xxii.
+
+
+XX
+
+THE MAGISTRATE
+
+[Illustration]
+
+Qui obturat aurem suam ad clamorem pauperis, et ipse clamabit, et non
+exaudietur. _Prover._ xxi.
+
+
+XXI
+
+THE PREACHER
+
+[Illustration]
+
+Væ qui dicitis malum bonum, et bonum malum: ponentes tenebras lucem, et
+lucem tenebras: ponentes amarum in dulce, et dulce in amarum. _Isaiæ_ v.
+
+
+XXII
+
+THE PRIEST
+
+[Illustration]
+
+Sum quidem et ego mortalis homo. _Sap._ vii.
+
+
+XXIII
+
+THE MENDICANT
+
+[Illustration]
+
+Sedentes in tenebris, et in umbra mortis, vinctos in mendicitate. _Psal._
+cvi.
+
+
+XXIV
+
+THE NUN
+
+[Illustration]
+
+Est via quæ videtur homini justa: novissima autem ejus deducunt hominem ad
+mortem. _Prover._ iv.
+
+
+XXV
+
+THE OLD WOMAN
+
+[Illustration]
+
+Melior est mors quàm vita. _Eccle._ xxx.
+
+
+XXVI
+
+THE PHYSICIAN
+
+[Illustration]
+
+Medice, cura te ipsum. _Luc._ iv.
+
+
+XXVII
+
+THE ASTROLOGER
+
+[Illustration]
+
+Indica mihi si nosti omnia. Sciebas quod nasciturus esses, et numerum
+dierum tuorum noveras? _Job_ xxxviii.
+
+
+XXVIII
+
+THE MISER
+
+[Illustration]
+
+Stulte, hac nocte repetunt animam tuam: et quæ parasti, cujus erunt?
+_Lucæ_ xii.
+
+
+XXIX
+
+THE MERCHANT
+
+[Illustration]
+
+Qui congregat thesauros lingua mendacii, vanus et excors est, et
+impingetur ad laqueos mortis. _Proverb._ xxi.
+
+
+XXX
+
+THE SHIP IN A TEMPEST
+
+[Illustration]
+
+Qui volunt ditescere, incidunt in tentationem et laqueum, et cupiditates
+multas, stultas, ac noxias, quæ demergunt homines in exitium et interitum.
+_1 ad Tim._ vi.
+
+
+XXXI
+
+THE KNIGHT
+
+[Illustration]
+
+Subito morientur, et in media nocte turbabuntur populi, et auferent
+violentum absque manu. _Job_ xxxiv.
+
+
+XXXII
+
+THE COUNT
+
+[Illustration]
+
+Quoniam cum interierit, non sumet secum omnia, neque cum eo descendet
+gloria ejus. _Psal._ xlviii.
+
+
+XXXIII
+
+THE OLD MAN
+
+[Illustration]
+
+Spiritus meus attenuabitur, dies mei breviabuntur, et solum mihi superest
+sepulchrum. _Job_ xvii.
+
+
+XXXIV
+
+THE COUNTESS
+
+[Illustration]
+
+Ducunt in bonis dies suos, et in puncto ad inferna descendunt. _Job_ xxi.
+
+
+XXXV
+
+THE NEW-MARRIED LADY
+
+[Illustration]
+
+Me et te sola mors separabit. _Ruth_ i.
+
+
+XXXVI
+
+THE DUCHESS
+
+[Illustration]
+
+De lectulo super quem ascendisti, non descendes, sed morte morieris.
+_4 Reg._ i.
+
+
+XXXVII
+
+THE PEDLAR
+
+[Illustration]
+
+Venite ad me, omnes qui laboratis, et onerati estis. _Matth._ xi.
+
+
+XXXVIII
+
+THE HUSBANDMAN
+
+[Illustration]
+
+In sudore vultus tui vesceris pane tuo. _Gen._ iii.
+
+
+XXXIX
+
+THE CHILD
+
+[Illustration]
+
+Homo natus de muliere, brevi vivens tempore, repletur multis miseriis: qui
+quasi flos egreditur, et conteritur, et fugit velut umbra. _Job_ xiv.
+
+
+XL
+
+THE SOLDIER
+
+[Illustration]
+
+Cum fortis armatus custodit atrium suum, &c. Si autem fortior eo
+superveniens vicerit eum, universa ejus arma aufert, in quibus confidebat.
+_Luc._ xi.
+
+
+XLI
+
+THE GAMESTERS
+
+[Illustration]
+
+Quid prodest homini, si universum mundum lucretur, animæ autem suæ
+detrimentum patiatur? _Mat._ xvi.
+
+
+XLII
+
+THE DRUNKARDS
+
+[Illustration]
+
+Ne inebriemini vino, in quo est luxuria. _Ephes._ v.
+
+
+XLIII
+
+THE IDEOT FOOL
+
+[Illustration]
+
+Quasi agnus lasciviens, et ignorans, nescit quod ad vincula stultus
+trahatur. _Prover._ vii.
+
+
+XLIV
+
+THE ROBBER
+
+[Illustration]
+
+Domine, vim patior. _Isaiæ_ xxxviii.
+
+
+XLV
+
+THE BLIND MAN
+
+[Illustration]
+
+Cæcus cæcum ducit: et ambo in foveam cadunt. _Matt._ xv.
+
+
+XLVI
+
+THE WAGGONER
+
+[Illustration]
+
+Corruit in curru suo. _1 Chron._ xxii.
+
+
+XLVII
+
+THE BEGGAR
+
+[Illustration]
+
+Miser ego homo! quis me liberabit de corpore mortis hujus? _Rom._ vii.
+
+
+XLVIII
+
+THE LAST JUDGMENT
+
+[Illustration]
+
+Memorare novissima, et in æternum non peccabis. _Eccle._ vii.
+
+
+XLIX
+
+ALLEGORICAL ESCUTCHEON OF DEATH
+
+[Illustration]
+
+
+
+
+MARKS OF ENGRAVERS.
+
+
+[monogram: G S.] 41, 117
+
+[monogram: HL] 93, 97, 98, 100, 111, 113, 114, 215, 235
+
+[monogram: H =N=] 100
+
+[monogram: S.] 113
+
+[monogram: SA] 113, 114, 115, 116, 127, 130, 136, 174
+
+[monogram: W] 117
+
+[monogram: cross] 117
+
+[monogram] 118
+
+[monogram: A] 124
+
+[monogram: UH] 125
+
+[monogram: WH] 125
+
+[monogram: HB] 126
+
+[monogram: HH] 126
+
+[monogram: HHolbein] inv. 126, 129
+
+H. HOLBEIN, inv. 126.
+
+[monogram: W.] 130
+
+[monogram: L B.f.] 130
+
+[monogram: CI] 147, 248
+
+[monogram: AC] 160, 190
+
+[monogram: HF] 184
+
+[monogram: L] 189
+
+[monogram: VG] 189
+
+[monogram] 190
+
+[monogram] 190
+
+[monogram] 191
+
+[monogram: HM] 191
+
+[monogram] 191
+
+[monogram: BAD] 193
+
+[monogram: I. F.] 219
+
+[monogram] 223
+
+[monogram: HS] 226
+
+These are the marks erroneously given to Holbein,
+
+  BI.
+  Hf.
+  [monogram: HL]
+  [monogram: HL B.]
+  [monogram: HB.]
+  [monogram: HH.]
+
+And these the marks which really belong to him,
+
+  HH.
+  HANS HOLB.
+  HANS HOLBEIN.
+  [monogram: 1519 HF]
+  [monogram: HF]
+  II H.
+  HANS HOLBEN.
+  [monogram: AH 1517]
+  [monogram: H [symbol] H]
+  [monogram: H-H]
+
+
+
+
+INDEX.
+
+
+  A.
+
+  Æmylius, Geo. his verses, 84.
+
+  Alciatus, his emblems the earliest work of the kind, 180.
+
+  Aldegrever, his Dance of Death, 160.
+
+  Almanac, a Swiss one, with a Dance of Death, 76, 209.
+
+  Alphabets, several curious, 100, 214, 217.
+
+  Amman, Jost, a Dance of Death by him, 41.
+
+  Ars moriendi, some account of the last edition of it, 173.
+
+  Athyr, "Stamm-und Stechbuchlein," a rare and singular book of emblems,
+      180.
+
+
+  B.
+
+  Baldinucci, a mistake by him corrected, 235.
+
+  Basle, destruction of its celebrated painting of the Dance of Death, 39.
+    engravings of it, 41.
+
+  Beauclerc, Lady Diana, her ballad of Leonora, 210.
+
+  Bechstein, Ludwig, his edition of the Lyons' wood-cuts, 136.
+
+  Beham, Barthol., his Dance of Death, 190.
+
+  Bernard, le petit, his fine wood-cuts to the Old Testament, 173.
+
+  Berne almanac, a Dance of Death in one of them, 154.
+
+  Bock, Hans, not the painter of the Basle Dance of Death, 39.
+
+  Bodenehr, Maurice, a Dance of Death by him, 165.
+
+  "Boetius de consolatione," a figure of Death in an old edition of it,
+      171.
+
+  Bonaparte, Napoleon, a Dance of Death relating to him, 167.
+
+  Books in which a Dance of Death is occasionally introduced, 168.
+
+  Borbonius, Nicolas, his portrait, 140.
+    his verses, 92, 94, 139.
+    in England, 140.
+
+  Bosman, Arent, a singular old Dutch legend relating to him, 183.
+
+  Bosse, a curious engraving by him, 196.
+
+  Boxgrove church in Sussex, sculpture in, 226.
+
+  Brant, Sebastian, his stultifera navis, 170.
+
+  Bromiard, John De, his "Summa predicantium," a fine frontispiece to it,
+      183.
+
+  Buno, Conrad, a book of emblems by him, 181.
+
+  Burnet, Bishop, his ambiguous account of a Dance of Death at Basle, 79,
+      138.
+
+
+  C.
+
+  Calendrier des Bergers, 170.
+
+  Callot, drawings by him of a Dance of Death in the collection of Sir
+      Tho. Lawrence, 223.
+
+  Camus, M. de, a ludicrous mistake by him, 169.
+
+  Catz's emblems, 182.
+
+  Cavallero determinado, 174.
+
+  Centre de l'amour, a singular book of emblems, 182.
+
+  Chertablon, "Maniere de se bien preparer à la mort," 177.
+
+  "Chevalier de la tour," a singular print from this curious romance, 171.
+
+  Chodowiecki, his engravings relating to the Dance of Death, 153, 207,
+      208.
+
+  Chorier, his "Antiquités de Vienne," 48.
+
+  Cogeler, "Imagines elegantissimæ, &c." 173.
+
+  Coleraine, I. Nixon, his Dance of Death on a fan, 159.
+
+  Colman's "Death's duell," 185.
+
+  Compan, M. his mistake about a Dance of Death, 237.
+
+  Coppa, a poem ascribed to Virgil, 3.
+
+  Cossiers, John, a curious print after him, 199.
+
+  Coverdale's Bible, with initials of a Dance of Death, 217.
+
+  Coxe's travels in Switzerland, some account in them of M. Crozat's
+      drawings, 134.
+
+  Crozat, M. De, account of some supposed drawings by Holbein in his
+      collection, 134.
+
+
+  D.
+
+  Dagger, design for the sheath of one by Holbein, 133.
+
+  Dagley's "Death's doings," 157, 210, 224.
+
+  Dance of Death, a pageant, 5.
+    Danish one, 159.
+    known to the ancients, 12.
+    one at Pompeii, 13.
+    the term sometimes improperly used, 81.
+    verses belonging to it, 17.
+    where sculptured and painted, 17.
+
+  Dance, Mr. the painter, his imitation of a subject in the Dance of Death
+      in his portrait of Mr. Garrick, 137.
+
+  Dances of Death, with such text only as describes the subject, 160.
+    anonymous, 161, 162, 163, 164.
+    at the following places,
+      Amiens, 47.
+      Anneberg, 44.
+      Avignon, 221.
+      Basle, 36.
+      Berlin, 48.
+      Berne, 45.
+      Blois, 47.
+      Croydon, 54.
+      Dijon, 35.
+      Dresden, 44.
+      Erfurth, 44.
+      Fescamp, 47.
+      Hexham, 53.
+      Holland, 49.
+      Italy, 49.
+      Klingenthal, 42.
+      Leipsic, 44.
+      Lubeck, 43.
+      Lucerne, 46.
+      Minden, 35.
+      Nuremberg, 45.
+      Paris, 14, 33, 35.
+      Rouen, 47.
+      Salisbury, 52.
+      St. Paul's, 51, 76.
+      Spain, 50.
+      Strasburg, 47.
+      Tower of London, 54.
+      Vienne, in Dauphiné, 48.
+      Wortley Hall, 53.
+
+  Dancing in temples and churchyards, 5, 6.
+
+  Daniel, Mr. an unique print of a Dance of Death in his possession, 248.
+
+  Danse aux aveugles, 231.
+
+  Death and the Lady, 226.
+    how personified by the Ancients, 1.
+    not in itself terrific, 4.
+    to Dr. Quackery, 211.
+
+  De Bry, prints by him, 180, 183, 195.
+
+  Dedication to the first edition of the Lyons wood-cuts, 86.
+    mistakes in it, 87.
+
+  De Gheyn, prints by him, 198, 205.
+
+  De la Motte's fables, 183.
+
+  Della Bella, 162.
+
+  De Murr, his mistake about the Dance of Death, 235
+
+  Dennecker, or De Necker, Jobst, Dances of Death by him, 40, 42, 85, 118.
+
+  De Pas, Crispin, description of a singular engraving by him, 196.
+
+  Descamps, his mistake about the Dance of Death, 235.
+
+  Deuchar, David, the Scottish Worlidge, his etchings of the Dance of
+      Death, 135.
+
+  Deutch, Nicolas Manuel, the painter of a Dance of Death at Berne, 224.
+
+  Devil's ruff-shop, 200.
+
+  De Vos, Martin, print after him of the Devil's ruff-shop, 200.
+
+  Diepenbecke, Abraham, designer of the borders to Hollar's etchings of
+      the Dance of Death, 125.
+
+  Dialogue of life and death, in "Dialogues of creatures moralized," 170.
+
+  Dominotiers, venders of coloured prints for the common people, 77.
+
+  Drawings of the Dance of Death, 222.
+
+  Druræi Mors, an excellent Latin comedy, 175.
+
+  Dugdale, his Monasticon, 129.
+    his St. Paul's, 129.
+
+  Durer, Albert, some prints by or after him described, 188, 189.
+
+
+  E.
+
+  Ear, the seat of memory among the Ancients, 3.
+    swearing by, 3.
+
+  Edwards, Mr. the bookseller, the possessor of Hollar's etchings of the
+      Dance of Death, 128.
+
+  Elizabeth, her prayer-book with a Dance of Death, 147, 247.
+
+  Emblems and fables relating to the Dance of Death, 179.
+
+  Engravings on wood, the earliest impressions of them not always the
+      best, 85, 90.
+    commendations of them in books printed in France, Germany, and Italy,
+      97.
+
+  Errors of miscellaneous writers on the Dance of Death, 236.
+    of travellers concerning it, 233.
+    of writers on painting and engraving concerning it, 234.
+
+  Evelyn, Mr. his mistake concerning the Dance of Death, 235.
+
+
+  F.
+
+  Fables relating to the Dance of Death, 179.
+
+  Faut mourir, le, 26.
+
+  Felibien, his mistake about the Dance of Death, 235.
+
+  Figeac, Champollion, his account of a Macaber Dance, 238.
+
+  Fleischmann, Counsellor, of Strasburg, drawings of a Dance of Death in
+      his possession, 134.
+
+  Fontenai, Abbé, his mistake concerning the Dance of Death, 236.
+
+  Fool and Death in old moralities, 177.
+
+  Fournier, his mistake concerning the Dance of Death, 237.
+
+  Fox, John, "Book of Christian Prayers," compiled by him, 147.
+
+  Francis I. an importer of fine artists into France, 92.
+
+  Francolin, a rare work by him described, 217.
+
+  Freidanck, 171.
+
+  Friderich's emblems, 180.
+
+  Frontispieces connected with the Dance of Death, described, 183.
+
+  Fulbert's vision of the dispute between the soul and the body, 32.
+
+  Fuseli, Mr. his opinion concerning the Dance of Death, 83.
+
+  Fyner, Conrad, his process or law-suit of Death.
+
+
+  G.
+
+  Gallitzin, Prince, some supposed drawings by Holbein of a Dance of Death
+      in his possession, 134.
+
+  Gem, an ancient one, with a skeleton as the representative of Death, 206.
+
+  Gerard, Mark, some etchings of fables by him, 179.
+
+  Gesner's Pandectæ, remarks on a passage in that work, 84.
+
+  Ghezzi, a figure of Death among his caricatures, 206.
+
+  Glarus, Franciscus à, his "Confusio disposita, &c." noticed as a very
+      singular work, 177.
+
+  Glass, painted, with a Dance of Death, 227.
+
+  Glissenti, his "Discorsi morali," 112.
+    his "Morte inamorata," 246.
+
+  Gobin le gay, a name of one of the shepherds in an old print of the
+      Adoration, 69.
+
+  Gobin, Robert, his "loups ravissans," remarkable for a Dance of Death,
+      146.
+
+  Goethe, a Dance of Death in one of his works, 178, 211.
+
+  Gole, a mezzotinto by him of Death and the Miser, 203.
+
+  Goujet, his mistake about the Dance of Death at Basle, 233.
+
+  Graaf, Urs, a print by him, and his monogram described, 189.
+
+  Grandville, "Voyage pour l'eternité," 157.
+
+  Gray, Rev. Robert, his mistake about the Dance of Death at Basle, 233.
+
+  Gringoire, Pierre, his "Heures de Notre Dame," 172.
+
+  Grosthead, story from his "Manuel de Péché," 7.
+
+  Guilleville, "Pelerin de la vie humaine," 175.
+
+
+  H.
+
+  Harding, an etching by him of "Death and the Doctor," 211.
+
+  Hawes's "Pastime of Pleasure," two prints from it described, 173.
+
+  Heemskirk, Martin, a print by him described, 193, 199.
+
+  Hegner, his life of Holbein, 240.
+
+  Heymans, Mynheer, a dedication to him, 141.
+
+  Historia della Morte, a poem so called, 176.
+
+  Holbein, a German, life of him by Hegner, 240.
+    ambiguity with respect to the paintings at Basle ascribed to him, 81.
+    dance of peasants by him, 80.
+    engravings by him with his name, 95.
+    his Bible prints, 94.
+    his connexion with the Dance of Death, 78, 138.
+    his death, in 1554, 144.
+    his name not in the early editions of the Lyons wood-cuts, 92.
+    lives of him very defective, 143.
+    more particulars relating to him, 143.
+    not the painter of the Dance of Death at Basle, 38, 43, 144.
+    paints a Dance of Death at Whitehall, 141.
+    satirical painting of Erasmus by him, 221.
+
+  Hollar, his copies of the Dance of Death, 125.
+
+  Hopfer, David, his print of Death and the Devil, 191.
+
+  Horæ, manuscripts of this service book with the Macaber Dance, 60.
+    printed copies of it with the same, and some similar designs, 72.
+
+  Huber and Rust, their mistake concerning Holbein, 236.
+
+
+  I.
+
+  Jacques, Maitre, his "le faut mourir," 26.
+
+  Jansen, his mistake concerning the Dance of Death, 236.
+
+  Imitations of and from the Lyons wood-cuts, 137.
+
+  Initial letters with a Dance of Death, 213, 214, 217.
+
+  Innocent III. Pope, his work "de vilitate conditionis humanæ," 172.
+
+
+  K.
+
+  Karamsin, Nicolai, his account of a Dance of Death, 44.
+
+  Kauw, his drawing of a Dance of Death, at Berne, 224.
+
+  Kerver, Thielman, his editions of "Horæ," 174.
+
+  Klauber, John Hugh, a painter of a Dance of Death at Basle, 36, 42.
+
+
+  L.
+
+  Langlois, an engraving by him described, 198.
+
+  Larvæ and lemures, confusion among the ancients as to their respective
+      qualities, 4.
+
+  "Last drop," an etching so intitled, 211.
+    a drawing of the same subject, 224.
+
+  Lavenberg calendar, prints by Chodowiecki in it, 153.
+
+  Lawrence, Sir Thomas, drawings by Callot of a Dance of Death in his
+      possession, 223.
+
+  "Lawyer's last circuit," a caricature print, 209.
+
+  Le Blon, a circular print by him described, 197.
+
+  Le Comte, his mistake concerning the Dance of Death, 235.
+
+  Lubeck, a Dance of Death there, 163.
+
+  Lutzenberger, Hans, the engraver of the Lyons wood-cuts of the Dance of
+      Death, 98.
+    alphabets by him, 100.
+    various prints by him, 99.
+
+  Luyken's Emblems, 177, 178.
+
+  Lydgate, his Verses to the Macaber Dance, 29, 52.
+
+  Lyons, all the editions of the wood-cuts of the Dance of Death published
+      there described, 82, 103.
+    copies of them by Hollar, 125.
+    copies of them on copper, 121.
+    copies of them on wood, 111.
+    various imitations of some of them, 137.
+
+  Lyvijus, John, a print by him of two card players, 197.
+
+
+  M.
+
+  Macaber, a word falsely applied as the name of a supposed German poet,
+      28, 34.
+    its etymology discussed, 30, 34.
+
+  Macaber Dance, 13, 28.
+    copies or engravings of it as painted at Basle, 40.
+    destruction of the painting at Basle, 39.
+    manuscripts in which it is represented, 72.
+    not painted by Holbein, 38.
+    printed books, in which it is represented, 55.
+    representations of it at the following places:--
+      Amiens, 47.
+      Anneberg, 44.
+      Basle, 36.
+      Berlin, 48.
+      Berne, 45.
+      Burgos, 50.
+      Croydon, 54.
+      Dijon, 35.
+      Dresden, 44, 76.
+      Erfurth, 44.
+      Hexham, 53.
+      Holland, 49.
+      Klingenthal, 42.
+      Lubeck, 43.
+      Lucerne, 46.
+      Minden, 35.
+      Naples, 49.
+      Rouen, 47.
+      Salisbury, 52.
+      St. Paul's, 51, 76.
+      Strasburg, 47.
+      Tower of London, 54.
+      Vienne, 48.
+      Wortley Hall, 53.
+
+  Macarius Saint, painting of a legend relating to him, by Orgagna, at the
+      Campo Santo, 32, 33.
+
+  Malpé, M., his mistake concerning the Dance of Death, 236.
+
+  Mannichius, 180.
+
+  Manuel de Peché, by Grosthead, 7.
+
+  Mapes, Walter de, an allusion by him to a Dance of Death, 24.
+    vision of a dispute between the soul and the body, ascribed to him, 33.
+
+  Marks or monograms of engravers, their uncertainty, 102.
+
+  Marmi, Gio. Battista, his "Ritratte della Morte," 129.
+
+  Mechel, Chretien de, 132, 208, 214.
+
+  Meckenen, Israel Van, a Dance of Death by him, 160.
+
+  Meisner, his "Sciographia Cosmica," 180.
+
+  Melidæus, Jonas, a satirical work under this disguised name, intitled
+      "Res mira," 184.
+
+  Meyers, Rodolph, his Dance of Death, 148.
+
+  Meyssens, his mistake concerning the Dance of Death, 234.
+
+  Missal, an undescribed one, in the type of the psalter of 1457, 213.
+
+  Misson, the traveller, his mistake concerning the Dance of Death, 233.
+
+  Mitelli, Gio. Maria, a kind of Death's Dance, by him, 161.
+
+  Moncrief, his "March of Intellect," quoted for a print after Cruikshank,
+      178.
+
+  Montenaye, Georgette de, her emblems, 179.
+
+  "Mors," an excellent Latin comedy, by William Drury, 175.
+
+  Mortimer, a sketch by him of Death seizing several persons, 209.
+
+  Mortilogus, 171.
+
+
+  N.
+
+  Negro figure of Death, 230.
+
+  Newton's Dances of Death, 165.
+
+  Nieuhoff, Piccard, 130, 140.
+
+  Nuremberg Chronicle, a cut from it described, 170.
+    a story from it, 6.
+
+
+  O.
+
+  Old Franks, a curious painting by him, 204, 221.
+
+  Oliver, Isaac, his copy of a painting by Holbein, at Whitehall, 145, 221.
+
+  Orgagna, Andrea, his painting at the Campo Santo, 32.
+
+  Ortulus Rosarum, 170.
+
+  Otho Vænius, a curious painting by him, 204, 222.
+
+  Ottley, Mr. his opinion in favour of Holbein as the designer of the
+      Lyons wood-cuts, 88.
+    proof impressions of the Lyons wood-cuts in his valuable collection,
+      85.
+
+
+  P.
+
+  Palingenius, his "Zodiacus Vitæ," a frontispiece to this work described,
+      186.
+
+  Panneels, William, a scholar of Rubens, mention of a painting by him,
+      203.
+
+  Papillon, his ludicrous mistakes noticed, 110, 114.
+
+  Patin, Charles, a traveller, and a libeller of the English, 79, 138, 237.
+
+  Paulmy, Marquis de, his mistake concerning the Dance of Death, 238.
+
+  Paul's St., mention of the Dance of Death formerly there, 51, 163.
+
+  Peasants, a dance of, painted at Basle, by Holbein, 80.
+
+  Peignot, M. author of "Les Danses de Mort," an interesting work, preface.
+    his misconception relating to John Porey, 248.
+
+  Perriere, his "Morosophie," 179.
+
+  Petrarch, his triumph of Death, 175, 207.
+    his work "de remediis utriusque fortunæ," 175.
+
+  Pfister, Albert, his "Tribunal Mortis," 168.
+
+  Piccard, Nieuhoff, 130, 140.
+
+  Piers Plowman, lines from, 54.
+
+  Porey, John, a mistake concerning him corrected, 248.
+
+  Potter, P. an allegorical engraving after him, 199.
+
+  Prints, single, relating to the Dance of Death, list of, 188.
+
+  Prior, Matthew, his lines on the Dance of Death, 145.
+
+  Psalter of 1457, a beautiful initial letter in it noticed, 213.
+    of Richard II., a manuscript in the British Museum, 222.
+
+
+  R.
+
+  Rabbi Santo, a Jewish poet, about 1360, 25.
+
+  Ratdolt, a Venetian printer, not, as usually supposed, the inventor of
+      initial or capital letters, 213.
+
+  Rembrandt, drawing of a Dance of Death by him, 223.
+    etching by him, 195.
+
+  René, of Anjou, painted a Dance of Death, 221.
+
+  Reperdius, Geo. an eminent painter at Lyons, 93.
+
+  Revelations, prints of the, 175.
+
+  Reusner, his emblems, 179.
+
+  Rive, Abbé, his bibliography of the Macaber Dance, 75.
+
+  Rivoire, his history of Amiens commended, 47.
+
+  Roderic, bishop of Zamora, 17, 32.
+
+  Rolandini's emblems, 180.
+
+  Rollenhagius's emblems, 182.
+
+  Roll of the Dance of Death, 1597, 163.
+
+  Rowlandson's Dance of Death, 156, 225, 248.
+
+  Rusting, Salomon Van, his Dance of Death, 131.
+
+
+  S.
+
+  [monogram: SA], some account of this monogram, 115.
+    its owner employed by Plantin, the famous printer at Antwerp, 116.
+
+  Salisbury missal, singular cut in one, 172.
+
+  Sallaerts, an artist supposed to have been employed by Plantin the
+      celebrated printer, 115, 116.
+
+  Sancta Clara, Abraham, a description of his "universal mirror of Death,"
+      151.
+
+  Sandrart, his notice of a work by Holbein at Whitehall, 145.
+
+  Schauffelin, Hans, a carving on wood by him described, 226.
+
+  Schellenberg, I. R. a Dance of Death by him, 154.
+
+  Schlotthaver, his edition of a Dance of Death, 249.
+
+  Silvius, or Sylvius, Antony, an artist at Antwerp, account of a monogram
+      supposed to belong to him, 115.
+
+  Skeleton, use made of the human by the ancients, 3.
+
+  "Spectriana," a modern French work, frontispiece to it described, 187.
+
+  Stelsius, his edition of a spurious copy of Holbein's Bible cuts, 97.
+
+  Stettler, his drawings of the Macaber Dance of Death at Berne, 224.
+
+  "Stotzinger symbolum," description of a cut so intitled, 174.
+
+  Stradanus, an engraving after him described, 197.
+
+  Susanna, a Latin play, 18.
+
+  Symeoni, "Imprese," 179.
+
+
+  T.
+
+  Tapestry at the Tower of London, 227.
+
+  "Theatrum Mortis," a work with a Dance of Death described, 129.
+
+  Tiepolo, a clever etching by him described, 197.
+
+  Title-pages connected with the Dance of Death, list of, 183.
+
+  Tory, Geoffrey, Horæ printed by him described, 172.
+
+  Tower of London, tapestry formerly there of a Dance of Death, 227.
+
+  Trois mors et trois vifs, 31, 33, 228.
+
+  Turner, Col., a Dance of Death by him, 207.
+
+  Turnham Green, some account of chalk drawings of a Dance of Death on a
+      wall there, 210, 224.
+
+  Typotii symbola, 180, 182.
+
+
+  U.
+
+  Urs Graaf, his engravings noticed, 243.
+
+
+  V.
+
+  Vænius, Otho, some of his works mentioned, 182, 204.
+
+  Valckert, a clever etching by him described, 201.
+
+  Van Assen, a Dance of Death by him, 158.
+
+  Van Leyden, Lucas, 189.
+
+  Van Meckenen, Israel, his Dance of Death in circles, 160.
+
+  Van Sichem, his prints to the Bible, 177.
+
+  Van Venne, prints after him, 157, 182, 199, 209.
+
+  Verses that accompany the Dance of Death, 17.
+
+  Von Menzel, 207.
+
+  "Voyage pour l'eternité," a modern Dance of Death, 157.
+
+
+  W.
+
+  Walpole, Mr. his mistake concerning the Dance of Death, 236.
+
+  Warton, Mr. his remarks on the Dance of Death, 237.
+
+  Weiss, Mr. author of some of the best lives in the "Biographie
+      Universelle," misled in his article "Macaber" by Champollion Figeac,
+      249.
+
+  Whitehall, fire at, 140.
+    painting of a Dance of Death there by Holbein, 141.
+
+  Wierix, John, some prints by him described, 194, 195.
+
+  Williams, Miss, her mistake concerning the Dance of Death at Basle, in
+      her Swiss tour, 233.
+
+  Wolschaten, Geeraerdt Van, a Dance of Death by him, 130.
+
+  Wood, engravings on, the first impressions of them not always the best,
+      85.
+
+  Wood, Mr. his mistake concerning the Dance of Death in his "View of
+      Switzerland," 233.
+
+
+  Y.
+
+  "Youth's Tragedy," a moral drama, 1671, 175.
+
+
+  Z.
+
+  Zani, Abbate, of opinion that Holbein had no concern in the Lyons
+      wood-cuts of the Dance of Death, 98, 101, 138.
+
+  Zuinger, his account of paintings at Basle, 139.
+
+
+
+
+C. WHITTINGHAM, TOOKS COURT, CHANCERY LANE.
+
+
+
+
+FOOTNOTES:
+
+[1] Iliad, and after him Virgil, Æn. vi. 278.
+
+[2] Iliad IX. On an ancient gem likewise in Ficoroni's Gemmæ Antiquæ
+Litteratæ, Tab. viii. No. 1, a human scull typifies mortality, and a
+butterfly immortality.
+
+[3] Lib. ii. 78.
+
+[4] Diarium, p. 212.
+
+[5] Lib. xiii. l. 474.
+
+[6] Epist. xxiv.
+
+[7] Apolog. p. 506, 507. edit. Delph. 4to.
+
+[8] Lib. iii.
+
+[9] Leg. Antiq. iii. 84.
+
+[10] Folio clxxxvii.
+
+[11] Folio ccxvii.
+
+[12] Bibl. Reg. 20 B. xiv. and Harl. MS. 4657.
+
+[13] Contest.
+
+[14] Q. Cowick in Yorkshire?
+
+[15] Leader.
+
+[16] Glee.
+
+[17] Called.
+
+[18] A name borrowed from Merwyn, Abbess of Ramsey, temp. Reg. Edgari.
+
+[19] Took.
+
+[20] Leafy.
+
+[21] Place.
+
+[22] Went.
+
+[23] Places.
+
+[24] A falsehood.
+
+[25] Whoever may be desirous of inspecting other authorities for the
+story, may consult Vincent of Beauvais Speculum Historiale, lib. xxv. cap.
+10; Krantz Saxonia, lib. iv.; Trithemii Chron. Monast. Hirsaugensis;
+Chronicon Engelhusii ap. Leibnitz. Script. Brunsvicens. II. 1082;
+Chronicon. S. Ægidii, ap. Leibnitz. iii. 582; Cantipranus de apibus; &
+Cæsarius Heisterbach. de Miraculis; in whose works several _veracious_ and
+amusing stories of other instances of divine vengeance against dancing in
+general may be found. The most entertaining of all the dancing stories is
+that of the friar and the boy, as it occurs among the popular penny
+histories, of which, in one edition at least, it is, undoubtedly, the very
+best.
+
+[26] Lib. i. Eleg. iii.
+
+[27] Æn. lib. vi. l. 44.
+
+[28] Millin. Magaz. Encycl. 1813, tom. i. p. 200.
+
+[29] Gori Mus. Florentin. tom. i. pl. 91, No. 3.
+
+[30] Hist. Engl. Poetry, vol. ii. p. 43, edit. 8vo. and Carpentier. Suppl.
+ad Ducang. v. Machabæorum chorea.
+
+[31] Id. ii. 364.
+
+[32] Hist. des Ducs des Bourgogne, tom. v. p. 1821.
+
+[33] Hist. de René d'Anjou, tom. i. p. 54.
+
+[34] Dulaure. Hist. Physique, &c. de Paris, 1821, tom. ii. p. 552.
+
+[35] Recherches sur les Danses des Morts. Dijon et Paris, 1826, 8vo. p.
+xxxiv. et seq.
+
+[36] Mercure de France, Sept. 1742. Carpentier. Suppl. ad Ducang. v.
+Machabæorum chorea.
+
+[37] Bibl. Reg. 8 B. vi. Lansd. MS. 397.
+
+[38] Madrid. 1779, 8vo. p. 179.
+
+[39] Bibl. Med. et Inf. Ætat. tom. v. p. 1.
+
+[40] Recherches sur les Danses de Mort, pp. 79 80.
+
+[41] Passim.
+
+[42] Modern edition of the Danse Macabre.
+
+[43] Journal de Charles VII.
+
+[44] Lansd. MS. No. 397--20.
+
+[45] Peignot Recherches, p. 109.
+
+[46] Mélange d'une Grande Bibliothèque, tom. vii. p. 22.
+
+[47] Bibl. Instruc. No. 3109.
+
+[48] Catal. La Valliere No. 2736--22.
+
+[49] Vasari vite de Pittori, tom. i. p. 183, edit. 1568, 4to.
+
+[50] Baldinucci Disegno, ii. 65.
+
+[51] Morona Pisa Illustrata, i. 359.
+
+[52] Du Breul Antiq. de Paris, 1612, 4to. p. 834, where the verses that
+accompany the sculpture are given. See likewise Sandrart Acad. Picturæ, p.
+101.
+
+[53] Peignot Recherches, xxxvii-xxxix.
+
+[54] Urtisii epitom. Hist. Basiliensis, 1522, 8vo.
+
+[55] Peignot Recherches, xxvi-xxix.
+
+[56] Travels, i. 376.
+
+[57] Travels, i. 138, edit. 4to.
+
+[58] Heinecken Dictionn. des Artistes, iii. 67, et iv. 595. He follows
+Keysler's error respecting Hans Bock.
+
+[59] Peintre graveur, ix. 398.
+
+[60] Essai sur l'Orig. de la Gravure, i. 120.
+
+[61] Heinecken Dictionn. des Artistes, i. 222.
+
+[62] Recherches, &c. p. 71.
+
+[63] Heller Geschiche der holtzchein kunst. Bamberg, 1823, 12mo. p. 126.
+
+[64] Basle Guide Book.
+
+[65] Recherches, 11 et seq.
+
+[66] More on the subject of the Lubeck Dance of Death may be found in 1.
+An anonymous work, which has on the last leaf, "Dodendantz, anno domini
+MCCCCXCVI. Lubeck." 2. "De Dodendantz fan Kaspar Scheit, na der utgave
+fan, 1558, unde de Lubecker fan, 1463." This is a poem of four sheets in
+small 8vo. without mention of the place where printed. 3. Some account of
+this painting by Ludwig Suhl. Lubeck, 1783, 4to. 4. A poem, in rhyme, with
+wood-cuts, on 34 leaves, in 8vo. It is fully described from the Helms.
+library in Brun's Beitrage zu krit. Bearb. alter handschr. p. 321 et seq.
+5. Jacob à Mellen Grundliche Nachbricht von Lubeck, 1713, 8vo. p. 84. 6.
+Schlott Lubikischers Todtentantz. 1701. 8vo. 7. Berkenmeyer, le curieux
+antiquaire, 8vo. p. 530; and, 8. Nugent's Travels, i. 102. 8vo.
+
+[67] Biblioth. Med. et inf. ætat. v. 2.
+
+[68] Travels, i. 195.
+
+[69] Recherches, xlii.
+
+[70] Pilkington's Dict. of Painters, p. 307, edit. Fuseli, who probably
+follows Fuesli's work on the Painters. Merian, Topogr. Helvetiæ.
+
+[71] Peignot Recherches, xlv. xlvi.
+
+[72] Rivoire descr. de l'église cathédrale d'Amiens. Amiens, 1806. 8vo.
+
+[73] Recherches, xlvii.
+
+[74] Recherches, xlviii.
+
+[75] Recherches sur les antiquités de Vienne. 1659. 12mo, p. 15.
+
+[76] Dr. Cogan's Tour to the Rhine, ii. 127.
+
+[77] Travels, iii. 328, edit. 4to.
+
+[78] Survay of London, p. 615, edit. 1618, 4to.
+
+[79] In Tottel's edition these verses are accompanied with a single
+wood-cut of Death leading up all ranks of mortals. This was afterwards
+copied by Hollar, as to general design, in Dugdale's St. Paul's, and in
+the Monasticon.
+
+[80] Annales, p. 596, edit. 1631. folio. Sir Thomas More, treating of the
+remembrance of Death, has these words: "But if we not only here this word
+Death, but also let sink into our heartes, the very fantasye and depe
+imaginacion thereof, we shall parceive therby that we wer never so gretly
+moved by the beholding of the _Daunce of Death pictured in Poules_, as we
+shal fele ourself stered and altered by the feling of that imaginacion in
+our hertes. And no marvell. For those pictures expresse only y{e} lothely
+figure of our dead bony bodies, biten away y{e} flesh," &c.--Works, p. 77,
+edit. 1557, folio.
+
+[81] Heylin's Hist. of the Reformation, p. 73.
+
+[82] Cotton MS. Vesp. A. xxv. fo. 181.
+
+[83] Leland's Itin. vol. iv. part i. p. 69.--Meas. for Meas. Act iii. sc.
+1.
+
+[84] Hutchinson's Northumberland, i. 98.
+
+[85] Warton's H. E. Poetry, ii. 43, edit. 8vo.
+
+[86] And see a portion of Orgagna's painting at the Campo Santo at Pisa,
+mentioned before in p. 33.
+
+[87] From the Author's own inspection.
+
+[88] Recherches, p. 144, and see Catal. La Valliere, No. 295.
+
+[89] Herbert's typogr. antiq. p. 888.
+
+[90] Traité hist. de la gravure en bois, i. 182, 336.
+
+[91] Letters containing an account of what seemed most remarkable in
+Switzerland, Italy, &c. by G. Burnet, D. D. Rotterdam, 1686, 8vo. p. 265.
+
+[92] Travels through Germany, &c. i. 138, edit. 4to.
+
+[93] Relations historiques et curieuses de voyages en Allemagne, &c. Amst.
+1695, 12mo. p. 124.
+
+[94] See likewise Zuinger, Methodus Academica, Basle, 1577, 4to. p. 199.
+
+[95] Remarks on several parts of Europe, 1738, vol. ii. p. 72.
+
+[96] Peignot places the dance of peasants in the fish-market of Basle, as
+other writers had the Dance of Death. Recherches, p. 15.
+
+[97] Manuel de l'Amateur d'estampes, ii. 131.
+
+[98] Manuel des curieux, &c. i. 156.
+
+[99] Some give it to the Abbé Baverel.
+
+[100] Lib. ult. p. 86.
+
+[101] The dedicator has apparently in this place been guilty of a strange
+misconception. The Death is not sucking the wine from the cask, but in the
+act of untwisting the fastening to one of the hoops. Nor is the carman
+crushed beneath the wheels: on the contrary, he is represented as standing
+upright and wringing his hands in despair at what he beholds. It is true
+that this cut was not then completed, and might have undergone some
+subsequent alteration. He likewise speaks of the rainbow in the cut of the
+Last Judgment, as being at that time unfinished, which, however, is
+introduced in this first edition.
+
+[102] It would be of some importance if the date of Lutzenberger's death
+could be ascertained.
+
+[103] "An enquiry into the origin and early history of Engraving," 1816,
+4to. vol. ii. p. 759.
+
+[104] "An Enquiry," &c. ii. 762.
+
+[105] The few engravings by or after Holbein that have his name or its
+initials are to be found in his early frontispieces or vignettes to books
+printed at Basle. In 1548, two delicate wood-cuts, with his name, occur in
+Cranmer's Catechism. In the title-page to "a lytle treatise after the
+maner of an Epystle wryten by the famous clerk, Doctor Urbanus Regius,
+&c." Printed by Gwalter Lynne, 1548, 24mo, there is a cut in the same
+style of art of Christ attended by his disciples, and pointing to a
+fugitive monk, whose sheep are scattered, and some devoured by a wolf.
+Above and below are the words "John x. Ezech. xxxiiii. Mich. v. I am the
+good shepehearde. A good shepehearde geveth his lyfe for the shype. The
+hyred servaunt flyeth, because he is an hered servaunt, and careth not for
+the shepe." On the cut at bottom HANS HOLBEIN. There is a fourth cut of
+this kind in the British Museum collection with Christ brought before
+Pilate; and perhaps Holbein might have intended a series of small
+engravings for the New Testament; but all these are in a simple outline
+and very different from the cuts in the Dance of Death, or Lyons Bible. It
+might be difficult to refer to any other engravings belonging to Holbein
+after the above year.
+
+[106] Brulliot dict. de monogrammes, &c. Munich, 1817, 4to. p. 418, where
+the letter from De Mechel is given.
+
+[107] Essai sur l'origine de la gravure, &c. tom. i. p. 260.
+
+[108] Id. p. 261.
+
+[109] Dict. de monogrammes, &c. tom. i. pp. 418, 499.
+
+[110] Enciclop. metod. par ii. vol. vii. p. 16.
+
+[111] Enciclop. metod. par. i. vol. x. p. 467.
+
+[112] All the above prints are in the author's possession, except No. 7,
+and his copy of No. 5 has not the tablets with the name, &c.
+
+[113] Edit. Javigny, iv. 559.
+
+[114] This edition is given on the authority of Peignot, p. 62, but has
+not been seen by the author of this work. In the year 1547, there were
+three editions, and it is not improbable that, by the transposition of the
+two last figures, one of these might have been intended.
+
+[115] Foppen's Biblioth. Belgica, i. 363.
+
+[116] That of 1557 has a frontispiece with Death pointing to his
+hour-glass when addressing a German soldier.
+
+[117] Tom. i. p. 238, 525.
+
+[118] Dict. de Monogrammes, col. 528.
+
+[119] Biblioth. Belgica, i. 92.
+
+[120] See p. 40.
+
+[121] This is the same subject as that in the Augustan monastery described
+in p. 48.
+
+[122] See p. 34.
+
+[123] It has been stated that they were in the Arundelian collection
+whence they passed into the Netherlands, where forty-six of them became
+the property of Jan Bockhorst the painter, commonly called Long John. See
+Crozat's catalogue.
+
+[124] On the same dedication are founded the opinions of Zani, De Murr,
+Meintel, and some others.
+
+[125] Zuinger methodus apodemica. Basil, 1557. 4to. p. 199.
+
+[126] P. 427, edit. Lugd. apud Gryphium, and p. 445, edit. Basil.
+
+[127] Nugæ, lib. vi. carm. 12.
+
+[128] Baldinucci notizie d'é professori del disegno, tom. iii. p. 317,
+4to. edit. where the inscription on it is given.
+
+[129] Norfolk MS. 97, now in the Brit. Museum.
+
+[130] Harl. MS. 4718.
+
+[131] Acad. Pictur. 239.
+
+[132] Strype's Annals, I. 272, where the curious dialogue that ensued on
+the occasion is preserved.
+
+[133] Catal. de la bibliothèque du Roi. II. 153.
+
+[134] These initial letters have already been mentioned in p. 101-102. The
+elegant initials in Dr. Henderson's excellent work on modern wines, and
+those in Dr. Nott's Bristol edition of Decker's Gull's horn-book, should
+not pass unnoticed on this occasion.
+
+[135] See before in p. 97.
+
+[136] Zani saw this alphabet at Dresden, and ascribes it likewise to
+Lutzenberger. See his Enciclop. Metodica, Par. I. vol. x. p. 467.
+
+[137] See before, in p. 46.
+
+[138] Biblioth. Franc. tom. x. p. 436.
+
+[139] Sandrart Acad. Pict. p. 241.
+
+[140] Obs. on Spenser, II. 117, 118, 119.
+
+
+
+
+Transcriber's Notes:
+
+Passages in italics are indicated by _italics_.
+
+Superscripted characters are indicated by {superscript}.
+
+Letters printed in reverse are indicated by =X=.
+
+Various printers' monograms are included throughout the original text.
+These are represented by [monogram] or [monogram: description] if a
+description could be provided.
+
+The original text includes Greek characters. For this text version these
+letters have been replaced with transliterations.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Dance of Death, by Francis Douce
+
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+    <title>
+      The Dance of Death, by Francis Douce&mdash;A Project Gutenberg eBook
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+<pre>
+
+The Project Gutenberg EBook of The Dance of Death, by Francis Douce
+
+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
+       Exhibited in Elegant Engravings on Wood with a Dissertation
+              on the Several Representations of that Subject but More
+              Particularly on Those Ascribed to Macaber and Hans Holbein
+
+Author: Francis Douce
+
+Illustrator: Hans Holbein
+
+Release Date: January 31, 2012 [EBook #38724]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE DANCE OF DEATH ***
+
+
+
+
+Produced by Chris Curnow and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive. Additional images courtesy of Google
+Books.)
+
+
+
+
+
+
+</pre>
+
+
+
+
+
+<h1>THE DANCE OF DEATH.</h1>
+
+<p>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p>
+
+<div class="figcenter"><img src="images/frontis.jpg" alt="" /></div>
+
+<p>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p>
+
+
+<p class="center"><span class="giant">The Dance of Death</span></p>
+
+<p class="center">EXHIBITED IN ELEGANT ENGRAVINGS ON WOOD</p>
+
+<p class="center">WITH A DISSERTATION</p>
+
+<p class="center"><small>ON THE SEVERAL REPRESENTATIONS OF THAT SUBJECT</small></p>
+
+<p class="center"><small>BUT MORE PARTICULARLY ON THOSE ASCRIBED TO</small></p>
+
+<p class="center"><span class="huge">Macaber and Hans Holbein</span></p>
+
+<p>&nbsp;</p>
+<p class="center"><span class="large">BY FRANCIS DOUCE ESQ. F. A. S.</span><br />
+<small>AND A MEMBER OF THE SOCIETY OF ANTIQUARIES OF NORMANDY AND OF THE<br />
+ACADEMY OF SCIENCES ETC. AT CAEN</small></p>
+
+<p>&nbsp;</p>
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Pallida mors &aelig;quo pulsat pede pauperum tabernas<br />
+Regumque turres.<span class="spacer2">&nbsp;</span><span class="smcaplc">HORAT.</span> lib. i. od. 4.</td></tr></table>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/title.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<p class="center">LONDON<br />
+WILLIAM PICKERING<br />
+1833</p>
+
+
+<p>&nbsp;</p>
+<p class="center">C. Whittingham, Tooks Court, Chancery Lane.</p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span></p>
+<h2>PREFACE.</h2>
+
+
+<p>&nbsp;</p>
+<p><span class="dropfig"><img src="images/cap_t.jpg" alt="T" /></span>he very ample discussion which the extremely popular subject of the Dance
+of Death has already undergone might seem to preclude the necessity of
+attempting to bestow on it any further elucidation; nor would the present
+Essay have ever made its appearance, but for certain reasons which are
+necessary to be stated.</p>
+
+<p>The beautiful designs which have been, perhaps too implicitly, regarded as
+the invention of the justly celebrated painter, Hans Holbein, are chiefly
+known in this country by the inaccurate etchings of most of them by
+Wenceslaus Hollar, the copper-plates of which having formerly become the
+property of Mr. Edwards, of Pall Mall, were published by him, accompanied
+by a very hasty and imperfect dissertation; which, with fewer faults, and
+
+considerable enlargement, is here again submitted to public attention. It
+is appended to a set of fac-similes of the above-mentioned elegant
+designs, and which, at a very liberal expense that has been incurred by
+the proprietor and publisher of this volume, have<span class="pagenum"><a name="Page_vi" id="Page_vi">[Pg vi]</a></span> been executed with
+consummate skill and fidelity by Messrs. Bonner and Byfield, two of our
+best artists in the line of wood engraving. They may very justly be
+regarded as scarcely distinguishable from their fine originals.</p>
+
+<p>The remarks in the course of this Essay on a supposed German poet, under
+the name of Macaber, and the discussion relating to Holbein&#8217;s connection
+with the Dance of Death, may perhaps be found interesting to the critical
+reader only; but every admirer of ancient art will not fail to be
+gratified by an intimate acquaintance with one of its finest specimens in
+the copy which is here so faithfully exhibited.</p>
+
+<p>In the latest and best edition of some new designs for a Dance of Death,
+by Salomon Van Rusting, published by John George Meintel at Nuremberg,
+1736, 8vo. there is an elaborate preface by him, with a greater portion of
+verbosity than information. He has placed undue confidence in his
+predecessor, Paul Christian Hilscher, whose work, printed at Dresden in
+1705, had probably misled the truly learned Fabricius in what he has said
+concerning Macaber in his valuable work, the &#8220;Bibliotheca medi&aelig; et infim&aelig;
+&aelig;tatis.&#8221; Meintel confesses his inability to point out the origin or the
+inventor of the subject. The last and completest work on the Dance, or
+Dances of Death, is that of the ingenious M. Peignot, so well and
+deservedly known by his numerous and useful books on bibliography. To this
+gentleman the present Essay has been occasionally indebted.<span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span> He will,
+probably, at some future opportunity, remove the whimsical misnomer in his
+engraving of Death and the Ideot.</p>
+
+<p>The usual title, &#8220;The Dance of Death,&#8221; which accompanies most of the
+printed works, is not altogether appropriate. It may indeed belong to the
+old Macaber painting and other similar works where Death is represented in
+a sort of dancing and grotesque attitude in the act of leading a single
+character; but where the subject consists of several figures, yet still
+with occasional exception, they are rather to be regarded as elegant
+emblems of human mortality in the premature intrusion of an unwelcome and
+inexorable visitor.</p>
+
+<p>It must not be supposed that the republication of this singular work is
+intended to excite the lugubrious sensations of sanctified devotees, or of
+terrified sinners; for, awful and impressive as must ever be the
+contemplation of our mortality in the mind of the philosopher and
+practiser of true religion, the mere sight of a skeleton cannot, as to
+them, excite any alarming sensation whatever. It is chiefly addressed to
+the ardent admirers of ancient art and pictorial invention; but
+nevertheless with a hope that it may excite a portion of that general
+attention to the labours of past ages, which reflects so much credit on
+the times in which we live.</p>
+
+<p>The widely scattered materials relating to the subject of the Dance of
+Death, and the difficulty of reconciling much discordant information, must
+apologize for a few repetitions in the course of<span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg viii]</a></span> this Essay, the regular
+progress of which has been too often interrupted by the manner in which
+matter of importance is so obscurely and defectively recorded; instances
+of which are, the omission of the name of the painter in the otherwise
+important dedication to the first edition of the engravings on wood of the
+Dance of Death that was published at Lyons; the uncertainty as to locality
+in some complimentary lines to Holbein by his friend Borbonius, and the
+want of more particulars in the account by Nieuhoff of Holbein&#8217;s painting
+at Whitehall.</p>
+
+<p>The designs for the Dance of Death, published at Lyons in 1538, and
+hitherto regarded as the invention of Holbein, are, in the course of this
+Dissertation, referred to under the appellation of <i>the Lyons wood-cuts</i>;
+and with respect to the term <i>Macaber</i>, which has been so mistakenly used
+as the name of a real author, it has been nevertheless preserved on the
+same principle that the word <i>Gothic</i> has been so generally adopted for
+the purpose of designating the pointed style of architecture in the middle
+ages.</p>
+
+<p><span style="margin-left: 2em;">F. D.</span></p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></p>
+<h2>CONTENTS.</h2>
+
+<table width="65%" border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>&nbsp;</td><td align="right">Page</td></tr>
+<tr><td align="center"><a href="#CHAPTER_I"><span class="smcap">Chapter I.</span></a></td></tr>
+<tr><td>Personification of Death, and other modes of representing it among the Ancients.&mdash;Same subject during the
+Middle Ages.&mdash;Erroneous notions respecting Death.&mdash;Monumental absurdities.&mdash;Allegorical pageant of the
+Dance of Death represented in early times by living persons in churches and cemeteries.&mdash;Some of these
+dances described.&mdash;Not unknown to the Ancients.&mdash;Introduction of the infernal, or dance of Macaber</td>
+    <td align="right" valign="bottom"><a href="#Page_1">1</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><a href="#CHAPTER_II"><span class="smcap">Chapter II.</span></a></td></tr>
+<tr><td>Places where the Dance of Death was sculptured or depicted.&mdash;Usually accompanied by verses describing
+the several characters.&mdash;Other metrical compositions on the Dance</td>
+    <td align="right" valign="bottom"><a href="#Page_17">17</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><a href="#CHAPTER_III"><span class="smcap">Chapter III.</span></a></td></tr>
+<tr><td>Macaber not a German or any other poet, but a nonentity.&mdash;Corruption and confusion respecting this
+word.&mdash;Etymological errors concerning it.&mdash;How connected with the Dance.&mdash;Trois mors et trois vifs.&mdash;Orgagna&#8217;s
+painting in the Campo Santo at Pisa.&mdash;Its connection with the trois mors et trois vifs, as well
+as with the Macaber Dance.&mdash;Saint Macarius the real Macaber.&mdash;Paintings of this dance in various places.&mdash;At
+Minden; Church-yard of the Innocents at Paris; Dijon; Basle; Klingenthal; Lubeck; Leipsic; Anneberg;
+Dresden; Erfurth; Nuremberg; Berne; Lucerne; Amiens; Rouen; Fescamp; Blois; Strasburg; Berlin; Vienna; Holland; Italy; Spain</td>
+    <td align="right" valign="bottom"><a href="#Page_28">28</a></td></tr>
+<tr><td>&nbsp;<span class="pagenum"><a name="Page_x" id="Page_x">[Pg x]</a></span></td></tr>
+<tr><td align="center"><a href="#CHAPTER_IV"><span class="smcap">Chapter IV.</span></a></td></tr>
+<tr><td>Macaber Dance in England.&mdash;St. Paul&#8217;s.&mdash;Salisbury.&mdash;Wortley-hall.&mdash;Hexham.&mdash;Croydon.&mdash;Tower
+of London.&mdash;Lines in Pierce Plowman&#8217;s Vision supposed to refer to it</td>
+    <td align="right" valign="bottom"><a href="#Page_51">51</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><a href="#CHAPTER_V"><span class="smcap">Chapter V.</span></a></td></tr>
+<tr><td>List of editions of the Macaber Dance.&mdash;Printed Hor&aelig; that contain it.&mdash;Manuscript Hor&aelig;.&mdash;Other Manuscripts
+in which it occurs.&mdash;Various articles with letter-press, not being single prints, but connected with it</td>
+    <td align="right" valign="bottom"><a href="#Page_55">55</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><a href="#CHAPTER_VI"><span class="smcap">Chapter VI.</span></a></td></tr>
+<tr><td>Hans Holbein&#8217;s connection with the Dance of Death.&mdash;A dance of peasants at Basle.&mdash;Lyons edition of the
+Dance of Death, 1538.&mdash;Doubts as to any prior edition.&mdash;Dedication to the edition of 1538.&mdash;Mr. Ottley&#8217;s
+opinion of it examined.&mdash;Artists supposed to have been connected with this work.&mdash;Holbein&#8217;s name
+in none of the old editions.&mdash;Reperdius</td>
+    <td align="right" valign="bottom"><a href="#Page_78">78</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><a href="#CHAPTER_VII"><span class="smcap">Chapter VII.</span></a></td></tr>
+<tr><td>Holbein&#8217;s Bible cuts.&mdash;Examination of the claim of Hans Lutzenberger as to the design or execution of
+the Lyons engravings of the Dance of Death.&mdash;Other works by him</td>
+    <td align="right" valign="bottom"><a href="#Page_94">94</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><a href="#CHAPTER_VIII"><span class="smcap">Chapter VIII.</span></a></td></tr>
+<tr><td>List of several editions of the Lyons work on the Dance of Death with the mark of Lutzenberger.&mdash;Copies of
+them on wood.&mdash;Copies on copper by anonymous artists.&mdash;By Wenceslaus Hollar.&mdash;Other anonymous
+artists.&mdash;Nieuhoff Picard.&mdash;Rusting.&mdash;Mechel.&mdash;Crozat&#8217;s drawings.&mdash;Deuchar.&mdash;Imitations of some of the subjects</td>
+    <td align="right" valign="bottom"><a href="#Page_103">103</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><a href="#CHAPTER_IX"><span class="smcap">Chapter IX.</span></a></td></tr>
+<tr><td>Further examination of Holbein&#8217;s title.&mdash;Borbonius.&mdash;Biographical
+notice of Holbein.&mdash;Painting of a Dance of Death at Whitehall by him</td>
+    <td align="right" valign="bottom"><a href="#Page_138">138</a></td></tr>
+<tr><td>&nbsp;<span class="pagenum"><a name="Page_xi" id="Page_xi">[Pg xi]</a></span></td></tr>
+<tr><td align="center"><a href="#CHAPTER_X"><span class="smcap">Chapter X.</span></a></td></tr>
+<tr><td>Other Dances of Death</td>
+    <td align="right" valign="bottom"><a href="#Page_146">146</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><a href="#CHAPTER_XI"><span class="smcap">Chapter XI.</span></a></td></tr>
+<tr><td>Dances of Death, with such text only as describes the subjects</td>
+    <td align="right" valign="bottom"><a href="#Page_160">160</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><a href="#CHAPTER_XII"><span class="smcap">Chapter XII.</span></a></td></tr>
+<tr><td>Books in which the subject is occasionally introduced</td>
+    <td align="right" valign="bottom"><a href="#Page_168">168</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><a href="#CHAPTER_XIII"><span class="smcap">Chapter XIII.</span></a></td></tr>
+<tr><td>Books of emblems and fables.&mdash;Frontispieces and title-pages in some degree connected with the Dance of Death</td>
+    <td align="right" valign="bottom"><a href="#Page_179">179</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><a href="#CHAPTER_XIV"><span class="smcap">Chapter XIV.</span></a></td></tr>
+<tr><td>Single prints connected with the Dance of Death</td>
+    <td align="right" valign="bottom"><a href="#Page_188">188</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><a href="#CHAPTER_XV"><span class="smcap">Chapter XV.</span></a></td></tr>
+<tr><td>Initial or capital Letters with the Dance of Death</td>
+    <td align="right" valign="bottom"><a href="#Page_213">213</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><a href="#CHAPTER_XVI"><span class="smcap">Chapter XVI.</span></a></td></tr>
+<tr><td>Paintings.&mdash;Drawings.&mdash;Miscellaneous</td>
+    <td align="right" valign="bottom"><a href="#Page_221">221</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><a href="#CHAPTER_XVII"><span class="smcap">Chapter XVII.</span></a></td></tr>
+<tr><td>Trois vifs et trois morts.&mdash;Negro figure of Death.&mdash;Danse aux Aveugles</td>
+    <td align="right" valign="bottom"><a href="#Page_228">228</a></td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td align="center"><a href="#CHAPTER_XVIII"><span class="smcap">Chapter XVIII.</span></a></td></tr>
+<tr><td>Errors of various writers who have introduced the subject of the Dance of Death</td>
+    <td align="right" valign="bottom"><a href="#Page_233">233</a></td></tr></table>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_xii" id="Page_xii">[Pg xii]</a></span></p>
+<h2>ERRATA.</h2>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td>Page</td>
+    <td align="right">7,</td>
+    <td>line</td>
+    <td align="right">25,</td>
+    <td>for <i>Boistuan</i> read <i>Boistuau</i>.</td></tr>
+<tr><td>&nbsp;</td>
+    <td align="right">7,</td>
+    <td align="center">...</td>
+    <td align="right">26,</td>
+    <td>for <i>Prodigeuses</i> read <i>Prodigieuses</i>.</td></tr>
+<tr><td>&nbsp;</td>
+    <td align="right">28,</td>
+    <td align="center">...</td>
+    <td align="right">14,</td>
+    <td>read <i>in Holland</i>, &amp;c.</td></tr>
+<tr><td>&nbsp;</td>
+    <td align="right">32,</td>
+    <td align="center">...</td>
+    <td align="right">23,</td>
+    <td>for <i>Lamorensi</i> read <i>Zamorensi</i>.</td></tr>
+<tr><td>&nbsp;</td>
+    <td align="right">81,</td>
+    <td align="center">...</td>
+    <td align="right">4,</td>
+    <td>for <i>fex</i> read <i>sex</i>.</td></tr>
+<tr><td>&nbsp;</td>
+    <td align="right">88,</td>
+    <td align="center">...</td>
+    <td align="right">10,</td>
+    <td>after <i>difficulty</i> add ?</td></tr>
+<tr><td>&nbsp;</td>
+    <td align="right">89,</td>
+    <td align="center">...</td>
+    <td align="right">21,</td>
+    <td>after <i>works</i> add &#8221;</td></tr>
+<tr><td>&nbsp;</td>
+    <td align="right">180,</td>
+    <td align="center">...</td>
+    <td align="right">23,</td>
+    <td>for <i>Typotia</i> read <i>Typotii</i>.</td></tr>
+<tr><td>&nbsp;</td>
+    <td align="right">197,</td>
+    <td align="center">...</td>
+    <td align="right">8,</td>
+    <td>for <i>Stradamus</i> read <i>Stradanus</i>.</td></tr></table>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+<div class="figcenter"><img src="images/border.jpg" alt="" /></div>
+<p class="center"><span class="huge">THE</span><br /><span class="giant">Dance of Death.</span></p>
+<p>&nbsp;</p>
+<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I.</h2>
+
+<div class="note"><p class="hang"><i>Personification of Death, and other modes of representing it among
+the Ancients.&mdash;Same subject during the Middle Ages.&mdash;Erroneous notions
+respecting Death.&mdash;Monumental absurdities.&mdash;Allegorical pageant of the
+Dance of Death represented in early times by living persons in
+churches and cemeteries.&mdash;Some of these dances described.&mdash;Not unknown
+to the Ancients.&mdash;Introduction of the infernal, or dance of Macaber.</i></p></div>
+
+
+<p>&nbsp;</p>
+<p><span class="dropfig"><img src="images/cap_t.jpg" alt="T" /></span>he manner in which the poets and artists of antiquity have symbolized or
+personified Death, has excited considerable discussion; and the various
+opinions of Lessing, Herder, Klotz, and other controversialists have only
+tended to demonstrate that the ancients adopted many different modes to
+accomplish this purpose. Some writers have maintained that they
+exclusively represented Death as a mere skeleton; whilst others have
+contended that this figure, so frequently to be found upon gems and
+sepulchral monuments, was never intended to<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span> personify the extinction of
+human life, but only as a simple and abstract representation. They insist
+that the ancients adopted a more elegant and allegorical method for this
+purpose; that they represented human mortality by various symbols of
+destruction, as birds devouring lizards and serpents, or pecking fruits
+and flowers; by goats browsing on vines; cocks fighting, or even by a
+Medusa&#8217;s or Gorgon&#8217;s head. The Romans seem to have adopted Homer&#8217;s<a name='fna_1' id='fna_1' href='#f_1'><small>[1]</small></a>
+definition of Death as the eldest brother of Sleep; and, accordingly, on
+several of their monumental and other sculptures we find two winged genii
+as the representatives of the above personages, and sometimes a genius
+bearing a sepulchral vase on his shoulder, and with a torch reversed in
+one of his hands. It is very well known that the ancients often symbolized
+the human soul by the figure of a butterfly, an idea that is extremely
+obvious and appropriate, as well as elegant. In a very interesting
+sepulchral monument, engraved in p. 7 of Spon&#8217;s Miscellanea Erudit&aelig;
+Antiquitatis, a prostrate corpse is seen, and over it a butterfly that has
+just escaped from the <i>mouth</i> of the deceased, or as Homer expresses it,
+&#8220;from the teeth&#8217;s inclosure.&#8221;<a name='fna_2' id='fna_2' href='#f_2'><small>[2]</small></a> The above excellent antiquary has added
+the following very curious sepulchral inscription that was found in Spain,
+<span class="smcaplc">H&AElig;REDIBVS MEIS MANDO ETIAM CINERE VTMEO VOLITET EBRIVS PAPILIO OSSA IPSA
+TEGANT MEA</span>, &amp;c. Rejecting this heathen symbol altogether, the painters and
+engravers of the middle ages have substituted a small human figure
+escaping from the mouths of dying persons, as it were, breathing out their
+souls.</p>
+
+<p>We have, however, the authority of Herodotus, that in the banquets of the
+Egyptians a person was <span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span>introduced who carried round the table at which
+the guests were seated the figure of a dead body, placed on a coffin,
+exclaiming at the same time, &#8220;Behold this image of what yourselves will
+be; eat and drink therefore, and be happy.&#8221;<a name='fna_3' id='fna_3' href='#f_3'><small>[3]</small></a> Montfaucon has referred to
+an ancient manuscript to prove that this sentiment was conveyed in a
+Laced&aelig;monian proverb,<a name='fna_4' id='fna_4' href='#f_4'><small>[4]</small></a> and it occurs also in the beautiful poem of
+Coppa, ascribed to Virgil, in which he is supposed to invite M&aelig;cenas to a
+rural banquet. It concludes with these lines:&mdash;</p>
+
+<p class="poem">Pone merum et talos; pereat qui crastina curat,<br />
+Mors aurem vellens, vivite ait, venio.</p>
+
+<p>The phrase of pulling the ear is admonitory, that organ being regarded by
+the ancients as the seat of memory. It was customary also, and for the
+same reason, to take an oath by laying hold of the ear. It is impossible
+on this occasion to forget the passage in Isaiah xxii. 13, afterwards used
+by Saint Paul, on the beautiful parable in Luke xii. Plutarch also, in his
+banquet of the wise men, has remarked that the Egyptians exhibited a
+skeleton at their feasts to remind the parties of the brevity of human
+life; the same custom, as adopted by the Romans, is exemplified in
+Petronius&#8217;s description of the feast of Trimalchio, where a jointed
+puppet, as a skeleton, is brought in by a boy, and this practice is also
+noticed by Silius Italicus:</p>
+
+<p class="poem"><span style="margin-left: 7em;">... &AElig;gyptia tellus</span><br />
+Claudit odorato post funus stantia Saxo<br />
+Corpora, et a mensis exsanguem haud separat umbram.<a name='fna_5' id='fna_5' href='#f_5'><small>[5]</small></a></p>
+
+<p>Some have imagined that these skeletons were intended to represent the
+larv&aelig; and lemures, the good and evil shadows of the dead, that
+occasionally made their appearance on earth. The larv&aelig;, or lares, were of
+a <span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span>beneficent nature, friendly to man; in other words, the good demon of
+Socrates. The lemures, spirits of mischief and wickedness. The larva in
+Petronius was designed to admonish only, not to terrify; and this is
+proved from Seneca: &#8220;Nemo tam puer est ut Cerberum timeat et tenebras, et
+larvarum habitum nudis ossibus coh&aelig;rentium.&#8221;<a name='fna_6' id='fna_6' href='#f_6'><small>[6]</small></a> There is, however, some
+confusion even among the ancients themselves, as to the respective
+qualities of the larv&aelig; and lemures. Apuleius, in his noble and interesting
+defence against those who accused him of practising magic, tells them,
+&#8220;Tertium mendacium vestrum fuit, macilentam vel omnino evisceratam formam
+diri cadaveris fabricatam prorsus horribilem et larvalem;&#8221; and afterwards,
+when producing the image of his peculiar Deity, which he usually carried
+about him, he exclaims, &#8220;En vobis quem scelestus ille sceletum nominabat!
+Hiccine est sceletus? H&aelig;ccine est larva? Hoccine est quod appellitabatis
+D&aelig;monium.&#8221;<a name='fna_7' id='fna_7' href='#f_7'><small>[7]</small></a> It is among Christian writers and artists that the
+personification of Death as a skeleton is intended to convey terrific
+ideas, conformably to the system that Death is the punishment for original
+sin.</p>
+
+<p>The circumstances that lead to Death, and not our actual dissolution, are
+alone of a terrific nature; for Death is, in fact, the end and cure of all
+the previous sufferings and horrors with which it is so frequently
+accompanied. In the dark ages of monkish bigotry and superstition, the
+deluded people, seduced into a belief that the fear of Death was
+acceptable to the great and beneficent author of their existence, appear
+to have derived one of their principal gratifications in contemplating
+this necessary termination of humanity, yet amidst ideas and impressions
+of the most horrible and disgusting nature: hence the frequent allusions
+to it, in all possible ways, among their preachers, and the<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span>
+personification of it in their books of religious offices, as well as in
+the paintings and sculptures of their ecclesiastical and other edifices.
+They seemed to have entirely banished from their recollection the
+consolatory doctrines of the Gospel, which contribute so essentially to
+dissipate the terrors of Death, and which enable the more enlightened
+Christian to abide that event with the most perfect tranquillity of mind.
+There are, indeed, some exceptions to this remark, for we may still trace
+the imbecility of former ages on too many of our sepulchral monuments,
+which are occasionally tricked out with the silly appendages of Death&#8217;s
+heads, bones, and other useless remains of mortality, equally repulsive to
+the imagination and to the elegance of art.</p>
+
+<p>If it be necessary on any occasion to personify Death, this were surely
+better accomplished by means of some graceful and impressive figure of the
+Angel of Death, for whom we have the authority of Scripture; and such
+might become an established representative. The skulls and bones of
+modern, and the entire skeletons of former times, especially during the
+middle ages, had, probably, derived their origin from the vast quantities
+of sanctified human relics that were continually before the eyes, or
+otherwise in the recollection of the early Christians. But the favourite
+and principal emblem of mortality among our ancestors appears to have been
+the moral and allegorical pageant familiarly known by the appellation of
+the <i>Dance of Death</i>, which it has, in part, derived from the grotesque,
+and often ludicrous attitudes of the figures that composed it, and
+especially from the active and sarcastical mockery of the ruthless tyrant
+upon its victims, which may be, in a great measure, attributed to the
+whims and notions of the artists who were employed to represent the
+subject.</p>
+
+<p>It is very well known to have been the practice in very early times to
+profane the temples of the Deity with indecorous dancing, and ludicrous
+processions,<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> either within or near them, in imitation, probably, of
+similar proceedings in Pagan times. Strabo mentions a custom of this
+nature among the Celtiberians,<a name='fna_8' id='fna_8' href='#f_8'><small>[8]</small></a> and it obtained also among several of
+the northern nations before their conversion to Christianity. A Roman
+council, under Pope Eugenius II. in the 9th century, has thus noticed it:
+&#8220;Ut sacerdotes admoneant viros ac mulieres, qui festis diebus ad ecclesiam
+occurrunt, ne <i>ballando</i> et turpia verba decantando choros teneant, ac
+ducunt, similitudinem Paganorum peragendo.&#8221; Canciani mentions an ancient
+bequest of money for a dance in honour of the Virgin.<a name='fna_9' id='fna_9' href='#f_9'><small>[9]</small></a></p>
+
+<p>These riotous and irreverent tripudists and caperers appear to have
+possessed themselves of the church-yards to exhibit their dancing
+fooleries, till this profanation of consecrated ground was punished, as
+monkish histories inform us, with divine vengeance. The well-known
+Nuremberg Chronicle<a name='fna_10' id='fna_10' href='#f_10'><small>[10]</small></a> has recorded, that in the time of the Emperor
+Henry the Second, whilst a priest was saying mass on Christmas Eve, in the
+church of Saint Magnus, in the diocese of Magdeburg, a company of eighteen
+men and ten women amused themselves with dancing and singing in the
+church-yard, to the hindrance of the priest in his duty. Notwithstanding
+his admonition, they refused to desist, and even derided the words he
+addressed to them. The priest being greatly provoked at their conduct,
+prayed to God and Saint Magnus that they might remain dancing and singing
+for a whole year without intermission, and so it happened; neither dew nor
+rain falling upon them. Hunger and fatigue were set at defiance, nor were
+their shoes or garments in the least worn away. At the end of the year
+they were released from their situation by Herebert, the archbishop of the
+diocese in which the event took place, and obtained forgiveness before
+the<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span> altar of the church; but not before the daughter of a priest and two
+others had perished; the rest, after sleeping for the space of three whole
+nights, died soon afterwards. Ubert, one of the party, left this story
+behind him, which is elsewhere recorded, with some variation and
+additional matter. The dance is called St. Vitus&#8217;s, and the girl is made
+the daughter of a churchwarden, who having taken her by the arm, it came
+off, but she continued dancing. By the continual motion of the dancers
+they buried themselves in the earth to their waists. Many princes and
+others went to behold this strange spectacle, till the bishops of Cologne
+and Hildesheim, and some other devout priests, by their prayers, obtained
+the deliverance of the culprits; four of the party, however, died
+immediately, some slept three days and three nights, some three years, and
+others had trembling in their limbs during the whole of their lives. The
+Nuremberg Chronicle, crowded as it is with wood-cut embellishments by the
+hand of Wolgemut, the master of Albert Durer, has not omitted to exhibit
+the representations of the above unhappy persons, equally correct, no
+doubt, as the story itself, though the same warranty cannot be offered for
+a similar representation, in Gottfried&#8217;s Chronicle and that copious
+repertory of monstrosities, Boistuau and Belleforest&#8217;s Histoires
+Prodigieuses. The Nuremberg Chronicle<a name='fna_11' id='fna_11' href='#f_11'><small>[11]</small></a> has yet another relation on this
+subject of some persons who continued dancing and singing on a bridge
+whilst the eucharist was passing over it. The bridge gave way in the
+middle, and from one end of it 200 persons were precipitated into the
+river Moselle, the other end remaining so as to permit the priest and his
+host to pass uninjured.</p>
+
+<p>In that extremely curious work, the Manuel de P&ecirc;ch&eacute;, usually ascribed to
+Bishop Grosthead, the pious author,<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span> after much declamation against the
+vices of the times, has this passage:&mdash;</p>
+
+<p class="poem">Karoles ne lutes ne deit nul fere,<br />
+En seint eglise ki me voil crere;<br />
+Kas en cimetere karoler,<br />
+Utrage est grant u lutter.<a name='fna_12' id='fna_12' href='#f_12'><small>[12]</small></a></p>
+
+<p>He then relates the story in the Nuremberg Chronicle, for which he quotes
+the book of Saint Clement. Grosthead&#8217;s work was translated about the year
+1300 into English verse by Robert Mannyng, commonly called Robert de
+Brunne, a Gilbertine canon. His translation often differs from his
+original, with much amplification and occasional illustrations by himself.
+As the account of the Nuremberg story varies so materially, and as the
+scene is laid in England, it has been thought worth inserting.</p>
+
+<p class="poem">Karolles wrastelynges or somour games,<br />
+Whosoever haunteth any swyche shames,<br />
+Yn cherche other yn cherche yerd,<br />
+Of sacrilage he may be aferd;<br />
+Or entyrludes or syngynge,<br />
+Or tabure bete or other pypynge;<br />
+All swyche thyng forboden es,<br />
+Whyle the prest stondeth at messe;<br />
+But for to leve in cherche for to daunce,<br />
+Y shall you telle a full grete chaunce,<br />
+And y trow the most that fel,<br />
+Ys sothe as y you telle.<br />
+And fyl thys chaunce yn thys londe,<br />
+Yn Ingland as y undyrstonde,<br />
+Yn a kynges tyme that hyght Edward,<br />
+Fyl this chaunce that was so hard.<br />
+Hyt was upon crystemesse nyzt<br />
+That twelve folys a karolle dyzt,<br />
+Yn Wodehed, as hyt were yn cuntek,<a name='fna_13' id='fna_13' href='#f_13'><small>[13]</small></a><br />
+They come to a toune men calle Cowek:<a name='fna_14' id='fna_14' href='#f_14'><small>[14]</small></a><br />
+The cherche of the toune that they to come,<br />
+<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span>Ys of Seynt Magne that suffred martyrdome,<br />
+Of Seynt Bukcestre hyt ys also,<br />
+Seynt Magnes suster, that they come to;<br />
+Here names of all thus fonde y wryte,<br />
+And as y wote now shal ye wyte<br />
+Here lodesman<a name='fna_15' id='fna_15' href='#f_15'><small>[15]</small></a> that made hem glew,<a name='fna_16' id='fna_16' href='#f_16'><small>[16]</small></a><br />
+Thus ys wryte he hyzte<a name='fna_17' id='fna_17' href='#f_17'><small>[17]</small></a> Gerlew;<br />
+Twey maydens were yn here coveyne,<br />
+Mayden Merswynde<a name='fna_18' id='fna_18' href='#f_18'><small>[18]</small></a> and Wybessyne;<br />
+All these came thedyr for that enchesone,<span class="spacer">&nbsp;</span>} doghtyr<br />
+Of the prestes of the toune.<br />
+The prest hyzt Robert as y can ame,<br />
+Azone hyzt hys sone by name,<br />
+Hys doghter that there men wulde have,<br />
+Thus ys wryte that she hyzt Ave.<br />
+Echone consented to o wyl,<br />
+Who shuld go Ave out to tyl,<br />
+They graunted echone out to sende,<br />
+Bothe Wybessyne and Merswynde:<br />
+These women zede and tolled<a name='fna_19' id='fna_19' href='#f_19'><small>[19]</small></a> her oute,<br />
+Wyth hem to karolle the cherche aboute,<br />
+Benne ordeyned here karollyng,<br />
+Gerlew endyted what they shuld syng.<br />
+Thys ys the karolle that they sunge,<br />
+As telleth the Latyn tunge,<br />
+Equitabat Bevo per sylvam frondosam,<br />
+Ducebat secum Merwyndam formosam,<br />
+Quid stamus cur non imus.<br />
+By the levede<a name='fna_20' id='fna_20' href='#f_20'><small>[20]</small></a> wode rode Bevolyne,<br />
+Wyth hym he ledde feyre Merwyne,<br />
+Why stonde we why go we noght:<br />
+Thys ys the karolle that Grysly wroght,<br />
+Thys songe sung they yn chercheyerd,<br />
+Of foly were they nothyng aferd.</p>
+
+<p>The party continued dancing and carolling all the matins time, and till
+the mass began; when the priest, hearing the noise, came out to the church
+porch, and desired them to leave off dancing, and come into the church to
+hear the service; but they paid him no regard whatever, and continued
+their dance. The priest, now extremely<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span> incensed, prayed to God in favour
+of St. Magnes, the patron of the church:</p>
+
+<p class="poem">That swych a venjeaunce were on hem sent,<br />
+Are they out of that stede<a name='fna_21' id='fna_21' href='#f_21'><small>[21]</small></a> were went,<br />
+That myzt ever ryzt so wende,<br />
+Unto that tyme twelvemonth ende.<br />
+Yn the Latyne that y fonde thore,<br />
+He seyth not twelvemonth but evermore.</p>
+
+<p>The priest had no sooner finished his prayer, than the hands of the
+dancers were so locked together that none could separate them for a
+twelvemonth:</p>
+
+<p class="poem">The preste yede<a name='fna_22' id='fna_22' href='#f_22'><small>[22]</small></a> yn whan thys was done,<br />
+And comaunded hys sone Azone,<br />
+That shuld go swythe after Ave,<br />
+Oute of that karolle algate to have;<br />
+But al to late that wurde was sayde,<br />
+For on hem alle was the venjeaunce leyd.<br />
+Azonde wende weyl for to spede<br />
+Unto the karolle asswythe he yede;<br />
+Hys syster by the arme he hente,<br />
+And the arme fro the body wente;<br />
+Men wundred alle that there wore,<br />
+And merveyle nowe ye here more;<br />
+For seythen he had the arme yn hand,<br />
+The body yode furth karoland,<br />
+And nother body ne the arme<br />
+Bled never blode colde ne warme;<br />
+But was as drye with al the haunche,<br />
+As of a stok were ryve a braunche.</p>
+
+<p>Azone carries his sister&#8217;s arm to the priest his father, and tells him the
+consequences of his rash curse. The priest, after much lamentation, buries
+the arm. The next morning it rises out of the grave; he buries it again,
+and again it rises. He buries it a third time, when it is cast out of the
+grave with considerable violence. He then carries it into the church that
+all might behold it. In the meantime the party continued dancing<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span> and
+singing, without taking any food or sleeping, &#8220;only a lepy wynke;&#8221; nor
+were they in the least affected by the weather. Their hair and nails
+ceased to grow, and their garments were neither soiled nor discoloured;
+but</p>
+
+<p class="poem">Sunge that songge that the wo wrozt,<br />
+&#8220;Why stond we, why go we nozt.&#8221;</p>
+
+<p>To see this curious and woful sight, the emperor travels from Rome, and
+orders his carpenters and other artificers to inclose them in a building;
+but this could not be done, for what was set up one day fell down on the
+next, and no covering could be made to protect the sinners till the time
+of mercy that Christ had appointed arrived; when, at the expiration of the
+twelvemonth, and in the very same hour in which the priest had pronounced
+his curse upon them, they were separated, and &#8220;in the twynklyng of an eye&#8221;
+ran into the church and fell down in a swoon on the pavement, where they
+lay three days before they were restored. On their recovery they tell the
+priest that he will not long survive:</p>
+
+<p class="poem">For to thy long home sone shalt thou wende,<br />
+All they ryse that yche tyde,<br />
+But Ave she lay dede besyde.</p>
+
+<p>Her father dies soon afterwards. The emperor causes Ave&#8217;s arm to be put
+into a vessel and suspended in the church as an example to the spectators.
+The rest of the party, although separated, travelled about, but always
+dancing; and as they had been inseparable before, they were now not
+permitted to remain together. Four of them went hopping to Rome, their
+clothes undergoing no change, and their hair and nails not continuing to
+grow:</p>
+
+<p class="poem">Bruning the Bysshope of Seynt Tolous,<br />
+Wrote thys tale so merveylous;<br />
+Setthe was hys name of more renoun,<br />
+Men called him the Pope Leon;<br />
+Thys at the courte of Rome they wyte,<br />
+<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span>And yn the kronykeles hyt ys write;<br />
+Yn many stedys<a name='fna_23' id='fna_23' href='#f_23'><small>[23]</small></a> beyounde the see,<br />
+More than ys yn thys cuntre:<br />
+Tharfor men seye an weyl ys trowed,<br />
+The nere the cherche the further fro God.<br />
+So fare men here by thys tale,<br />
+Some holde it but a trotevale,<a name='fna_24' id='fna_24' href='#f_24'><small>[24]</small></a><br />
+Yn other stedys hyt ys ful dere,<br />
+And for grete merveyle they wyl hyt here.</p>
+
+<p>In the French copies the story is said to have been taken from the
+itinerary of St. Clement. The name of the girl who lost her arm is
+Marcent, and her brother&#8217;s John.<a name='fna_25' id='fna_25' href='#f_25'><small>[25]</small></a></p>
+
+<p>Previously to entering upon the immediate subject of this Essay, it may be
+permitted to observe, that a sort of Death&#8217;s dance was not unknown to the
+ancients. It was the revelry of departed souls in Elysium, as may be
+collected from the end of the fourth ode of Anacreon. Among the Romans
+this practice is exemplified in the following lines of Tibullus.</p>
+
+<p class="poem">Sed me, quod facilis tenero sum semper Amori,<br />
+<span style="margin-left: 1em;">Ipsa Venus campos ducit in Elysios.</span><br />
+Hic <i>chore&aelig;</i> cantusque vigent ...<a name='fna_26' id='fna_26' href='#f_26'><small>[26]</small></a></p>
+
+<p>And Virgil has likewise alluded to it:</p>
+
+<p class="poem">Pars pedibus plaudunt <i>choreas</i> et carmina dicunt.<a name='fna_27' id='fna_27' href='#f_27'><small>[27]</small></a></p>
+
+<p>In the year 1810 several fragments of sculptured <span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span>sarcophagi were
+accidentally discovered near Cuma, on one of which were represented three
+dancing skeletons,<a name='fna_28' id='fna_28' href='#f_28'><small>[28]</small></a> indicating, as it is ingeniously supposed, that the
+passage from death to another state of existence has nothing in it that is
+sorrowful, or capable of exciting fear. They seem to throw some light on
+the above lines from Virgil and Tibullus.</p>
+
+<p>At a meeting of the Arch&aelig;ological Society at Rome, in December, 1831, M.
+Kestner exhibited a Roman lamp on which were three dancing skeletons, and
+such are said to occur in one of the paintings at Pompeii.</p>
+
+<p>In the Grand Duke of Tuscany&#8217;s museum at Florence there is an ancient gem,
+that, from its singularity and connexion with the present subject, is well
+deserving of notice. It represents an old man, probably a shepherd,
+clothed in a hairy garment. He sits upon a stone, his right foot resting
+on a globe, and is piping on a double flute, whilst a skeleton dances
+grotesquely before him. It might be a matter of some difficulty to explain
+the recondite meaning of this singular subject.<a name='fna_29' id='fna_29' href='#f_29'><small>[29]</small></a></p>
+
+<p>Notwithstanding the interdiction in several councils against the practice
+of dancing in churches and church-yards, it was found impossible to
+abolish it altogether; and it therefore became necessary that something of
+a similar, but more decorous, nature should be substituted, which, whilst
+it afforded recreation and amusement, might, at the same time, convey with
+it a moral and religious sensation. It is, therefore, extremely probable,
+that, in furtherance of this intention, the clergy contrived and
+introduced the Dance or Pageant of Death, or, as it was sometimes called,
+the Dance of Macaber, for reasons that will hereafter appear. Mr. Warton
+states, &#8220;that in many churches of France there was an<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span> ancient show, or
+mimickry, in which all ranks of life were personated by the ecclesiastics,
+who danced together, and disappeared one after another.&#8221;<a name='fna_30' id='fna_30' href='#f_30'><small>[30]</small></a> Again,
+speaking of Lydgate&#8217;s poem on this subject, he says, &#8220;these verses,
+founded on a sort of spiritual masquerade antiently celebrated in
+churches, &amp;c.&#8221;<a name='fna_31' id='fna_31' href='#f_31'><small>[31]</small></a> M. Barante, in his History of the Dukes of Burgundy,
+adverting to the entertainments that took place at Paris when Philip le
+Bon visited that city in 1424, observes, &#8220;that these were not solely made
+for the nobility, the common people being likewise amused from the month
+of August to the following season of Lent with the Dance of Death in the
+church yard of the Innocents, the English being particularly gratified
+with this exhibition, which included all ranks and conditions of men,
+Death being, morally, the principal character.&#8221;<a name='fna_32' id='fna_32' href='#f_32'><small>[32]</small></a> Another French
+historian, M. de Villeneuve Bargemont, informs us that the Duke of Bedford
+celebrated his victory at Verneuil by a festival in the centre of the
+French capital. The rest of what this writer has recorded on the subject
+before us will be best given in his own words, &#8220;Nous voulons parler de
+cette fameuse <i>procession</i> qu&#8217;on vit defiler dans les rues de Paris, sous
+le nom de <i>danse Macabr&eacute;e ou infernale</i>, epouvantable divertissement,
+auquel pr&eacute;sidoit un squelette ceint du diad&ecirc;me royal, tenant un sceptre
+dans ses mains d&eacute;charn&eacute;es et assis sur un tr&ocirc;ne resplendissant d&#8217;or et de
+pierreries. Ce spectacle repoussant, m&ecirc;lange odieux de deuil et de joie,
+inconnu jusqu&#8217;alors, et qui ne s&#8217;est jamais renouvell&eacute;, n&#8217;eut guere pour
+t&eacute;moins que des soldats &eacute;trangers, ou quelques malheureux &eacute;chapp&eacute;s &agrave; tous
+les fl&eacute;aux r&eacute;unis, et qui avoient vu descendre tous leurs parens, tous
+leurs amis, dans ces<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span> sepulchres qu&#8217;on d&eacute;pouilloit alors de leurs
+ossemens.&#8221;<a name='fna_33' id='fna_33' href='#f_33'><small>[33]</small></a> A third French writer has also treated the Dance of Death
+as a spectacle exhibited in like manner to the people of Paris.<a name='fna_34' id='fna_34' href='#f_34'><small>[34]</small></a> M.
+Peignot, to whom the reader is obliged for these historical notices in his
+ingenious researches on the present subject, very plausibly conceives that
+their authors have entirely mistaken the sense of an old chronicle or
+journal under Charles VI. and VII. which he quotes in the following
+words.&mdash;&#8220;Item. L&#8217;an 1424 fut faite la Danse Maratre (pour Macabre) aux
+Innocens, et fut comenc&eacute;e environ le moys d&#8217;Aoust et achev&eacute;e au karesme
+suivant. En l&#8217;an 1429 le cordelier Richard preschant aux Innocens estoit
+mont&eacute; sur ung hault eschaffaut qui estoit pr&egrave;s de toise et demie de hault,
+le dos tourn&eacute; vers les charniers encontre la charounerie, &agrave; l&#8217;endroit de
+la danse Macabre.&#8221; He observes, that the Dance of Death at the Innocents,
+having been commenced in August and finished at the ensuing Lent, could
+not possibly be represented by living persons, but was only a painting,
+the large dimensions of which required six months to complete it; and that
+a single Death must, in the other case, have danced with every individual
+belonging to the scene.<a name='fna_35' id='fna_35' href='#f_35'><small>[35]</small></a> He might have added, that such a proceeding
+would have been totally at variance with the florid, but most inaccurate,
+description by M. Bargemont. The reader will, therefore, most probably
+feel inclined to adopt the opinion of M. Peignot, that the Dance of Death
+was not performed by living persons between 1424 and 1429.</p>
+
+<p>But although M. Peignot may have triumphantly demonstrated that this
+subject was not exhibited by living persons at the above place and period,
+it by no<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> means follows that it was not so represented at some other time,
+and on some other spot. Accordingly, in the archives of the cathedral of
+Besan&ccedil;on, there is preserved an article respecting a delivery made to one
+of the officers of Saint John the Evangelist of four measures of wine, to
+be given to those persons who performed the Dance of Death after mass was
+concluded. This is the article itself, &#8220;Sexcallus [seneschallus] solvat D.
+Joanni Caleti matriculario S. Joannis quatuor simasias vini per dictum
+matricularium exhibitas illis qui choream Machabeorum fecerunt 10 Julii,
+1453, nuper lapsa hora misse in ecclesia S. Joannis Evangeliste propter
+capitulum provinciale fratrum Minorum.&#8221;<a name='fna_36' id='fna_36' href='#f_36'><small>[36]</small></a> This document then will set
+the matter completely at rest.</p>
+
+<p>At what time the personified exhibition of this pageant commenced, or when
+it was discontinued cannot now be correctly ascertained. If, from a moral
+spectacle, it became a licentious ceremony, as is by no means improbable,
+in imitation of electing a boy-bishop, of the feast of fools, or other
+similar absurdities, its termination may be looked for in the authority of
+some ecclesiastical council at present not easily to be traced.</p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span></p>
+<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II.</h2>
+
+<div class="note"><p class="hang"><i>Places where the Dance of Death was sculptured or depicted.&mdash;Usually
+accompanied by verses describing the several characters.&mdash;Other
+Metrical Compositions on the Dance.</i></p></div>
+
+
+<p>&nbsp;</p>
+<p><span class="dropfig"><img src="images/cap_t.jpg" alt="T" /></span>he subject immediately before us was very often represented, not only on
+the walls, but in the windows of many churches, in the cloisters of
+monasteries, and even on bridges, especially in Germany and Switzerland.
+It was sometimes painted on church screens, and occasionally sculptured on
+them, as well as upon the fronts of domestic dwellings. It occurs in many
+of the manuscript and illuminated service books of the middle ages, and
+frequent allusions to it are found in other manuscripts, but very rarely
+in a perfect state, as to the number of subjects.</p>
+
+<p>Most of the representations of the Dance of Death were accompanied by
+descriptive or moral verses in different languages. Those which were added
+to the paintings of this subject in Germany appear to have differed very
+materially, and it is not now possible to ascertain which among them is
+the oldest. Those in the Basle painting are inserted in the editions
+published and engraved by Mathew Merian, but they had already occurred in
+the Decennalia human&aelig; peregrinationis of Gaspar Landismann in 1584. Some
+Latin verses were published by Melchior Goldasti at the end of his edition
+of the Speculum omnium statuum, a celebrated moral work by Roderic, Bishop
+of Zamora, 1613, 4to. He most probably copied them from one of the early
+editions of<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> the Danse Macabre, but without any comment whatever, the
+above title page professing that they are added on account of the
+similarity of the subject.</p>
+
+<p>A Proven&ccedil;al poet, called <i>Marcabres</i> or <i>Marcabrus</i>, has been placed among
+the versifiers, but none of his works bear the least similitude to the
+subject; and, moreover, the language itself is an objection. The English
+metrical translation will be noticed hereafter. Whether any of the
+paintings were accompanied by descriptive verses that might be considered
+as anterior to those ascribed to the supposed Macaber, cannot now be
+ascertained.</p>
+
+<p>There are likewise some Latin verses in imitation of those
+above-mentioned, which, as well as the author of them, do not seem to have
+been noticed by any biographical or poetical writer. They occur at the end
+of a Latin play, intitled Susanna, Antverp. apud Michaelem Hillenium,
+<span class="smcaplc">MDXXXIII</span>. As the volume is extremely rare, and the verses intimately
+connected with the present subject, it has been thought worth while to
+reprint them. After an elegy on the vanity and shortness of human life,
+and a Sapphic ode on the remembrance of Death, they follow under this
+title, &#8220;Plausus luctific&aelig; mortis ad modum dialogi extemporaliter ab
+Eusebio Candido lusus. Ad quem quique mortales invitantur omnes,
+cujuscujus sint conditionis: quibusque singulis Mors ipsa respondet.&#8221;</p>
+
+<p class="poem">Luctific&aelig; mortis plausum bene cernite cuncti.<br />
+Dum res l&aelig;ta, mori et viventes discite, namque<br />
+Omnes ex &aelig;quo tandem huc properare necessum.</p>
+
+<p>Hic inducitur adolescens qu&aelig;rens, et mors vel philosophus respondens.</p>
+
+<p class="poem">Vita quid est hominis? Fumus super aream missus.<br />
+Vita quid est hominis? Via mortis, dura laborum<br />
+Colluvies, vita est hominis via longa doloris<br />
+Perpetui. Vita quid est hominis? cruciatus et error,<br />
+<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span>Vita quid est hominis? vestitus gramine multo,<br />
+Floribus et variis campus, quem parva pruina<br />
+Expoliat, sic vitam hominum mors impia tollit.<br />
+Quamlibet illa alacris, vegeta, aut opulenta ne felix,<br />
+Icta cadit modica crede &aelig;gritudine mortis.<br />
+Et quamvis superes auro vel murice Cr&oelig;sum,<br />
+Long&aelig;vum aut annis vivendo Nestora vincas,<br />
+Omnia mors &aelig;quat, vit&aelig; meta ultima mors est.<br />
+<br />
+<br />
+<span style="margin-left: 7em;"><span class="smcap">Imperator.</span></span><br />
+Quid fers? Induperator ego, et moderamina rerum<br />
+Gesto manu, domuit mors impia sceptra potentum.<br />
+<br />
+<br />
+<span style="margin-left: 6em;"><span class="smcap">Rex Rhomanus.</span></span><br />
+Quid fers? en ego Rhomulidum rex. Mors manet omnes.<br />
+<br />
+<br />
+<span style="margin-left: 8.5em;"><span class="smcap">Papa.</span></span><br />
+En ego Pontificum primus, signansque resignans.<br />
+Et c&oelig;los oraque locos. Mors te manet ergo.<br />
+<br />
+<br />
+<span style="margin-left: 7em;"><span class="smcap">Cardinalis.</span></span><br />
+Cardineo fulgens ego honore, et Episcopus ecce<br />
+Mors manet ecce omnes, Phrygeus quos pileus ornat.<br />
+<br />
+<br />
+<span style="margin-left: 7em;"><span class="smcap">Episcopus.</span></span><br />
+Insula splendidior vestit mea, tempora latum<br />
+Possideo imperium, multi mea jura tremiscunt.<br />
+Me dicant fraudis docti, producere lites.<br />
+Experti, aucupium docti nummorum, et averni<br />
+Causidici, rixatores, rabul&aelig;que forenses.<br />
+Hos ego respicio, nihil attendens animarum,<br />
+Ecclesi&aelig; mihi commiss&aelig; populive salutem<br />
+Sed satis est duros loculo infarcisse labores<br />
+Agricol&ucirc;m, et magnis placuisse heroibus orbis.<br />
+Non tamen effugies mortis mala spicula dur&aelig;.<br />
+<br />
+<br />
+<span style="margin-left: 4em;"><span class="smcap">Ecclesi&aelig; Pr&aelig;latus.</span></span><br />
+Ecclesi&aelig; pr&aelig;latus ego multis venerandus<br />
+Muneribus sacris, proventibus officiorum.<br />
+Comptior est vestis, popina frequentior &aelig;de<br />
+Sacra, et psalmorum cantus mihi rarior ipso<br />
+Talorum crepitu, Veneris quoque voce sonora.<br />
+Morte cades, annos speras ubi vivere plures.<br />
+<br />
+<br />
+<span style="margin-left: 6em;"><span class="smcap">Canonicus.</span></span><br />
+En ego melotam gesto. Mors s&aelig;va propinquat.<br />
+<br />
+<br />
+<span style="margin-left: 7em;"><span class="smcap">Pastor.</span></span><br />
+En parochus quoque pastor ego, mihi dulce falernum<br />
+<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span>Notius &aelig;de sacra: scortum mihi charius ipsa<br />
+Est anim&aelig; cura populi. Mors te manet ergo.<br />
+<br />
+<br />
+<span style="margin-left: 7.25em;"><span class="smcap">Abbas.</span></span><br />
+En abbas venio, Veneris quoque ventris amicus.<br />
+C&oelig;nobii rara est mihi cura, frequentior aula<br />
+Magnorum heroum. Chorea saltabis eadem.<br />
+<br />
+<br />
+<span style="margin-left: 7.5em;"><span class="smcap">Prior.</span></span><br />
+En prior, ornatus longa et splendente cuculla,<br />
+Falce cades mortis. Mors aufert nomina honoris.<br />
+<br />
+<br />
+<span style="margin-left: 5.5em;"><span class="smcap">Pater Vestalium.</span></span><br />
+Nympharum pater ecce ego sum ventrosior, offis<br />
+Pinguibus emacerans corpus. Mors te manet ipsa.<br />
+<br />
+<br />
+<span style="margin-left: 5em;"><span class="smcap">Vestalis Nympha.</span></span><br />
+En monialis ego, Vest&aelig; servire parata.<br />
+Non te Vesta potest mortis subducere castris.<br />
+<br />
+<br />
+<span style="margin-left: 7em;"><span class="smcap">Legatus.</span></span><br />
+Legatus venio culparum vincla resolvemus<br />
+Omnia pro auro, abiens c&oelig;lum vendo, infera claudo<br />
+Et quicquid patres sanxerunt, munere solvo<br />
+Juribus &agrave; mortis non te legatio solvet.<br />
+<br />
+<br />
+<span style="margin-left: 5em;"><span class="smcap">Dominus Doctor.</span></span><br />
+Quid fers? Ecce sophus, divina humanaque jura<br />
+Calleo, et &agrave; populo doctor Rabbique salutor,<br />
+Te manet expectans mors ultima linea rerum.<br />
+<br />
+<br />
+<span style="margin-left: 6.5em;"><span class="smcap">Medicus.</span></span><br />
+En ego sum medicus, vitam producere gnarus,<br />
+Venis lustratis morborum nomina dico,<br />
+Non poteris dur&aelig; mortis vitare sagittas.<br />
+<br />
+<br />
+<span style="margin-left: 5.5em;"><span class="smcap">Astronomus.</span></span><br />
+En ego stellarum motus et sydera novi,<br />
+Et fati genus omne scio pr&aelig;dicere c&oelig;li.<br />
+Non potis es mortis dur&aelig; pr&aelig;scire sagittas.<br />
+<br />
+<br />
+<span style="margin-left: 5.5em;"><span class="smcap">Curtisanus.</span></span><br />
+En me Rhoma potens multis suffarsit onustum<br />
+Muneribus sacris, proventibus, officiisque<br />
+Non potes his mortis fugiens evadere tela.<br />
+<br />
+<br />
+<span style="margin-left: 5.5em;"><span class="smcap">Advocatus.</span></span><br />
+Causarum patronus ego, producere doctus<br />
+<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span>Lites, et loculos lingua vacuare loquaci<br />
+Non te lingua loquax mortis subducet ab ictu.<br />
+<br />
+<br />
+<span style="margin-left: 7em;"><span class="smcap">Judex.</span></span><br />
+Justiti&aelig; judex quia sum, sub plebe salutor.<br />
+Vertice me nudo populus veneratur adorans.<br />
+Auri sacra fames pervertere s&aelig;pe co&euml;git<br />
+Justitiam. Mors te manet &aelig;quans omnia falce.<br />
+<br />
+<br />
+<span style="margin-left: 6.5em;"><span class="smcap">Pr&aelig;tor.</span></span><br />
+Pr&aelig;tor ego populi, me pr&aelig;tor nemo quid audet.<br />
+Accensor causis, per me stant omnia, namque<br />
+Et dono et adimo vitam, cum rebus honorem.<br />
+Munere conspecto, quod iniquum est jure triumphat<br />
+Emitto corvos, censura damno columbas.<br />
+Hinc metuendus ero superis ereboque profundo.<br />
+Te manet expectans Erebus Plutoque cruentus.<br />
+<br />
+<br />
+<span style="margin-left: 6.5em;"><span class="smcap">Consul.</span></span><br />
+Polleo consiliis, Consul dicorque salutor.<br />
+Munere conspecto, quid iniquum est consulo rectum<br />
+Quod rectum est flecto, nihil est quod nesciat auri<br />
+Sacra fames, hinc ditor et undique fio opulentus<br />
+Sed eris &aelig;ternum miser et mors impia tollet.<br />
+<br />
+<br />
+<span style="margin-left: 6em;"><span class="smcap">Causidicus.</span></span><br />
+Causidicus ego sum, causas narrare peritus,<br />
+Accior in causas, sed spes ubi fulserit auri<br />
+Ad fraudes docta solers utor bene lingua.<br />
+Muto, commuto, jura inflecto atque reflecto.<br />
+Et nihil est quod non astu pervincere possim.<br />
+Mors &aelig;qua expectat properans te fulmine diro.<br />
+Nec poteris astu mortis pr&aelig;vertere tela.<br />
+<br />
+<br />
+<span style="margin-left: 6.5em;"><span class="smcap">Scabinus.</span></span><br />
+Ecce Scabinus ego, scabo bursas, prorogo causas.<br />
+Senatorque vocor, vulgus me poplite curvo,<br />
+Muneribusque datis veneratur, fronte retecta.<br />
+Nil mortem meditor loculos quando impleo nummis<br />
+Et dito h&aelig;redes nummis, vi, fraude receptis,<br />
+Justitiam nummis, pro sanguine, munere, vendo.<br />
+Quod rectum est curvo, quod curvum est munere rectum<br />
+Efficio, per me prorsus stant omnia jura.<br />
+Non poteris dur&aelig; mortis transire sagittas.<br />
+<br />
+<br />
+<span style="margin-left: 6em;"><span class="smcap">Ludimagister.</span></span><br />
+En ego pervigili cura externoque labore.<br />
+<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span>Excolui juvenum ingenia, et pr&aelig;cepta Minerv&aelig;<br />
+Tradens consenui, cathedr&aelig;que piget sine fructu.<br />
+Quid dabitur fructus, tanti qu&aelig; dona laboris?<br />
+Omnia mors &aelig;quans, vit&aelig; ultima meta laboris.<br />
+<br />
+<br />
+<span style="margin-left: 6em;"><span class="smcap">Miles Auratus.</span></span><br />
+Miles ego auratus, fulgenti murice et auro<br />
+Splendidus in populo. Mors te manet omnia perdens.<br />
+<br />
+<br />
+<span style="margin-left: 6em;"><span class="smcap">Miles Armatus.</span></span><br />
+Miles ego armatus, qui bella ferocia gessi.<br />
+Nullius occursum expavi, quam durus et audax.<br />
+Ergo immunis ero. Mors te intrepida ipsa necabit.<br />
+<br />
+<br />
+<span style="margin-left: 6.5em;"><span class="smcap">Mercator.</span></span><br />
+En ego mercator dives, maria omnia lustro<br />
+Et terras, ut res crescant. Mors te metet ipsa.<br />
+<br />
+<br />
+<span style="margin-left: 6.5em;"><span class="smcap">Fuckardus.</span></span><br />
+En ego fuckardus, loculos gesto &aelig;ris onustos,<br />
+Omnia per mundum co&euml;mens, vendo atque revendo.<br />
+Hero&euml;s me solicitant, atque &aelig;ra requirunt.<br />
+Haud est me lato quisquam modo ditior orbe.<br />
+Mortis ego jura et frameas nihil ergo tremisco<br />
+Morte cades, mors te rebus spoliabit opimis.<br />
+<br />
+<br />
+<span style="margin-left: 6.5em;"><span class="smcap">Qu&aelig;stor.</span></span><br />
+Qu&aelig;stor ego, loculos suffersi arcasque capaces<br />
+Est mihi pr&aelig;nitidis fundata pecunia villis.<br />
+Hac dives redimam dur&aelig; discrimina mortis<br />
+Te mors pr&aelig;ripiet nullo exorabilis auro.<br />
+<br />
+<br />
+<span style="margin-left: 6.5em;"><span class="smcap">Nauclerus.</span></span><br />
+En ego nauclerus spaciosa per &aelig;quora vectus,<br />
+Non timui maris aut venti discrimina mille.<br />
+Cymba tamen mortis capiet te qu&aelig;que vorantis.<br />
+<br />
+<br />
+<span style="margin-left: 7em;"><span class="smcap">Agricola.</span></span><br />
+Agricola en ego sum, pr&aelig;duro s&aelig;pe labore,<br />
+Et vigili exhaustus cura, sudore perenni,<br />
+Victum pr&aelig;tenuem qu&aelig;rens, sine fraude doloque<br />
+Omnia pertentans, miseram ut traducere possim<br />
+Vitam, nec mundo me est infelicior alter.<br />
+Mors tamen eduri fiet tibi meta laboris.<br />
+<br />
+<br />
+<span style="margin-left: 7em;"><span class="smcap">Orator.</span></span><br />
+Heroum interpres venio, fraudisque peritus,<br />
+<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span>Bellorum strepitus compono, et bella reduco,<br />
+Meque petunt reges, populus miratur adorans.<br />
+Nulla abiget fraudi lingu&eacute;ve peritia mortem.<br />
+<br />
+<br />
+<span style="margin-left: 6em;"><span class="smcap">Princeps Belli.</span></span><br />
+Fulmen ego belli, reges et regna subegi,<br />
+Victor ego ex omni pr&aelig;duro quamlibet ecce<br />
+Marte fui, vit&aelig; hinc timeo discrimina nulla.<br />
+Te mors confodiet cauda Trigonis aquosi,<br />
+Atque eris exanimis moriens uno ictu homo bulla.<br />
+<br />
+<br />
+<span style="margin-left: 7.5em;"><span class="smcap">Dives.</span></span><br />
+Sum rerum felix, f&oelig;cunda est prolis et uxor,<br />
+Plena domus, l&aelig;tum pecus, et cellaria plena<br />
+Nil igitur metuo. Quid ais? Mors te impia tollet.<br />
+<br />
+<br />
+<span style="margin-left: 7em;"><span class="smcap">Pauper.</span></span><br />
+Iro ego pauperior, Codroque tenuior omni,<br />
+Despicior cunctis, nemo est qui sublevet heu heu.<br />
+Hinc parcet veniens mors: nam nihil auferet &agrave; me,<br />
+Non sic evades, ditem cum paupere tollit.<br />
+<br />
+<br />
+<span style="margin-left: 6.5em;"><span class="smcap">F&oelig;nerator.</span></span><br />
+Ut loculi intument auro, vi, fraude, doloque,<br />
+F&oelig;nore nunc qu&aelig;stum facio, furtoque rapinaque,<br />
+Ut proles ditem, passim dicarque beatus,<br />
+Per fas perque nefas corradens omnia qu&aelig;ro.<br />
+Mors veniens furtim pr&aelig;dabitur, omnia tollens.<br />
+<br />
+<br />
+<span style="margin-left: 6.5em;"><span class="smcap">Adolescens.</span></span><br />
+Sum juvenis, forma spectabilis, indole gaudens<br />
+Maturusque &aelig;vi, nullus pr&aelig;stantior alter,<br />
+Moribus egregiis populo laudatus ab omni.<br />
+Pallida, difformis mors auferet omnia raptim.<br />
+<br />
+<br />
+<span style="margin-left: 7.5em;"><span class="smcap">Puella.</span></span><br />
+Ecce puellarum pulcherrima, mortis iniqu&aelig;<br />
+Spicula nil meditor, juvenilibus et fruor annis,<br />
+Meque proci expectant compti, facieque venusti.<br />
+Stulta, quid in vana spe jactas? Mors metet omnes<br />
+Difformes, pulchrosque simul cum paupere dices.<br />
+<br />
+<br />
+<span style="margin-left: 7em;"><span class="smcap">Nuncius.</span></span><br />
+Nuncius ecce ego sum, qui nuncia perfero pernix<br />
+Sed retrospectans post terga, pap&aelig; audio quidnam?<br />
+Me tuba terrificans mortis vocat. Heu moriendum est.<br />
+<br />
+<br />
+<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span><span style="margin-left: 6.5em;"><span class="smcap">Peroratio.</span></span><br />
+Mortales igitur memores modo vivite l&aelig;ti<br />
+Instar venturi furis, discrimine nullo<br />
+Cunctos rapturi passim ditesque inopesque.<br />
+Stultus et insipiens vita qui sperat in ista,<br />
+Instar qu&aelig; fumi perit et cito desinit esse.<br />
+Fac igitur tota virtuti incumbito mente,<br />
+Qu&aelig; nescit mortem, sed scandit ad ardua c&oelig;li.<br />
+Quo nos &agrave; fatis ducat rex Juppiter, Amen.<br />
+<br />
+<span style="margin-left: 1em;">Plaudite nunc, animum cuncti retinete faventes.</span><br />
+<br />
+<span style="margin-left: 8em;"><span class="smcaplc">FINIS.</span></span><br />
+<br />
+<span style="margin-left: -2.5em;">Antwerpi&aelig; apud Michaelem Hillenium <span class="smcaplc">M.D.XXXIIII.</span> Mense Maio.</span></p>
+
+<p>A very early allusion to the Dance of Death occurs in a Latin poem, that
+seems to have been composed in the twelfth century by our celebrated
+countryman Walter de Mapes, as it is found among other pieces that carry
+with them strong marks of his authorship. It is intitled &#8220;Lamentacio et
+deploracio pro Morte et consilium de vivente Deo.&#8221;<a name='fna_37' id='fna_37' href='#f_37'><small>[37]</small></a> In its construction
+there is a striking resemblance to the common metrical stanzas that
+accompany the Macaber Dance. Many characters, commencing with that of the
+Pope, are introduced, all of whom bewail the uncontrolable influence of
+Death. This is a specimen of the work, extracted from two manuscripts:</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="table">
+<tr><td>Cum mortem meditor nescit mihi causa doloris,<br />
+Nam cunctis horis mors venit ecce cito.<br />
+Pauperis et regis communis lex moriendi,<br />
+Dat causam flendi si bene scripta leges.<br />
+Gustato pomo missus transit sine morte<br />
+Heu missa sorte labitur omnis homo.</td></tr>
+<tr><td>&nbsp;</td></tr></table>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="table">
+<tr><td class="br">Vado mori Papa qui jussu regna subegi &nbsp;</td>
+    <td>&nbsp; Vado mori, Rex sum, quod honor, quod gloria regum,</td></tr>
+<tr><td class="br">Mors mihi regna tulit eccine vado mori. &nbsp;</td>
+    <td> &nbsp; Est via mors hominis regia vado mori.</td></tr></table>
+
+<p><span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span>Then follow similar stanzas, for presul, miles, monachus, legista,
+jurista, doctor, logicus, medicus, cantor, sapiens, dives, cultor,
+burgensis, nauta, pincerna, pauper.</p>
+
+<p>In Sanchez&#8217;s collection of Spanish poetry before the year 1400,<a name='fna_38' id='fna_38' href='#f_38'><small>[38]</small></a>
+mention is made of a Rabbi Santo as a good poet, who lived about 1360. He
+was a Jew, and surgeon to Don Pedro. His real name seems to have been
+Mose, but he calls himself Don Santo Judio de Carrion. This person is said
+to have written a moral poem, called &#8220;Danza General.&#8221; It commences thus:</p>
+
+<p class="poem"><span style="margin-left: 4em;">&#8220;<i>Dise la Muerte.</i></span><br />
+&#8220;Yo so la muerte cierta a todas criaturas,<br />
+Que son y seran en el mundo durante:<br />
+Demando y digo O ame! porque curas<br />
+De vida tan breve en punto passante?&#8221; &amp;c.</p>
+
+<p>He then introduces a preacher, who announces Death to all persons, and
+advises them to be prepared by good works to enter his Dance, which is
+calculated for all degrees of mankind.</p>
+
+<p class="poem">&#8220;Primaramente llama a su danza a dos doncellas,<br />
+A esta mi danza trax de presente,<br />
+Estas dos donzellas que vades fermosas:<br />
+Ellas vinieron de muy malamente<br />
+A oir mes canciones que son dolorosas,<br />
+Mas non les valdran flores nin rosas,<br />
+Nin las composturas que poner salian:<br />
+De mi, si pudiesen parterra querrian,<br />
+Mas non proveda ser, que son mis esposas.&#8221;</p>
+
+<p>It may, however, be doubted whether the Jew Santo was the author of this
+Dance of Death, as it is by no means improbable that it may have been a
+subsequent work added to the manuscript referred to by Sanchez.</p>
+
+<p><span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span>In 1675, Maitre Jacques Jacques, a canon of the cathedral of Ambrun,
+published a singular work, intitled &#8220;Le faut mourir et les excuses
+inutiles que l&#8217;on apporte &agrave; cette n&eacute;cessit&eacute;. Le tout en vers burlesques.&#8221;
+Rouen, 1675, 12mo. It is written much in the style of Scarron and some
+other similar poets of the time. It commences with a humorous description
+given by Death of his proceedings with various persons in every part of
+the globe, which is followed by several dialogues between Death and the
+following characters: 1. The Pope. 2. A young lady betrothed. 3. A galley
+slave. 4. Guillot, who has lost his wife. 5. Don Diego Dalmazere, a
+Spanish hidalgo. 6. A king. 7. The young widow of a citizen. 8. A citizen.
+9. A decrepit rich man. 10. A canon. 11. A blind man. 12. A poor peasant.
+13. Tourment&eacute;, a poor soldier in the hospital. 14. A criminal in prison.
+15. A nun. 16. A physician. 17. An apothecary. 18. A lame beggar. 19. A
+rich usurer. 20. A merchant. 21. A rich merchant. As the book is uncommon,
+the following specimen is given from the scene between Death and the young
+betrothed girl:</p>
+
+<p class="poem"><span style="margin-left: 3em;"><span class="smcap">La Mort.</span></span><br />
+A vous la belle demoiselle,<br />
+Je vous apporte une nouvelle,<br />
+Qui certes vous surprendra fort.<br />
+C&#8217;est qu&#8217;il faut penser &agrave; la mort,<br />
+Tout vistement pli&eacute;s bagage,<br />
+Car il faut faire ce voyage.<br />
+<br />
+<br />
+<span style="margin-left: 3em;"><span class="smcap">La Demoiselle.</span></span><br />
+Qu&#8217;entends-je? Tout mon sens se perd,<br />
+Helas! vous me prener sans verd;<br />
+C&#8217;est tout &agrave; fait hors de raison<br />
+Mourir dedans une saison<br />
+Que je ne dois songer qu&#8217;&agrave; rire,<br />
+Je suis contrainte de vous dire,<br />
+Que tr&egrave;s injuste est vostre choix,<br />
+<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span>Parce que mourir je ne dois,<br />
+N&#8217;estant qu&#8217;en ma quinzi&egrave;me ann&eacute;e,<br />
+Voyez quelque vielle &eacute;chin&eacute;e,<br />
+Qui n&#8217;ait en bouche point de dent;<br />
+Vous l&#8217;obligerez grandement<br />
+De l&#8217;envoyer &agrave; l&#8217;autre monde,<br />
+Puis qu&#8217;ici toujours elle gronde;<br />
+Vous la prendrez tout &agrave; propos,<br />
+Et laissez moi dans le repos,<br />
+Moi qui suis toute poupinette,<br />
+Dans l&#8217;embonpoint et joliette,<br />
+Qui n&#8217;aime qu&#8217;&agrave; me r&eacute;jouir,<br />
+De gr&acirc;ce laissez moi jouir, &amp;c.</p>
+
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span></p>
+<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III.</h2>
+
+<div class="note"><p class="hang"><i>Macaber not a German or any other poet, but a nonentity.&mdash;Corruption
+and confusion respecting this word.&mdash;Etymological errors concerning
+it.&mdash;How connected with the Dance.&mdash;Trois mors et trois
+vifs.&mdash;Orgagna&#8217;s painting in the Campo Santo at Pisa.&mdash;Its connection
+with the trois mors et trois vifs, as well as with the Macaber
+dance.&mdash;Saint Macarius the real Macaber.&mdash;Paintings of this dance in
+various places.&mdash;At Minden; Church-yard of the Innocents at Paris;
+Dijon; Basle; Klingenthal; Lubeck; Leipsic; Anneberg; Dresden;
+Erfurth; Nuremberg; Berne; Lucerne; Amiens; Rouen; Fescamp; Blois;
+Strasburg; Berlin; Vienna; Holland; Italy; Spain.</i></p></div>
+
+
+<p>&nbsp;</p>
+<p><span class="dropfig"><img src="images/cap_t.jpg" alt="T" /></span>he next subject for investigation is the origin of the name of Macaber,
+as connected with the Dance of Death, either with respect to the verses
+that have usually accompanied it, or to the paintings or representations
+of the Dance itself; and first of the verses.</p>
+
+<p>It may, without much hazard, be maintained that, notwithstanding these
+have been ascribed to a German poet called Macaber, there never was a
+German, or any poet whatever bearing such a name. The first mention of him
+appears to have been in a French edition of the Danse Macabre, with the
+following title, &#8220;Chorea ab eximio Macabro versibus Alemannicis edito, et
+&agrave; Petro Desrey emendata. Parisiis per Magistrum Guidonem Mercatorem pro
+Godefrido de Marnef. 1490, folio.&#8221; This title, from its ambiguity, is
+deserving of little <span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span>consideration as a matter of authority; for if a
+comma be placed after the word Macabro, the title is equally applicable to
+the author of the verses and to the painter or inventor of the Dance. As
+the subject had been represented in several places in Germany, and of
+course accompanied with German descriptions, it is possible that Desrey
+might have translated and altered some or one of these, and, mistaking the
+real meaning of the word, have converted it into the name of an author. It
+may be asked in what German biography is such a person to be found? how it
+has happened that this <i>famous</i> Macaber is so little known, or whether the
+name really has a Teutonic aspect? It was the above title in Desrey&#8217;s work
+that misled the truly learned Fabricius inadvertently to introduce into
+his valuable work the article for Macaber as a German poet, and in a work
+to which it could not properly belong.<a name='fna_39' id='fna_39' href='#f_39'><small>[39]</small></a></p>
+
+<p>M. Peignot has very justly observed that the Danse Macabre had been very
+long known in France and elsewhere, not as a literary work, but as a
+painting; and he further remarks that although the verses are German in
+the Basil painting, executed about 1440, similar verses in French were
+placed under the dance at the Innocents at Paris in 1424.<a name='fna_40' id='fna_40' href='#f_40'><small>[40]</small></a></p>
+
+<p>At the beginning of the text in the early French edition of the Danse
+Macabre, we have only the words &#8220;la danse Macabre sappelle,&#8221; but no
+specific mention is made of the author of the verses. John Lydgate, in his
+translation of them from the French, and which was most probably adopted
+in many places in England where the painting occurred, speaks of &#8220;the
+Frenche Machabrees daunce,&#8221; and &#8220;the daunce of Machabree.&#8221; At the end,
+&#8220;Machabree the Doctoure,&#8221; is abruptly and unconnectedly introduced at the
+bottom of the page. It is not in the French printed copy, from the text
+of<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> which Lydgate certainly varies in several respects. It remains,
+therefore, to ascertain whether these words belong to Lydgate, or to whom
+else; not that it is a matter of much importance.</p>
+
+<p>The earliest authority that has been traced for the name of &#8220;Danse
+Macabre,&#8221; belongs to the painting at the Innocents, and occurs in the MS.
+diary of Charles VII. under the year 1424. It is also strangely called
+&#8220;Chorea Machab&aelig;orum,&#8221; in 1453, as appears from the before cited document
+at St. John&#8217;s church at Besan&ccedil;on. Even the name of one <i>Maccabrees</i>, a
+Proven&ccedil;al poet of the 14th century, has been injudiciously connected with
+the subject, though his works are of a very different nature.</p>
+
+<p>Previously to attempting to account for the origin of the obscure and much
+controverted word Macaber, as applicable to the dance itself, it may be
+necessary to advert to the opinions on that subject that have already
+appeared. It has been disguised under the several names of Macabre,<a name='fna_41' id='fna_41' href='#f_41'><small>[41]</small></a>
+Maccabees,<a name='fna_42' id='fna_42' href='#f_42'><small>[42]</small></a> Maratre,<a name='fna_43' id='fna_43' href='#f_43'><small>[43]</small></a> and even Macrobius.<a name='fna_44' id='fna_44' href='#f_44'><small>[44]</small></a> Sometimes it has been
+regarded as an epithet. The learned and excellent M. Van Praet, the
+guardian of the royal library at Paris, has conjectured that <i>Macabre</i> is
+derived from the Arabic <i>Magbarah</i>, magbourah, or magabir, all signifying
+a church-yard. M. Peignot seems to think that M. Van Praet intended to
+apply the word to the Dance itself,<a name='fna_45' id='fna_45' href='#f_45'><small>[45]</small></a> but it is impossible that the
+intelligent librarian was not aware that personified sculpture, as well as
+the moral nature of the subject, cannot belong to the Mahometan religion.
+Another etymology extremely well calculated to disturb the gravity of the
+present subject, is that of M. Villaret, the French historian, when
+adverting to the<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span> spectacle of the Danse Macabre, supposed to have been
+given by the English in the church-yard of the Innocents at Paris. Relying
+on this circumstance, he unceremoniously decides that the name of the
+dance was likewise English; and that <i>Macabr&eacute;e</i> is compounded of the
+words, to <i>make</i> and to <i>break</i>. The same silly etymology is referred to
+as in some historical dictionary concerning the city of Paris by Mons.
+Compan in his Dictionaire de Danse, article <i>Macaber</i>; and another which
+is equally improbable has been hazarded by the accomplished Marquis de
+Paulmy, who, noticing some editions of the Danse Macabre in his fine
+library, now in the arsenal at Paris, very seriously states that Macaber
+is derived from two Greek words, which denote its meaning to be an
+<i>infernal dance</i>;<a name='fna_46' id='fna_46' href='#f_46'><small>[46]</small></a> but if the Greek language were to be consulted on
+the occasion, the signification would turn out to be very different.</p>
+
+<p>It must not be left unnoticed that M. De Bure, in his account of the
+edition of the Danse Macabre, printed by Marchant, 1486, has stated that
+the verses have been attributed to Michel Marot; but the book is dated
+before Marot was born.<a name='fna_47' id='fna_47' href='#f_47'><small>[47]</small></a></p>
+
+<p>Again,&mdash;As to the connexion between the word Macaber with the Dance
+itself.</p>
+
+<p>In the course of the thirteenth century there appeared a French metrical
+work under the name of &#8220;Li trois Mors et li trois Vis,&#8221; <i>i. e.</i> Les trois
+Morts et les trois Vifs. In the noble library of the Duke de la Valliere,
+there were three apparently coeval manuscripts of it, differing, however,
+from each other, but furnishing the names of two authors, Baudouin de
+Cond&eacute; and Nicolas de Marginal.<a name='fna_48' id='fna_48' href='#f_48'><small>[48]</small></a> These poems relate that three noble
+youths when hunting in a forest were intercepted by the<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span> like number of
+hideous spectres or images of Death, from whom they received a terrific
+lecture on the vanity of human grandeur. A very early, and perhaps the
+earliest, allusion to this vision, seems to occur in a painting by Andrew
+Orgagna in the Campo Santo at Pisa; and although it varies a little from
+the description in the above-mentioned poems, the story is evidently the
+same. The painter has introduced three young men on horseback with
+coronets on their caps, and who are attended by several domestics whilst
+pursuing the amusement of hawking. They arrive at the cell of Saint
+Macarius an Egyptian Anachorite, who with one hand presents to them a
+label with this inscription, as well as it can be made out, &#8220;Se nostra
+mente fia ben morta tenendo risa qui la vista affitta la vana gloria ci
+sara sconfitta la superbia e sara da morte;&#8221; and with the other points to
+three open coffins, in which are a skeleton and two dead bodies, one of
+them a king.</p>
+
+<p>A similar vision, but not immediately connected with the present subject,
+and hitherto unnoticed, occurs at the end of the Latin verses ascribed to
+Macaber, in Goldasti&#8217;s edition of the Speculum omnium statuum &agrave; Roderico
+Zamorensi. Three persons appear to a hermit, whose name is not mentioned,
+in his sleep. The first is described as a man in a regal habit; the second
+as a civilian, and the third as a beautiful female decorated with gold and
+jewels. Whilst these persons are vainly boasting of their respective
+conditions, they are encountered by three horrible spectres in the shape
+of dead human bodies covered with worms, who very severely reprove them
+for their arrogance. This is evidently another version of the &#8220;Trois mors
+et trois vifs&#8221; in the text, but whether it be older or otherwise cannot
+easily be ascertained. It is composed in alternate rhymes, in the manner,
+and probably by the author of Philibert or Fulbert&#8217;s vision of the dispute
+between the soul and the body, a work ascribed to S. Bernard,<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span> and
+sometimes to Walter de Mapes. There are translations of it both in French
+and English.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img001.jpg" alt="" /></div>
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img002.jpg" alt="" /></div>
+<p>&nbsp;</p>
+
+<p>For the mention of S. Macarius as the hermit in this painting by Orgagna,
+we are indebted to Vasari in his life of that artist; and he had, no
+doubt, possessed himself of some traditionary information on the subject
+of it. He further informs us, that the person on horseback who is stopping
+his nostrils, is intended for Andrea Uguzzione della fagivola. Above is a
+black and hideous figure of Death mowing down with his scythe all ranks
+and conditions of men. Vasari adds that Orgagna had crowded his picture
+with a great many inscriptions, most of which were obliterated by time.
+From one of them which he has preserved in his work, as addressed to some
+aged cripples, it should appear that, as in the Macaber Dance, Death
+apostrophizes the several characters.<a name='fna_49' id='fna_49' href='#f_49'><small>[49]</small></a> Baldinucci, in his account of
+Orgagna, mentions this painting and the story of the Three Kings and Saint
+Macarius.<a name='fna_50' id='fna_50' href='#f_50'><small>[50]</small></a> Morona, likewise, in his Pisa illustrata, adopts the name of
+Macarius when describing the same subject. The figures in the picture are
+all portraits, and their names may be seen, but with some variation as to
+description, both in Vasari and Morona.<a name='fna_51' id='fna_51' href='#f_51'><small>[51]</small></a></p>
+
+<p>Now the story of <i>Les trois mors et les trois vifs</i>, was prefixed to the
+painting of the Macaber Dance in the church-yard of the Innocents at
+Paris, and had also been sculptured over the portal of the church, by
+order of the Duke de Berry in 1408.<a name='fna_52' id='fna_52' href='#f_52'><small>[52]</small></a> It is found in numerous manuscript
+copies of Hor&aelig; and other service books prefixed to the burial office. All
+the printed<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> editions of the Macaber Dance contain it, but with some
+variation, the figure of Saint Macarius in his cell not being always
+introduced. It occurs in many of the printed service books, and in some of
+our own for the use of Salisbury. The earliest wood engraving of it is in
+the black book of the &#8220;15 signa Judicii,&#8221; where two of the young men are
+running away to avoid the three deaths, or skeletons, one of whom is
+rising from a grave. It is copied in Bibliotheca Spenceriana, vol. i. p.
+xxx.</p>
+
+<p>From the preceding statement then there is every reason to infer that the
+name of Macaber, so frequently, and without authority, applied to an
+unknown German poet, really belongs to the Saint, and that his name has
+undergone a slight and obvious corruption. The word <i>Macabre</i> is found
+only in French authorities, and the Saint&#8217;s name, which, in the modern
+orthography of that language, is <i>Macaire</i>, would, in many ancient
+manuscripts, be written <i>Macabre</i> instead of <i>Macaure</i>, the letter <i>b</i>
+being substituted for that of <i>u</i> from the caprice, ignorance, or
+carelessness of the transcribers.</p>
+
+<p>As no German copy of the verses describing the painting can, with any
+degree of certainty, be regarded as the original, we must substitute the
+Latin text, which may, perhaps, have an equal claim to originality. The
+author, at the beginning, has an address to the spectators, in which he
+tells them that the painting is called the Dance of Macaber. There is an
+end, therefore, of the name of Macaber, as the author of the verses,
+leaving it only as applicable to the painting, and almost, if not
+altogether confirmatory of the preceding conjecture. The French version,
+from which Lydgate made his translation, nearly agrees with the Latin.
+Lydgate, however, in the above address, has thought fit to use the word
+<i>translator</i> instead of <i>author</i>, but this is of no moment, any more than
+the words <i>Machabr&eacute;e the Doctour</i>, which, not being in the French text,
+are most<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> likely an interpolation. He likewise calls the work <i>the
+daunce</i>; and it may, once for all, be remarked, that scarcely any two
+versions of it will be found to correspond in all respects, every new
+editor assuming fresh liberties, according to the usual practice in former
+times.</p>
+
+<p>The ancient paintings of the Macaber Dance next demand our attention. Of
+these, the oldest on record was that of Minden in Westphalia, with the
+date 1383, and mentioned by Fabricius in his Biblioth. med. et infim&aelig;
+&aelig;tatis, tom. v. p. 2. It is to be wished that this statement had been
+accompanied with some authority; but the whole of the article is extremely
+careless and inaccurate.</p>
+
+<p>The earliest, of which the date has been satisfactorily defined, was that
+in the church-yard of the Innocents at Paris, and which has been already
+mentioned as having been painted in 1434.</p>
+
+<p>In the cloister of the church of the Sainte Chapelle at Dijon the Macaber
+Dance was painted by an artist whose name was Mason&ccedil;elle. It had
+disappeared and was forgotten a long time ago, but its existence was
+discovered in the archives of the department by Mons. Boudot, an ardent
+investigator of the manners and customs of the middle ages. The date
+ascribed to this painting is 1436. The above church was destroyed in the
+revolution, previously to which another Macaber Dance existed in the
+church of Notre Dame in the above city. This was not a painting on the
+walls, but a piece of white embroidery on a black piece of stuff about two
+feet in height and very long. It was placed over the stalls in the choir
+on grand funeral ceremonies, and was also carried off with the other
+church moveables, in the abovementioned revolution.<a name='fna_53' id='fna_53' href='#f_53'><small>[53]</small></a> Similar
+exhibitions, no doubt, prevailed in other places.</p>
+
+<p>The next Macaber Dance, in point of date, was the<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> celebrated one at
+Basle, which has employed the pens and multiplied the errors of many
+writers and travellers. It was placed under cover in a sort of shed in the
+church-yard of the Dominican convent. It has been remarked by one very
+competent to know the fact, that nearly all the convents of the Dominicans
+had a Dance of Death.<a name='fna_54' id='fna_54' href='#f_54'><small>[54]</small></a> As these friars were preachers by profession,
+the subject must have been exceedingly useful in supplying texts and
+matter for their sermons. The present Dance is said to have been painted
+at the instance of the prelates who assisted at the Grand Council of
+Basle, that lasted from 1431 to 1443; and in allusion, as supposed, to a
+plague that happened during its continuance. Plagues have also been
+assigned as the causes of other Dances of Death; but there is no
+foundation whatever for such an opinion, as is demonstrable from what has
+been already stated; and it has been also successfully combated by M.
+Peignot, who is nevertheless a little at variance with himself, when he
+afterwards introduces a conjecture that the painter of the first Dance
+imitated the violent motions and contortions of those affected by the
+plague in the dancing attitudes of the figures of Death.<a name='fna_55' id='fna_55' href='#f_55'><small>[55]</small></a> The name of
+the original painter of this Basle work is unknown, and will probably ever
+remain so, for no dependance can be had on some vague conjectures, that
+without the smallest appearance of accuracy have been hazarded concerning
+it. It is on record that the old painting having become greatly injured by
+the ravages of time, John Hugh Klauber, an eminent painter at Basle, was
+employed to repair it in the year 1568, as appears from a Latin
+inscription placed on it at the time. This painter is said to have covered
+the decayed fresco with oil, and to have succeeded so well that no
+difference between his<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span> work and the original could be perceived. He was
+instructed to add the portrait of the celebrated Oecolampadius in the act
+of preaching, in commemoration of his interference in the Reformation,
+that had not very long before taken place. He likewise introduced at the
+end of the painting, portraits of himself, his wife Barbara Hallerin, and
+their little son Hans Birich Klauber. The following inscription, placed on
+the painting on this occasion, is preserved in Hentzner&#8217;s Itinerary, and
+elsewhere.</p>
+
+<p class="poem"><span style="margin-left: 9em;">A. O. C.</span><br />
+Sebastiano Doppenstenio, Casparo Clugio Coss.<br />
+Bonaventura &agrave; Bruno, Jacobo Rudio Tribb. Pl.<br />
+Hunc mortales chorum fabul&aelig;, temporis injuria vitiatum<br />
+<span style="margin-left: 2em;">Lucas Gebhart, Iodoc. Pfister. Georgius Sporlinus</span><br />
+<span style="margin-left: 7em;">Hujus loci &AElig;diles.</span><br />
+<span style="margin-left: 1em;">Integritati su&aelig; restituendum curavere</span><br />
+<span style="margin-left: 1em;">Ut qui vocalis pictur&aelig; divina monita securius audiunt</span><br />
+<span style="margin-left: 1em;">Mut&aelig; saltem po&euml;seos miserab. spectaculo</span><br />
+<span style="margin-left: 1em;">Ad seriam philosophiam excitentur.</span><br />
+<span style="margin-left: 4em;">&#927;&#929;&#913;&#932;&#917;&#923;&#927;&#931; &#924;&#913;&#922;&#929;&#927;&#933; &#914;&#921;&#927;&#933;</span><br />
+<span style="margin-left: 4em;">&#913;&#929;&#935;&#919;&#925; &#927;&#929;&#913;&#924;&#913;&#922;&#913;&#929;&#921;&#927;&#933;</span><br />
+<span style="margin-left: 7em;">CI<img src="images/back_c.jpg" alt="" /> I<img src="images/back_c.jpg" alt="" /> LXIIX.</span></p>
+
+<p>In the year 1616 a further reparation took place, and some alterations in
+the design are said to have been then made. The above inscription, with an
+addition only of the names of the then existing magistrates of the city,
+was continued. A short time before, Mathew Merian the elder, a celebrated
+topographical draftsman, had fortunately copied the older painting, of
+which he is supposed to have first published engravings in 1621, with all
+the inscriptions under the respective characters that were then remaining,
+but these could not possibly be the same in many respects that existed
+before the Reformation, and which are entirely lost. A proof of this may
+be gathered from the lines of the Pope&#8217;s answer to Death, whom he is thus
+made to apostrophize: &#8220;Shall it be said that I, a God upon earth, a
+successor of St. Peter, a powerful prince, and a learned doctor, shall<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span>
+endure thy insolent summons, or that, in obedience to thy decree, I should
+be compelled to ascertain whether the keys which I now possess will open
+for me the gates of Paradise?&#8221; None of the inscriptions relating to the
+Pope in other ancient paintings before the Reformation approach in the
+least to language of this kind.</p>
+
+<p>Merian speaks of a tradition that in the original painting the portrait of
+Pope Felix V. was introduced, as well as those of the Emperor Sigismund
+and Duke Albert II. all of whom were present at the council; but admitting
+this to have been the fact, their respective features would scarcely
+remain after the subsequent alterations and repairs that took place.</p>
+
+<p>That intelligent traveller, Mons. Blainville, saw this painting in
+January, 1707. He states that as it had been much injured by the weather,
+and many of the figures effaced, the government caused it to be retouched
+by a painter, whom they imagined to be capable of repairing the ravages it
+had sustained, but that his execution was so miserable that they had much
+better have let it alone than to have had it so wretchedly bungled. He
+wholly rejects any retouching by Holbein. He particularizes two of the
+most remarkable subjects, namely, the fat jolly cook, whom Death seizes by
+the hand, carrying on his shoulder a spit with a capon ready larded, which
+he looks upon with a wishful eye, as if he regretted being obliged to set
+out before it was quite roasted. The other figure is that of the blind
+beggar led by his dog, whom Death snaps up with one hand, and with the
+other cuts the string by which the dog was tied to his master&#8217;s arm.<a name='fna_56' id='fna_56' href='#f_56'><small>[56]</small></a></p>
+
+<p>The very absurd ascription of the Basle painting to the pencil of Hans
+Holbein, who was born near a century afterwards, has been adopted by
+several tourists, who have copied the errors of their predecessors,
+without<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> taking the pains to make the necessary enquiries, or possessing
+the means of obtaining correct information. The name of Holbein,
+therefore, as combined with this painting, must be wholly laid aside, for
+there is no evidence that he was even employed to retouch it, as some have
+inadvertently stated; it was altogether a work unworthy of his talents,
+nor does it, even in its latest state, exhibit the smallest indication of
+his style of painting. This matter will be resumed hereafter, but in the
+mean time it may be necessary to correct the mistake of that truly learned
+and meritorious writer, John George Keysler, who, in his instructive and
+entertaining travels, has inadvertently stated that the Basle painting was
+executed by Hans Bock or Bok, a celebrated artist of that city;<a name='fna_57' id='fna_57' href='#f_57'><small>[57]</small></a> but it
+is well known that this person was not born till the year 1584.</p>
+
+<p>The Basle painting is no longer in existence; for on the 2d of August,
+1806, and for reasons that have not been precisely ascertained, an
+infuriated mob, in which were several women, who carried lanterns to light
+the expedition, tumultuously burst the inclosure which contained the
+painting, tore it piecemeal from the walls, and in a very short space of
+time completely succeeded in its total demolition, a few fragments only
+being still preserved in the collection of Counsellor Vischer at his
+castle of Wildensheim, near Basle. This account of its destruction is
+recorded in Millin&#8217;s Magazin Encyclop&eacute;dique among the nouvelles
+litt&eacute;raires for that year; but the Etrenne Helv&eacute;tique for the above year
+has given a different account of the matter; it states that the painting
+having been once more renovated in the year 1703, fell afterwards into
+great decay, being entirely peeled from the wall&mdash;that this circumstance
+had, in some degree, arisen from the occupation of the cloister by a
+ropemaker&mdash;that the wall having been found to<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> stand much in the way of
+some new buildings erected near the spot, the magistrates ventured, but
+not without much hesitation, to remove the cloister with its painting
+altogether in the year 1805&mdash;and that this occasioned some disturbance in
+the city among the common people, but more particularly with those who had
+resided in its neighbourhood, and conceived a renewed attachment to the
+painting.</p>
+
+<p>Of this Dance of Death very few specific copies have been made. M.
+Heinecken<a name='fna_58' id='fna_58' href='#f_58'><small>[58]</small></a> has stated that it was engraved in 1544, by Jobst Denneker
+of Augsburg; but he has confounded it with a work by this artist on the
+other Dance of Death ascribed to Holbein, and which will be duly noticed
+hereafter. The work which contained the earliest engravings of the Basle
+painting, can on this occasion be noticed only from a modern reprint of it
+under the following title: &#8220;Der Todten-Tantz wie derselbe in der
+weitberuhmten Stadt Basel als ein Spiegel menslicher beschaffenheit gantz
+kuntlich mit lebendigen farben gemahlet, nicht ohne nutzliche vernunderung
+zu schen ist. Basel, bey Joh. Conrad und Joh. Jacob von Mechel, 1769,
+12mo.&#8221; that is, &#8220;The Dance of Death, painted most skilfully, and in lively
+colours, in the very famous town of Basel, as a mirror of human life, and
+not to be looked on without useful admiration.&#8221;</p>
+
+<p>The first page has some pious verses on the painting in the church-yard of
+the Predicants, of which the present work contains only ten subjects,
+namely, the cardinal, the abbess, the young woman, the piper, the jew, the
+heathen man, the heathen woman, the cook, the painter, and the painter&#8217;s
+wife. On the abbess there is the mark D. R. probably that of the engraver,
+two cuts by whom are mentioned in Bartsch&#8217;s work.<a name='fna_59' id='fna_59' href='#f_59'><small>[59]</small></a> On the cut<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span> of the
+young woman there is the mark G S with the graving knife. They are
+coarsely executed, and with occasional variations of the figures in
+Merian&#8217;s plates. The rest of the cuts, thirty-two in number, chiefly
+belong to the set usually called Holbein&#8217;s. All the cuts in this
+miscellaneous volume have German verses at the top and bottom of each page
+with the subjects. If Jansen, who usually pillages some one else, can be
+trusted or understood, there was a prior edition of this book in 1606,
+with cuts having the last-mentioned mark, but which edition he calls the
+Dance of Death at Berne;<a name='fna_60' id='fna_60' href='#f_60'><small>[60]</small></a> a title, considering the mixture of subjects,
+as faulty as that of the present book, of which, or of some part of it,
+there must have been a still earlier edition than the above-mentioned one
+of 1606, as on the last cut but one of this volume there is the date 1576,
+and the letters G S with the knife. It is most probable that this artist
+completed the series of the Basle Dance, and that some of the blocks
+having fallen into the hands of the above printers, they made up and
+published the present mixed copy. Jost Amman is said to have engraved 49
+plates of the Dance of Death in 1587. These are probably from the Basle
+painting.<a name='fna_61' id='fna_61' href='#f_61'><small>[61]</small></a></p>
+
+<p>The completest copies of this painting that are now perhaps extant, are to
+be found in a well-known set of engravings in copper, by Matthew Merian,
+the elder, the master of Hollar. There are great doubts as to their first
+appearance in 1621, as mentioned by Fuessli and Heinecken, but editions
+are known to exist with the respective dates of 1649, 1696, 1698, 1725,
+1744, 1756, and 1789. Some of these are in German, and the rest are
+accompanied with a French translation by P. Viene. They are all
+particularly described by Peignot.<a name='fna_62' id='fna_62' href='#f_62'><small>[62]</small></a> Merian states in his preface that
+he had copied<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span> the paintings several years before, and given his plates to
+other persons to be published, adding that he had since redeemed and
+retouched them. He says this Dance was repaired in 1568 by Hans Hugo
+Klauber, a citizen of Basle, a fact also recorded on the cut of the
+painter himself, his wife, Barbara Hallerin, and his son, Hans Birich, by
+the before-mentioned artist, G. S., and that it contained the portraits of
+Pope Felix V., the Emperor Sigismund, and Albert, King of the Romans, all
+of whom assisted at the Council of Basle in the middle of the 15th
+century, when the painting was probably executed.</p>
+
+<p>A greatly altered and modernised edition of Merian&#8217;s work was published in
+1788, 8vo. with the following title, &#8220;La Danse des Morts pour servir de
+miroir &agrave; la nature humaine, avec le costume dessin&eacute; &agrave; la moderne, et des
+vers &agrave; chaques figures. Au Locle, chez S. Girardet libraire.&#8221; This is on
+an engraved frontispiece, copied from that in Merian. The letter-press is
+extracted from the French translation of Merian, and the plates, which are
+neatly etched, agree as to general design with his; but the dresses of
+many of the characters are rather ludicrously modernised. Some moral
+pieces are added to this edition, and particularly an old and popular
+treatise, composed in 1593, intitled &#8220;L&#8217;Art de bien vivre et de bien
+mourir.&#8221;</p>
+
+<p>A Dance of Death is recorded with the following title &#8220;Todtentantz durch
+alle Stande der Menschen,&#8221; Leipsig, durch David de Necker, formschneider.
+1572, 4to.<a name='fna_63' id='fna_63' href='#f_63'><small>[63]</small></a> Whether this be a copy of the Basle or the Berne painting,
+must be decided on inspection, or it may possibly be a later edition of
+the copy of the wood-cuts of Lyons, that will be mentioned hereafter.</p>
+
+<p>In the little Basle, on the opposite side of the Rhine, there was a
+nunnery called Klingenthal, erected towards<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span> the end of the 13th century.
+In an old cloister, belonging to it there are the remains of a Dance of
+Death painted on its walls, and said to have been much ruder in execution
+than that in the Dominican cemetery at Basle. On this painting there was
+the date 1312. In the year 1766 one Emanuel Ruchel, a baker by trade, but
+an enthusiastic admirer of the fine arts, made a copy in water colours of
+all that remained of this ancient painting, and which is preserved in the
+public library at Basle.<a name='fna_64' id='fna_64' href='#f_64'><small>[64]</small></a></p>
+
+<p>The numerous mistakes that have been made by those writers who have
+mentioned the Basle painting have been already adverted to by M. Peignot,
+and are not, in this place, worthy of repetition.<a name='fna_65' id='fna_65' href='#f_65'><small>[65]</small></a> That which requires
+most particular notice, and has been so frequently repeated, is the making
+Hans Holbein the painter of it, who was not born till a considerable time
+after its execution, and even for whose supposed retouching of a work,
+almost beneath his notice in point of art, there is not the slightest
+authority.</p>
+
+<p>In the small organ chapel, or, according to some, in the porch, of the
+church of St. Mary at Lubeck in Lower Alsace, there is, or was, a very
+ancient Dance of Death, said to have been painted in 1463. Dr. Nugent, who
+has given some account of it, says, that it is much talked of in all parts
+of Germany; that the figures were repaired at different times, as in 1588,
+1642, and last of all in 1701. The verses that originally accompanied it
+were in low Dutch, but at the last repair it was thought proper to change
+them for German verses which were written by Nathaniel Schlott of
+Dantzick. The Doctor has given an English translation of them, made for
+him by a young lady of Lubeck.<a name='fna_66' id='fna_66' href='#f_66'><small>[66]</small></a> This painting has been<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span> engraved, and
+will be again mentioned. Leipsic had also a Dance of Death, but no
+particulars of it seem to have been recorded.</p>
+
+<p>In 1525 a similar dance was painted at Anneberg in Saxony, which Fabricius
+seems alone to have noticed. He also mentions another in 1534, at the
+palace of Duke George at Dresden.<a name='fna_67' id='fna_67' href='#f_67'><small>[67]</small></a> This is described in a German work
+written on the subject generally, by Paul Christian Hilscher, and
+published at Dresden, 1705, 8vo. and again at Bautzen, 1721, 8vo. It
+consisted of a long frieze sculptured in stone on the front of the
+building, containing twenty-seven figures. A view of this very curious
+structure, with the Dance itself, and also on a separate print, on a
+larger scale, varying considerably from the usual mode of representing the
+Macaber Dance, is given in Anthony Wecken&#8217;s Chronicle of Dresden, printed
+in German at Dresden 1680, folio. It is said to have been removed in 1721
+to the church-yard of Old Dresden.</p>
+
+<p>Nicolai Karamsin has given a very brief, but ludicrous, account of a Dance
+of Death in the cross aisle of the Orphan House at Erfurth;<a name='fna_68' id='fna_68' href='#f_68'><small>[68]</small></a> but
+Peignot places it in the convent of the Augustins, and seems to say that
+it was painted on the panels between the windows of the cell inhabited by
+Luther.<a name='fna_69' id='fna_69' href='#f_69'><small>[69]</small></a> In all probability the same place is intended by both these
+writers.</p>
+
+<p>There is some reason to suppose that there was a<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span> Dance of Death at
+Nuremberg. Misson, describing a wedding in that city, states that the
+bridegroom and his company sat down on one side of the church and the
+bride on the other. Over each of their heads was a figure of Death upon
+the wall. This would seem very like a Dance of Death, if the circumstance
+of the figure being on both sides of the church did not excite a doubt on
+the subject.</p>
+
+<p>Whether there ever was a Macaber Dance at Berne of equal antiquity with
+that of Basle has not been ascertained: but Sandrart, in his article for
+Nicolas Manuel Deutch, a celebrated painter at Berne, in the beginning of
+the 16th century, has recorded a Dance of Death painted by him in oil, and
+regrets that a work materially contributing to the celebrity of that city
+had been so extremely neglected that he had only been able to lay before
+the readers the following German rhymes which had been inscribed on it:</p>
+
+<p class="poem">Manuel aller welt figur,<br />
+Hastu gemahlt uf diese mur<br />
+Nu must sterben da, hilft kun fund:<br />
+Bist nit sicher minut noch stund.</p>
+
+<p>Which he thus translates:</p>
+
+<p class="poem">Cunctorum in muris pictis ex arte figuris.<br />
+Tu quoque decedes; etsi hoc vix tempore credes.</p>
+
+<p>Then Manuel&#8217;s answer:</p>
+
+<p class="poem">Kilf eineger Heiland! dru ich dich bitt:<br />
+Dann hic ist gar kein Bleibens nit<br />
+<span style="margin-left: 1em;">So mir der Tod mein red wird stellen</span><br />
+<span style="margin-left: 1em;">So bhut euch Gott, mein liebe Gsellen.</span></p>
+
+<p>That is, in Latin:</p>
+
+<p class="poem">En tibi me credo, Deus, hoc dum sorte recedo<br />
+Mors rapiat me, te, reliquos sociosque, valete!</p>
+
+<p>To which account M. Fuseli adds, that this painting, equally remarkable
+for invention and character, was retouched in 1553; and in 1560, to render
+the street in<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> which it was placed more spacious, entirely demolished.
+There were, however, two copies of it preserved at Berne, both in water
+colours, one by Albrech Kauw, the other a copy from that by Wilhelm
+Stettler, a painter of Berne, and pupil of Conrad Meyer of Zurich. The
+painting is here said to have been in <i>fresco</i> on the wall of the
+Dominican cemetery.<a name='fna_70' id='fna_70' href='#f_70'><small>[70]</small></a></p>
+
+<p>The verses that accompanied this painting have been mentioned as
+containing sarcastical freedoms against the clergy; and as Manuel had
+himself undergone some persecutions on the score of religion at the time
+of the Reformation, this is by no means improbable. There is even a
+tradition that he introduced portraits of some of his friends, who
+assisted in bringing about that event.</p>
+
+<p>In 1832, lithographic copies of the Berne painting, after the drawings of
+Stettler, were published at Berne, with a portrait of Manuel; and a set of
+very beautiful drawings in colours, made by some artist at Berne, either
+after those by Stettler or Kauw, in the public library, are in the
+possession of the writer of this essay. They, as well as the lithographic
+prints, exhibit Manuel&#8217;s likeness in the subject of the painter.</p>
+
+<p>One of the bridges at Lucerne was covered with a Macaber Dance, executed
+by a painter named Meglinger, but at what time we are not informed. It is
+said to have been very well painted, but injured greatly by injudicious
+retouchings; yet there seems to be a difference of opinion as to the merit
+of the paintings, which are or were thirty-six in number, and supposed to
+have been copied from the Basle dance. Lucerne has also another of the
+same kind in the burial ground of the parish church of Im-hof. One of the
+subjects placed over the tomb of some canon, the founder of a musical
+society, is Death playing on the violin, and<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span> summoning the canon to
+follow him, who, not in the least terrified, marks the place in the book
+he was reading, and appears quite disposed to obey. This Dance is probably
+more modern than the other.<a name='fna_71' id='fna_71' href='#f_71'><small>[71]</small></a> The subject of Death performing on the
+above instrument to some person or other is by no means uncommon among the
+old painters.</p>
+
+<p>M. Maurice Rivoire, in his very excellent description of the cathedral of
+Amiens, mentions the cloister of the Machabees, originally called, says
+he, the cloister of Macabr&eacute;, and, as he supposes, from the name of the
+author of the verses. He gives some lines that were on one of the walls,
+in which the Almighty commands Death to bring all mortals before him.<a name='fna_72' id='fna_72' href='#f_72'><small>[72]</small></a>
+This cloister was destroyed about the year 1817, but not before the
+present writer had seen some vestiges of the painting that remained on one
+of the sides of the building.</p>
+
+<p>M. Peignot has a very probable conjecture that the church-yard of Saint
+Maclou, at Rouen, had a Macaber Dance, from a border or frieze that
+contains several emblematical subjects of mortality. The place had more
+than once been destroyed.<a name='fna_73' id='fna_73' href='#f_73'><small>[73]</small></a> On the pillars of the church at Fescamp, in
+Normandy, the Dance of Death was sculptured in stone, and it is in
+evidence that the castle of Blois had formerly this subject represented in
+some part of it.</p>
+
+<p>In the course of some recent alterations in the new church of the
+Protestants at Strasburg, formerly a Dominican convent, the workmen
+accidentally uncovered a Dance of Death that had been whitewashed, either
+for the purpose of obliteration or concealment. This painting seems to
+differ from the usual Macaber Dance, not always confined like that to two
+figures<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span> only, but having occasionally several grouped together. M.
+Peignot has given some more curious particulars relating to it, extracted
+from a literary journal by M. Schweigh&aelig;user, of Strasburg.<a name='fna_74' id='fna_74' href='#f_74'><small>[74]</small></a> It is to be
+hoped that engravings of it will be given.</p>
+
+<p>Chorier has mentioned the mills of Macabrey, and also a piece of land with
+the same appellation, which he says was given to the chapter of St.
+Maurice at Vienne in Dauphin&eacute;, by one Marc Apvril, a citizen of that
+place. He adds, that he is well aware of the Dance of Macabre. Is it not,
+therefore, probable, that the latter might have existed at Vienne, and
+have led to the corruption of the above citizen&#8217;s name by the common
+people.<a name='fna_75' id='fna_75' href='#f_75'><small>[75]</small></a></p>
+
+<p>Misson has noticed a Dance of Death in St. Mary&#8217;s church at Berlin, and
+obscurely referred to another in some church at Nuremberg.</p>
+
+<p>Bruckmann, in his Epistol&aelig; Itinerari&aelig;, vol. v. Epist. xxxii. describes
+several churches and other religious buildings at Vienna, and among them
+the monastery of the Augustinians, where, he says, there is a painting of
+a house with Death entering one of the windows by a ladder.</p>
+
+<p>In the same letter he describes a chapel of Death in the above monastery,
+which had been decorated with moral paintings by Father Abraham &agrave; St.
+Clara, one of the monks. Among these were, 1. Death demolishing a student.
+2. Death attacking a hunter who had just killed a stag. 3. Death in an
+apothecary&#8217;s shop, breaking the phials and medicine boxes. 4. Death
+playing at draughts with a nobleman. 5. Harlequin making grimaces at
+Death. A description of this chapel, and its painting was published after
+the good father&#8217;s decease. Nuremberg, 1710, 8vo.</p>
+
+<p><span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span>The only specimen of it in Holland that has occurred on the present
+occasion is in the celebrated <i>Orange-Salle</i>, which constitutes the grand
+apartment of the country seat belonging to the Prince of Orange in the
+wood adjacent to the Hague. In three of its compartments, Death is
+represented by skeletons darting their arrows against a host of
+opponents.<a name='fna_76' id='fna_76' href='#f_76'><small>[76]</small></a></p>
+
+<p>Nor has Italy furnished any materials for the present essay. Blainville
+has, indeed, described a singular and whimsical representation of Death in
+the church of St. Peter the Martyr, at Naples, in the following words. &#8220;At
+the entrance on the left is a marble with a representation of Death in a
+grotesque form. He has two crowns on his head, with a hawk on his fist, as
+ready for hunting. Under his feet are extended a great number of persons
+of both sexes and of every age. He addresses them in these lines:</p>
+
+<p class="poem">Eo s&ograve; la morte che caccio<br />
+Sopera voi jente mondana,<br />
+La malata e la sana,<br />
+Di, e notte la percaccio;<br />
+Non fugge, vessuna intana<br />
+Per scampare dal mio laczio<br />
+Che tutto il mondo abbraczio,<br />
+E tutta la jente humana<br />
+Perch&egrave; nessuno se conforta,<br />
+Ma prenda spavento<br />
+Ch&#8217;eo per comandamento<br />
+Di prender &agrave; chi viene la sorte.<br />
+Sia vi per gastigamento<br />
+Questa figura di morte,<br />
+E pensa vie di fare forte<br />
+Tu via di salvamento.</p>
+
+<p>Opposite to the figure of Death is that of a man dressed like a tradesman
+or merchant, who throws a bag of money on a table, and speaks thus:</p>
+
+<p class="poem">Tutti ti volio dare<br />
+Se mi lasci scampare.</p>
+
+<p><span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span>To which Death answers:</p>
+
+<p class="poem">Se mi potesti dare<br />
+Quanto si pote dimandare<br />
+Non te pote scampare la morte<br />
+Se te viene la sorte.<a name='fna_77' id='fna_77' href='#f_77'><small>[77]</small></a></p>
+
+<p>It can hardly be supposed that this subject was not known in Spain, though
+nothing relating to it seems to have been recorded, if we except the poem
+that has been mentioned in p. <a href="#Page_25">25</a>, but no Spanish painting has been
+specified that can be called a regular Macaber Dance. There are grounds,
+however, for believing that there was such a painting in the cathedral of
+Burgos, as a gentleman known to the author saw there the remains of a
+skeleton figure on a whitewashed wall.</p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span></p>
+<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV.</h2>
+
+<div class="note"><p class="hang"><i>Macaber Dance in England.&mdash;St. Paul&#8217;s.&mdash;Salisbury.&mdash;Wortley
+Hall.&mdash;Hexham.&mdash;Croydon.&mdash;Tower of London.&mdash;Lines in Pierce Plowman&#8217;s
+Vision supposed to refer to it.</i></p></div>
+
+
+<p>&nbsp;</p>
+<p><span class="dropfig"><img src="images/cap_w.jpg" alt="W" /></span>e are next to examine this subject in relation to its existence in our
+own country. On the authority of the work ascribed to Walter de Mapes,
+already noticed in p. <a href="#Page_24">24</a>, it is not unreasonable to infer that paintings
+of the Macaber Dance were coeval with that writer, though no specimens of
+it that now remain will warrant the conclusion. We know that it existed at
+Old Saint Paul&#8217;s. Stowe informs us that there was a great cloister on the
+north side of the church, environing a plot of ground, of old time called
+Pardon church-yard. He then states, that &#8220;about this <i>cloyster</i> was
+artificially and richly painted the Dance of Machabray, or Dance of Death,
+commonly called the Dance of Paul&#8217;s: the like whereof was painted about
+St. Innocent&#8217;s cloyster at Paris: the meters or poesie of this dance were
+translated out of French into English, by John Lidgate, Monke of Bury, the
+picture of Death leading all estates; at the dispence of Jenken Carpenter
+in the reigne of Henry the Sixt.&#8221;<a name='fna_78' id='fna_78' href='#f_78'><small>[78]</small></a> Lydgate&#8217;s verses were first printed
+at the end of Tottell&#8217;s edition of the translation of his Fall of Princes,
+from Boccaccio, 1554, folio, and afterwards, in Sir W. Dugdale&#8217;s History
+of St. Paul&#8217;s cathedral.<a name='fna_79' id='fna_79' href='#f_79'><small>[79]</small></a> In<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span> another place Stowe records that &#8220;on the
+10th April, 1549, the cloister of St. Paul&#8217;s church, called Pardon
+church-yard, with the Dance of Death, commonly called the Dance of Paul&#8217;s,
+about the same cloister, costly and cunningly wrought, and the chappel in
+the midst of the same church-yard, were all begun to be pulled down.&#8221;<a name='fna_80' id='fna_80' href='#f_80'><small>[80]</small></a>
+This spoliation was made by the Protector Somerset, in order to obtain
+materials for building his palace in the Strand.<a name='fna_81' id='fna_81' href='#f_81'><small>[81]</small></a></p>
+
+<p>The single figure that remained in the Hungerford chapel at Salisbury
+cathedral, previously to its demolition, was formerly known by the title
+of &#8220;Death and the Young Man,&#8221; and was, undoubtedly, a portion of the
+Macaber Dance, as there was close to it another compartment belonging to
+the same subject. In 1748, a print of these figures was published,
+accompanied with the following inscription, which differs from that in
+Lydgate. The young man says:</p>
+
+<p class="poem">Alasse Dethe alasse a blesful thyng thou were<br />
+Yf thou woldyst spare us yn ouwre lustynesse.<br />
+And cum to wretches that bethe of hevy chere<br />
+Whene thay ye clepe to slake their dystresse<br />
+But owte alasse thyne own sely selfwyldnesse<br />
+Crewelly werneth me that seygh wayle and wepe<br />
+To close there then that after ye doth clepe.</p>
+
+<p><span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span>Death answers:</p>
+
+<p class="poem">Grosless galante in all thy luste and pryde<br />
+Remembyr that thou schalle onys dye<br />
+Deth schall fro thy body thy sowle devyde<br />
+Thou mayst him not escape certaynly<br />
+To the dede bodyes cast down thyne ye<br />
+Beholde thayme well consydere and see<br />
+For such as thay ar such shalt thou be.</p>
+
+<p>This painting was made about the year 1460, and from the remaining
+specimen its destruction is extremely to be regretted, as, judging from
+that of the young gallant, the dresses of the time would be correctly
+exhibited.</p>
+
+<p>In the chapel at Wortley Hall, in Gloucestershire, there was inscribed,
+and most likely painted, &#8220;an history and Daunce of Deathe of all estatts
+and degrees.&#8221; This inscribed history was the same as Lydgate&#8217;s, with some
+additional characters.<a name='fna_82' id='fna_82' href='#f_82'><small>[82]</small></a> From a manuscript note by John Stowe, in his
+copy of Leland&#8217;s Itinerary, it appears that there was a Dance of Death in
+the church of Stratford upon Avon: and the conjecture that Shakespeare, in
+a passage in Measure for Measure, might have remembered it, will not,
+perhaps, be deemed very extravagant. He there alludes to Death and the
+fool, a subject always introduced into the paintings in question.<a name='fna_83' id='fna_83' href='#f_83'><small>[83]</small></a></p>
+
+<p>On the upper part of the great screen which closes the entrance to the
+choir of the church at Hexham, in Northumberland, are the painted remains
+of a Dance of Death.<a name='fna_84' id='fna_84' href='#f_84'><small>[84]</small></a> These consist of the figures of a pope, a
+cardinal, and a king, which were copied by the ingenious John Carter, of
+well-deserved antiquarian memory.</p>
+
+<p><span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span>Vestiges of a Macaber Dance were not long since to be traced on the walls
+of the hall of the Archiepiscopal palace at Croydon, but so much obscured
+by time and neglect that no particular compartment could be ascertained.</p>
+
+<p>The tapestries that decorated the walls of palaces, and other dwelling
+places, were sometimes applied in extension of this moral subject. In the
+tower of London, the original and most ancient seat of our monarchs, there
+was some tapestry with the Macaber Dance.<a name='fna_85' id='fna_85' href='#f_85'><small>[85]</small></a></p>
+
+<p>The following lines in that admirable satire, the Vision of Pierce
+Plowman, written about the year 1350, have evidently an allusion to the
+Dance, unless they might be thought to apply rather to the celebrated
+triumph of Death by Petrarch, of which some very early paintings, and many
+engravings, still exist; or they may even refer to some of the ancient
+representations of the infernal regions that follow Death on the Pale
+horse of the Revelations, and in which is seen a grotesque intermixture of
+all classes of people.<a name='fna_86' id='fna_86' href='#f_86'><small>[86]</small></a></p>
+
+<p class="poem">Death came driving after, and all to dust pashed<br />
+Kynges and Kaysers, Knightes and Popes,<br />
+Learned and lewde: he ne let no man stande<br />
+That he hitte even, he never stode after.<br />
+Many a lovely ladie and lemmans of knightes<br />
+Swouned and swelted for sorrowe of Deathes dyntes.</p>
+
+<p>It is probable that many cathedrals and other edifices, civil as well as
+ecclesiastical, in France, Germany, England, and probably other European
+countries, were ornamented with paintings and sculpture of this extremely
+popular subject.</p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span></p>
+<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V.</h2>
+
+<div class="note"><p class="hang"><i>List of editions of the Macaber Dance.&mdash;Printed Hor&aelig; that contain
+it.&mdash;Manuscript Hor&aelig;.&mdash;Other Manuscripts in which it occurs.&mdash;Various
+articles with letter-press, not being single prints, but connected
+with it.</i></p></div>
+
+
+<p>&nbsp;</p>
+<p><span class="dropfig"><img src="images/cap_i.jpg" alt="I" /></span>t remains only, so far as regards the Macaber Dance, to present the
+reader with a list of the several printed editions of that celebrated
+work, and which, with many corrections and additions, has been chiefly
+extracted from M. Peignot&#8217;s &#8220;Recherches historiques et litteraires sur les
+Danses des Morts,&#8221; Paris et Dijon, 1826, 8vo.</p>
+
+<p>The article that should stand at the head of this list, if any reliance
+could be had on a supposed date, is the German edition, intitled, &#8220;Der
+Dotendantz mit figuren. Clage und Antwort Schon von allen staten der
+welt,&#8221; small folio. This is mentioned in Braun Notitia de libris in
+Bibliotheca Monasterii ad SS. Udalricum et Afram August&aelig;, vol. ii. 62. The
+learned librarian expresses his doubts as to the date, which he supposes
+may be between 1480 and 1500. He rejects a marginal note by the
+illuminator of the letters, indicating the date of 1459. Every page of
+this volume is divided into two columns, and accompanied with German
+verses, which may be either the original text, or a translation from the
+French verses in some early edition of the Macaber Dance in that language.
+It consists of twenty-two leaves, with wood-cuts of the Pope, Cardinal,
+Bishop, Abbot, &amp;c. &amp;c. accompanied by figures of Death.</p>
+
+<p>1. &#8220;La Danse Macabre imprim&eacute;e par ung nomm&eacute;<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span> Guy Marchand, &amp;c. Paris,
+1485,&#8221; small folio. Mons. Champollion Figeac has given a very minute
+description of this extremely rare, and perhaps unique, volume, the only
+known copy of which is in the public library of Grenoble. This account is
+to be found in Millin&#8217;s Magazin Encyclopedique, 1811, vol. vi. p. 355, and
+thence by M. Peignot, in his Recherches, &amp;c.</p>
+
+<p>2. &#8220;Ce present livre est appelle Miroer salutaire pour toutes gens, et de
+tous estatz, et est de grant utilit&eacute; et recreation pour pleuseurs
+ensegnemens tant en Latin comme en Francoys lesquels il contient ainsi
+compose pour ceulx qui desirent acquerir leur salut: et qui le voudront
+avoir. La Danse Macabre nouvelle.&#8221; At the end, &#8220;Cy finit la Danse Macabre
+hystoriee augmentee de pleuseurs nouveaux p&acirc;rsonnages (six) et beaux dis.
+et les trois mors et trois vif ensemble. Nouvellement ainsi composee et
+imprimee par Guyot Marchant demorant a Paris au grant hostel du college de
+Navarre en champ Gaillart lan de grace, 1486, le septieme jour de juing.&#8221;
+A small folio of fifteen leaves, or thirty pages, twenty-four of which
+belong to the Danse Macabre, and six to the Trois morts et les trois vifs.</p>
+
+<p>On the authority of the above expression, &#8220;compos&eacute;e,&#8221; and also on that of
+La Croix du Maine, Marchant has been made the author as well as the
+printer of the work; but M. De la Monnoye is not of that opinion, nor
+indeed is there any other metrical composition by this printer known to
+exist.</p>
+
+<p>3. &#8220;La Danse Macabre des femmes, &amp;c. Paris, par Guyot Marchant, 1486, le
+septieme jour de Juillet,&#8221; small folio, of fifteen leaves only. This is
+the first edition of the Macaber Dance of females; and though thirty-two
+of them are described, the Queen and Duchess only are engraved. See No. 6
+for the rest. This and the preceding edition are also particularly
+described by Messrs. Champollion Figeac and Peignot.</p>
+
+<p>4. &#8220;Chorea ab eximio Macabro versibus Alemanicis<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span> edita, et a Petro Desrey
+emendata. Parisiis per magistrum Guidonem Mercatorem pro Godeffrido de
+Marnef. 1490,&#8221; folio. Papillon thought the cuts were in the manner of the
+French artist Jollat, but without foundation, for they are much superior
+to any work by that artist, and of considerable merit.</p>
+
+<p>5. &#8220;La nouvelle Danse Macabre des hommes dicte miroer salutaire de toutes
+gens et de touts etats, &amp;c. Paris, Guyot Marchant. 1490.&#8221; folio.</p>
+
+<p>6. &#8220;La Danse Macabre des femmes, toute hystori&eacute;e et augment&eacute;e de nouveaulx
+personnages, &amp;c. Paris, Guyot Marchant, le 2 Mai, 1491,&#8221; folio. This
+edition, the second of the Dance of females, has all the cuts with other
+additions. The list of the figures is in Peignot, but with some doubts on
+the accuracy of his description.</p>
+
+<p>7. An edition in the Low German dialect was printed at Lubeck, 1496,
+according to Vonder Hagen in his Deutschen Poesie, p. 459, who likewise
+mentions a Low German edition in prose, at the beginning of the 15th (he
+must mean 16th) century. He adds, that he has copied one page with cuts
+from <i>Kindeling&#8217;s Remains</i>, but he does not say in what work.</p>
+
+<p>8. &#8220;La grant Danse Macabre des hommes et des femmes hystorice et augment&eacute;e
+de beaulx dits en Latin, &amp;c. &amp;c. Le tout compos&eacute; en ryme Francoise et
+accompagn&eacute; de figures. Lyon, le xviii jour de Fevrier, l&#8217;an 1499,&#8221; folio.
+This is supposed to be the first edition that contains both the men and
+the women.</p>
+
+<p>9. There is a very singular work, intitled &#8220;Icy est le compost et
+kalendrier des <i>Bergeres</i>, &amp;c. Imprim&egrave; &agrave; Paris en lostel de beauregart en
+la rue Cloppin &agrave; lenseigne du roy Prestre Jhan. ou quel lieu sont &agrave;
+vendre, ou au lyon dargent en la rue Sainct Jaques.&#8221; At the end, &#8220;Imprim&egrave;
+&agrave; Paris par Guy Marchant maistre es ars ou lieu susdit. Le xvii iour
+daoust mil cccciiiixx&middot;xix.&#8221; This extremely rare volume is in the British
+Museum,<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span> and is mentioned by Dr. Dibdin, in vol. ii. p. 530 of his edition
+of Ames&#8217;s typographical antiquities, and probably nowhere else. It is
+embellished with the same fine cuts that relate to the females in the
+edition of the Macaber Dance, Nos. 4 and 11. The work begins with the
+words &#8220;Deux jeunes Bergeres seulettes,&#8221; and appears to have been composed
+for females only, differing very materially from the well-known
+&#8220;Kalendrier des Bergers,&#8221; though including matter common to both.</p>
+
+<p>10. &#8220;Chorea ab eximio Macabro versibus Alemanicis edita et &agrave; Petro Desrey
+Trecacio quodam oratore nuper emendata. Parisiis per Magistrum Guidonem
+Mercatorem pro Godeffrido Marnef. 15 Octob. 1499,&#8221; folio, with cuts.</p>
+
+<p>11. &#8220;La Danse Macabre, &amp;c. Ant. Verard, no date, but about 1500,&#8221; small
+folio. A vellum copy of this rare edition is described by M. Van Praet in
+his catalogue of vellum books in the royal library at Paris. A copy is in
+the Archb. Cant. library at Lambeth.</p>
+
+<p>12. &#8220;La Danse Macabre, &amp;c. Ant. Verard, no date, but about 1500,&#8221; folio.
+Some variations from No. 9 are pointed out by M. Van Praet. This
+magnificent volume on vellum, and bound in velvet, came from the library
+at Blois. It is a very large and thin folio, consisting of three or four
+leaves only, printed on pasteboard, with four pages or compartments on
+each leaf. The cuts are illuminated in the usual manner of Verard&#8217;s books.
+In the beginning it is marked &#8220;Marolles, No. 1601.&#8221; It is probably
+imperfect, the fool not being among the figures, and all the females are
+wanting, though, perhaps, not originally in this edition. It is in the
+royal library at Paris, where there is another copy of the work printed by
+Verard, with coloured prints, but differing materially from the other in
+the press-work. It is a common-sized folio, and was purchased at the sale
+of the Count Macarthy&#8217;s books.<a name='fna_87' id='fna_87' href='#f_87'><small>[87]</small></a></p>
+
+<p><span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span>13. &#8220;La grant Danse Macabre des hommes et des femmes, &amp;c. Imprim&egrave;e &agrave;
+Troyes par Nicolas Le Rouge demourant en la grant rue &agrave; l&#8217;enseigne de
+Venise aupr&egrave;s la belle croix.&#8221; No date, folio. With very clever wood-cuts,
+probably the same as in the edition of 1490; and if so, they differ much
+from the manner of Jollat, and have not his well-known mark.</p>
+
+<p>14. &#8220;La grant Danse Macabre des hommes et des femmes, &amp;c. Rouen, Guillaume
+de la Mare.&#8221; No date, 4to. with cuts, and in the Roman letter.</p>
+
+<p>15. &#8220;La grande Danse Macabre des hommes et des femmes, ou est d&eacute;monstr&eacute;
+tous humains de tous estats estre du bransle de la Mort. Lyon, Olivier
+Arnoulet.&#8221; No date, 4to.</p>
+
+<p>16. &#8220;La grant Danse Macabre des hommes et des femmes, &amp;c. Lyon, Nourry,
+1501,&#8221; 4to. cuts.</p>
+
+<p>17. &#8220;La grant Danse Macabre des hommes et des femmes, &amp;c. Imprim&eacute; &agrave;
+Genesve, 1503,&#8221; 4to. cuts.</p>
+
+<p>18. &#8220;La grant Danse Macabre, &amp;c. Paris, Nicole de la Barre, 1523,&#8221; 4to.
+with very indifferent cuts, and the omission of some of the characters in
+preceding editions. This has been privately reprinted, 1820, by Mr.
+Dobree, from a copy in the British Museum.</p>
+
+<p>19. &#8220;La grant Danse Macabre des hommes et des femmes. Troyes, Le Rouge,
+1531,&#8221; folio, cuts.</p>
+
+<p>20. &#8220;La grand Danse Macabre des hommes et des femmes. Paris, Denys Janot.
+1533,&#8221; 8vo. cuts.</p>
+
+<p>21. &#8220;La grand Danse Macabre des hommes et des femmes, tant en Latin qu&#8217;en
+Francoys. Paris, par Estienne Groulleau libraire jur&eacute; en la rue neuve
+Nostre Dame &agrave; l&#8217;enseigne S. Jean Baptiste.&#8221; No date, 16mo. cuts. The first
+edition of this size, and differing in some respects from the preceding.</p>
+
+<p>22. &#8220;La grand Danse Macabre des hommes et des femmes, &amp;c. Paris, Estienne
+Groulleau, 1550,&#8221; 16mo. cuts.</p>
+
+<p><span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span>23. &#8220;La grande Danse des Morts, &amp;c. Rouen, Morron.&#8221; No date, 8vo. cuts.</p>
+
+<p>24. &#8220;Les lxviii huictains ci-devant appell&eacute;s la Danse Machabrey, par
+lesquels les Chrestiens de tous estats tout stimul&eacute;s et invit&eacute;s de penser
+&agrave; la mort. Paris, Jacques Varangue, 1589,&#8221; 8vo. In Roman letter, without
+cuts.</p>
+
+<p>25. &#8220;La grande Danse Macabre des hommes et des femmes, &amp;c. Troyes, Oudot,&#8221;
+1641, 4to. cuts. One of the biblioth&egrave;que bleue books.</p>
+
+<p>26. &#8220;La grande Danse Macabre des hommes et des femmes, renouvell&eacute;e de
+vieux Gaulois en langage le plus poli de notre temps, &amp;c. Troyes, Pierre
+Garnier rue du Temple.&#8221; No date, but the privilege is in 1728, 4to. cuts.
+The <i>polished</i> language is, of course, for the worse, and Macaber is
+called &#8220;des Machab&eacute;es,&#8221; no doubt, the editor&#8217;s improvement.</p>
+
+<p>27. &#8220;La grande Danse <i>Macabre</i> des hommes et des femmes, renouvell&eacute;e, &amp;c.
+Troyes, chez la veuve Oudot, et Jean Oudot fils, rue du Temple, 1729,&#8221;
+4to. cuts. Nearly the same as No. 25.</p>
+
+<p>These inferior editions continued, till very lately, to be occasionally
+reprinted for the use of the common people, and at the trifling expense of
+a very few sous. They are, nevertheless, of some value to those who feel
+interested in the subject, as containing tolerable copies of all the fine
+cuts in the preceding edition, No. 11.</p>
+
+<p>Dr. Dibdin saw in the public library at Munich a very old series of a
+Macaber Dance, that had been inserted, by way of illustration, into a
+German manuscript of the Dance of Death. Of these he has given two
+subjects in his &#8220;Bibliographical Tour,&#8221; vol. iii. p. 278.</p>
+
+<p>But it was not only in the above volumes that the very popular subject of
+the Macaber Dance was particularly exhibited. It found its way into many
+of the beautiful service books, usually denominated Hor&aelig;, or<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span> hours of the
+Virgin. These principally belong to France, and their margins are
+frequently decorated with the above Dance, with occasional variety of
+design. In most of them Death is accompanied with a single figure only,
+characters from both sexes being introduced. It would be impossible to
+furnish a complete list of them; but it is presumed that the mention of
+several, and of the printers who introduced them, will not be
+unacceptable.</p>
+
+<p>No. I. &#8220;Las Horas de nuestra Senora con muchos otros oficios y ora&ccedil;iones.&#8221;
+Printed in Paris by Nicolas Higman for Simon Vostre, 1495, 8vo. It has two
+Dances of Death, the first of which is the usual Macaber Dance, with the
+following figures: &#8220;Le Pape, l&#8217;Empereur, le Cardinal, l&#8217;Archevesque, le
+Chevalier, l&#8217;Evesque, l&#8217;Escuyer, l&#8217;Ab&egrave;, le Prevost, le Roy, le Patriarche,
+le Connestable, l&#8217;Astrologien, le Bourgoys, le Chanoine, le Moyne,
+l&#8217;Usurier, le Medesin, l&#8217;Amoureux, l&#8217;Advocat, le Menestrier, le Marchant,
+le Chartreux, le Sergent, le Cure, le Laboureur, le Cordelier.&#8221; Then the
+women: &#8220;La Royne, la Duchesse, la Regente, la Chevaliere, l&#8217;Abbesse, la
+Femme descine, la Prieure, la Damoissele, la Bourgoise, la Cordeliere, la
+Femme daceul, la Nourice, la Theologienne, la nouvelle mariee, la Femme
+grosse, la Veufve, la Marchande, la Ballive, la Chamberiere, la
+Recommanderese, la vielle Damoise, l&#8217;Espous&eacute;e, la Mignote, la Fille
+pucelle, la Garde d&#8217;accouch&eacute;e, la jeune fille, la Religieuse, la Vielle,
+la Revenderesse, l&#8217;Amoureuse, la Sorciere, la Bigote, la Sote, la Bergere,
+la Femme aux Potences, la Femme de Village; to which are added, l&#8217;Enfant,
+le Clerc, l&#8217;Ermite.&#8221;</p>
+
+<p>The second Dance of Death is very different from the preceding, and
+consists of groupes of figures. The subjects, which have never yet been
+described, are the following:</p>
+
+<p>1. Death sitting on a coffin in a church-yard. &#8220;Discite vos choream cuncti
+qui cernitis istam.&#8221;</p>
+
+<p><span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span>2. Death with Adam and Eve in Paradise. He draws Adam towards him. &#8220;Quid
+tum prosit honor glorie divitie.&#8221;</p>
+
+<p>3. Death helping Cain to slay Abel. &#8220;Esto meorum qui pulvis eris et
+vermibus esca.&#8221;</p>
+
+<p>4. Death holding by the garment a cardinal, followed by several persons.
+&#8220;In gelida putrens quando jacebis humo.&#8221;</p>
+
+<p>5. Death mounted on a bull strikes three persons with his dart. &#8220;Vado mori
+dives auro vel copia rerum.&#8221;</p>
+
+<p>6. Death seizing a man sitting at a table with a purse in his hand, and
+accompanied by two other persons. &#8220;Nullum respectum dat michi, vado mori.&#8221;</p>
+
+<p>7. An armed knight killing an unarmed man, Death assisting. &#8220;Fortium
+virorum est magis mortem contemnere vitam odisse.&#8221;</p>
+
+<p>8. Death with a rod in his hand, standing upon a groupe of dead persons.
+&#8220;Stultum est timere quod vitari non potest.&#8221;</p>
+
+<p>9. Death with a scythe, having mowed down several persons lying on the
+ground. &#8220;Est commune mori mors nulli parcit honori.&#8221;</p>
+
+<p>10. A soldier introducing a woman to another man, who holds a scythe in
+his hand. Death stands behind. &#8220;Mors fera mors nequam mors nulli parcit et
+equam.&#8221;</p>
+
+<p>11. Death strikes with his dart a prostrate female, who is attended by two
+others. &#8220;Hec tua vita brevis: que te delectat ubique.&#8221;</p>
+
+<p>12. A man falling from a tower into the water. Death strikes him at the
+same time with his dart. &#8220;Est velut aura levis te mors expectat ubique.&#8221;</p>
+
+<p>13. A man strangling another, Death assisting. &#8220;Vita quid est hominis nisi
+res vallata ruinis.&#8221;</p>
+
+<p>14. A man at the gallows, Death standing by. &#8220;Est caro nostra cinis modo
+principium modo finis.&#8221;</p>
+
+<p>15. A man about to be beheaded, Death assisting. &#8220;Quid sublime genus quid
+opes quid gloria prestant.&#8221;</p>
+
+<p><span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span>16. A king attended by several persons is struck by Death with his dart.
+&#8220;Quid mihi nunc aderant hec mihi nunc abeunt.&#8221;</p>
+
+<p>17. Two soldiers armed with battle-axes. Death pierces one of them with
+his dart. &#8220;Ortus cuncta suos: repetunt matremque requirunt.&#8221;</p>
+
+<p>18. Death strikes with his dart a woman lying in bed. &#8220;Et redit in nihilum
+quod fuit ante nihil.&#8221;</p>
+
+<p>19. Death aims his dart at a sleeping child in a cradle, two other figures
+attending. &#8220;A, a, a, vado mori, nil valet ipsa juventus.&#8221;</p>
+
+<p>20. A man on the ground in a fit, Death seizes him. Others attending.
+&#8220;Mors scita sed dubia nec fugienda venit.&#8221;</p>
+
+<p>21. Death leads a man, followed by others. &#8220;Non sum securus hodie vel cras
+moriturus.&#8221;</p>
+
+<p>22. Death interrupts a man and woman at their meal. &#8220;Intus sive foris est
+plurima causa timoris.&#8221;</p>
+
+<p>23. Death demolishes a group of minstrels, from one of whom he has taken a
+lute. &#8220;Viximus gaudentes, nunc morimur tristes et flentes.&#8221;</p>
+
+<p>24. Death leads a hermit, followed by other persons. &#8220;Forte dies hec est
+ultima, vado mori.&#8221;</p>
+
+<p>This Dance is also found in the Hor&aelig; printed by Godar, Vostre, and Gilles
+Hardouyn, but with occasional variations, as to size and other matters, in
+the different blocks which they respectively used. The same designs have
+also been adopted, and in a very singular style of engraving, in a work
+printed by Antony Verard, that will be noticed elsewhere.</p>
+
+<p>Some of the cuts, for they are not all by the same artist, in this very
+rare and beautiful volume, and not found in others printed by or for Simon
+Vostre, may be very justly compared, in point of the delicacy of design
+and engraving, though on wood, with the celebrated pax of Maso Finiguerra
+at Florence, accurately copied<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span> in Mr. Ottley&#8217;s history of engraving. They
+are accompanied with this unappropriated mark <img src="images/mark_64.jpg" alt="[monogram]" />.</p>
+
+<p>No. II. &#8220;Ordinarium beate Marie Virginis ad usum Cisterciensem impressum
+est caracteribus optimis una cum expensis honesti viri Symonis Vostre
+commorantis Parisiis in vico novo Dive Marie in intersignio Sancti Joannis
+Evangeliste, 1497,&#8221; 12mo. This beautiful book is on vellum, with the same
+Danse Macabre as in the preceding, but the other cuts are different.</p>
+
+<p>No. III. &#8220;Hore presentes ad usum Sarum impresse fuerunt Parisiis per
+Philippum Pigouchet Anno Salutis <span class="smcaplc">MCCCCXCVIII</span> die vero xvi Maii pro Symone
+Vostre librario commorante, &amp;c.&#8221; 8vo. as above.</p>
+
+<p>Another beautiful volume on vellum, with the same Danse Macabre. He
+printed a similar volume of the same date, for the use of Rome, also on
+vellum.</p>
+
+<p>A volume of prayers, in 8vo. mentioned by M. Peignot, p. 145, after M.
+Raymond, but the title is not given. It is supposed to be anterior to
+1500, and seems to contain the same personages in its Danse Macabre, as in
+the preceding volumes printed by Simon Vostre.</p>
+
+<p>No. IV. &#8220;Heures &agrave; l&#8217;usage de Soissons.&#8221; Printed by Simon Vostre, on
+vellum, 1502, 8vo. With the same Danse Macabre.</p>
+
+<p>No. V. &#8220;Heures &agrave; l&#8217;usage de Rheims, nouvellement imprim&eacute;es avec belles
+histoires, pour Simon Vostre,&#8221; 1502, 8vo. This is mentioned by M. Peignot,
+on the authority of Papillon. It was reprinted 1513, 8vo. and has the same
+cuts as above.</p>
+
+<p>No. VI. &#8220;Heures &agrave; l&#8217;usage de Rome. Printed for Simon Vostre by Phil.
+Pigouchet,&#8221; 1502, large 8vo. on vellum. With the same Danse Macabre. This
+truly magnificent volume, superior to all the preceding by the same
+printer in beauty of type and marginal decoration, differs from them in
+having stanzas at the bottom of<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span> each page of the Dance, but which apply
+to the figure at the top only. They are here given.</p>
+
+<p class="poem"><span style="margin-left: 5em;"><span class="smcap">Pope.</span></span><br />
+Vous qui vivez certainement<br />
+Quoy qu&#8217;il tarde ainsi danserez<br />
+Mais quand Dieu le scet seulement<br />
+Avisez comme vous ferez<br />
+<br />
+Dam Pape vous commencerez<br />
+Comme le plus digne Seigneur<br />
+En ce point honorire serez<br />
+Au grant maistre est deu l&#8217;honneur.<br />
+<br />
+<br />
+<span style="margin-left: 5em;"><span class="smcap">King.</span></span><br />
+Mais maintenant toute haultesse<br />
+Laisserez vous nestes pas seul<br />
+Peu aurez de votre richesse<br />
+Le plus riche n&#8217;a qung linseul<br />
+<br />
+Venez noble Roy couronne<br />
+Renomme de force et prouesse<br />
+Jadis fustez environne<br />
+De grans pompes de grant noblesse.<br />
+<br />
+<br />
+<span style="margin-left: 4em;"><span class="smcap">Archbishop.</span></span><br />
+Que vous tirez la teste arriere<br />
+Archevesque tirez vous pr&egrave;s,<br />
+Avez vous peur qu&#8217;on ne vous fiere<br />
+Ne doubtez vous viendres apr&egrave;s<br />
+<br />
+N&#8217;est pas tousjours la mort empres<br />
+Tout homme suyvant coste a coste<br />
+Rendre comment debtez et pres<br />
+Une foys fault coustera loste.<br />
+<br />
+<br />
+<span style="margin-left: 4.5em;"><span class="smcap">Squire.</span></span><br />
+Il n&#8217;est rien que ne preigne cours<br />
+Dansez et pensez de suyr<br />
+Vous ne povez avoir secours<br />
+Il n&#8217;est qui mort puisse fuyr<br />
+<br />
+Avencez vous gent escuyer<br />
+Qui scavez de danser les tours<br />
+Lance porties et escuz hyer<br />
+Aujourdhuy finerez voz jours.<br />
+<br />
+<br />
+<span style="margin-left: 3.5em;"><span class="smcap">Astrologer.</span></span><br />
+Maistre pour vostre regarder<br />
+En hault ne pour vostre clergie<br />
+Ne pouvez la mort retarder<br />
+Ci ne vault rien astrologie<br />
+<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span><br />
+Toute la genealogie<br />
+D&#8217;Adam qui fust le premier homme<br />
+Mort prent se dit theologie<br />
+Tous fault mourir pour une pomme.<br />
+<br />
+<br />
+<span style="margin-left: 4em;"><span class="smcap">Merchant.</span></span><br />
+Vecy vostre dernier marche<br />
+Il convient que par cy passez<br />
+De tout soing serez despechie<br />
+Tel convoiste qui a assez<br />
+<br />
+Marchant regardes par deca<br />
+Plusieurs pays avez cerchie<br />
+A pied a cheval de pieca<br />
+Vous n&#8217;en serez plus empeschie.<br />
+<br />
+<br />
+<span style="margin-left: 5em;"><span class="smcap">Monk.</span></span><br />
+Ha maistre par la passeres<br />
+N&#8217;est ja besoing de vous defendre<br />
+Plus homme nespouvanteres<br />
+Apres Moyne sans plus attendre<br />
+<br />
+Ou pensez vous cy fault entendre<br />
+Tantost aurez la bouche close<br />
+Homme n&#8217;est fors que vent et cendre<br />
+Vie donc est moult peu de chose.<br />
+<br />
+<br />
+<span style="margin-left: 4.5em;"><span class="smcap">Lover.</span></span><br />
+Trop lavez ayme cest foleur<br />
+Et a mourir peu regarde<br />
+Tantost vous changerez couleur<br />
+Beaulte n&#8217;est que ymage farde<br />
+<br />
+Gentil amoureux gent et frique<br />
+Qui vous cuidez de grant valeur<br />
+Vous estez pris la mort vous pique<br />
+Ce monde lairez a douleur.<br />
+<br />
+<br />
+<span style="margin-left: 4em;"><span class="smcap">Curate.</span></span><br />
+Passez cure sans long songier<br />
+Je sans questes habandonne<br />
+Le vif le mort soulier menger<br />
+Mais vous serez aux vers donne<br />
+<br />
+Vous fustes jadis ordonne<br />
+Miroir dautruy et exemplaire<br />
+De voz faitz serez guerdonne<br />
+A toute peine est deu salaire.<br />
+<br />
+<br />
+<span style="margin-left: 4.5em;"><span class="smcap">Child.</span></span><br />
+Sur tout du jour de la naissance<br />
+Convient chascun a mort offrir<br />
+Fol est qui n&#8217;en a congnoissance<br />
+Qui plus vit plus a assouffrir<br />
+<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span><br />
+Petit enfant naguerez ne<br />
+Au monde aures peu de plaisance<br />
+A la danse sera mene<br />
+Comme autre car mort a puissance.<br />
+<br />
+<br />
+<span style="margin-left: 4.5em;"><span class="smcap">Queen.</span></span><br />
+Noble Royne de beau corsage<br />
+Gente et joyeuse a ladvenant<br />
+Jay de par le grant maistre charge<br />
+De vous enmener maintenant<br />
+<br />
+Et comme bien chose advenant<br />
+Ceste danse commenseres<br />
+Faictes devoir au remenant<br />
+Vous qui vivez ainsi feres.<br />
+<br />
+<br />
+<span style="margin-left: 4.5em;"><span class="smcap">Lady.</span></span><br />
+C&#8217;est bien chasse quand on pourchasse<br />
+Chose a son ame meritoire<br />
+Car au derrain mort tout enchasse<br />
+Ceste vie est moult transitoire<br />
+<br />
+Gentille femme de chevalier<br />
+Que tant aymes deduit et chasse<br />
+Les engins vous fault habiller<br />
+Et suyvre le train de ma trasse.<br />
+<br />
+<br />
+<span style="margin-left: 3.5em;"><span class="smcap">Prioress.</span></span><br />
+Se vous avez sans fiction<br />
+Tout vostre temps servi &agrave; Dieu<br />
+Du cueur en sa religion<br />
+La quelle vous avez vestue<br />
+<br />
+Celuy qui tous biens retribue<br />
+Vous recompenserer loyalment<br />
+A son vouloir en temps et lieu<br />
+Bien fait requiert bon payment.<br />
+<br />
+<br />
+<span style="margin-left: 2.5em;"><span class="smcap">Franciscan nun.</span></span><br />
+Se vos prieres sont bien dignes<br />
+Elles vous vauldront devant Dieu<br />
+Rien ne vallent soupirs ne signes<br />
+Bone operacion tient lieu<br />
+<br />
+Femme de grande devocion<br />
+Cloez voz heures et matines<br />
+Et cessez contemplacion<br />
+Car jamais nyres a matines.<br />
+<br />
+<br />
+<span style="margin-left: 2.5em;"><span class="smcap">Chamber-maid.</span></span><br />
+Dictez jeune femme a la cruche<br />
+Renomm&eacute;e bonne chambriere<br />
+Respondez au moins quant on huche<br />
+Sans tenir si rude maniere<br />
+<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span><br />
+Vous nirez plus a la riviere<br />
+Baver au four na la fenestre<br />
+Cest cy vostre journee derniere<br />
+Ausy tost meurt servant que maistre.<br />
+<br />
+<br />
+<span style="margin-left: 3.5em;"><span class="smcap">Widow.</span></span><br />
+Cest belle chose de tenir<br />
+Lestat ou on est appellee<br />
+Et soy tousjours bien maintenir<br />
+Vertus est tout par tout louee.<br />
+<br />
+Femme vesve venez avant<br />
+Et vous avancez de venir<br />
+Vous veez les aultres davant<br />
+Il convient une fois finir.<br />
+<br />
+<br />
+<span style="margin-left: 2.5em;"><span class="smcap">Lying-in nurse.</span></span><br />
+Venez ca garde dacouchees<br />
+Dresse aves maintz bainz perdus<br />
+Et ses cortines attachees<br />
+Ou estoient beaux boucques pendus<br />
+<br />
+Biens y ont estez despendus<br />
+Tant de motz ditz que cest ung songe<br />
+Qui seront cher vendus<br />
+En la fin tout mal vient en ronge.<br />
+<br />
+<br />
+<span style="margin-left: 3em;"><span class="smcap">Shepherdess.</span></span><br />
+Aux camps ni rez plus soir ne matin<br />
+Veiller brebis ne garder bestes<br />
+Rien ne sera de vous demain<br />
+Apres les veilles sont les festes<br />
+<br />
+Pas ne vous oublieray derriere<br />
+Venez apres moy sa la main<br />
+Entendez plaisante bergiere<br />
+Ou marcande cy main a main.<br />
+<br />
+<br />
+<span style="margin-left: 3em;"><span class="smcap">Old woman.</span></span><br />
+Et vous madame la gourree<br />
+Vendu avez maintz surplis<br />
+Donc de largent est fourree<br />
+Et en sont voz coffres remplis<br />
+<br />
+Apres tous souhaitz acomplis<br />
+Convient tout laisser et ballier<br />
+Selon la robe on fait le plis<br />
+A tel potaige tel cuiller.<br />
+<br />
+<br />
+<span style="margin-left: 4em;"><span class="smcap">Witch.</span></span><br />
+Est condannee comme meurtriere<br />
+A mourir ne vivra plus gaire<br />
+Je la maine en son cimitiere<br />
+Cest belle chose de bien faire<br />
+<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span><br />
+Oyez oyez on vous fait scavoir<br />
+Que ceste vielle sorciere<br />
+A fait mourir et decepvoir<br />
+Plusieurs gens en mainte maniere.<br />
+</p>
+
+<p>In the cut of the adoration of the shepherds their names are introduced as
+follows: Gobin le gay; le beau Roger; Aloris; Ysauber; Alison, and
+Mahault. The same cut is in two or three other Hor&aelig; mentioned in this
+list.</p>
+
+<p>No. VII. &#8220;Heures &agrave; l&#8217;usaige de Rouan. Simon Vostre, 1508, 8vo.&#8221; With the
+same Danse Macabre.</p>
+
+<p>No. VIII. &#8220;Hor&aelig; ad usum Romanum. Thielman Kerver,&#8221; 1508, 8vo. Vellum. With
+the same Danse Macabre.</p>
+
+<p>No. IX. &#8220;Hore christofere virginis Marie secundum usum Romanum ad longum
+absque aliquo recursu, &amp;c.&#8221; Parisiis. Simon Vostre, 1508, 8vo. M. Peignot
+has given a very minute description of this volume with a list of the
+different persons in the Danse Macabre.</p>
+
+<p>No. X. &#8220;Heures &agrave; l&#8217;usage de ... Ant. Verard,&#8221; 1509, 8vo. with the same
+Danse Macabre.</p>
+
+<p>No. XI. &#8220;Heures &agrave; l&#8217;usaige d&#8217;Angers. Simon Vostre,&#8221; 1510, 8vo. With the
+same Danse Macabre. Particularly described by M. Peignot.</p>
+
+<p>No. XII. &#8220;Heures &agrave; l&#8217;usaige de Rome. Guil. Godar,&#8221; 1510, large 8vo. vellum
+illuminated. A magnificent book. It contains the Danse Macabre as in No.
+I. But it is remarkable for a third Dance of Death on the margins at
+bottom, consisting of small compartments with a single figure, but
+unaccompanied in the usual manner by Death, who, in various shapes and
+attitudes, is occasionally introduced. The characters are the following,
+without the arrangement commonly observed, and here given in the order in
+which they occur. 1. La Prieuse. 2. La Garde dacouche. 3. L&#8217;Abesse. 4. Le
+Promoteur. 5. Le Conestable. 6. Le Moine, without a label. 7. La Vielle
+Demoiselle. 8. La Baillive. 9. La<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span> Duchesse. 10. Le Sergent. 11. La
+Nourrice. 12. La femme du Chevallier. 13. La Damoiselle. 14. Le Maistre
+descole. 15. La Femme du village. 16. La Rescomanderese. 17. La
+Revenderese. 18. Le Laboureur. 19. La Bourgoise. 20. L&#8217;Usurier. 21. Le
+Pelerin. 22. Le Berger. 23. La Religieuse. 24. L&#8217;Home d&#8217;armes. 25. La
+Sorciere. 26. Le Petit enfant. 27. Le Clerc. 28. Le Patriarche. 29. Le
+Cardinal. 30. L&#8217;Empereur. 31. Le Roy. 32. La Marchande. 33. Le Cur&eacute;. 34.
+La Theologienne. 35. La Jeune fille. 36. Le Sot. 37. Le Hallebardier. 38.
+La Pucelle vierge. 39. L&#8217;Hermite. 40. L&#8217;Escuier. 41. La Chamberiere. 42.
+La Femme de lescuier. 43. La Cordeliere. 44. La Femme veuve. 45. Le
+Chartreux. 46. La Royne. 47. La Regente. 48. La Bergere. 49. L&#8217;Advocat.
+50. L&#8217;Espous&eacute;e. 51. La Femme amoureuse. 52. La Nouvelle Mariee. 53. Le
+Medecin. Wherever the figure of Death is introduced, he is accompanied
+with the motto &#8220;Amort, amort.&#8221;</p>
+
+<p>No. XIII. &#8220;Hore ad usum Romanum. Thielman Kerver,&#8221; 1511, 8vo. Vellum, with
+the Danse Macabre.</p>
+
+<p>No. XIV. &#8220;Heures &agrave; l&#8217;usage de Langres. Simon Vostre,&#8221; 1512, 8vo. In the
+possession of Mons. G. M. Raymond, who has described it in Millin&#8217;s
+&#8220;Magazin Encyclop&eacute;dique,&#8221; 1814, tom. iii. p. 13. Mentioned also by M.
+Peignot.</p>
+
+<p>No. XV. &#8220;Heures &agrave; l&#8217;usage de Paris. Simon Vostre,&#8221; 1515, 8vo. With the
+Danse Macabre, and the other mentioned in No. I.</p>
+
+<p>No. XVI. &#8220;Heures de Nostre Dame &agrave; l&#8217;usage de Troyes.&#8221; Th. Englard, pour G.
+Goderet, vers 1520. Vellum. Described by M. Peignot.</p>
+
+<p>No. XVII. &#8220;Hore ad usum Romanum. Thielman Kerver,&#8221; 1526, 8vo. Vellum. A
+beautiful volume. Prefixed to the Danse Macabre are two prints of the
+Trois morts et trois vifs.</p>
+
+<p>In all the above Hor&aelig; the Macaber Dance is represented nearly alike in
+design, the variations being<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span> chiefly in the attitudes of the figures,
+which are cut on different blocks, except in a few instances where the
+printers have borrowed the latter from each other. Thus Vostre uses
+Verard&#8217;s, and Pigouchet Godar&#8217;s. The number of the subjects also varies,
+Vostre and Kerver having more than Verard, Godar, and Pigouchet.</p>
+
+<p>Exceptions to the above manner of representing the Macaber Dance, occur in
+two Hor&aelig; of singular rarity, and which are therefore worthy of particular
+notice.</p>
+
+<p>No. XVIII. &#8220;Officium beat&aelig; Mari&aelig; Virginis ad usum Romane ecclesie.
+Impressum Lugduni expensis Bonini de Boninis Dalmatini,&#8221; die xx martij,
+1499, 12mo. On vellum. Here the designs are very different, and three of
+the subjects are placed at the bottom of the page. They consist of the
+following personages, there being no females among them. It was reprinted
+by the same printer in 1521.</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="table">
+<tr><td>Papa</td><td><span class="spacer">&nbsp;</span></td>
+    <td>Astrologus</td></tr>
+<tr><td>Imperator</td><td>&nbsp;</td>
+    <td>Cives</td></tr>
+<tr><td>Cardinales.</td><td>&nbsp;</td>
+    <td>Canonicus.</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>Archiepiscopus</td><td>&nbsp;</td>
+    <td>Scutifer</td></tr>
+<tr><td>Eques</td><td>&nbsp;</td>
+    <td>Abbas</td></tr>
+<tr><td>Episcopus.</td><td>&nbsp;</td>
+    <td>Pretor.</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>Rex</td><td>&nbsp;</td>
+    <td>Monachus</td></tr>
+<tr><td>Patriarche</td><td>&nbsp;</td>
+    <td>Usurarius</td></tr>
+<tr><td>Capitanus.</td><td>&nbsp;</td>
+    <td>Medicus.</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>Plebanus</td><td>&nbsp;</td>
+    <td>Mercator</td></tr>
+<tr><td>Laborator</td><td>&nbsp;</td>
+    <td>Certosinus</td></tr>
+<tr><td>Frater Minor.</td><td>&nbsp;</td>
+    <td>Nuncius.</td></tr>
+<tr><td>&nbsp;</td></tr>
+<tr><td>Amans</td><td>&nbsp;</td>
+    <td>Puer</td></tr>
+<tr><td>Advocatus</td><td>&nbsp;</td>
+    <td>Sacristanus</td></tr>
+<tr><td>Joculator.</td><td>&nbsp;</td>
+    <td>Heremita.</td></tr></table>
+
+<p>No. XIX. &#8220;Hore beate Marie Virginis ad usum insignis ac preclare ecclesie
+Sarum cum figuris passionis mysterium represent&#257;tibus recenter additis.
+Impresse Parisiis per Johannem Bignon pro honesto viro Richardo<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span> Fakes,
+London, librario, et ibidem commorante cymeterie Sancti Pauli sub signo A.
+B. C.&#8221; 1521. A ledger-like 12mo. This Macaber Dance is unfortunately
+imperfect in the only copy of the book that has occurred. The figures that
+remain are those of the Pope, King, Cardinal, Patriarch, Judge,
+Archbishop, Knight, Mayor, and Earl.</p>
+
+<p>Under each subject are Lydgate&#8217;s verses, with some slight variation; and
+it is therefore very probable that we have here a copy, as to many of the
+figures, of the Dance that was painted at St. Paul&#8217;s in compartments like
+the other Macaber Dance, and not as the group in Dugdale, which has been
+copied from a wood-cut at the end of Lydgate&#8217;s &#8220;Fall of Prynces.&#8221; As all
+the before-mentioned Hor&aelig; were printed at Paris, with one exception only,
+and many of them at a very early period, it is equally probable that they
+may be copies of the Dance at the Innocents, unless a preference in that
+respect should be given to the figures in the French editions of the Danse
+Macabre.</p>
+
+<p>Manuscript Hor&aelig;, or books of prayers, which contain the Macaber Dance are
+in the next place deserving of our attention. These are extremely rare,
+and two only have occurred on the present occasion.</p>
+
+<p>1. A manuscript prayer book of the fifteenth century is very briefly
+described by M. Peignot,<a name='fna_88' id='fna_88' href='#f_88'><small>[88]</small></a> which he states to be the only one that has
+come to his knowledge.</p>
+
+<p>2. An exquisitely beautiful volume, in large 8vo. bound in brass and
+velvet. It is a Latin Hor&aelig;, elegantly written in Roman type at the
+beginning of the 16th century. It has a profusion of paintings, every page
+being decorated with a variety of subjects. These consist of stories from
+scripture, sports, games, trades, grotesques, &amp;c. &amp;c. the several
+employments of the<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span> months, which have also the signs of the zodiac, are
+worth describing, there being two sets for each month.</p>
+
+<table width="45%" border="0" cellpadding="0" cellspacing="0" summary="table">
+<tr><td valign="top">January.</td><td><span class="spacer">&nbsp;</span></td>
+<td>1. A man sitting at table, a servant bringing in a dish of viands. The white tablecloth
+is beautifully diapered. 2. Boys playing at the game called Hockey.</td></tr>
+
+<tr><td>&nbsp;</td></tr>
+<tr><td valign="top">February.</td><td>&nbsp;</td>
+<td>1. A man warming himself by a fire, a domestic bringing in faggots. 2. Men
+and women at table, two women cooking additional food in the same apartment.</td></tr>
+
+<tr><td>&nbsp;</td></tr>
+<tr><td valign="top">March.</td><td>&nbsp;</td>
+<td>1. A man pruning trees. 2. A priest confirming a group of people.</td></tr>
+
+<tr><td>&nbsp;</td></tr>
+<tr><td valign="top">April.</td><td>&nbsp;</td>
+<td>1. A man hawking. 2. A procession of pilgrims.</td></tr>
+
+<tr><td>&nbsp;</td></tr>
+<tr><td valign="top">May.</td><td>&nbsp;</td>
+<td>1. A gentleman and lady on the same horse. 2. Two pairs of lovers: one of the men
+plays on a flute, the other holds a hawk on his fist.</td></tr>
+
+<tr><td>&nbsp;</td></tr>
+<tr><td valign="top">June.</td><td>&nbsp;</td>
+<td>1. A woman shearing sheep. 2. A bridal procession.</td></tr>
+
+<tr><td>&nbsp;</td></tr>
+<tr><td valign="top">July.</td><td>&nbsp;</td>
+<td>1. A man with a scythe about to reap. He drinks from his leathern bottle. 2. Boys
+and girls at the sport called Threading the needle.</td></tr>
+
+<tr><td>&nbsp;</td></tr>
+<tr><td valign="top">August.</td><td>&nbsp;</td>
+<td>1. A man reaping with a sickle. 2. Blind man&#8217;s buff.</td></tr>
+
+<tr><td>&nbsp;</td></tr>
+<tr><td valign="top">September.</td><td>&nbsp;</td>
+<td>1. A man sowing. 2. The games of hot cockles and ...</td></tr>
+
+<tr><td>&nbsp;</td></tr>
+<tr><td valign="top">October.</td><td>&nbsp;</td>
+<td>1. Making wine. 2. Several men repairing casks, the master of the vineyard directing.</td></tr>
+
+<tr><td>&nbsp;</td></tr>
+<tr><td valign="top">November.</td><td>&nbsp;</td>
+<td>1. A man threshing acorns to feed his hogs. 2. Tennis.</td></tr>
+
+<tr><td>&nbsp;</td></tr>
+<tr><td valign="top">December.</td><td>&nbsp;</td>
+<td>1. Singeing a hog. 2. Boys pelting each other with snow balls.</td></tr></table>
+
+<p>The side margins have the following Danse Macabre,<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span> consisting as usual of
+two figures only. Papa, Imperator, Cardinalis, Rex, Archiepiscopus,
+Comestabilis, Patriarcha, Eques auratus, Episcopus, Scutarius, Abbas,
+Prepositus, Astrologus, Mercator, Cordiger, Satelles, Usurarius,
+Advocatus, Mimus, Infans, Heremita.</p>
+
+<p>The margins at bottom contain a great variety of emblems of mortality.
+Among these are the following:</p>
+
+<p>1. A man presents a mirror to a lady, in which her face is reflected as a
+death&#8217;s head.</p>
+
+<p>2. Death shoots an arrow at a man and woman.</p>
+
+<p>3. A man endeavouring to escape from Death is caught by him.</p>
+
+<p>4. Death transfixes a prostrate warrior with a spear.</p>
+
+<p>5. Two very grotesque Deaths, the one with a scythe, the other with a
+spade.</p>
+
+<p>6. A group of five Deaths, four dancing a round, the other drumming.</p>
+
+<p>7. Death on a bull, holding a dart in his hand.</p>
+
+<p>8. Death in a cemetery running away with a coffin and pick-axe.</p>
+
+<p>9. Death digging a grave for two shrouded bodies on the ground.</p>
+
+<p>10. Death seizing a fool.</p>
+
+<p>11. Death seizing the master of a family.</p>
+
+<p>12. Death seizing Caillette, a celebrated fool mentioned by Rabelais, Des
+Periers, &amp;c. He is represented in the French translation of the Ship of
+Fools.</p>
+
+<p>13. Death seizing a beggar.</p>
+
+<p>14. Death seizing a man playing at tennis.</p>
+
+<p>15. Death striking the miller going to his mill.</p>
+
+<p>16. Death seizing Ragot, a famous beggar in the reign of Louis XII. He is
+mentioned by Rabelais.</p>
+
+<p>This precious volume is in the present writer&#8217;s possession.</p>
+
+<p>Other manuscripts connected with the Macaber Dance are the following:</p>
+
+<p>1. No. 1849, a Colbert MS. in the King of France&#8217;s<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span> library, appears to
+have been written towards the end of the fifteenth century, and is
+splendidly illuminated on vellum with figures of men and women led by
+Death, the designs not much differing from those in Verard&#8217;s printed copy.</p>
+
+<p>2. Another manuscript in the same library, formerly No. 543 in that of
+Saint Victor, is at the end of a small volume of miscellanies written on
+paper about the year 1520; the text resembles that of the immediately
+preceding article, and occasionally varies from the printed editions. It
+has no illuminations. These are the only manuscript Macaber Dances in the
+royal library at Paris.</p>
+
+<p>3. A manuscript of the Dance of Death, in German, is in the library of
+Munich. See Dr. Dibdin&#8217;s bibliographical Tour, vol. iii. 278; and Vonder
+Hagen&#8217;s history of German poetry. Berlin, 1812, 8vo. p. 459. The date of
+1450 is given to this manuscript on the authority of Docen in his
+Miscellanies, vol. ii. p. 148, and new Literary Advertizer for 1806, No.
+22, p. 348. Vonder Hagen also states that Docen has printed it in his
+Miscellanies, p. 349-52, and 412-16.</p>
+
+<p>4. A manuscript in the Vatican, No. 314. See Vonder Hagen, ubi supra, who
+refers to Adelung, vol. ii. p. 317-18, where the beginning and other
+extracts are given.</p>
+
+<p>5. In the Duke de la Valliere&#8217;s catal. No. 2801, is &#8220;La Danse Macabre par
+personnages, in 4to. Sur papier du xv siecle, contenant 12 feuillets.&#8221;</p>
+
+<p>In the course of this enquiry no manuscript, decorated with a regular
+series of a Dance of Death, has been discovered.</p>
+
+<p>The Abb&eacute; Rive left, in manuscript, a bibliography of all the editions of
+the Macaber Dance, which is at present, with other manuscripts by the
+Abb&eacute;, in the hands of M. Achard, a bookseller at Marseilles. See Peignot,
+Diction. de Bibliologie, iii. 284.</p>
+
+<p>The following articles, accompanied by letter-press,<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span> and distinguishable
+from single prints, appear to relate to the Macaber Dance.</p>
+
+<p>1. The Dance and song of Death is among books licensed to John
+Awdeley.<a name='fna_89' id='fna_89' href='#f_89'><small>[89]</small></a></p>
+
+<p>2. &#8220;The roll of the Daunce of Death, with pictures and verses upon the
+same,&#8221; was entered on the Stationers&#8217; books, 5th Jan. 1597, by Thomas
+Purfort, sen. and jun. The price was 6<i>d.</i> This, as well as that licensed
+to Awdeley, was in all probability the Dance at St. Paul&#8217;s.</p>
+
+<p>3. &#8220;Der Todten Tantz au Hertzog Georgens zu Sachsen schloss zu Dresden
+befindlich.&#8221; <i>i. e.</i> &#8220;Here is found the Dance of Death on the Saxon palace
+of Duke George at Dresden.&#8221; It consists of twenty-seven characters, as
+follow: 1. Death leading the way; in his right hand he holds a drinking
+glass or cup, and in his left a trumpet which he is blowing. 2. Pope. 3.
+Cardinal. 4. Abbot. 5. Bishop. 6. Canon. 7. Priest. 8. Monk. 9. Death
+beating a drum with bones. 10. Emperor. 11. King. 12. Duke. 13. Nobleman.
+14. Knight. 15. Gentleman. 16. Judge. 17. Notary. 18. Soldier. 19.
+Peasant. 20. Beggar. 21. Abbess. 22. Duchess. 23. Old woman. 24. Old man.
+25. Child. 26. Old beggar. 27. Death with a scythe. This is a single print
+in the Chronicle of Dresden, by Antony Wecken, Dresden, 1680, folio,
+already mentioned in p. <a href="#Page_44">44</a>.</p>
+
+<p>4. In the catalogue of the library of R. Smith, which was sold by auction
+in 1682, is this article &#8220;Dance of Death, in the cloyster of Paul&#8217;s, with
+figures, very old.&#8221; It was sold for six shillings to Mr. Mearne.</p>
+
+<p>5. A sort of Macaber Dance, in a Swiss almanack, consisting of eight
+subjects, and intitled &#8220;Ein Stuck aus dem Todten tantz,&#8221; or, &#8220;a piece of a
+Dance of Death:&#8221; engraved on wood by Zimmerman with great<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span> spirit, after
+some very excellent designs. They are accompanied with dialogues between
+Death and the respective characters. 1. The Postilion on horseback. Death
+in a huge pair of jack-boots, seizes him by the arm with a view to unhorse
+him. 2. The Tinker. Death, with a skillet on his head, plunders the
+tinker&#8217;s basket. 3. The Hussar on horseback, accompanied by Death, also
+mounted, and, like his comrade, wearing an enormous hat with a feather. 4.
+The Physician. Death habited as a modern beau, with chapeau-bras, brings
+his urinal to the Doctor for inspection. 5. The fraudulent Innkeeper in
+the act of adulterating a cask of liquor is seized and throttled by a very
+grotesque Death in the habit of an alewife, with a vessel at her back. 6.
+The Ploughman, holding his implements of husbandry, is seized by Death,
+who sits on a plough and carries a scythe in his left hand. 7. The
+Grave-digger, is pulled by Death into the grave which he has just
+completed. 8. The lame Messenger, led by Death. The size of the print 11
+by 6&#189; inches.</p>
+
+<p>6. Papillon states that Le Blond, an artist, then living at Orleans,
+engraved the Macaber Dance on wood for the Dominotiers, or venders of
+coloured prints for the common people, and that the sheets, when put
+together, form a square of three feet, and have verses underneath each
+figure.<a name='fna_90' id='fna_90' href='#f_90'><small>[90]</small></a></p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span></p>
+<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI.</h2>
+
+<div class="note"><p class="hang"><i>Hans Holbein&#8217;s connexion with the Dance of Death.&mdash;A dance of
+peasants at Basle.&mdash;Lyons edition of the Dance of Death, 1538.&mdash;Doubts
+as to any prior edition.&mdash;Dedication to the edition of 1538.&mdash;Mr.
+Ottley&#8217;s opinion of it examined.&mdash;Artists supposed to have been
+connected with this work.&mdash;Holbein&#8217;s name in none of the old
+editions.&mdash;Reperdius.</i></p></div>
+
+
+<p>&nbsp;</p>
+<p><span class="dropfig"><img src="images/cap_t.jpg" alt="T" /></span>he name of Holbein has been so strongly interwoven with the Dance of
+Death that the latter is seldom mentioned without bringing to recollection
+that extraordinary artist.</p>
+
+<p>It would be a great waste of time and words to dwell specifically on the
+numerous errors of such writers as Papillon, Fournier, and several others,
+who have inadvertently connected Holbein with the Macaber Dance, or to
+correct those of travellers who have spoken of the subject as it appeared
+in any shape in the city of Basle. The opinions of those who have either
+supposed or stated that Holbein even retouched or repaired the old
+painting at Basle, are entitled to no credit whatever, unaccompanied as
+they are by necessary proofs. The names of the artists who were employed
+on that painting have been already adverted to, and are sufficiently
+detailed in the volumes of Merian and Peignot; and it is therefore
+unnecessary to repeat them.</p>
+
+<p>Evidence, but of a very slight and unsatisfactory nature, has been adduced
+that Holbein painted some kind of a Death&#8217;s Dance on the walls of a house
+at Basle. Whether this was only a copy of the old Macaber <span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span>subject, or
+some other of his own invention, cannot now be ascertained. Bishop Burnet,
+in his letters from Switzerland,<a name='fna_91' id='fna_91' href='#f_91'><small>[91]</small></a> states that &#8220;there is a <i>Dance</i> which
+he painted on the walls of a house where he used to drink; yet so worn out
+that very little is now to be seen, except <i>shapes and postures</i>, but
+these shew the exquisiteness of the hand.&#8221; It is much to be regretted that
+this painting was not in a state to have enabled the bishop to have been
+more particular in his description. He then mentions the older Dance,
+which he places &#8220;along the side of the convent of the Augustinians
+(meaning the Dominicans), now the French church, so worn out some time ago
+that they ordered the best painter they had to lay new colour on it, but
+this is so ill done, that one had rather see the dark shadow of Holbein&#8217;s
+pencil than this coarse work.&#8221; Here he speaks obscurely, and adopts the
+error that Holbein had some hand in it.</p>
+
+<p>Keysler, a man of considerable learning and ingenuity, and the author of a
+very excellent book of travels, mentions the old painting at Basle, and
+adds, that &#8220;Holbein had also drawn and painted a Death&#8217;s Dance, and had
+likewise painted, as it were, a <i>duplicate</i> of this piece on another
+house, but which time has entirely obliterated.&#8221;<a name='fna_92' id='fna_92' href='#f_92'><small>[92]</small></a> We are here again
+left entirely in the dark as to the first mentioned painting, and its
+difference from the other. Charles Patin, an earlier authority than the
+two preceding travellers, and who was at Basle in 1671, informs us that
+strangers behold, with a considerable degree of pleasure, the walls of a
+house at the corner of a little street in the above town, which are
+covered from top to bottom with paintings by Holbein, that would have done
+honour to the commands of a great prince, whilst they are, in fact,
+nothing more<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span> than the painter&#8217;s reward to the master of a tavern for some
+meals that he had obtained.<a name='fna_93' id='fna_93' href='#f_93'><small>[93]</small></a> In the list of Holbein&#8217;s works, in his
+edition of Erasmus&#8217;s Mori&aelig; encomion, he likewise mentions the painting on
+a house in the Eisengassen, or Iron-street, near the Rhine bridge, and for
+which he is said to have received forty florins,<a name='fna_94' id='fna_94' href='#f_94'><small>[94]</small></a> perhaps the same as
+that mentioned in his travels.</p>
+
+<p>This painting was still remaining in the year 1730, when Mr. Breval saw
+it, and described it as a <i>dance of boors</i>, but in his opinion unworthy,
+as well as the Dance of Death in that city, of Holbein&#8217;s hand.<a name='fna_95' id='fna_95' href='#f_95'><small>[95]</small></a> These
+accounts of the paintings on houses are very obscure and contradictory,
+and the only way to reconcile them is by concluding that Holbein might
+have decorated the walls of some houses with a Dance of Death, and of
+others with a dance of peasants.<a name='fna_96' id='fna_96' href='#f_96'><small>[96]</small></a> The latter subject would indeed be
+very much to the taste of an inn-keeper, and the nature of his occupation.
+Some of the writers on engraving have manifested their usual inaccuracy on
+the subject of Holbein&#8217;s Dance of Peasants. Joubert says it has been
+engraved, but that it is &#8220;a peu pr&egrave;s introuvable.&#8221;<a name='fna_97' id='fna_97' href='#f_97'><small>[97]</small></a> Huber likewise
+makes them extremely rare, and adds, without the slightest authority, that
+Holbein engraved them.<a name='fna_98' id='fna_98' href='#f_98'><small>[98]</small></a> There is, however, no doubt that his beautiful
+pencil was employed on this subject in various ways, of which the
+following specimens are worthy of being recorded. 1. In a set of initial
+letters frequently used in books<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span> printed at Basle and elsewhere. 2. In an
+edition of Plutarch&#8217;s works, printed by Cratander at Basle, 1530, folio,
+and afterwards introduced into Polydore Vergil&#8217;s &#8220;Anglic&aelig; histori&aelig; libri
+viginti sex,&#8221; printed at Basle, 1540, in folio, where, on p. 3 at bottom,
+the subject is very elegantly treated. It occurs also, in other books
+printed in the same city. 3. In an edition of the &#8220;Nug&aelig;&#8221; of Nicolas
+Borbonius, Basle, 1540, 12mo. at p. 17, there is a dance of peasants
+replete with humour: and, 4. A vignette in the first page of an edition of
+Apicius, printed at Basle, 1541, 4to. without the printer&#8217;s name.</p>
+
+<p>After all, there seems to be a fatality of ambiguity in the account of the
+Basle paintings ascribed to Holbein; and that of the Dance of Death has
+not only been placed by several writers on the walls, inside and outside,
+of houses, but likewise in the fish-market; on the walls of the
+church-yard of St. Peter; and even in the cathedral itself of Basle; and,
+therefore, amidst this chaos of description, it is absolutely impossible
+to arrive at any conclusion that can be deemed in any degree satisfactory.</p>
+
+<p>We are now to enter upon the investigation of a work which has been
+somewhat erroneously denominated a &#8220;Dance of Death,&#8221; by most of the
+writers who have mentioned it. Such a title, however, is not to be found
+in any of its numerous editions. It is certainly not a dance, but rather,
+with slight exception, a series of admirable groups of persons of various
+characters, among whom Death is appropriately introduced as an emblem of
+man&#8217;s mortality. It is of equal celebrity with the Macaber Dance, but in
+design and execution of considerable superiority, and with which the name
+of Hans Holbein has been so intimately connected, and that great painter
+so generally considered as its inventor, that even to doubt his claim to
+it will seem quite <span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span>heretical to those who may have founded their opinion
+on internal evidence with respect to his style of composition.</p>
+
+<p>In the year 1538 there appeared a work with the following title, &#8220;Les
+simulachres et historiees faces de la mort, autant elegamment
+pourtraictes, que artificiellement imagin&eacute;es.&#8221; A Lyon Soubz lescu de
+Coloigne, 4to. and at the end, &#8220;Excudebant Lugduni Melchior et Gaspar
+Trechsel fratres, 1538.&#8221; It has forty-one cuts, most exquisitely designed
+and engraved on wood, in a manner which several modern artists only of
+England and Germany have been competent to rival. As to the designs of
+these truly elegant prints, no one who is at all skilled in the knowledge
+of Holbein&#8217;s style and manner of grouping his figures, would hesitate
+immediately to ascribe them to that artist. Some persons have imagined
+that they had actually discovered the portrait of Holbein in the subject
+of the nun and her lover; but the painter, whoever he may have been, is
+more likely to be represented in the last cut as one of the supporters of
+the escutcheon of Death. In these designs, which are wholly different from
+the dull and oftentimes disgusting Macaber Dance, which is confined, with
+little exception, to two figures only, we have the most interesting
+assemblage of characters, among whom the skeletonized Death, with all the
+animation of a living person, forms the most important personage;
+sometimes amusingly ludicrous, occasionally mischievous, but always busy
+and characteristically occupied.</p>
+
+<p>Doubts have arisen whether the above can be regarded as the first edition
+of these justly celebrated engravings in the form of a volume accompanied
+with text. In the &#8220;Notices sur les graveurs,&#8221; Besan&ccedil;on, 1807, 8vo. a work
+ascribed to M. Malp&eacute;,<a name='fna_99' id='fna_99' href='#f_99'><small>[99]</small></a> it is stated to have been originally published
+at Basle in 1530;<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span> and in M. Jansen&#8217;s &#8220;Essai sur l&#8217;origine de la gravure,&#8221;
+&amp;c. Paris, 1808, 8vo. a work replete with plagiarisms, and the most
+glaring mistakes, the same assertion is repeated. This writer adds, but
+unsupported by any authority, that soon afterwards another edition
+appeared with Flemish verses. Both these authors, following their blind
+leader Papillon, have not ventured to state that they ever saw this
+supposed edition of 1530, and it may indeed be asked, who has? Or in what
+catalogue of any library is it recorded? Malp&eacute; acknowledges that the
+earliest edition he had seen was that of 1538. M. Fuseli, in his edition
+of Pilkington&#8217;s Dictionary of Painters, has appended a note to the article
+for Hans Holbein, where, alluding perhaps to the former edition of the
+present dissertation, he remarks, that &#8220;Holbein&#8217;s title to the Dance of
+Death would not have been called in question, had the ingenious author of
+the dissertation on that subject been acquainted with the German edition.&#8221;
+This gentleman seems, however, to have inadvertently forgotten a former
+opinion which he had given in one of his lectures, where he says, &#8220;The
+scrupulous precision, the high finish, and the Titianesque colour of Hans
+Holbein would make the least part of his excellence, if his right to that
+series of emblematic groups known under the name of Holbein&#8217;s Dance of
+Death had not, of late, been too successfully disputed.&#8221; M. Fuseli would
+have rendered some service to this question by favouring us with an
+explicit account of the above German edition, if he really intended by it
+a complete work; but it is most likely that he adverted to some separate
+impressions of the cuts with printed inscriptions on them, but which are
+only the titles of the respective characters or subjects. To such
+impressions M. Malp&eacute; has certainly referred, adding that they have, at
+top, passages from the Bible in German, and verses at bottom in the same
+language. Jansen follows him as to the verses at bottom only. Now, on<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span>
+forty-one of these separate impressions, in the collection of the accurate
+and laborious author of the best work on the origin and early history of
+engraving that has ever appeared, and on several others in the present
+writer&#8217;s possession, neither texts of scripture, nor verses at bottom, are
+to be found, and nothing more than the above-mentioned German titles of
+the characters. M. Huber, in his &#8220;Manuel des curieux et des amateurs de
+l&#8217;art,&#8221; vol. i. p. 155, after inaccurately stating that Holbein <i>engraved</i>
+these cuts, proceeds to observe, that in order to form a proper judgment
+of their merit, it is necessary to see the earliest impressions, printed
+on one side only of the paper; and refers to twenty-one of them in the
+cabinet of M. Otto, of Leipsig, but without stating any letter-press as
+belonging to them, or regarding them as a part of any German edition of
+the work.</p>
+
+<p>In the public library of Basle there are proof impressions, on four
+leaves, of all the cuts which had appeared in the edition of 1538, except
+that of the astrologer. Over each is the name of the subject printed in
+German, and without any verses or letter-press whatever at bottom.</p>
+
+<p>It is here necessary to mention that the first known edition in which
+these cuts were used, namely, that of 1538, was accompanied with French
+verses, descriptive of the subjects. In an edition that soon afterwards
+appeared, these French verses were translated into Latin by George
+&AElig;mylius, a <i>German</i> divine; and in another edition, published at Basle, in
+1554, the Latin verses were continued. In both these cases, had there been
+any former <i>German verses</i>, would they not have been retained in
+preference?</p>
+
+<p>There is a passage, however, in Gesner&#8217;s Pandect&aelig;, a supplemental volume
+of great rarity to his well-known Bibliotheca, that slightly adverts to a
+German edition of this work, and at the same time connects Holbein&#8217;s name
+with it. It is as follows: &#8220;Imagines mortis <span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span>express&aelig; ab optimo pictore
+Johanne Holbein cum epigrammatibus Geo. &AElig;mylii, excus&aelig; Francofurti et
+Lugduni apud Frellonios, quorum editio plures habet picturas. Vidi etiam
+cum metris Gallicis et <i>Germanicis si bene memini</i>.&#8221;<a name='fna_100' id='fna_100' href='#f_100'><small>[100]</small></a> But Gesner
+writes from imperfect recollection only, and specifies no edition in
+German. It is most probable that he refers to an early copy of the cuts on
+a larger scale with a good deal of text in German, and printed and perhaps
+engraved by Jobst Denecker, at Augsburg, 1544, small folio.</p>
+
+<p>The forty-one separate impressions of the cuts in the collection of Mr.
+Ottley, as well as those in the present writer&#8217;s possession, are printed
+on one side of the paper only, another argument that they were not
+intended to be used in any book; and although they are extremely clear and
+distinct, many of them that were afterwards used in the various editions
+of the book are not less brilliant in appearance. It is well known to
+those who are conversant with engravings on wood, that the earliest
+impressions are not always the best; a great deal depending on the care
+and skill with which they were taken from the blocks, and not a little on
+the quality of the paper. As they were most likely engraved at Basle by an
+excellent artist, of whom more will be said hereafter, and at the instance
+of the Lyons booksellers or publishers, it is very probable that a few
+impressions would be taken off with German titles only for the use of the
+people of Basle, or other persons using the German language. Proofs might
+also be wanted for the accommodation of amateurs or other curious persons,
+and therefore it would be only necessary to print the names or titles of
+the subjects. This conjecture derives additional support from the
+well-known literary intercourse between the cities of Lyons and Basle, and
+from their small distance from each other. On the whole,<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span> therefore, the
+Lyons edition of 1538 may be safely regarded as the earliest, until some
+other shall make its appearance with a well ascertained prior date, either
+in German or any other language.</p>
+
+<p>In the edition of 1538 there is a dedication, not in any of the others,
+and of very considerable importance. It is a pious, quaint, and jingling
+address to Jeanne de Touszele, Abbess of the convent of St. Peter, at
+Lyons, in which the author, whose name is obscurely stated to be Ouzele,
+compliments the good lady as the pattern of true religion, from her
+intimate acquaintance with the nature of Death, rushing, as it were, into
+his hands, by her entrance into the sepulchre of a cloister. He enlarges
+on the various modes of representing the mortality of human nature, and
+contends that the image of Death has nothing terrific in the eyes of the
+Christian. He maintains that there is no better method of depicting
+mortality than by a dead person, especially by those images which so
+frequently occur on sepulchral monuments. Adverting then to the figures in
+the present work he <i>regrets the death of him who has here conceived</i>
+[<i>imagin&eacute;</i>] <i>such elegant designs, greatly exceeding all other patterns of
+the kind, in like manner as the paintings of Apelles and Zeuxis have
+surpassed those of modern times</i>. He observes that these funereal
+histories, accompanied by their grave descriptions in rhyme, induce the
+admiring spectators to behold the dead as alive, and the living as dead;
+which leads him to believe that Death, apprehensive lest this admirable
+<i>painter</i> should exhibit him so lively that he would no longer be feared
+as Death, and that he should thereby become immortal himself, had hastened
+his days to an end, and thus prevented him from completing many other
+figures, which <i>he</i> had already <i>designed</i>, especially that of the carman
+crushed and wounded beneath his demolished waggon, the wheels and horses
+of which are so frightfully overthrown that as much horror is excited in
+beholding<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span> their downfall, as pleasure in contemplating the lickerishness
+of one of the Deaths, who is clandestinely sucking with a reed the wine in
+a bursting cask.<a name='fna_101' id='fna_101' href='#f_101'><small>[101]</small></a> That in these imperfect subjects no one had dared to
+put the finishing hand, on account of the boldness of their outline,
+shadow, and perspective, <i>delineated</i> in so graceful a manner, that by its
+contemplation one might indulge either in a joyful sorrow, or a melancholy
+pleasure. &#8220;Let antiquaries then,&#8221; says he, &#8220;and lovers of ancient imagery
+discover any thing comparable to these figures of Death, in which we
+behold the Empress of all living souls from the creation, trampling over
+C&aelig;sars, Emperors, and Kings, and with her scythe mowing down the
+tyrannical heroes of the earth.&#8221; He concludes with admonishing the Abbess
+to take in good part this his sad but salutary present, and to persuade
+her devout nuns not only to keep it in their cells and dormitories, but in
+the cabinet of their memory, therein pursuing the counsel of St. Jerom,
+&amp;c.</p>
+
+<p>The singularity of this curious and interesting dedication is deserving of
+the utmost attention. It seems very strongly, if not decisively, to point
+out the edition to which it is prefixed, as the first; and what is of
+still more importance, to deprive Holbein of any claim to the <i>invention</i>
+of the work. It most certainly uses such terms of art as can scarcely be
+mistaken as conveying any other sense than that of <i>originality in
+design</i>. There cannot be words of plainer import than those which describe
+the painter, as he is expressly called, <i>delineating</i><span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span> the subjects, and
+leaving several of them unfinished: and whoever the artist might have
+been, it clearly appears that he was not living in 1538. Now it is well
+known that Holbein&#8217;s death did not take place before the year 1554, during
+the plague which ravaged London at that time. If then the expressions used
+in this dedication signify any thing, it may surely be asked what becomes
+of any claim on the part of Holbein to the designs of the work in
+question, or does it not <i>at least</i> remain in a situation of doubt and
+difficulty?</p>
+
+<p>It is, however, with no small hesitation that the author of the present
+dissertation still ventures to dispute, and even to deny, the title of
+Holbein to the invention of this Dance of Death, in opposition to his
+excellent and valuable friend Mr. Ottley, whose opinion in matters of
+taste, as well as on the styles of the different masters in the old
+schools of painting and engraving may be justly pronounced to be almost
+oracular. This gentleman has thus expressed himself: &#8220;It cannot be denied
+that were there nothing to oppose to this passage, it would seem to
+constitute very strong evidence that Holbein, who did not die until the
+year 1554, was not the author of the designs in question; but I am firmly
+persuaded that it refers in reality, not to the designer, but to the
+artist who had been employed, under his direction, to engrave the designs
+in wood, and whose name, there appears reason to believe, was Hans
+Lutzenberger.<a name='fna_102' id='fna_102' href='#f_102'><small>[102]</small></a> Holbein, I am of opinion, had, shortly before the year
+1538, sold the forty-one blocks which had been some time previously
+executed, to the booksellers of Lyons, and had at the same time given him
+a promise of others which he had lately designed, as a continuation of the
+series, and were then in the hands of the wood-engraver. The
+wood-engraver, I<span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span> suppose, died before he had completed his task, and the
+correspondent of the bookseller, who had probably deferred his publication
+in expectation of the new blocks, wrote from Basle to Lyons to inform his
+friend of the disappointment occasioned by the artist&#8217;s death. It is
+probable that this information was not given very circumstantially, as to
+the real cause of the delay, and that the person who wrote the dedication
+of the book might have believed the designer and engraver to be one and
+the same person: it is still more probable that he thought the distinction
+of little consequence to his reader, and willingly omitted to go into
+details which would have rendered his quaint moralizing in the above
+passage less admissible. Besides, the additional cuts there spoken of
+(eight cuts of the Dance of Death and four of boys) were afterwards
+finished (doubtless by another wood-engraver, who had been brought up
+under the eye of Holbein), and are not apparently inferior, whether in
+respect of design or execution to the others. In short, these designs have
+always been ascribed to Holbein, and designedly ranked amongst his finest
+works.&#8221;<a name='fna_103' id='fna_103' href='#f_103'><small>[103]</small></a></p>
+
+<p>Mr. Ottley having admitted that the edition of the Dance of Death, printed
+in quarto, at Lyons, 1538, is the earliest with which we are at present
+acquainted, proceeds to state his belief that the cuts had been previously
+and <i>certainly</i> used at Basle. He then alludes to the supposed German
+edition, about the year 1530, but acknowledges that he had not been able
+to meet with or hear of any person who had seen it. He next introduces to
+his reader&#8217;s notice, and afterwards describes at large, a set of forty-one
+impressions, being the complete series of the edition of 1538, except one,
+and taken off with the greatest clearness and brilliancy of effect, on one
+side of the paper only, each cut having<span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span> over it its title printed in the
+German language, with moveable type. He thinks it possible that they may
+originally have had German verses underneath, and texts of Scripture
+above, in addition to the titles; a fact, he adds, not now to be
+ascertained, as the margins are clipped on the sides and at bottom. He
+says, it is greatly to be regretted that the blocks were never taken off
+with due diligence and good printing ink, after they got into the hands of
+the Lyons booksellers, and then introduces into his page two fac-similes
+of these cuts so admirably copied as to be almost undistinguishable from
+the originals.<a name='fna_104' id='fna_104' href='#f_104'><small>[104]</small></a> One may, indeed, regret with Mr. Ottley the <i>general
+carelessness</i> of the old printers in their mode of taking off impressions
+from blocks of wood when introducing them into their books, and which is
+so very unequally practised that, as already observed, the impressions are
+often clearer and more distinct in later than in preceding editions. The
+works of the old designers and engravers would, in many cases, have been
+much more highly appreciated, if they had had the same justice done to
+them by the printers as the editorial taste and judgment of Mr. Ottley,
+combined with the skill of the workmen, have obtained in the decoration of
+his own book. With respect to the impressions of the cuts in question,
+when the blocks were in the hands of the Lyons booksellers, the fact is,
+that in some of their editions they are occasionally as fine as those
+separately printed off; and at the moment of making this remark, an
+edition, published in 1547, at Lyons, is before the writer, in which many
+of the prints are uncommonly clear and even brilliant, a circumstance
+owing, in a great degree, to the nature of the paper on which they are
+impressed.</p>
+
+<p>It were almost to be wished that this perplexing evidence against
+Holbein&#8217;s title to the invention of the<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span> work before us had never existed,
+and that he had consequently been left in the quiet possession of what so
+well accords with his exquisite pencil and extraordinary talents. True it
+is, that the person to whom we owe this stubborn testimony, has manifested
+a much more intimate acquaintance with the mode of conveying his pious
+ejaculations to the Lady Abbess in the quaintest language that could
+possibly have been chosen, than with the art of giving an accurate account
+of the prints in question. Yet it seems scarcely possible that he should
+have used the word <i>imagined</i>, which undoubtedly expresses originality of
+invention, and not the mere act of copying, if he had referred to an
+engraver on wood, whom he would not have dignified with the appellation of
+a painter on whom he was bestowing the highest possible eulogium. There
+would also have been much less occasion for the author&#8217;s hyperbolical
+fears on the part of Death in the case of an engraver, than in that of a
+painter. He has stated that the rainbow subject, meaning probably that of
+the Last Judgment, was left unfinished; but it appears among the
+engravings in his edition. He must, therefore, have referred to a
+painting, with which likewise the expression &#8220;bold shadows and
+perspective,&#8221; seem better to accord than with a slight engraving on wood.
+He had also seen the subject of the waggon with the wine casks in its
+unfinished state, and in this case we may almost with certainty pronounce
+it to have been a painting, as the cut of it does not appear in the first
+edition, furnishing, at the same time, an argument against Holbein&#8217;s
+claim; nor may it be unimportant to add that the dedicator, a religious
+person, and probably a man of some eminence, was much more likely to have
+been acquainted with the painter than with the engraver. The dedicator
+also stamps the work as originating at Lyons; and Frellon, its printer, in
+a complaint against a Venetian bookseller,<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span> who pirated his edition,
+emphatically describes it as exclusively belonging to France.</p>
+
+<p>Again, it is improbable that the dedicator, whoever he was, should have
+preferred complimenting the engraver of the cuts, who, with all his
+consummate skill, must, in point of rank and genius, be placed below the
+painter or designer; and it is at the same time remarkable that the name
+of Holbein is not adverted to in any of the early and genuine editions of
+the work, published at Lyons, or any other place, whilst his designs for
+the Bible have there been so pointedly noticed by his friend the poet
+Borbonius.</p>
+
+<p>It would be of some importance, if it could be shown, that the engraver
+was dead in or before the year 1538, for that circumstance would
+contribute to strengthen Mr. Ottley&#8217;s opinion: but should it be found that
+he did not die in or before 1538, it would follow, of course, that the
+painter was the person adverted to in the dedication, and who consequently
+could not be Holbein. It becomes necessary, therefore, to endeavour at
+least to discover some other artist competent to the invention of the
+beautiful designs in question; and whether the attempt be successful or
+otherwise, it may, perhaps, be not altogether misplaced or unprofitable.</p>
+
+<p>It must be recollected that Francis the First, on returning from his
+captivity at Pavia, imported with him a great many Italian and other
+artists, among whom were Lionardo da Vinci, Rosso, Primaticcio, &amp;c. He is
+also known to have visited Lyons, a royal city at that time eminent in art
+of every kind, and especially in those of printing and engraving on wood;
+as the many beautiful volumes published at that place, and embellished
+with the most elegant decorations in the graphic art, will at this moment
+sufficiently testify. In an edition of the &#8220;Nug&aelig;&#8221; of Nicolas Borbonius,
+the friend of Holbein, printed at Lyons, 1538, 8vo. are the following
+lines:</p>
+
+<p class="poem"><span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span>
+<span style="margin-left: -2em;"><i>De Hanso Ulbio, et Georgio Reperdio, pictoribus.</i></span><br />
+Videre qui vult Parrhasium cum Zeuxide,<br />
+<span style="margin-left: 2em;">Accersat &agrave; Britannia</span><br />
+Hansum Ulbium, et Georgium <i>Reperdium</i>.<br />
+<span style="margin-left: 2em;"><i>Lugduno</i> ab urbe Galli&aelig;.</span></p>
+
+<p>In these verses Reperdius is opposed to Holbein for the excellence of his
+art, in like manner as Parrhasius had been considered as the rival of
+Zeuxis.</p>
+
+<p>After such an eulogium it is greatly to be regretted that notwithstanding
+a very diligent enquiry has been made concerning an artist, who, by the
+poet&#8217;s comparative view of him, is placed on the same footing with
+Holbein, and probably of the same school of painting, no particulars of
+his life or works have been discovered. It is clear from Borbonius&#8217;s lines
+that he was then living at Lyons, and it is extremely probable that he
+might have begun the work in question, and have died before he could
+complete it, and that the Lyons publishers might afterwards have employed
+Holbein to finish what was left undone, as well as to make designs for
+additional subjects which appeared in the subsequent editions. Thus would
+Holbein be so connected with the work as to obtain in future such notice
+as would constitute him by general report the real inventor of it. If then
+there be any validity in what is here stated concerning Reperdius, the
+difficulty and obscurity in the preface to the Lyons edition of the Dance
+of Death in 1538 will be removed, and Holbein remain in possession of a
+share at least in the composition of that inestimable work. The mark or
+monogram <img src="images/mono_hl.jpg" alt="[monogram]" /> on one of the cuts cannot possibly belong to
+Holbein, but may possibly be that of the engraver, of whom more
+hereafter.</p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span></p>
+<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII.</h2>
+
+<div class="note"><p class="hang"><i>Holbein&#8217;s Bible cuts.&mdash;Examination of the claim of Hans Lutzenberger
+as to the design or execution of the Lyons engravings of the Dance of
+Death.&mdash;Other works by him.</i></p></div>
+
+
+<p>&nbsp;</p>
+<p><span class="dropfig"><img src="images/cap_a.jpg" alt="A" /></span>t this time the celebrated designs for the illustration of the Old
+Testament, usually denominated Holbein&#8217;s Bible, made their appearance,
+with the following title, &#8220;Historiarum veteris instrumenti icones ad vivum
+express&aelig;. Una cum brevi, sed quoad fieri potuit, dilucida earundem
+expositione. Lugduni, sub scuto Coloniensi <span class="smcaplc">MDXXXVIII</span>.&#8221; 4to. They were
+several times republished with varied titles, and two additional cuts.
+Prefixed are some highly complimentary Latin verses by Holbein&#8217;s friend
+Nicholas Bourbon, better known by his Latinized name of Borbonius, who
+again introduces Parrhasius and Zeuxis in Elysium, and in conversation
+with Apelles, who laments that they had all been excelled by Holbein.</p>
+
+<p>These lines by Borbonius do not appear, among others addressed by him to
+Holbein, in the first edition of his &#8220;Nug&aelig;&#8221; in 1533, or indeed in any of
+the subsequent editions; but it is certain that Borbonius was at Lyons in
+1538, and might then have been called on by the publishers of the designs,
+with whom he was intimately connected, for the commendatory verses.</p>
+
+<p>The booksellers Frellon of Lyons, by some means with which we are not now
+acquainted, or indeed ever likely to be, became possessed of the copyright
+to these <span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span>designs for the Old Testament. It is very clear that they had
+previously been in possession of those for the Dance of Death, and,
+finding the first four of them equally adapted to a Bible, they
+accordingly, and for the purpose of saving expense, made use of them in
+this Bible, though with different descriptions, having, in all
+probability, employed the same engraver on wood as in the Dance of Death,
+a task to which he had already demonstrated himself to be fully competent.
+Now, if the Frellons had regarded Holbein as the designer of the
+&#8220;Simulachres et historiees faces de la Mort,&#8221; would they not rather have
+introduced into that work the complimentary lines of Borbonius on <i>some</i>
+painting by Holbein of a Dance of Death, and which will be hereafter more
+particularly adverted to, instead of inserting the very interesting and
+decisive dedication that has so emphatically referred to the then deceased
+painter of the above admirable composition?</p>
+
+<p>Nor is it by any means a matter of certainty that Holbein was the designer
+of <i>all</i> the wood engravings belonging to the Bible in question. Whoever
+may take the pains to examine these biblical subjects with a strict and
+critical eye, will not only discover a very great difference in the style
+and drawing of them, but likewise a striking resemblance, in that respect,
+of several of them to those in the Dance of Death, as well as in the
+manner of engraving. The rest are in a bolder and broader style, in a
+careless but effective manner, corresponding altogether with such designs
+as are well ascertained to be Holbein&#8217;s, and of which it would be
+impossible to produce a single one, that in point of delicacy of outline,
+or composition, accords with those in the Dance;<a name='fna_105' id='fna_105' href='#f_105'><small>[105]</small></a> and the judgment of
+those<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span> who are best acquainted with the works of Holbein is appealed to on
+this occasion. It is, besides, extremely probable that the anonymous
+painter or designer of the Dance might have been employed also by the
+Frellons to execute a set of subjects for the Bible previously to his
+Death, and that Holbein was afterwards engaged to complete the work.</p>
+
+<p>A comparison of the 8th subject in the &#8220;Simulachres, &amp;c.&#8221; with that in the
+Bible for Esther <span class="smcaplc">I. II.</span> where the canopy ornamented with fleurs-de-lis is
+the same in both, will contribute to strengthen the above conjecture, as
+will both the cuts to demonstrate their Gallic origin. It is most certain
+that the king sitting at table in the Simulachres is intended for Francis
+I. which, if any one should doubt, let him look upon the miniature of that
+king, copied at p. 214 in Clarke&#8217;s &#8220;Repertorium bibliographicum,&#8221; from a
+drawing in a French MS. belonging to M. Beckford, or at a wood-cut in fo.
+xcxix b. of &#8220;L&#8217;histoire de Primaleon de Grece.&#8221; Paris, 1550, folio, where
+the art in the latter will be found to resemble very much that in the
+&#8220;Simulachres.&#8221; The portraits also of Francis by Thomas De Leu, Boissevin,
+and particularly that in the portraits of illustrious men edited<span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span> by Beza
+at Geneva, may be mentioned for the like purpose.</p>
+
+<p>The admission in the course of the preceding remarks that Holbein might
+have been employed in some of the additional cuts that appeared in the
+editions of the Lyons Dance of Death which followed that of 1538, may seem
+at variance with what has been advanced with respect to the Bible cuts
+ascribed to him. It is, however, by no means a matter of necessity that an
+artist with Holbein&#8217;s talents should have been resorted to for the purpose
+of designing the additional cuts to the Lyons work. There were, during the
+middle of the 16th century, several artists equally competent to the
+undertaking, both as to invention and execution, as is demonstrable, among
+numerous other instances, from the spurious, but beautiful, Italian copy
+of the original cuts; from the scarcely distinguishable copies of the
+Lyons Bible cuts in an edition put forth by John Stelsius at Antwerp,
+1561, and from the works of several artists, both designers and
+wood-engravers, in the books published by the French, Flemish, and Italian
+booksellers at that period. An interesting catalogue raisonn&egrave; might be
+constructed, though with some difficulty, of such articles as were
+decorated with most exquisite and interesting embellishments. The above
+century was much richer in this respect than any one that succeeded it,
+displaying specimens of art that have only been rivalled, perhaps never
+outdone, by the very skilful engravers on wood of modern times.</p>
+
+<p>Our attention will, in the next place, be required to the excellent
+<i>engraver</i> of the Dance of Death, the thirty-sixth cut of which represents
+the Duchess sitting up in bed, and accompanied with two figures of Death,
+one of which plays on a violin, whilst the other drags away the
+bed-clothes. On the base of one of the bed-posts is the mark or monogram
+<img src="images/mono_hl.jpg" alt="[monogram]" />, which has, among other artists, been inconsiderately
+ascribed to Holbein.<span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span> That it was intended to express the name of the
+designer cannot be supported by evidence of any kind. We must then seek
+for its meaning as belonging to the engraver, and whose name was, in all
+probability, Hans Leuczellberger or Lutzenberger, sometimes called Franck.
+M. de Mechel, the celebrated printseller and engraver at Basle, addressed
+a letter to M. de Murr, in which he states that on a proof sheet of an
+alphabet in the library in that city, containing several small figures of
+a Dance of Death, he had found the above name. M. Brulliot remarks that he
+had seen some of the letters of this alphabet, but had not perceived on
+them either the name of Lutzenberger, or the mark <img src="images/mono_hl.jpg" alt="[monogram]" />;<a name='fna_106' id='fna_106' href='#f_106'><small>[106]</small></a> but
+M. de Mechel has not said that the <i>mark</i> was on the proof sheet, or on
+the letters themselves, but only the name of Lutzenberger, adding that the
+<img src="images/mono_hl.jpg" alt="[monogram]" /> on the cut of the Duchess will throw some light on the
+matter, and that Holbein, although this monogram has been usually ascribed
+to him, never expressed his name by it, but used for that purpose an
+<span class="mono">H</span> joined to a <span class="mono">B</span>; in which latter assertion M. de
+Mechel was by no means correct.</p>
+
+<p>On another alphabet of a Dance of Peasants, in the possession of the
+writer of these pages, and undoubtedly by the same artists, M. de Mechel,
+to whom it was shown when in England, has written in pencil, the following
+memorandum: &#8220;<img src="images/mono_hl.jpg" alt="[monogram]" /> grav&egrave; par Hans (John) Lutzenberger, graveur en
+patrons &agrave; Basle, vivant l&agrave; au commencement du 16me siecle;&#8221; but he has
+inadvertently transferred the remark to the wrong alphabet, though both
+were undoubtedly the work of the same artist, as well as a third alphabet,
+equally beautiful, of groups of children.</p>
+
+<p>The late Pietro Zani, whose intimate experience in<span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span> whatever relates to
+the art of engraving, together with the vast number of prints that had
+passed under his observation, must entitle his opinions to the highest
+consideration, has stated, in more places than one in his &#8220;Enciclopedia
+Metodica,&#8221; that Holbein had no concern with the cuts of the Lyons Dance of
+Death, the engraving of which he decidedly ascribes to Hans Lutzenberger;
+and, without any reference to the inscription on the proof of one of the
+alphabets in the library at Basle before-mentioned, which he had probably
+neither seen nor heard of, mentions the copy of one of the alphabets which
+he had seen at Dresden, and at once consigns it to Lutzenberger. He
+promises to resume the subject at large in some future part of his immense
+work, which, if existing, has not yet made its appearance.</p>
+
+<p>As the prints by this fine engraver are very few in number, and extremely
+rare, the following list of them may not be unacceptable.</p>
+
+<p>1. An oblong wood engraving, in length 11 inches by 3&#189;. It represents,
+on one side, Christ requiring the attention of a group of eight persons,
+consisting of a monk, a peasant with a flail, a female, &amp;c. to a lighted
+taper on a candelabrum placed in the middle of the print; on the other
+side, a group of thirteen or fourteen persons, preceded by one who is
+looking into a pit in which is the word <span class="smcaplc">PLATO</span>. Over his head is inscribed
+<span class="smcaplc">ARISTOTELES</span>; he is followed by a pope, a bishop, monks, &amp;c. &amp;c.</p>
+
+<p>2. Another oblong wood engraving, 6&#189; inches by 2&#189;, in two
+compartments, divided by a pillar. In one, the Judgment of Solomon; in the
+other, Christ and the woman taken in adultery; he writes something on the
+ground with his finger. It has the date 1539.</p>
+
+<p>3. Another, size as No. 2. An emperor is sitting in a court of justice
+with several spectators attending some trial. This is doubtful.</p>
+
+<p><span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span>4. Another oblong print, 10&#189; inches by 3, and in two compartments. 1.
+David prostrate before the Deity in the clouds, accompanied by Manasses
+and a youth, over whom is inscribed <span class="smcaplc">OFFEN SVNDER</span>. 2. A pope on a throne
+delivering some book, perhaps letters of indulgence, to a kneeling monk.
+This very beautiful print has been called &#8220;The Traffic of Indulgences,&#8221;
+and is minutely and correctly described by Jansen.<a name='fna_107' id='fna_107' href='#f_107'><small>[107]</small></a></p>
+
+<p>5. A print, 12 inches by 6, representing a combat in a wood between
+several naked persons and a troop of peasants armed with instruments of
+husbandry. Below on the left, the letters <img src="images/mono_hn.jpg" alt="[monogram]" />. Annexed are two
+tablets, one of which is inscribed <span class="smcaplc">HANS LEVCZELLBVRGER FVRMSCHNIDER</span>; on
+the other is an alphabet. Jansen has also mentioned this print.<a name='fna_108' id='fna_108' href='#f_108'><small>[108]</small></a>
+Brulliot describes a copy of it in the cabinet of prints belonging to the
+King of Bavaria, in which, besides the name, is the date <span class="smcaplc">MDXXII</span>.<a name='fna_109' id='fna_109' href='#f_109'><small>[109]</small></a></p>
+
+<p>6. A print of a dagger or knife case, in length 9 inches. At top, a figure
+inscribed <span class="smcaplc">VENVS</span> has a lighted torch in one hand and a horn in the other;
+she is accompanied by Cupid. In the middle two boys are playing, and at
+bottom three others standing, one with a helmet.</p>
+
+<p>7. A copy of Albert Durer&#8217;s decollation of John the Baptist, with the mark
+<span class="mono">H L</span> reversed, is mentioned by Zani as certainly belonging to
+this artist.<a name='fna_110' id='fna_110' href='#f_110'><small>[110]</small></a> In the index of names, he says, he finds his name thus
+written <span class="smcaplc">HANNS LVTZELBVRGER FORMSCHNIDER GENANT</span> (chiamato) <span class="smcaplc">FRANCK</span>, and
+calls him the true prince of engravers on wood.</p>
+
+<p>8. An alphabet with a Dance of Death, the subjects<span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span> of which, with a few
+exceptions, are the same as those in the other Dance; the designs,
+however, occasionally vary. In delicacy of drawing, in strength of
+character and in skill as to engraving they may be justly pronounced
+superior to every thing of the kind, and their excellence will probably
+remain a long time unrivalled. The figures are so small as almost to
+require the aid of lenses, the size of each letter being only an inch
+square. Zani had seen and admired this alphabet at Dresden.<a name='fna_111' id='fna_111' href='#f_111'><small>[111]</small></a></p>
+
+<p>9. Another alphabet by the same artists. It is a Dance of Peasants,
+intermixed with other subjects, some of which are not of the most delicate
+nature. They are smaller than the letters in the preceding article, and
+are probably connected in point of design with the Dance of Peasants that
+Holbein is said to have painted at Basle.</p>
+
+<p>10. Another alphabet, also by the same artists. This is in all respects
+equal in beauty and merit to the others, and exhibits groups of boys in
+the most amusing and playful attitudes and employments. The size of the
+letters is little more than half an inch square. These children much
+resemble those which Holbein probably added to the later editions of the
+Lyons engravings.<a name='fna_112' id='fna_112' href='#f_112'><small>[112]</small></a></p>
+
+<p>The proofs of the above alphabets, may have been deposited by Lutzenberger
+in the public library of his native city. Whether they were cut on wood or
+on metal may admit of a doubt; but there is reason to believe that the old
+printers and type-cutters occasionally used blocks of metal instead of
+wood for their figured initial letters, and the term <i>formschneider</i>
+equally applies to those who engraved in relief on either of those<span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span>
+materials. Nothing can exceed the beauty and spirit of the design in these
+alphabets, nor the extreme delicacy and accurate minuteness of the
+engraving.</p>
+
+<p>The letters in these respective alphabets were intended for the use of
+printers, and especially those of Basle, as Cratander, Bebelius, and
+Isingrin. Copies and imitations of them are to be found in many books
+printed at Zurich, Strasburg, Vienna, Augsburg, Frankfort, &amp;c. and a few
+even in books printed at London by Waley, Purslowe, Marsh, and Nicholson,
+particularly in a quarto edition of Coverdale&#8217;s Bible, if printed in the
+latter city; and one of them, a capital A, is in an edition of Stowe&#8217;s
+Survey of London, 1618, 4to.</p>
+
+<p>There is an unfortunate ambiguity connected with the marks that are found
+on ancient engravings in wood, and it has been a very great error on the
+part of all the writers who treat on such engravings, in referring the
+marks that accompany them to the block-cutters, or as the Germans properly
+denominate them the <i>formschneiders</i>, whilst, perhaps, the greatest part
+of them really belong to the designers, as is undoubtedly the case with
+respect to Albert Durer, Hans Schaufelin, Jost Amman, Tobias Stimmer, &amp;c.
+It may be laid down as a rule that there is no certainty as to the marks
+of engravers, except where they are accompanied with some implement of
+their art, especially a graving tool. Where the designer of the subject
+put his mark on the drawing which he made on, or for, the block, the
+engraver would, of course, copy it. Sometimes the marks of both designer
+and engraver are found on prints, and in these cases the ambiguity is
+consequently removed.</p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span></p>
+<h2><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII.</h2>
+
+<div class="note"><p class="hang"><i>List of several editions of the Lyons work on the Dance of Death,
+with the mark of Lutzenberger.&mdash;Copies of them on wood.&mdash;Copies on
+copper by anonymous artists.&mdash;By Wenceslaus Hollar.&mdash;Other anonymous
+artists.&mdash;Nieuhoff Picard.&mdash;Rusting.&mdash;Mechel.&mdash;Crozat&#8217;s
+drawings.&mdash;Deuchar.&mdash;Imitations of some of the subjects.</i></p></div>
+
+
+<p>&nbsp;</p>
+<p class="center">I.</p>
+
+<p>&nbsp;</p>
+<p><span class="dropfig"><img src="images/cap_l.jpg" alt="L" /></span>es Simulachres et histori&eacute;es faces de la Mort, autant elegamment
+pourtraictes, que artificiellement imagin&eacute;es. A Lyon, Soubz l&#8217;escu de
+Coloigne, <span class="smcaplc">MDXXXVIII</span>.&#8221; At the end &#8220;Excudebant Lugduni Melchior et Gaspar
+Trechsel fratres, 1538,&#8221; 4to. On this title-page is a cut of a
+triple-headed figure crowned with wings, on a pedestal, over which a book
+with &#915;&#925;&#937;&#920;&#921; &#931;&#917;&#913;&#933;&#932;&#927;&#925;. Below, two serpents and two globes, with
+&#8220;usus me genuit.&#8221; This has, 1. A dedication to Madame Jehanne de Touszele.
+2. Diverses tables de mort, non painctes, mais extraictes de l&#8217;escripture
+saincte, color&eacute;es par Docteurs Ecclesiastiques, et umbrag&eacute;es par
+philosophes. 3. Over each print, passages from scripture, allusive to the
+subject, in Latin, and at bottom the substance of them in four French
+verses. 4. Figures de la mort moralement descriptes et depeinctes selon
+l&#8217;authorit&eacute; de l&#8217;scripture, et des Sainctz Peres. 5. Les diverses mors des
+bons, et des maulvais du viel, et nouveau testament. 6. Des sepultures des
+justes. 7. Memorables authoritez, et sentences des philosophes, et<span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span>
+orateurs Payens pour conformer les vivans &agrave; non craindre la mort. 7. De la
+necessite de la mort qui ne laisse riens estre par durable.&#8221; With
+forty-one cuts. This may be safely regarded as the first edition of the
+work. There is nothing in the title page that indicates any preceding one.</p>
+
+<p>II. &#8220;Les Simulachres et histori&eacute;es faces de la mort, contenant la Medecine
+de l&#8217;ame, utile et necessaire non seulement aux malades mais &agrave; tous qui
+sont en bonne disposition corporelle. D&#8217;avantage, la forme et maniere de
+consoler les malades. Sermon de sainct Cecile Cyprian, intitul&eacute; de
+Mortalit&eacute;. Sermon de S. Jan Chrysostome, pour nous exhorter &agrave; patience:
+traictant aussi de la consommation de ce siecle, et du second advenement
+de Jesus Christ, de la joye eternelle des justes, de la peine et damnation
+des mauvais, et autres choses necessaires &agrave; un chascun chrestien, pour
+bien vivre et bien mourir. A Lyon, &agrave; l&#8217;escu de Coloigne, chez Jan et
+Fran&ccedil;ois Frellon freres,&#8221; 1542, 12mo. With forty-one cuts. Then a moral
+epistle to the reader, in French. The descriptions of the cuts in Latin
+and French as before, and the pieces expressed in the title page.</p>
+
+<p>III. &#8220;Imagines Mortis. His accesserunt, Epigrammata, &egrave; Gallico idiomate &agrave;
+Georgio &AElig;mylio in Latinum translata. Ad h&aelig;c, Medicina anim&aelig;, tam iis qui
+firma, qu&agrave;m qui adversa corporis valetudine pr&aelig;diti sunt, maxim&egrave;
+necessaria. Ratio consolandi ob morbi gravitatem periculos&egrave; decumbentes.
+Qu&aelig; his addita sunt, sequens pagina commonstrabit. Lugduni, sub scuto
+Coloniensi, 1545.&#8221; With the device of the crab and the butterfly. At the
+end, &#8220;Lugduni Excudebant Joannes et Franciscus Frellonii fratres,&#8221; 1545,
+12mo. The whole of the text is in Latin, and translated, except the
+scriptural passages, from the French, by George &AElig;mylius, as he also states
+in some verses at the beginning; but several of the mottoes at bottom are
+different and enlarged. It has forty-two cuts, the <span class="pagenum"><a name="Page_105" id="Page_105">[Pg 105]</a></span>additional one,
+probably not by the former artist, being that of the beggar sitting on the
+ground before an arched gate: extremely fine, particularly the beggar&#8217;s
+head. This subject has no connection with the Dance of Death, and is
+placed in another part of the volume, though in subsequent editions
+incorporated with the other prints. The &#8220;Medicina anim&aelig;&#8221; is very different
+from the French one. There is some reason for supposing that the Frellons
+had already printed an edition with &AElig;mylius&#8217;s text in 1542. This person
+was an eminent German divine of Mansfelt, and the author of many pious
+works. In the present edition the first cut of the creation exhibits a
+crack in the block from the top to the bottom, but it had been in that
+state in 1543, as appears from an impression of it in Holbein&#8217;s Bible of
+that date. It is found so in all the subsequent editions of the present
+work, with the exception of those in Italian of 1549 and in the Bible of
+1549, in which the crack appears to have been closed, probably by
+cramping; but the block again separated afterwards.</p>
+
+<p>This edition is of some importance with respect to the question as to the
+priority of the publication of the work in France or Germany, or, in other
+words, whether at Lyons or Basle. It is accompanied by some lines
+addressed to the reader, which begin in the following manner:</p>
+
+<p class="poem">Accipe jucundo pr&aelig;sentia carmina vultu,<br />
+<span style="margin-left: 1em;">Seu Germane legis, sive ea Galle legis:</span><br />
+In quibus extrem&aelig; qualis sit mortis imago<br />
+<span style="margin-left: 1em;">Reddidit imparibus Musa Latina modis</span><br />
+<i>Gallia qu&aelig; dederat lepidis epigrammata verbis</i><br />
+<span style="margin-left: 1em;"><i>Teutona convertens est imitata manus.</i></span><br />
+Da veniam nobis doctissime Galle, videbis<br />
+<span style="margin-left: 1em;">Versibus appositis reddita si qua parum.</span></p>
+
+<p>Now, had the work been originally published in the German language,
+&AElig;mylius, himself a German, would,<span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span> as already observed, scarcely have
+preferred a French text for his Latin version. This circumstance furnishes
+likewise, an argument against the supposed existence of German verses at
+the bottom of the early impressions of the cuts already mentioned.</p>
+
+<p>A copy of this edition, now in the library of the British Museum, was
+presented to Prince Edward by Dr. William Bill, accompanied with a Latin
+dedication, dated from Cambridge, 19 July, 1546, wherein he recommends the
+prince&#8217;s attention to the figures in the book, in order to remind him that
+all must die to obtain immortality; and enlarges on the necessity of
+living well. He concludes with a wish that the Lord will long and happily
+preserve his life, and that he may finally reign to all eternity with his
+<i>most Christian father</i>. Bill was appointed one of the King&#8217;s chaplains in
+ordinary, 1551, and was made the first Dean of Westminster in the reign of
+Elizabeth.</p>
+
+<p>IV. &#8220;Imagines Mortis. Duodecim imaginibus pr&aelig;ter priores, totidemque
+inscriptionibus pr&aelig;ter epigrammata &egrave; Gallicis &agrave; Georgio &AElig;mylio in Latinum
+versa, cumulat&aelig;. Qu&aelig; his addita sunt, sequens pagina commonstrabit.
+Lugduni sub scuto Coloniensi, 1547.&#8221; With the device of the crab and
+butterfly. At the end, &#8220;Excudebat Joannes Frellonius, 1547,&#8221; 12mo. This
+edition has twelve more cuts than those of 1538 and 1542, and eleven more
+than that of 1545, being, the soldier, the gamblers, the drunkards, the
+fool, the robber, the blind man, the wine carrier, and four of boys. In
+all fifty-three. Five of the additional cuts have a single line only in
+the frames, whilst the others have a double one. All are nearly equal in
+merit to those which first appeared in 1538.</p>
+
+<p>V. &#8220;Icones Mortis, Duodecim imaginibus pr&aelig;ter priores, totidemque
+inscriptionibus, pr&aelig;ter epigrammata &egrave; Gallicis &agrave; Georgio &AElig;mylio in Latinum
+versa, cumulat&aelig;. Qu&aelig; his addita sunt, sequens pagina <span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span>commonstrabit,
+Lugduni sub scuto Coloniensi, 1547.&#8221; 12mo. At the end, Excudebat Johannes
+Frellonius, 1547. This edition contains fifty-three cuts, and is precisely
+similar to the one described immediately before, except that it is
+entitled <i>Icones</i>, instead of <i>Imagines</i> Mortis.</p>
+
+<p>VI. &#8220;Les Images de la Mort. Auxquelles sont adjoust&eacute;es douze figures.
+Davantage, la medecine de l&#8217;ame, la consolation des malades, un sermon de
+mortalit&eacute;, par Sainct Cyprian, un sermon de patience, par Sainct Jehan
+Chrysostome. A Lyon. A l&#8217;escu de Cologne, chez Jehan Frellon, 1547.&#8221; With
+the device of the crab and butterfly. At the end, &#8220;Imprim&eacute; a Lyon &agrave; l&#8217;escu
+de Coloigne, par Jehan Frellon, 1547. 12mo.&#8221; The verses at bottom of the
+cuts the same as in the edition of 1538, with similar ones for the
+additional. In all, fifty-three cuts.</p>
+
+<p>VII. &#8220;Simolachri historie, e figure de la morte. La medicina de l&#8217;anima.
+Il modo, e la via di consolar gl&#8217;infermi. Un sermone di San Cipriano, de
+la mortalit&agrave;. Due orationi, l&#8217;un a Dio, e l&#8217;altra &agrave; Christo. Un sermone di
+S. Giovan. Chrisostomo, che ci essorta &agrave; patienza. Aiuntovi di nuovo molte
+figure mai piu stampate. In Lyone appresso Giovan Frellone <span class="smcaplc">MDXLIX</span>.&#8221; 12mo.
+With the device of the crab and butterfly. At the end, the same device on
+a larger scale in a circle. Fifty-three cuts. The scriptural passages are
+in Latin. To this edition Frellon has prefixed a preface, in which he
+complains of a pirated copy of the work in Italian by a printer at Venice,
+which will be more particularly noticed hereafter. He maintains that the
+cuts in this spurious edition are far less beautiful than the <i>French</i>
+ones, and this passage goes very far in aid of the argument that they are
+not of German origin. Frellon, by way of revenge, and to save the trouble
+of making a new translation of the articles that compose the volume, makes
+use of that of his Italian competitor.</p>
+
+<p><span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span>VIII. &#8220;Icones Mortis. Duodecim Imaginibus pr&aelig;ter priores, totidemque
+inscriptionibus, pr&aelig;ter epigrammata &egrave; Gallicis &agrave; Georgio &AElig;mylio in Latinum
+versa, cumulat&aelig;. Qu&aelig; his addita sunt, sequens pagina commonstrabit.
+Basile&aelig;, 1554. 12mo.&#8221; With fifty-three cuts. It would not be very easy to
+account for the absence of the name of the Basle printer.</p>
+
+<p>IX. &#8220;Les Images de la Mort, auxquelles sont adjoustees dix sept figures.
+Davantage, la medecine de l&#8217;ame. La consolation des malades. Un sermon de
+mortalit&eacute;, par Saint Cyprian. Un sermon de patience, par Saint Jehan
+Chrysostome. A Lyon, par Jehan Frellon, 1562.&#8221; With the device of the crab
+and butterfly. At the end, &#8220;A Lyon, par Symphorien Barbier,&#8221; 12mo. This
+edition has five additional cuts, viz. 1. A group of boys, as a triumphal
+procession, with military trophies. 2. The bride; the husband plays on a
+lute, whilst Death leads the wife in tears. 3. The bridegroom led by Death
+blowing a trumpet. Both these subjects are appropriately described in the
+verses below. 4. A group of boy warriors, one on horseback with a
+standard. 5. Another group of boys with drums, horns, and trumpets. These
+additional cuts are designed and engraved in the same masterly style as
+the others, but it is now impossible to ascertain the artists who have
+executed them. From the decorations to several books published at Lyons it
+is very clear that there were persons in that city capable of the task.
+Holbein had been dead eight years, after a long residence in London.</p>
+
+<p>Du Verdier, in his Biblioth&egrave;que Fran&ccedil;oise, mentions this edition, and adds
+that it was translated from the French into Latin, Italian, Spanish,
+German, and English;<a name='fna_113' id='fna_113' href='#f_113'><small>[113]</small></a> a statement that stands greatly in need of
+confirmation as to the last three languages, but this<span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span> writer, on too many
+occasions, deserves but small compliment for his accuracy.</p>
+
+<p>X. &#8220;Imagines Mortis: item epigrammata &egrave; Gall. &agrave; G. &AElig;milio in Latinum
+versa. Lugdun. Frellonius, 1574.&#8221; 12mo.<a name='fna_114' id='fna_114' href='#f_114'><small>[114]</small></a></p>
+
+<p>XI. In 1654 a Dutch work appeared with the following title, &#8220;De Doodt
+vermaskert met swerelts ydelheyt afghedaen door G. V. Wolsschaten,
+verciert met de constighe Belden vanden maerden Schilder Hans Holbein. <i>i.
+e.</i> Death masked, with the world&#8217;s vanity, by G. V. Wolsschaten,
+ornamented with the ingenious images of the famous painter Hans Holbein.
+T&#8217;Antwerpen, by Petrus Bellerus.&#8221; This is on an engraved frontispiece of
+tablet, over which are spread a man&#8217;s head and the skin of two arms
+supported by two Deaths blowing trumpets. Below, a spade, a pilgrim&#8217;s
+staff, a scepter, and a crosier, with a label, on which is &#8220;sceptra
+ligonibus &aelig;quat.&#8221; Then follows another title-page, with the same words,
+and the addition of Geeraerdt Van Wolsschaten&#8217;s designation, &#8220;Prevost van
+sijne conincklijcke Majesteyts Munten des Heertoogdoms van Brabant, &amp;c.
+<span class="smcaplc">MDCLIV</span>.&#8221; 12mo. The author of the text, which is mixed up with poetry and
+historical matter, was prefect of the mint in the Duchy of Brabant.<a name='fna_115' id='fna_115' href='#f_115'><small>[115]</small></a>
+This edition contains eighteen cuts, among which the following subjects
+are from the original blocks. 1. Three boys. 2. The married couple. 3. The
+pedlar. 4. The shipwreck. 5. The beggar. 6. The corrupt judge. 7. The
+astrologer. 8. The old man. 9. The physician. 10. The priest with the
+eucharist. 11. The monk. 12. The abbess. 13. The abbot. 14. The duke. Four
+others, viz. the<span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span> child, the emperor, the countess, and the pope, are
+copies, and very badly engraved. The blocks of the originals appear to
+have fallen into the hands of an artist, who probably resided at Antwerp,
+and several of them have his mark, <img src="images/mono_a.jpg" alt="[monogram]" />, concerning which more
+will be said under one of the ensuing articles. As many engravings on wood
+by this person appeared in the middle of the sixteenth century, it is
+probable that he had already used these original blocks in some edition of
+the Dance of Death that does not seem to have been recorded. There are
+evident marks of retouching in these cuts, but when they first appeared
+cannot now be ascertained. The mark might have been placed on them, either
+to denote ownership, according to the usual practice at that time, or to
+indicate that they had been repaired by that particular artist.</p>
+
+<p>All these editions, except that of 1574, have been seen and carefully
+examined on the present occasion: the supposed one of 1530 has not been
+included in this list, and remains to be seen and accurately described, if
+existing, by competent witnesses.</p>
+
+<p>Papillon, in his Trait&eacute; de la gravure en bois, has given an elaborate,
+but, as usual with him, a very faulty description of these engravings. He
+enlarges on the beauty of the last cut with the allegorical coat of arms,
+and particularly on that of the gentleman whose right hand he states to be
+placed on its side, whilst it certainly is extended, and touches with the
+back of it the mantle on which the helmet and shield of arms are placed.
+He errs likewise in making the female look towards a sort of dog&#8217;s head,
+according to him, under the mantle and right-hand of her husband, which,
+he adds, might be taken for the pummell of his sword, and that she fondles
+this head with her right hand, &amp;c. not one word of which is correct. He
+says that a good impression of this print would be well worth a Louis d&#8217;or
+to an amateur. He appears to have been in <span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span>possession of the block
+belonging to the subject of the lovers preceded by Death with a drum; but
+it had been spoiled by the stroke of a plane.</p>
+
+
+<p>&nbsp;</p>
+<p class="center">COPIES OF THE ABOVE DESIGNS, AND ENGRAVED ALSO ON WOOD.</p>
+
+<p>I. At the head of these, in point of merit, must be placed the Italian
+spurious edition mentioned in No. VII. of the preceding list. It is
+entitled &#8220;Simolachri historie, e figure de la morte, ove si contiene la
+medicina de l&#8217;anima utile e necessaria, non solo &agrave; gli ammalati, ma tutte
+i sani. Et appresso, il modo, e la via di consolar gl&#8217;infermi. Un sermone
+di S. Cipriano, de la mortalit&agrave;. Due orationi, l&#8217;una a Dio, e l&#8217;altra &agrave;
+Christo da dire appresso l&#8217;ammalato oppresso da grave infermit&aacute;. Un
+sermone di S. Giovan Chrisostomo, che ci essorta &agrave; patienza; e che tratta
+de la consumatione del secolo presente, e del secondo avenimento di Jesu
+Christo, de la eterna felicita de giusti, de la pena e dannatione de rei;
+et altre cose necessarie &agrave; ciascun Christiano, per ben vivere, e ben
+morire. Con gratia e privilegio de l&#8217;illustriss. Senato Vinitiano, per
+anni dieci. Appresso Vincenzo Vaugris al segno d&#8217;Erasmo, <span class="smcaplc">MDXLV</span>.&#8221; 12mo.
+With a device of the brazen serpent, repeated at the end. It has all the
+cuts in the genuine edition of the same date, except that of the beggar at
+the gate. It contains a very moral dedication to Signor Antonio Calergi by
+the publisher Vaugris or Valgrisi; in which, with unjustifiable
+confidence, he enlarges on the great beauty of the work, the cuts in which
+are, in his estimation, not merely equal, but far superior to those in the
+French edition in design and engraving. They certainly approach the
+nearest to the fine originals of all the imitations, but will be found on
+comparison to be inferior. The mark <img src="images/mono_hl.jpg" alt="[monogram]" /> on the cut of the
+duchess<span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span> sitting up in bed, with the two Deaths, one of whom is fiddling,
+whilst the other pulls at the clothes, is retained, but this could not be
+with a view to pass these engravings as originals, after what is stated in
+the dedication. An artist&#8217;s eye will easily perceive the difference in
+spirit and decision of drawing. In the ensuing year 1546, Valgrisi
+republished this book in Latin, but without the dedication, and there are
+impressions of them on single sheets, one of which has at the bottom, &#8220;In
+Venetia, <span class="smcaplc">MDLXVIII</span>. Fra. Valerio Faenzi Inquis. Apreso Luca Bertelli.&#8221; So
+that they required a license from the Inquisition.</p>
+
+<p>II. In the absence of any other Italian editions of the &#8220;Simolachri,&#8221; it
+is necessary to mention that twenty-four of the last-mentioned cuts were
+introduced in a work of extreme rarity, and which has escaped the notice
+of bibliographers, intitled &#8220;Discorsi Morali dell&#8217; eccell. Sig. Fabio
+Glissenti contra il dispiacer del morire. Detto Athanatophilia Venetia,
+1609.&#8221; 4to. These twenty-four were probably all that then remained; and
+five others of subjects belonging also to the &#8220;Simolachri,&#8221; are inserted
+in this work, but very badly imitated, and two of them reversed. In the
+subject of the Pope there is in the original a brace of grotesque devils,
+one of which is completely erased in Glissenti, and a plug inserted where
+the other had been scooped out. A similar rasure of a devil occurs in the
+subject of the two rich men in conversation, the demon blowing with a
+bellows into his ear, whilst a poor beggar in vain touches him to be
+heard. Besides these cuts, Glissenti&#8217;s work is ornamented with a great
+number of others, connected in some way or other with the subject of
+Death, which the author discusses in almost every possible variety of
+manner. He appears to have been a physician, and an exceedingly pious man.
+His portrait is prefixed to every division of the work, which consists of
+five dialogues.</p>
+
+<p><span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span>III. In an anonymous work, intitled &#8220;Tromba sonora per richiamar i morti
+viventi dalla tomba della colpa alla vita della gratia. In Venetia, 1670.&#8221;
+8vo. Of which there had already been three editions; there are six of the
+prints from the originals, as in the &#8220;Simolachri,&#8221; &amp;c. No. I. and a few
+others, the same as the additional ones to Glissenti&#8217;s work.</p>
+
+<p>In another volume, intitled &#8220;Il non plus ultra di tutte le scienze
+ricchezze honori, e diletti del mondo, &amp;c. In Venetia, 1677.&#8221; 24mo. There
+are twenty-five of the cuts as in the Simolachri, and several others from
+those added to Glissenti.</p>
+
+<p>IV. A set of cuts which do not seem to have belonged to any work. They are
+very close copies of the originals. On the subject of the Duchess in bed,
+the letter <span class="mono">S</span> appears on the base of one of the pillars or
+posts, instead of the original <img src="images/mono_hl.jpg" alt="[monogram]" />, and it is also seen on the
+cut of the soldier pierced by the lance of Death. Two have the date 1546.
+In that of the monk, whom, in the original, Death seizes by the cowl or
+hood, the artist has made a whimsical alteration, by converting the hood
+into a fool&#8217;s cap with bells and asses&#8217; ears, and the monk&#8217;s wallet into a
+fool&#8217;s bauble. It is probable that he was of the reformed religion.</p>
+
+<p>V. &#8220;Imagines Mortis, his accesserunt epigrammata &egrave; Gallico idiomate &agrave;
+Georgio &AElig;mylio in Latinum translata, &amp;c. Coloni&aelig; apud h&aelig;redes Arnoldi
+Birckmanni, anno 1555. 12mo.&#8221; With fifty-three cuts. This may be regarded
+as a surreptitious edition of No. IV. of the originals by <img src="images/mono_hl.jpg" alt="[monogram]" />
+p. 106. The cuts are by the artist mentioned in No. IX. of those
+originals, whose mark is <img src="images/mono_a.jpg" alt="[monogram]" /> which is here found on five of
+them. They are all reversed, except the nobleman; and although not devoid
+of merit, they are not only very inferior to the fine originals, but also
+to the Italian copies in No. I. The first two subjects are newly designed;
+the two Devils in that of the Pope are omitted, and there are several<span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span>
+variations, always for the worse, in many of the others, of which a
+tasteless example is found in that of Death and the soldier, where the
+thigh bone, as the very appropriate weapon of Death, is here converted
+into the common-place dart. The mark <img src="images/mono_hl.jpg" alt="[monogram]" /> in the original cut of
+the Duchess in bed, is here omitted, without the substitution of any
+other. This edition was republished by the same persons, without any
+variation, successively in 1557, 1566, 1567, and 1573.<a name='fna_116' id='fna_116' href='#f_116'><small>[116]</small></a></p>
+
+<p>Papillon, in his &#8220;Trait&eacute; sur la gravure en bois,&#8221;<a name='fna_117' id='fna_117' href='#f_117'><small>[117]</small></a> when noticing the
+above-mentioned mark, has, amidst the innumerable errors that abound in
+his otherwise curious work, been led into a mistake of an exceedingly
+ludicrous nature, by converting the owner of the mark into a cardinal. He
+had found it on the cuts to an edition of Faerno&#8217;s fables, printed at
+Antwerp, 1567, which is dedicated to Cardinal Borromeo by Silvio
+Antoniano, professor of Belles Lettres at Rome, afterwards secretary to
+Pope Pius IV. and at length himself a Cardinal. He was the editor of
+Faerno&#8217;s work. Another of Papillon&#8217;s blunders is equally curious and
+absurd. He had seen an edition of the Emblems of Sambucus, with cuts,
+bearing the mark <img src="images/mono_a.jpg" alt="[monogram]" /> in which there is a fine portrait of the
+author with his favourite dog, and under the latter the word <span class="smcaplc">BOMBO</span>, which
+Papillon gravely states to be the name of the engraver; and finding the
+same word on another of the emblems which has also the dog, he concludes
+that all the cuts which have not the <img src="images/mono_a.jpg" alt="[monogram]" /> were engraved by the
+same <span class="smcaplc">BOMBO</span>. Had Papillon, a good artist in his time, but an ignorant man,
+been able to comprehend the verses belonging to that particular emblem, he
+would have seen that the above word was merely the name of the<span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span> dog, as
+Sambucus himself has declared, whilst paying a laudable tribute to the
+attachment of the faithful companion of his travels. Brulliot, in his
+article on the mark <img src="images/mono_a.jpg" alt="[monogram]" /><a name='fna_118' id='fna_118' href='#f_118'><small>[118]</small></a> has mentioned Papillon&#8217;s ascription
+of it to Silvio Antoniano, but without correcting the blunder, as he ought
+to have done. This monogram appears on five of the cuts to the present
+edition of the &#8220;Imagines Mortis;&#8221; but M. De Murr and his follower Janssen,
+are not warranted in supposing the rest of them to have been engraved by a
+different artist.</p>
+
+<p>It will perhaps not be deemed an unimportant digression to introduce a few
+remarks concerning the owner of the above monogram. It is by no means
+clear whether he was a designer or an engraver, or even both. There is a
+chiaroscuro print of a group of saints, engraved by Peter Kints, an
+obscure artist, with the name of Antony Sallaerts at length, and the mark.
+Here he appears as a designer. M. Malp&eacute;, the Besan&ccedil;on author of &#8220;Notices
+sur les graveurs,&#8221; speaks of Sallaerts as an excellent painter, born at
+Brussels about 1576, which date cannot possibly apply to the artist in
+question; but at the same time, he adds, that he is said to have engraved
+on wood the cuts in a little catechism printed at Antwerp that have the
+monogram <img src="images/mono_a.jpg" alt="[monogram]" />. These are certainly very beautiful, in accordance
+with many others with the same mark, and very superior in design to those
+which have it in the &#8220;Imagines Mortis.&#8221; M. Malp&eacute; has also an article for
+Antony Silvyus or Silvius, born at Antwerp about 1525, and he mentions
+several books with engravings and the mark in question, which he gives to
+the same person. M. Brulliot expresses a doubt as to this artist; but it
+is very certain there was a family of that name, and surnamed, or at least
+sometimes called, Bosche or Bush, which indeed is more likely to have been
+the real Flemish name Latinized<span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span> into Silvius. Foppens<a name='fna_119' id='fna_119' href='#f_119'><small>[119]</small></a> has mentioned
+an Antony Silvius, a schoolmaster at Antwerp, in 1565, and several other
+members of this family. Two belonging to it were engravers, and another a
+writing master.</p>
+
+<p>Whether the artist in question was a Sallaerts or a Silvius, it is certain
+that Plantin, the celebrated printer, employed him to decorate several of
+his volumes, and it is to be regretted that an unsuccessful search has
+been made for him in Plantin&#8217;s account books, that were not long since
+preserved, with many articles belonging to him, in his house at Antwerp.
+His mark also appears in several books printed in England during the reign
+of Elizabeth, and particularly on a beautiful set of initial letters, some
+of which contain the story of Cupid and Psyche, from the supposed designs
+by Raphael, and other subjects from Ovid&#8217;s Metamorphoses: these have been
+counterfeited, and perhaps in England. The initial <span class="mono">G</span>, in this
+alphabet, with the subject of Leda and the swan, was inadvertently
+prefixed to the sacred name at the beginning of St. Paul&#8217;s Epistle to the
+Hebrews in the Bishop&#8217;s Bible, printed by Rd. Jugge in 1572, and in one of
+his Common Prayer Books. An elegant portrait of Edward VI. with the mark
+<img src="images/mono_a.jpg" alt="[monogram]" /> is likewise on Jugge&#8217;s edition of the New Testament, 1552,
+4to. and there is reason to believe that Jugge employed this artist, as
+the same monogram appears on a cut of his device of the pelican.</p>
+
+<p>VI. In the German volume, the title of which is already given in the first
+article of the engravings from the Basle painting,<a name='fna_120' id='fna_120' href='#f_120'><small>[120]</small></a> there are
+twenty-nine subjects belonging to the present work; the rest relating to
+the Basle dance, except two or three that are not in either of them. These
+have fallen into the hands of a modern bookseller, but there can be no
+doubt that there were<span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span> other editions which contained the whole set. The
+most of them have the letters <span class="mono">G. S.</span> with the graving tool, and
+one has the date 1576. The name of this artist is unknown; but M. Bartsch
+has mentioned several other engravings by him, omitting, however, the
+present, which, it is to be observed, sometimes vary in design from the
+originals.</p>
+
+<p>VII. &#8220;Imagines Mortis illustrat&aelig; epigrammatis Georgii &AElig;mylii theol.
+doctoris. Fraxineus &AElig;mylio Suo. Criminis ut poenam mortem mors sustulit
+una: sic te immortalem mortis imago facit.&#8221; With a cut of Death and the
+old man. This is the middle part only of a work, intitled &#8220;Libellus
+Davidis Chytr&aelig;i de morte et vita &aelig;terna. Editio postrema; cui addit&aelig; sunt
+imagines mortis, illustrata Epigrammatis D. Georgio &AElig;mylio, Witeberg&aelig;.
+Impressus &agrave; Matth&aelig;o Welack, anno <span class="smcaplc">MDXC</span>.&#8221; 12mo. The cuts, fifty-three in
+number, are, on the whole, tolerably faithful, but coarsely engraved. In
+the subject of the Pope the two Devils are omitted, and, in that of the
+Counsellor, the Demon blowing with a bellows into his ear is also wanting.
+Some have the mark <img src="images/mono_cross.jpg" alt="[monogram]" />, and one that of <img src="images/mono_w.jpg" alt="[monogram]" /> with a
+knife or graving tool.</p>
+
+<p>VIII. &#8220;Todtentanz durch alle stendt der menschen, &amp;c. furgebildet mit
+figuren. S. Gallen, 1581.&#8221; 4to. See Janssen, Essai sur l&#8217;origine de la
+gravure, i. 122, who seems to make them copies of the originals.</p>
+
+<p>IX. The last article in this list of the old copies, though prior in date
+to some of the preceding, is placed here as differing materially from them
+with respect to size. It is a small folio, with the following title,
+&#8220;Todtentantz,</p>
+
+<p class="poem"><span style="margin-left: 2em;">Das menschlichs leben anders nicht</span><br />
+<span style="margin-left: 3em;">Dann nur ain lauff zum Tod</span><br />
+<span style="margin-left: 2em;">Und Got ain nach seim glauben richt</span><br />
+<span style="margin-left: 3em;">Dess findstu klaren tschaid</span><br />
+<span class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></span><span style="margin-left: 2em;">O Mensch hicrinn mit andacht lisz</span><br />
+<span style="margin-left: 3em;">Und fassz zu hertzen das</span><br />
+<span style="margin-left: 2em;">So wirdsttu Ewigs hayls gewisz</span><br />
+<span style="margin-left: 3em;">Kanst sterben dester bas.</span><br />
+<br />
+<span style="margin-left: 6em;"><span class="smcaplc">MDXLIIII.</span></span><br />
+<br />
+Desine long&aelig;vos exposcere sedulus annos<br />
+<span style="margin-left: 1em;">Inque bonis multos annumerare dies</span><br />
+Atque hodie, fatale velit si rumpere filum<br />
+<span style="margin-left: 1em;">Atropos, impavido pectore disce mori.&#8221;</span></p>
+
+<p>At the end, &#8220;Gedruckt inn der kaiserlichen Reychstatt Augspurg durch Jobst
+Denecker Formschneyder.&#8221; This edition is not only valuable for its extreme
+rarity, but for the very accurate and spirited manner in which the fine
+original cuts are copied. It contains all the subjects that were then
+published, but not arranged as those had been. It has the addition of one
+singular print, intitled &#8220;Der Eebrecher,&#8221; <i>i. e.</i> the Adulterer,
+representing a man discovering the adulterer in bed with his wife, and
+plunging his sword through both of them, Death guiding his hands. On the
+opposite page to each engraving there is a dialogue between Death and the
+party, and at bottom a Latin hexameter. The subject of the Pleader has the
+unknown mark <img src="images/mono_evi.jpg" alt="[monogram]" />, and on that of the Duchess in bed, there is the
+date 1542. From the above colophon we are to infer that Dennecker, or as
+he is sometimes, and perhaps more properly, called De Necker or De Negher,
+was the engraver, as he is known to have executed many other engravings on
+wood, especially for Hans Schaufelin, with whom he was connected. He was
+also employed in the celebrated triumph of Maximilian, and in a collection
+of saints, to whom the family of that emperor was related.</p>
+
+<p>X. &#8220;Emblems of Mortality, representing, in upwards of fifty cuts, Death
+seizing all ranks and degrees of people, &amp;c. Printed for T. Hodgson, in
+George&#8217;s Court, St. John&#8217;s Lane, Clerkenwell, 1789. 12mo.&#8221; With an<span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span>
+historical essay on the subject, and translations of the Latin verses in
+the Imagines Mortis, by John Sidney Hawkins, esq. The cuts were engraved
+by the brother of the celebrated Bewick, of Newcastle-upon-Tyne, and a
+pupil of Hodgson, who was an engraver on wood of some merit at that time.
+They are but indifferently executed, but would have been better had the
+artist been more liberally encouraged by the master, who was the publisher
+on his own account, Mr. Hawkins very kindly furnishing the letter-press.
+They are faithful copies of all the originals, except the first, which,
+containing a figure of the Deity habited as a Pope, was scrupulously
+exchanged for another design. A frontispiece is added, representing Death
+leading up all classes of men and women.</p>
+
+<p>XI. &#8220;The Dance of Death of the celebrated Hans Holbein, in a series of
+fifty-two engravings on wood by Mr. Bewick, with letter-press
+illustrations.</p>
+
+<p class="poem"><span style="margin-left: 6em;">What&#8217;s yet in this</span><br />
+That bears the name of life? Yet in this life<br />
+Lie hid more thousand Deaths: yet Death we fear,<br />
+That makes these odds all even.<br />
+<span style="margin-left: 13em;"><span class="smcap">Shakspeare.</span></span></p>
+
+<p>London. William Charlton Wright.&#8221; 12mo. With a frontispiece, partly copied
+from that in the preceding article, a common-place life of Holbein, and an
+introduction pillaged verbatim from an edition with Hollar&#8217;s cuts,
+published by Mr. Edwards. The cuts, with two or three exceptions, are
+imitated from the originals, but all the human figures are ridiculously
+modernised. The text to the subjects is partly descriptions in prose, and
+partly Mr. Hawkins&#8217;s verses, and the cuts, if Bewick&#8217;s, very inferior to
+those in his other works.</p>
+
+<p>XII. &#8220;Emblems of Mortality, representing Death seizing all ranks and
+degrees of people. Imitated in a series of wood cuts from a painting in
+the cemetery of the Dominican church at Basil in Switzerland, with<span class="pagenum"><a name="Page_120" id="Page_120">[Pg 120]</a></span>
+appropriate texts of scripture, and a poetical apostrophe to each, freely
+translated from the Latin and French. London. Printed for Whittingham and
+Arliss, juvenile library, Paternoster-row.&#8221; 12mo. The frontispiece and the
+rest of the cuts, with two exceptions, from the same blocks as those used
+for the last-mentioned edition. The preface, with very slight variation,
+is abridged from that by Mr. Hawkins in No. VIII. and the descriptive
+verses altogether the same as those in that edition. Both the last
+articles seem intended for popular and juvenile use. It will be
+immediately perceived that the title page is erroneous in confounding the
+Basle Dance of Death with that in the volume itself.</p>
+
+<p>XIII. The last in this list is &#8220;Hans Holbein&#8217;s Todtentanz in 53 getreu
+nach den holtz schnitten lithographirten Blattern. Herausgegeben von J.
+Schlotthauer, K. Professor. Mit erkl&auml;rendem Texte. Munschen, 1832. Auf
+kosten des Herausgebers,&#8221; 12mo. or, &#8220;Hans Holbein&#8217;s Dance of Death in
+fifty-three lithographic leaves, faithfully taken from wood engravings.
+Published by J. Schlotthauer, royal professor, with explanatory text.
+Munich, 1832. At the cost of the editors.&#8221; This work is executed in so
+beautiful and accurate a manner that it might easily be mistaken for the
+wood originals.</p>
+
+<p>The professor has substituted German verses, communicated by a friend,
+instead of the former Latin ones. He states that the subject will be taken
+up by Professor Massman, of Munich, whose work will satisfy all enquiries
+relating to it. Massman, however, has added to this volume a sort of
+explanatory appendix, in which some of the editions are mentioned. He
+thinks it possible that the cholera may excite the same attention to this
+work as the plague had formerly excited to the old Macaber Dance at Basle,
+and concludes with a promise to treat the subject more at large at some
+future time.</p>
+
+
+<p>&nbsp;<span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span></p>
+<p class="center">COPIES OF THE SAME DESIGNS, ENGRAVED IN COPPER.</p>
+
+<p>I. &#8220;Todten Dantz durch alle stande und Beschlecht der Menschen, &amp;c.&#8221; <i>i.
+e.</i> &#8220;Death&#8217;s Dance through all ranks and conditions of men.&#8221; This title is
+on a frontispiece representing a gate of rustic architecture, at the top
+of which are two boy angels with emblems of mortality between them, and
+underneath are the three Fates. At the bottom, Adam and Eve with the tree
+of knowledge, each holding the apple presented by the serpent. Between
+them is a circular table, on which are eight sculls of a Pope, Emperor,
+Cardinal, &amp;c. with appropriate mottoes in Latin. On the outer edge of the
+table <span class="smcaplc">STATVTVM EST OMNIBVS HOMINIBVS SEMEL MORI POST HOC AVTEM IVDICIVM</span>.
+In the centre the letters <span class="smcaplc">MVS</span>, the terminating syllable of each motto.
+Before the gate are two pedestals, inscribed <span class="smcaplc">MEMENTO MORI</span> and <span class="smcaplc">MEMORARE
+NOVISSIMA</span>, on which stand figures of Death supporting two pyramids or
+obelisks surmounted with sculls and a cross, and inscribed <span class="smcaplc">ITER AD VITAM</span>.
+Below, &#8220;Eberh. Kieser excudit.&#8221; This frontispiece is a copy of a large
+print engraved on wood long before. Without date, in quarto.</p>
+
+<p>The work consists of sixty prints within borders of flowers, &amp;c. in the
+execution of which two different and anonymous artists have been employed.
+At the top of each print is the name of the subject, accompanied with a
+passage from scripture, and at the bottom three couplets of German verses.
+Most of the subjects are copied from the completest editions of the Lyons
+cuts, with occasional slight variations. They are not placed in the same
+order, and all are reversed, except Nos. 57 and 60. No. 12 is not
+reversed, but very much altered, a sort of duplicate of the Miser. No. 50,
+the Jew, and No. 51, the Jewess, are entirely new. The latter is<span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span> sitting
+at a table, on which is a heap of money, and Death appears to be giving
+effective directions to a demon to strangle her. No. 52 is also new. A
+castle within a hedge. Death enters one of the windows by a ladder, whilst
+a woman looks out of another.<a name='fna_121' id='fna_121' href='#f_121'><small>[121]</small></a> The subject is from Jeremiah, ch. ix.
+v. 21. &#8220;Death is come up into our windows, &amp;c.&#8221; In the subject of the
+Pope, the two Devils are omitted. Two military groups of boys, newly
+designed, are added. The following are copies from Aldegrever, Nos. 1, 2,
+3, 4, 6, 11, and 12. At the beginning and end of the book there are moral
+poems in the German language.</p>
+
+<p>II. Another edition of the same cuts. The title-page of the copy here
+described is unfortunately lost. It has a dedication in Latin to three
+patricians of Frankfort on the Maine by Daniel Meisner &agrave; Commenthaw, Boh.
+Poet. L. C. dated, according to the Roman capitals, in a passage from
+Psalm 46, in the year 1623. This is followed by the Latin epigram, or
+address to the reader, by Geo. &AElig;mylius, whose translations of the original
+French couplets are also given, as well as the originals themselves. These
+are printed on pages opposite to the subjects, but they are often very
+carelessly transposed. At the end the date 1623 is twice repeated by means
+of the Roman capitals in two verses from Psalms 78 and 63, the one German,
+the other Latin. 12mo.</p>
+
+<p>III. &#8220;Icones Mortis sexaginta imaginibus totidemque inscriptionibus
+insignit&aelig;, versibus quoque Latinis et novis Germanicis illustrat&aelig;.
+Vorbildungen desz Todtes. In sechtzig figuren durch alle Stande und
+Geschlechte, derselbigen nichtige Sterblichkeit furzuweisen, aus gebruckt,
+und mit so viel ubors schriffren, auch Lateinischen und neuen Teutschen
+Verszlein erklaret. Durch<span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span> Johann Vogel. Bey Paulus Fursten Kunsthandlern
+zu finden.&#8221; On the back of this printed title is an engraving of a hand
+issuing from the clouds and holding a pair of scales, in one of which is a
+scull, in the other a Papal tiara, sceptre, &amp;c. weighing down the scull.
+On the beam of the scales an hour glass and an open book with Arabic
+numerals. In the distance, at bottom, is seen a traveller reposing in a
+shed. Above is a label, inscribed &#8220;Metas et tempora libro,&#8221; and below,
+&#8220;Ich Wage ziel und zeitten ab.&#8221; Then follows a neatly engraved and regular
+title-page. At top, a winged scull surmounted with an hour-glass, and
+crossed with a spade and scythe. At bottom, three figures of Death sitting
+on the ground; one of them plays on a hautboy, or trumpet, another on a
+bagpipe, and the third has a drum behind him. The middle exhibits a
+circular Dance of Death leading by the hand persons of all ranks from the
+Emperor downwards. In the centre of this circle &#8220;Toden Tantz zu finden bey
+Paulus Furst Kunst handlern,&#8221; and quite at the bottom of the page, &#8220;G.
+Stra. in. A. Khol fecit.&#8221; Next comes an exhortation on Death to the reader
+in Latin verse, followed by several poems in German and Latin, those in
+German signed G. P. H. Immediately afterwards, and before the first cut of
+the work is another elegantly engraved frontispiece representing an arched
+gate of stone surmounted with three sculls of a Pope, a Cardinal, and a
+King, between a vase of flowers on the right, and a pot of incense, a cock
+standing near it, on the left. On the keystone of the gate are two tilting
+lances in saltier, to which a shield and helmet are suspended. Through the
+arch is seen a chamber, in which there seems to be a bier, and near it a
+cross. On the left of the gate is a niche with a scull and bones in it.
+Below are two large figures of Death. That on the left has a wreath of
+flowers round its head, and is beating a bell with a bone. Under him is an
+owl, and on the side of his left<span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span> knee a scythe. The other Death has a cap
+and feather, in his right hand an hour-glass, the left pointing to the
+opposite figure. On the ground between them, a bow, a quiver of arrows and
+a dart. On the left inner side of the gate a pot with holy water is
+suspended to a ring, the sprinkler being a bone. Further on, within the
+gate, is a flat stone, on which are several sculls and bones, a snake
+biting one of the sculls. On the right hand corner at bottom is the letter
+<img src="images/mono_a2.jpg" alt="[monogram]" />, perhaps the mark of the unknown engraver. The explanations
+on the pages opposite to each print are in German and Latin verses, the
+latter by &AElig;mylius, with occasional variations. This edition has the sixty
+prints in the two preceding Nos. some of them having been retouched; and
+the cut of the King at table, No. 9, is by a different engraver from the
+artist of the same No. in the preceding 4to. edition, No. I. The present
+edition has also an additional engraving at the end, representing a gate,
+within which are seen several sculls and bones, other sculls in a niche,
+and in the distance a cemetery with coffins and crosses. Over the gate a
+scull on each side, and on the outer edge of the arch is the inscription,
+&#8220;Quis Rex, quis subditus hic est?&#8221; At bottom,</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="table">
+<tr><td class="br">Hie sage wer es sagen kan &nbsp;</td><td>&nbsp; Here let tell who may:</td></tr>
+<tr><td class="br" valign="top">Wer konig sey? wer unterthan. &nbsp;</td>
+<td>&nbsp; Or, which be the king? which the<br /><span style="margin-left: 2em;">subject?</span></td></tr>
+<tr><td colspan="2" align="center">Paulus Furst Excu.</td></tr></table>
+
+<p>The whole of the print in a border of sculls, bones, snakes, toads, and a
+lizard. Opposite to it the date 1647 is to be gathered from the Roman
+capitals in two scriptural quotations, the one in Latin, the other in
+German, ending with this colophon, &#8220;Gedrucht zu Nuremberg durch Christoff
+Lochner. In Verlegung Paul Fursten Kunsthandlern allda.&#8221; 12mo.</p>
+
+<p>IV. A set of engravings, 8 inches by 8, of which the<span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span> subject of the
+Pedlar, only has occurred on the present occasion. Instead of the
+trump-marine, which one of the Deaths plays on in the original cut, this
+artist has substituted a violin, and added a landscape in the back-ground.
+Below are these verses:</p>
+
+<p class="poem"><span style="margin-left: 5.5em;"><span class="smcap">La Mort.</span></span><br />
+Sus? cesse ton traficq, car il fault &agrave; ceste heure<br />
+Que tu sente l&#8217;effort de mon dard asser&eacute;.<br />
+Tu as assez vescu, il est temps que tu meure,<br />
+Mon coup inevitable est pour toy prepar&eacute;.<br />
+<br />
+<br />
+<span style="margin-left: 4em;"><span class="smcap">Le Marchant.</span></span><br />
+Et de grace pardon, arreste ta cholere.<br />
+Je suis pauvre marchant appaise ta rigueur.<br />
+Permete qu&#8217;encore un temps je vive en ceste terre:<br />
+Et puis tu recevras l&#8217;offrande de mon c&oelig;ur.</p>
+
+<p>V. A set of thirty etchings by Wenceslaus Hollar, within elegant frames or
+borders designed by Diepenbecke, of which there are three varieties. The
+first of these has at the top a coffin with tapers, at bottom, Death lying
+prostrate. The sides have figures of time and eternity. At bottom, <i>Ab.
+Diepenbecke inv. W. Hollar fecit</i>. The second has at top a Death&#8217;s head
+crowned with the Papal tiara; at bottom, a Death&#8217;s head with cross-bones
+on a tablet, accompanied by a saw, a globe, armour, a gun, a drum, &amp;c. On
+the sides are Hercules and Minerva. At bottom, <i>Ab. Diepenbecke inv. W.
+Hollar fecit, 1651</i>. The third has at top a Death&#8217;s head, an hour-glass
+winged between two boys; at bottom, a Death&#8217;s head and cross-bones on a
+tablet between two boys holding hour-glasses. On the sides, Democritus and
+Heraclitus with fools&#8217; caps. This border has no inscription below. As
+these etchings are not numbered, the original arrangement of them cannot
+be ascertained. The names of Diepenbecke and Hollar are at the bottom of
+several of the borders, &amp;c. On the subject of the Queen is the mark
+<img src="images/mono_uh.jpg" alt="[monogram]" /> and on three others that of <img src="images/mono_wh.jpg" alt="[monogram]" />. This is the
+first and most desirable state of<span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span> the work, the borders having afterwards
+fallen into the hands of Petau and Van Morle, two foreign printsellers,
+whose impressions are very inferior. It has not been ascertained what
+became of these elegant additions, but the work afterwards appeared
+without them, and with the additional mark <img src="images/mono_hb.jpg" alt="[monogram]" /> <i>i.</i> on every
+print, and intended for Holbein invenit. It is very certain that Hollar
+himself did not place this mark on the prints; he has never introduced it
+in any of his copies from Holbein, always expressing that painter&#8217;s name
+in these several ways: <img src="images/mono_hh.jpg" alt="[monogram]" />, <img src="images/mono_hholbein.jpg" alt="[monogram]" /> <i>inv.</i>
+<img src="images/mono_hholbein.jpg" alt="[monogram]" /> <i>pinxit</i>, <span class="smcap">H. Holbein</span> inv. <span class="smcap">H. Holbein</span> inventor. On one
+of his portraits from the Arundel collection he has placed &#8220;<img src="images/mono_hholbein.jpg" alt="[monogram]" />
+<i>incidit in lignum</i>.&#8221; No copy, however, of this portrait has
+occurred in wood, and, if this be only a conjecture on the part of the
+engraver, the distance of time between the respective artists is an
+objection to its validity, though it is possible that Holbein might have
+engraved on wood, because there are prints which have all the appearance
+of belonging to him, that have his usual mark, accompanied by an engraving
+tool. There is no text to these etchings, except the Latin scriptural
+passages under each, that occur in the original editions in that language.
+As a sort of frontispiece to the work, Hollar has transferred the last cut
+of the allegorical shield of arms, supported by a lady and gentleman, to
+the beginning, with the appropriate title of <span class="smcaplc">MORTALIVM NOBILITAS</span>. The
+other subjects are, 1. Adam and Eve in Paradise. 2. Their expulsion from
+Paradise. 3. Adam digging, Eve spinning. 4. The Pope. 5. The Emperor. 6.
+The Empress. 7. The Queen. 8. The Cardinal. 9. The Duke. 10. The Bishop.
+11. The Nobleman. 12. The Abbot. 13. The Abbess. 14. The Friar. 15. The
+Nun. 16. The Preacher. 17. The Physician. 18. The Soldier, or Warrior. 19.
+The Advocate. 20. The Married Couple. 21. The Duchess. 22. The Merchant.
+23. The <span class="pagenum"><a name="Page_127" id="Page_127">[Pg 127]</a></span>Pedlar. 24. The Miser. 25. The Waggoner with wine casks. 26. The
+Gamesters. 27. The Old Man. 28. The Old Woman. 29. The Infant. Of these,
+Nos. 1, 5, 6, 8, 9, 13, 14, 23, 27, and 28, correspond with the Lyons
+wood-cuts, except that in No. 1 a stag is omitted, and there are some
+variations; in No. 6, the windows of the palace are altered; in No. 13, a
+window is added to the house next to the nunnery; and in No. 9, a figure
+is introduced, and the ducal palace much altered; in No. 23, a sword is
+omitted. They are all reverses, except No. 5. The rest of the subjects are
+reversed, with one exception, from the copies by <img src="images/mono_a.jpg" alt="[monogram]" /> in the
+spurious edition first printed at Cologne in 1555, with occasional very
+slight variations. Hollar&#8217;s copies from the original cuts are in a small
+degree less both in width and depth. In the subject of Death and the
+Soldier he has not shown his judgment in making use of the spurious
+edition rather than the far more elegant and interesting original,<a name='fna_122' id='fna_122' href='#f_122'><small>[122]</small></a>
+and it is remarkable that this is the only print belonging to the spurious
+ones that is not reversed.</p>
+
+<p>It is very probable that Hollar executed this work at Antwerp, where, at
+the time of its date, he might have found Diepenbecke and engaged him to
+make designs for the borders which are etched on separate plates, thus
+supplying passe-par-touts that might be used at discretion. Many sets
+appear without the borders, which seem to have strayed, and perhaps to
+have been afterwards lost or destroyed. As Rubens is recorded to have
+admired the beauty of the original cuts, so it is to be supposed that
+Diepenbecke, his pupil, would entertain the same opinion of them, and that
+he might have suggested to Hollar the making etchings of them, undertaking
+himself to furnish appropriate borders. But how shall we account for the
+introduction of so many of the spurious and <span class="pagenum"><a name="Page_128" id="Page_128">[Pg 128]</a></span>inferior designs, if he had
+the means of using the originals? Many books were formerly excessively
+rare, which, from peculiar circumstances, not necessary to be here
+detailed, but well known to bibliographers and collectors, have since
+become comparatively common. Hollar might not have had an opportunity of
+meeting with a perfect copy of the original cuts, or he might, in some way
+or other, have been impeded in the use of them, when executing his work,
+and thus have been driven to the necessity of pursuing it by means of the
+spurious edition. These, however, are but conjectures, and it remains for
+every one to adopt his own opinion.</p>
+
+<p>The copper-plates of the above thirty etchings appear to have fallen into
+the hands of an English noble family, from which the late Mr. James
+Edwards, a bookseller of well merited celebrity, obtained them, and about
+the year 1794 caused many impressions to be taken off after they had been
+<i>rebitten</i> with great care, so as to prevent that injury, with respect to
+outline, which usually takes place where etchings or engravings upon
+copper are <i>retouched</i>. Previously to this event good impressions must
+have been extremely rare, at least on the continent, as they are not found
+in the very rich collections of Winckler or Brandes, nor are they
+mentioned by the foreign writers on engraving. To Mr. Edwards&#8217;s
+publication of Hollar&#8217;s prints there was prefixed a short dissertation on
+the Dance of Death, which is here again submitted to public attention in a
+considerably enlarged form, and corrected from the errors and
+imperfections into which its author had been misled by preceding writers
+on the subject, and by the paucity of the materials which he was then able
+to obtain. This edition was reprinted verbatim, and with the same
+etchings, in 1816, for J. Coxhead, in Holywell Street, Strand, but without
+any mention of the former, and accompanied with the addition of a brief
+memoir of Holbein.</p>
+
+<p><span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a></span>It is most likely that Hollar, having discovered the error which he had
+committed in copying the spurious engravings before-mentioned, and
+subsequently procured a set of genuine impressions, resolved to make
+another set of etchings from the original work, four only of which he
+appears to have executed, his death probably taking place before they
+could be completed. These are, 1. The Pope crowning the Emperor, with
+&#8220;Moriatur sacerdos magnus.&#8221; 2. The rich man disregarding the beggar, with
+&#8220;Qui obturat aurem suam ad clamorem pauperis, &amp;c.&#8221; and the four Latin
+lines, &#8220;Consulitis, dites, &amp;c.&#8221; at bottom, as in the original. It is
+beautifully and most faithfully copied, with <img src="images/mono_hholbein.jpg" alt="[monogram]" /> <i>inv.
+Hollar fecit</i>. 3. The Ploughman, with &#8220;In sudore vultus, &amp;c.&#8221; 4. The
+Robber, with &#8220;Domine vim patior.&#8221;</p>
+
+<p>In Dugdale&#8217;s History of St. Paul&#8217;s, and also in the Monasticon, there is a
+single etching by Hollar of Death leading all ranks of people. It is only
+an improved copy of an old wood-cut in Lydgate&#8217;s works, already mentioned
+in p. <a href="#Page_52">52</a>, and which is altogether imaginary, not being taken from any real
+series of the Dance.</p>
+
+<p>VI. &#8220;Varii e veri ritratte della morte disegnati in immagini, ed espressi
+in Essempii al peccatore duro di cuore, dal padre Gio. Battista Marmi
+della compagnia de Giesu.&#8221; Venetia, 1669, 8vo. It has several engravings,
+among which are the following, after the original designs. 1. Queen. 2.
+Nobleman. 3. Merchant. 4. Gamblers. 5. Physician. 6. Miser. The last five
+being close copies from the same subjects, in the Basle edit. 1769, No. V.
+of the copies in wood.</p>
+
+<p>VII. &#8220;Theatrum mortis human&aelig; tripartitum. I. Pars. Saltum Mortis. II.
+Pars. Varia genera Mortis. III. Pars. P&aelig;nas Damnatorum continens, cum
+figuris &aelig;neis illustratum.&#8221; Then the same repeated in German, with the
+addition &#8220;Durch Joannem Weichardum Valvasor. Lib. Bar. cum facultate
+superiorum, et speciali <span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span>privilegio Sac. C&aelig;s. Majest. Gedrucht zu Laybach,
+und zu finden ben Johann Baptista Mayr, in Saltzburg. Anno 1682. 4to.&#8221;
+Prefixed is an engraved frontispiece representing a ruined arch, under
+which is a coffin, and before it the King of Terrors between two other
+figures of Death mounted respectively on an elephant and camel. In the
+foreground, Adam and Eve, tied to the forbidden tree of knowledge, between
+several other Deaths variously employed. Two men digging graves, &amp;c.
+Underneath, &#8220;<span class="mono">W.</span> inven. <span class="mono">W.</span> excud. Jo. Koch del. And. Trost sculp. Wagenpurgi
+in Carniola.&#8221; It is the first part only with which we are concerned. The
+artist, with very little exception, has followed and reversed the spurious
+wood-cuts of 1555, by <img src="images/mono_a.jpg" alt="[monogram]" />. To the groups of boys he has added a
+Death leading them on.</p>
+
+<p>VIII. &#8220;De Doodt vermaskert met des werelts ydelheyt afghedaen door
+Geeraerdt Van Wolschaten.&#8221; This is another edition of No. IX. of the
+original wood-cuts, here engraved on <i>copper</i>. The text is the same as
+that of 1654, with the addition of seven leaves, including a cut of Death
+leading all ranks of men. In that of the Pedler the artist has introduced
+some figures in the distance of the original <i>soldier</i>. Among other
+variations the costume of the time of William III. is sometimes very
+ludicrously adopted, especially in the frontispiece, where the author is
+represented writing at a desk, and near him two figures of a man in a full
+bottom wig, and a woman with a mask and a perpendicular cap in several
+stories, usually called a <i>Fontange</i>, both having skeleton faces. At
+bottom, the mark <img src="images/mono_lbf.jpg" alt="[monogram]" />. This edition was printed at Antwerp
+by Jan Baptist Jacobs, without date, but the privilege has that of 1698.
+12mo.</p>
+
+<p>IX. &#8220;Imagines Mortis, or the Dead Dance of Hans Holbeyn, painter of King
+Henry the VIII.&#8221; This title is on a copper-plate within a border, and
+accompanied with nineteen etchings on copper, by Nieuhoff Piccard,<span class="pagenum"><a name="Page_131" id="Page_131">[Pg 131]</a></span> a
+person who will be more particularly adverted to hereafter. They consist
+of, 1. The emblem of Mortality. 2. The temptation. 3. The expulsion from
+Paradise. 4. Adam digging, Eve spinning. 5. Concert of Deaths. 6. The
+Infant. 7. The new married couple. 8. The Duke. 9. The Advocate. 10. The
+Abbot. 11. The Monk. 12. The Abbess. 13. The Soldier. 14. The Merchant.
+15. The Pedler. 16. The Fool. 17. The Blind Man. 18. The Old Woman. 19.
+The Old Man. The designs, with some occasional variations, correspond with
+those in the original wood-cuts. The plates of these etchings must have
+passed into the hands of some English printsellers, as broken sets of them
+have not long since been seen, one only of which, namely, that of the
+Temptation, had these lines on it:</p>
+
+<p class="poem">&#8220;All that e&#8217;er had breath<br />
+Must dance after Death.&#8221;</p>
+
+<p>with the date 1720. Several were then numbered at bottom with Arabic
+numerals.</p>
+
+<p>X. &#8220;Schau-platz des Todes, oder Todten Tanz, von Sal. Van Rusting Med.
+Doct. in Nieder-Teutscher-Spracke nun aber in Hoch Teutscher mit nothigen
+Anmerchungen heraus gegeben von Johann Georg. Meintel Hochfurstl
+Brandenburg-Onoltzbachischen pfarrer zu Petersaurach.&#8221; Nurnberg, 1736.
+8vo. Or, &#8220;The Theatre of Death, or Dance of Death, by Sol. Van Rusting,
+doctor of medicine, in Low German language, but now in High German, with
+necessary notes by John George Meintel in the service of his Serene
+Highness of Brandenburg, and parson of Petersaurach.&#8221; It is said to have
+been originally published in 1707, which is very probable, as Rusting, of
+whom very little is recorded, was born about 1650. In the early part of
+his life he practised as an army surgeon. He was a great admirer and
+follower of the doctrines of Balthasar Bekker in his &#8220;Monde enchant&eacute;.&#8221;
+There are editions in Dutch only, 1735 and 1741. 12mo. the plates being<span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span>
+copies. In the above-mentioned edition by Meintel there is an elaborate
+preface, with some account of the Dance of Death, and its editions, but
+replete with the grossest errors, into which he has been misled by
+Hilscher, and some other writers. His text is accompanied with a profusion
+of notes altogether of a pious and moral nature.</p>
+
+<p>Rusting&#8217;s work consists of thirty neat engravings, of which the following
+are copied from the Lyons wood-cuts. 1. The King, much varied. 2. The
+Astrologer. 3. The Soldier. 4. The Monk. 5. The Old Man. 6. The Pedler.
+The rest are, on the whole, original designs, yet with occasional hints
+from the Lyons cuts; the best of them are, the Masquerade, the
+Rope-dancer, and the Skaiters. The frontispiece is in two compartments;
+the upper one, Death crowned, sitting on a throne, on each side of him a
+Death trumpeter; the lower, a fantastic Dance of seven Deaths, near a
+crowned skeleton lying on a couch.</p>
+
+<p>XI. &#8220;Le triomphe de la Mort.&#8221; A Basle, 1780, folio. This is the first part
+of a collection of the works of Hans Holbein, engraved and published by M.
+Chretien de Mechel, a celebrated artist, and formerly a printseller in the
+above city. It has a dedication to George III. followed by explanations in
+French of the subjects, in number 46, and in the following order; No. 1. A
+Frontispiece, representing a tablet of stone, on one side of which Holbein
+appears behind a curtain, which is drawn aside by Death in order to
+exhibit to him the grand spectacle of the scenes of human life which he is
+intended to paint; this is further designated by a heap of the attributes
+of greatness, dignities, wealth, arts, and sciences, intermixed with
+Deaths&#8217; heads, all of which are trampled under foot by Death himself. At
+bottom, Lucan&#8217;s line, &#8220;Mors sceptra ligonibus &aelig;quat.&#8221; The tablet is
+surmounted by a medallion of Holbein, supported by two genii, one of whom
+decorates the portrait with flowers, whilst another<span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span> lets loose a
+butterfly, and a third is employed in blowing bubbles. On the tablet
+itself is a second title, &#8220;Le triomphe de la mort, grav&eacute; d&#8217;apres les
+dessins originaux de Jean Holbein par Chr<sup>n</sup>. de Mechel, graveur &agrave; Basle,
+<span class="smcaplc">MDCCLXXX</span>.&#8221; This frontispiece has been purposely inverted for the present
+work. The other subjects are: No. 2. The Temptation. 3. Expulsion from
+Paradise. 4. Adam digging, Eve spinning. 5. The Pope. 6. The Cardinal. 7.
+The Duke. 8. The Bishop. 9. The Canon. 10. The Monk. 11. The Abbot. 12.
+The Abbess. 13. The Preacher. 14. The Priest. 15. The Physician. 16. The
+Astrologer. 17. The Emperor. 18. The King. 19. The Empress. 20. The Queen.
+21. The Duchess. 22. The Countess. 23. The New-married Couple. 24. The
+Nun. 25. The Nobleman. 26. The Knight. 27. The Gentleman. 28. The Soldier.
+29. The Judge. 30. The Counsellor. 31. The Advocate. 32. The Merchant. 33.
+The Pedler. 34. The Shipwreck. 35. The Wine-carrier. 36. The Plowman. 37.
+The Miser. 38. The Robber. 39. The Drunkard. 40. The Gamblers. 41. The Old
+Man. 42. The Old Woman. 45. The Blind Man. 44. The Beggar. 45. The Infant.
+46. The Fool.</p>
+
+<p>M. Mechel has added another print on this subject, viz. the sheath of a
+dagger, a design for a chaser. It is impossible to exceed the beauty and
+skill that are manifested in this fine piece of art. The figures are, a
+king, queen, warrior, a young woman, a monk, and an infant, all of whom
+most unwillingly accompany Death in the dance. The despair of the king,
+the dejection of the queen, accompanied by her little dog, the terror of
+the soldier who hears the drum of Death, the struggling of the female, the
+reluctance of the monk, and the sorrow of the poor infant, are depicted
+with equal spirit and veracity. The original drawing is in the public
+library at Basle, and ascribed to Holbein. There is a general agreement
+between these engravings and the original<span class="pagenum"><a name="Page_134" id="Page_134">[Pg 134]</a></span> wood-cuts. Twenty-three are
+reversed. In No. 13 the jaw-bone in the hand of Death is not distinct. In
+No. 16 a cross is added, and in No. 17 two heads.</p>
+
+<p>Mr. Coxe, in his Travels in Switzerland, has given some account of the
+drawings copied as above by M. de Mechel, in whose possession he saw them.
+He states that they were sketched with a pen, and slightly shaded with
+Indian ink. He mentions M. de Mechel&#8217;s conjecture that they were once in
+the Arundel collection, and infers from thence that they were copied by
+Hollar, which, however, from what has been already stated on the subject
+of Hollar&#8217;s print of the Soldier and Death, as well as from other
+variations, could not have been the case. Mr. Coxe proceeds to say that
+four of the subjects in M. de Mechel&#8217;s work are not in the drawings, but
+were copied from Hollar. It were to be wished that he had specified them.
+The particulars that follow were obtained by the compiler of the present
+dissertation from M. de Mechel himself when he was in London. He had not
+been able to trace the drawings previously to their falling into the hands
+of M. de Crozat,<a name='fna_123' id='fna_123' href='#f_123'><small>[123]</small></a> at whose sale, about 1771, they were purchased by
+Counsellor Fleischmann of Strasburg, and M. de Mechel having very
+emphatically expressed his admiration of them whilst they were in the
+possession of M. Fleischmann, that gentleman very generously offered them
+as a present to him. M. de Mechel, however, declined the offer, but
+requested they might be deposited in the public library at Basle, among
+other precious remains of Holbein&#8217;s art. This arrangement, however, did
+not take place, and it happened in the mean time that two nephews of
+Prince Gallitzin, minister from Russia to the court of Vienna, having
+occasion<span class="pagenum"><a name="Page_135" id="Page_135">[Pg 135]</a></span> to visit M. Fleischmann, then much advanced in years, and his
+memory much impaired, prevailed on him to concede the drawings to their
+uncle, who, on learning from M. de Mechel what had originally passed
+between himself and M. Fleischmann, sent the drawings to him, with
+permission to engrave and publish them, which was accordingly done, after
+they had been detained two years for that purpose. They afterwards passed
+into the Emperor of Russia&#8217;s collection of fine arts at Petersburg.</p>
+
+<p>It were greatly to be wished that some person qualified like Mr. Ottley,
+if such a one can be found, would take the trouble to enter on a critical
+examination of these drawings in their present state, with a view to
+ascertain, as nearly as possible, whether they carry indisputable marks of
+Holbein&#8217;s art and manner of execution, or whether, as may well be
+suspected, they are nothing more than copies, either by himself or some
+other person, from the original wood engravings.</p>
+
+<p>M. de Mechel had begun this work in 1771, when he had engraved the first
+four subjects, including a frontispiece totally different from that in the
+volume here described. There are likewise variations in the other three.
+He was extremely solicitous that these should be cancelled.</p>
+
+<p>XII. David Deuchar, sometimes called the Scottish Worlidge, who has etched
+many prints after Ostade and the Dutch masters, published a set of
+etchings by himself, with the following printed title: &#8220;The Dances of
+Death through the various stages of human life, wherein the capriciousness
+of that tyrant is exhibited in forty-six copper-plates, done from the
+original designs, which were cut in wood and afterwards painted by John
+Holbein in the town house at Basle, to which is prefixed descriptions of
+each plate in French and English, with the scripture text from which the
+designs were taken. Edinburgh, <span class="smcaplc">MDCCLXXXVIII</span>.&#8221;
+Before this<span class="pagenum"><a name="Page_136" id="Page_136">[Pg 136]</a></span> most inaccurate
+title are two engraved leaves, on one of which is Deuchar&#8217;s portrait, in a
+medallion, supported by Adam and Eve holding the forbidden fruit. Over the
+medallion, the three Fates, the whole within an arch before a pediment. On
+each side, a plain column, supporting a pyramid, &amp;c. On the other leaf a
+copy of the engraved title to M. de Mechel&#8217;s work with the substitution of
+Deuchar&#8217;s name. After the printed title is a portrait, as may be supposed,
+of Holbein, within a border containing six ovals of various subjects, and
+a short preface or account of that artist, but accompanied with some very
+inaccurate statements. The subjects are inclosed, like Hollar&#8217;s, within
+four different borders, separately engraved, three of them borrowed, with
+a slight variation in one, from Diepenbeke, the fourth being probably
+Deuchar&#8217;s invention. The etchings of the Dance of Death are forty-six in
+number, accompanied with De Mechel&#8217;s description and English translation.
+At the end is the emblematical print of mortality, but not described, with
+the dagger sheath, copied from De Mechel. Thirty of these etchings are
+immediately copied from Hollar, No. X. having the distance altered. The
+rest are taken from the spurious wood copies of the originals by
+<img src="images/mono_a.jpg" alt="[monogram]" /> with variation in No. XVIII.; and in No. XXXIX. and XLIII.
+Deuchar has introduced winged hour-glasses. These etchings are very
+inferior to those by Hollar. The head of Eve in No. III. resembles that of
+a periwigged Frenchman of the time of Louis XIV. but many of the subjects
+are very superior to others, and intitled to much commendation.</p>
+
+<p>XIII. The last in this list is &#8220;Der Todtentanz ein gedicht von Ludwig
+Bechstein mit 48 kupfern in treuen Conturen nach H. Holbein. Leipzig.
+1831,&#8221; 12mo.; or, &#8220;Death&#8217;s Dance, a poem by Ludwig Bechstein, with
+forty-eight engravings in faithful outlines from H. Holbein.&#8221; These very
+elegant etchings are by Frenzel,<span class="pagenum"><a name="Page_137" id="Page_137">[Pg 137]</a></span> inspector of the gallery of engravings
+of the King of Saxony at Dresden. The poem, which is an epic one, relates
+entirely to the power of Death over mankind.</p>
+
+<p>It is necessary to mention that the artist who made the designs for the
+Lyons Dance of Death is not altogether original with respect to a few of
+them. Thus, in the subject of Adam digging and Eve spinning, he has partly
+copied an ancient wood engraving that occurs in some of the Hor&aelig; printed
+by Francis Regnault at Paris. In the subject of the Queen, and on that of
+the Duke and Duchess, he has made some use of those of Death and the Fool,
+and Death and the Hermit, in the old Dance at Basle. On the other hand, he
+has been imitated, 1. in &#8220;La Periere Theatre des bons engins. 1561.&#8221; 24mo.
+where the rich man bribing the judge is introduced at fo. 66. 2. The
+figure of the Swiss gentleman in &#8220;Recueil de la diversit&eacute; des habits.&#8221;
+Paris, 1567. 12mo. is copied from the last print in the Lyons book. 3.
+From the same print the Death&#8217;s head has been introduced in an old wood
+engraving, that will be more particularly described hereafter. 4.
+Brebiette, in a small etching on copper, has copied the Lyons plowman. 5.
+Mr. Dance, in his painting of Garrick, has evidently made use of the
+gentleman who lifts up his sword against Death. The copies of the portrait
+of Francis I. have been already noticed.</p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_138" id="Page_138">[Pg 138]</a></span></p>
+<h2><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX.</h2>
+
+<div class="note"><p class="hang"><i>Further examination of Holbein&#8217;s title.&mdash;Borbonius.&mdash;Biographical
+notice of Holbein.&mdash;Painting of a Dance of Death at Whitehall by him.</i></p></div>
+
+
+<p>&nbsp;</p>
+<p><span class="dropfig"><img src="images/cap_i.jpg" alt="I" /></span>t may be necessary in the next place to make some further enquiry
+respecting the connection that Holbein is supposed to have had <i>at any
+time</i> with the subject of the Dance of Death.</p>
+
+<p>The numerous errors that have been fallen into in making Holbein a
+participator in any manner whatever with the old Basle Macaber Dance, have
+been already noticed, and are indeed not worth the trouble of refuting. It
+is wholly improbable that he would interfere with so rude a piece of art;
+nor has his name been recorded among the artists who are known to have
+retouched or repaired it. The Macaber Dance at Basle, or any where else,
+is, therefore, with respect to Holbein, to be altogether laid aside; and
+if the argument before deduced from the important dedication to the
+edition of the justly celebrated wood-cuts published at Lyons in 1538 be
+of any value, his claim to their invention, at least to those in the first
+edition, must also be rejected.<a name='fna_124' id='fna_124' href='#f_124'><small>[124]</small></a> There is indeed but very slight
+evidence, and none contemporary, that he painted any Dance of Death at
+Basle. The indefinite statements of Bishop Burnet and M. Patin, together
+with those of the numerous and<span class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a></span> careless travellers who have followed
+blind leaders, and too often copied each other without the means or
+inclination of obtaining correct information, are deserving of very little
+attention. The circumstance of Holbein&#8217;s having painted a Dance of
+Peasants somewhere in the above city, in conjunction with the usual
+mistake of ascribing to him the old Macaber Dance, seems to have
+occasioned the above erroneous statements as to a Dance of Death by his
+pencil. It is hardly possible that Zuinger, almost a contemporary, when
+describing the Dance of Peasants and other paintings by Holbein at Basle
+would have omitted the mention of any Dance of Death:<a name='fna_125' id='fna_125' href='#f_125'><small>[125]</small></a> but even
+admitting the former existence of such a painting, it would not constitute
+him the inventor of the designs in the Lyons work. He might have imitated
+or copied those designs, or the wood-cuts themselves, or perhaps have
+painted subjects that were different from either.</p>
+
+<p>We are now to take into consideration some very clear and important
+evidence that Holbein actually <i>did paint a Dance of Death</i>. This is to be
+found in the <i>Nug&aelig;</i> of Borbonius in the following verses:</p>
+
+<p class="poem"><span style="margin-left: 1em;"><i>De morte picta &agrave; Hanso pictore nobili.</i></span><br />
+Dum mortis Hansus pictor imaginum exprimit,<br />
+Tanta arte mortem retulit, ut mors vivere<br />
+Videatur ipsa: et ipse se immortalibus<br />
+Parem Diis fecerit, operis hujus gloria.<a name='fna_126' id='fna_126' href='#f_126'><small>[126]</small></a></p>
+
+<p>It has been already demonstrated that these lines could not refer to the
+old painting of the Macaber Dance at the Dominican convent, whilst, from
+the important dedication to the edition of the wood-cuts first published
+at Lyons in 1538, it is next to impossible that that work could then have
+been in Borbonius&#8217;s<span class="pagenum"><a name="Page_140" id="Page_140">[Pg 140]</a></span> contemplation. It appears from several places in his
+Nug&aelig; that he was in England in 1535, at which time Holbein drew his
+portrait in such a manner as to excite his gratitude and admiration in
+another copy of verses.<a name='fna_127' id='fna_127' href='#f_127'><small>[127]</small></a> This was probably the chalk drawing still
+preserved in the fine collection of portraits of the eminent persons in
+the court of Henry VIII. formerly at Kensington, and thence removed to
+Buckingham House, and which has been copied in an elegant wood-cut, that
+first appeared in the edition of the Paidagogeion of Borbonius, Lyons,
+1536, and afterward in two editions of his Nug&aelig;. It is inscribed <span class="smcaplc">NIC.
+BORBONIVS VANDOP. ANNO &AElig;TATIS XXXII. 1535</span>. He returned to Lyons in 1536,
+and it is known that he was there in 1538, when he probably wrote the
+complimentary lines in Holbein&#8217;s Biblical designs a short time before
+their publication, either out of friendship to the painter, or at the
+instance of the Lyons publisher with whom he was certainly connected.</p>
+
+<p>Now if Borbonius, during his residence at Lyons, had been assured that the
+designs in the wood-cuts of the Dance of Death were the production of
+Holbein, would not his before-mentioned lines on that subject have been
+likewise introduced into the Lyons edition of it, or at least into some
+subsequent editions, in none of which is any mention whatever made of
+Holbein, although the work was continued even after the death of that
+artist? The application, therefore, of Borbonius&#8217;s lines must be sought
+for elsewhere; but it is greatly to be regretted that he has not adverted
+to the place where the painting, as he seems to call it, was made.</p>
+
+<p>Very soon after the calamitous fire at Whitehall in 1697, which consumed
+nearly the whole of that palace, a person calling himself T. Nieuhoff
+Piccard, probably belonging to the household of William the Third, and a<span class="pagenum"><a name="Page_141" id="Page_141">[Pg 141]</a></span>
+man who appears to have been an amateur artist, made the etchings in the
+article IX. already described in p. <a href="#Page_130">130</a>. Copies of them were presented to
+some of his friends, with manuscript dedications to them. Three of these
+copies have been seen by the author of this Dissertation, and as the
+dedications differ from each other, and are of very considerable
+importance on the present occasion, the following extracts from them are
+here translated and transcribed:</p>
+
+<div class="blockquot">
+<p class="center">&#8220;<span class="smcap">To Mynheer Heymans.</span></p>
+
+<p>&#8220;Sir,&mdash;The costly palace of Whitehall, erected by Cardinal Wolsey, and
+the residence of King Henry VIII. contains, among other performances
+of art, a <i>Dance of Death</i>, painted by Holbein in its galleries,
+which, through an unfortunate conflagration, has been reduced to
+ashes; and even the little work which he has engraved with his own
+hand, and which I have copied as near as possible, is so scarce, that
+it is known only to a few lovers of art. And since the court has
+thought proper, in consideration of your singular deserts, to cause a
+dwelling to be built for you at Whitehall, I imagined it would not be
+disagreeable to you to be made acquainted with the former decorations
+of that palace. It will not appear strange that the artist should have
+chosen the above subject for ornamenting the <i>royal</i> walls, if we
+consider that the founder of the Greek monarchy directed that he
+should be daily reminded of the admonition, &#8216;Remember, Philip, that
+thou art a man.&#8217; In like manner did Holbein with his pencil give
+tongues to these walls to impress not only the king and his court, but
+every one who viewed them with the same reflection.&#8221;</p></div>
+
+<p>He then proceeds to describe each of the subjects, and concludes with some
+moral observations.</p>
+
+<p>In another copy of these etchings the dedication is to</p>
+
+<div class="blockquot">
+<p><span class="pagenum"><a name="Page_142" id="Page_142">[Pg 142]</a></span>&#8220;The high, noble, and wellborn Lord William Benting, Lord of Rhoon,
+Pendreght, &amp;c.&#8221;</p>
+
+<p>&#8220;Sir,&mdash;In the course of my constant love and pursuit of works of art,
+it has been my good fortune to meet with that scarce little work of
+Hans Holbein neatly engraved on wood, and which he himself had painted
+as large as life in fresco on the walls of Whitehall. In the copy
+which I presume to lay before you, as being born in the same palace, I
+have followed the original as nearly as possible, and considering the
+partiality which every one has for the place of his birth, a
+description of what is remarkable and curious therein and now no
+longer existing on account of its destruction by a fatal fire, must
+needs prove acceptable, as no other remains whatever have been left of
+that once so famous court of King Henry VIII. built by Cardinal
+Wolsey, than your own dwelling.&#8221;</p></div>
+
+<p>He then repeats the story of Philip of Macedon, and the account of the
+subjects of his etchings.</p>
+
+<p>At the end of this dedication there is a fragment of another, the
+beginning of which is lost. The following passages only in it are worthy
+of notice. &#8220;The residence of King William.&#8221; &#8220;I flatter myself with a
+familiar acquaintance with Death, since I have already lived long enough
+to seem to be buried alive, &amp;c.&#8221; In other respects, the same, in
+substance, as the preceding.</p>
+
+<p>It is almost needless to advert to M. Nieuhoff Piccard&#8217;s mistake in
+asserting that Holbein made the engravings which he copied; but it would
+have been of some importance if, instead of his pious ejaculations, he had
+described all the subjects that Holbein painted on the walls of the
+galleries at Whitehall. He must have used some edition of the wood-cuts
+posterior to that of 1545, which did not contain the subjects of the
+German<span class="pagenum"><a name="Page_143" id="Page_143">[Pg 143]</a></span> soldier, the fool, and the blind man, all of which he has
+introduced. It is possible, however, that he has given us all the subjects
+that were then remaining, the rest having become decayed or obliterated
+from dampness and neglect, and even those which then existed would soon
+afterwards perish when the remains of the old palace were removed. His
+copies are by no means faithful, and seem to be rather the production of
+an amateur than of a regular artist. For his greater convenience, he
+appears to have preferred using the wood engravings instead of the
+paintings; and it is greatly to be regretted that we have no better or
+further account of them, especially of the time at which they were
+executed. The lives of Holbein that we possess are uniformly defective in
+chronological arrangement. There seems to be a doubt whether the Earl of
+Arundel recommended him to visit England; but certain it is that in the
+year 1526 he came to London with a letter of that date addressed by
+Erasmus to Sir Thomas More, accompanied with his portrait, with which More
+was so well satisfied that he retained him at his house at Chelsea upwards
+of two years, until Henry VIII. from admiration of his works, appointed
+him his painter, with apartments at Whitehall. In 1529 he visited Basle,
+but returned to England in 1530. In 1535 he drew the portrait of his
+friend Nicholas Bourbon or Borbonius at London, probably the
+before-mentioned crayon drawing at Buckingham House, or some duplicate of
+it. In 1538 he painted the portrait of Sir Richard Southwell, a privy
+counsellor to Henry VIII. which was afterwards in the gallery of the Grand
+Duke of Tuscany.<a name='fna_128' id='fna_128' href='#f_128'><small>[128]</small></a> About this time the magistrates of the city of Basle
+settled an annuity on him, but conditionally that he should return in two
+years to his native place and<span class="pagenum"><a name="Page_144" id="Page_144">[Pg 144]</a></span> family, with which terms he certainly did
+not comply, preferring to remain in England. In the last-mentioned year he
+was sent by the king into Burgundy to paint the portrait of the Duchess of
+Milan, and in 1539 to Germany to paint that of Anne of Cleves. In some
+household accounts of Henry VIII. there are payments to him in 1538, 1539,
+1540, and 1541, on account of his salary, which appears to have been
+thirty pounds per annum.<a name='fna_129' id='fna_129' href='#f_129'><small>[129]</small></a> From this time little more is recorded of
+him till 1553, when he painted Queen Mary&#8217;s portrait, and shortly
+afterwards died of the plague in London in 1554.</p>
+
+<p>In the absence of positive evidence it may surely be allowed to substitute
+probable conjecture; and as it cannot be clearly proved that Holbein
+painted a Dance of Death at Basle, may not the before-mentioned verses of
+Borbonius refer to his painting at Whitehall, and which the poet must
+himself have seen? It is no objection that Borbonius remained a year only
+in England, when his portrait was painted by his friend Holbein in 1535,
+or that the verses did not make their appearance till 1538, for they seem
+rather to fix the date of the painting, if really belonging to it, between
+those years; and it is not unreasonable to suppose that Borbonius would
+hold some intercourse with the painter, even after leaving England, as is
+indeed apparent from other compliments bestowed on him in his Nug&aelig;, the
+contents of which are by no means chronologically arranged, and many of
+the poems known to have been written long before their publication. The
+lines in question might have been written any where, and at any time, and
+this may be very safely stated until the real time in which the Whitehall
+painting was made shall be ascertained.</p>
+
+<p>In one of Vanderdort&#8217;s manuscript catalogues of the pictures and rarities
+transported from St. James&#8217;s to<span class="pagenum"><a name="Page_145" id="Page_145">[Pg 145]</a></span> Whitehall, and placed there in the newly
+erected cabinet room of Charles I. and in which several works by Holbein
+are mentioned, there is the following article: &#8220;A little piece where Death
+with a green garland about his head, stretching both his arms to apprehend
+a Pilate in the habit of one of the spiritual Prince Electors of Germany.
+Copied by Isaac Oliver from Holbein.&#8221;<a name='fna_130' id='fna_130' href='#f_130'><small>[130]</small></a> There cannot be a doubt that
+this refers to the subject of the Elector, as painted by Holbein in the
+Dance of Death at Whitehall, proving at the same time the identity of the
+painting with the wood-cuts, whatever may be the inference.</p>
+
+<p>Sandrart, after noticing a remarkable portrait of Henry VIII. at
+Whitehall, states, that &#8220;there yet remains in that palace <i>another work</i>
+by Holbein that constitutes him the Apelles of the time.&#8221;<a name='fna_131' id='fna_131' href='#f_131'><small>[131]</small></a> This is
+certainly very like an allusion to a Dance of Death.</p>
+
+<p>It is by no means improbable that Mathew Prior may have alluded to
+Holbein&#8217;s painting at Whitehall, as it is not likely that he would be
+acquainted with any other.</p>
+
+<p class="poem">Our term of life depends not on our deed,<br />
+Before our birth our funeral was decreed,<br />
+Nor aw&#8217;d by foresight, nor misled by chance,<br />
+Imperious death directs the ebon lance,<br />
+Peoples great Henry&#8217;s tombs, and leads up Holbein&#8217;s Dance.<br />
+<span style="margin-left: 9em;"><i>Ode to the Memory of George Villiers.</i></span></p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_146" id="Page_146">[Pg 146]</a></span></p>
+<h2><a name="CHAPTER_X" id="CHAPTER_X"></a>CHAPTER X.</h2>
+
+<p class="center"><i>Other Dances of Death.</i></p>
+
+
+<p>&nbsp;</p>
+<p><span class="dropfig"><img src="images/cap_h.jpg" alt="H" /></span>aving thus disposed of the two most ancient and important works on the
+subject in question, others of a similar nature, but with designs
+altogether different, and introduced into various books, remain to be
+noticed, and such are the following:</p>
+
+<p>I. &#8220;Les loups ravissans fait et compos&eacute; par maistre Robert Gobin prestre,
+maistre es ars licencie en decret, doyen de crestient&eacute; de Laigny sur Marne
+au dyocese de Paris, advocat en court d&#8217;eglise. Imprim&eacute; pour Anthoine
+Verard a Paris, 4to.&#8221; without date, but about 1500. This is a very bitter
+satire, in the form of a dream, against the clergy in general, but more
+particularly against Popes John XXII. and Boniface VIII. A wolf, in a
+lecture to his children, instructs them in every kind of vice and
+wickedness, but is opposed, and his doctrines refuted, by an allegorical
+personage called Holy Doctrine. In a second vision Death appears to the
+author, accompanied by Fate, War, Famine, and Mortality. All classes of
+society are formed into a Dance, as the author chooses to call it, and the
+work is accompanied with twenty-one very singular engravings on wood,
+executed in a style perhaps nowhere else to be met with. The designs are
+the same as those in the second Dance of the Hor&aelig;, printed by Higman for
+Vostre, No. I. page 61.</p>
+
+<p>II. &#8220;A booke of Christian prayers, collected out of<span class="pagenum"><a name="Page_147" id="Page_147">[Pg 147]</a></span> the ancient writers,
+&amp;c.&#8221; Printed by J. Day, 1569. 4to. Afterwards in 1578, 1581, 1590, and
+1609. It is more frequently mentioned under the title of &#8220;Queen
+Elizabeth&#8217;s prayer-book,&#8221; a most unsuitable title, when it is recollected
+how sharply this haughty dame rebuked the Dean of Christchurch for
+presenting a common prayer to her which had been purposely ornamented with
+cuts by him.<a name='fna_132' id='fna_132' href='#f_132'><small>[132]</small></a> This book was most probably compiled by the celebrated
+John Fox, and is accompanied with elegant borders in the margins of every
+leaf cut in wood by an unknown artist whose mark is <img src="images/mono_ci.jpg" alt="[monogram]" />, though
+they have been most unwarrantably ascribed to Holbein, and even to Agnes
+Frey, the wife of Albert Durer, who is not known with any certainty to
+have practised the art of engraving. At the end is a Dance of Death
+different from every other of the kind, and of singular interest, as
+exhibiting the costume of its time with respect to all ranks and
+conditions of life, male and female.</p>
+
+<p>These are the characters. &#8220;The Emperor, the King, the Duke, the Marques,
+the Baron, the Vicount, the Archbishop, the Bishop, the Doctor, the
+Preacher, the Lord, the Knight, the Esquire, the Gentleman, the Judge, the
+Justice, the Serjeant at law, the Attorney, the Mayor, the Shirife, the
+Bailife, the Constable, the Physitian, the Astronomer, the Herauld, the
+Sergeant at arms, the Trumpetter, the Pursevant, the Dromme, the Fife, the
+Captaine, the Souldier, the Marchant, the Citizen, the Printers (in two
+compartments), the Rich Man, the Aged Man, the Artificer, the Husbandman,
+the Musicians (in two compartments), the Shepheard, the Foole, the Beggar,
+the Roge, of Youth, of Infancie.&#8221; Then the females. &#8220;The Empresse, the
+Queene, the Princes, the Duchesse, the Countesse, the Vicountesse,<span class="pagenum"><a name="Page_148" id="Page_148">[Pg 148]</a></span> the
+Baronnesse, the Lady, the Judge&#8217;s Wife, the Lawyer&#8217;s Wife, the
+Gentlewoman, the Alderman&#8217;s Wife, the Marchantes Wife, the Citizen&#8217;s Wife,
+the Rich Man&#8217;s Wife, the Young Woman, the Mayde, the Damosell, the
+Farmar&#8217;s Wife, the Husbandman&#8217;s Wife, the Countriwoman, the Nurse, the
+Shepheard&#8217;s Wife, the Aged Woman, the Creeple, the Poore Woman, the
+Infant, the (female) Foole.&#8221; All these are designed in a masterly manner,
+and delicately engraved. The figures of the Deaths occasionally abound in
+much humour, and always with appropriate characters. The names of the
+unknown artists were worthy of being recorded.</p>
+
+<p>III. &#8220;Icones mortis, sexaginta imaginibus totidemque inscriptionibus
+insignit&aelig; versibus quoque Latinis et novis Germanicis illustrat&aelig;.
+Norimberg&aelig; Christ. Lockner, 1648, 8vo.&#8221;<a name='fna_133' id='fna_133' href='#f_133'><small>[133]</small></a></p>
+
+<p>IV. &#8220;Rudolph Meyers S: Todten dantz ergantz et und heraus gegeben durch
+Conrad Meyern Maalern in Zurich, im jahr 1650.&#8221; On an engraved title page,
+representing an angel blowing a trumpet, with a motto from the Apocalypse.
+Death or Time holds a lettered label with the above inscription or title.
+In the back ground groups of small figures allusive to the last judgment.
+Then follows a printed title &#8220;Sterbenspiegel das ist sonnenklare
+vorstellung menschlicher nichtigkeit durch alle Stand und Geschlechter:
+vermitlest 60 dienstlicher kupferblatteren lehrreicher uberschrifften und
+beweglicher zu vier stimmen auszgesetzter Todtengesangen, vor disem
+angefangen durch Rudolffen Meyern S. von Zurich, &amp;c. Jetzaber zu erwekung
+nohtwendiger Todsbetrachtung verachtung irdischer eytelkeit; und beliebung
+seliger ewigkeit zuend gebracht und verlegt durch Conrad Meyern Maalern in
+Zurich und daselbsten bey ihme zufinden. Getruckt zu Z&uuml;rich bey Johann
+Jacob Bodmer, <span class="smcaplc">MDCL</span>.&#8221; 4to. that is: The
+Mirror<span class="pagenum"><a name="Page_149" id="Page_149">[Pg 149]</a></span> of Death&mdash;that is&mdash;a
+brilliant representation of human nothingness in all ranks and conditions,
+by means of 60 appropriate Copperplates, spiritual superscriptions, and
+moving songs of Death, arranged for four voices, formerly commenced by
+Rudolph Meyer of Zurich, &amp;c. but now brought to an end and completed, for
+the awaking of a necessary consideration of death, a contempt of earthly
+vanity, and a love of blissful eternity, by <i>Conrad</i> Meyer of Zurich, of
+whom they are to be had. Printed at Zurich, by John Jacob Bodmer, <span class="smcaplc">MDCL</span>.</p>
+
+<p>The subjects are the following:&mdash;1. The Creation. 2. The Fall. 3.
+Expulsion from Paradise. 4. Punishment of Man. 5. Triumph of Death. 6. An
+allegorical frontispiece relating to the class of the Clergy. 6. The Pope.
+7. The Cardinal. 8. The Bishop. 9. The Abbot. 10. The Abbess. 11. The
+Priest. 12. The Monk. 13. The Hermit. 14. The Preacher. 15. An allegorical
+frontispiece to the class of Rulers and Governors. 15. The Emperor. 16.
+The Empress. 17. The King. 18. The Queen. 19. The Prince Elector. 20. The
+Earl and Countess. 21. The Knight. 22. The Nobleman. 23. The Judge. 24.
+The Steward, Widow, and Orphan. 25. The Captain. 26. An allegorical
+frontispiece to the Lower Classes. 26. The Physician. 27. The Astrologer.
+28. The Merchant. 29. The Painter and his kindred: among these the old man
+is Dietrich Meyern; the painter resembles the portrait of Conrad Meyern in
+Sandrart, and the man at the table is probably Rudolph Meyern. 30. The
+Handcraftsman. 31. The Architect. 32. The Innkeeper. 33. The Cook. 34. The
+Ploughman. 35. The Man and Maid Servant. 36. The old Man. 37. The old
+Woman. 38. The Lovers. 39. The Child. 40. The Soldier. 41. The Pedler. 42.
+The Highwayman. 43. The Quack Doctor. 44. The Blind Man. 45. The Beggar.
+46. The Jew. 47. The Usurer. 48. The Gamesters. 49. The Drunkards. 50. The
+<span class="pagenum"><a name="Page_150" id="Page_150">[Pg 150]</a></span>Gluttons. 51. The Fool. 52. The Certainty of Death. 53. The Uncertainty
+of Death. 54. The Last Judgment. 55. Christ&#8217;s Victory. 56. Salvation. 57.
+True and False Religion.</p>
+
+<p>The text consists chiefly of Death&#8217;s apostrophe to his victims, with their
+remonstrances, verses under each subject, and various other matters. At
+the end are pious songs and psalms set to music. This work was jointly
+executed by two excellent artists, Rodolph and Conrad Meyer or Meyern,
+natives of Zurich. The designs are chiefly by Rodolph, and the etchings by
+Conrad, consisting of sixty very masterly compositions. The grouping of
+the figures is admirable, and the versatile representations of Death most
+skilfully characterized. Many of the subjects are greatly indebted to the
+Lyons wood engravings.</p>
+
+<p>In 1657 and 1759 there appeared other editions of the latter, with this
+title, &#8220;Die menschliche Sterblichkeit under dem titel Todten Tanz in <span class="smcaplc">LXI</span>
+original-kupfern, von Rudolf und Conrad Meyern beruhmten kunstmahlern in
+Zurich abermal herausgegeben, nebst neven, dazu dienenden, moralischen
+versen und veber schriften.&#8221; That is, &#8220;Human mortality, under the title of
+the Dance of Death, in 61 original copper prints of Rudolf and Conrad
+Meyern, renowned painters at Zurich, to which are added appropriate moral
+verses and inscriptions.&#8221; Hamburg and Leipsig, 1759, 4to. The prolegomena
+are entirely different from those in the other edition, and an elaborate
+preface is added, giving an account of several editions of the Dance of
+Death. Instead of the Captain, No. 25, the Ensign is substituted, and the
+Cook is newly designed. Some of the numbers of the subjects are misplaced.
+The etchings have been retouched, and on many the date of 1637 is seen,
+which had no where occurred in the first edition here described.</p>
+
+<p>In 1704 copies of 52 of these etchings were published<span class="pagenum"><a name="Page_151" id="Page_151">[Pg 151]</a></span> at Augsburg, under
+the title of &#8220;Tripudium mortis per victoriam super carnem univers&aelig; orbis
+terr&aelig; erectum. Ab A. C. Redelio S. C. M. T. P.&#8221; on a label held by Death
+as before. Then the German title &#8220;Erbaulicher Sterb-Spiegel dast ist
+sonnen-klahre vorstellung menschlicher nichtigkeit durch alle stande und
+geschlechter: vermittelst schoner kupffern, lehr-reicher bey-schrifften
+und hertz-beweglich angehangter Todten-lieder ehmahls herauss gegeben
+durch Rudolph und Conrad Meyern mahlern in Zurch Anjetzo aber mit
+Lateinischen unterschrifften der kupffer vermehret und aussgezieret von
+dem Welt-beruhmten Poeten Augustino Casimiro Redelio, Belg. Mech. Sac.
+C&aelig;s. Majest. L. P. Augsburg zu finden bey Johann Philipp Steudner.
+Druckts, Abraham Gugger. 1704.&#8221; 4to. That is, &#8220;An edifying mirror of
+mortality, representing the nullity of man through all stations and
+generations, by means of beautiful engravings in copper, instructive
+inscriptions, and heart-moving lays of Death, as an appendix to the work
+formerly edited by Rudolph and Conrad Meyern of Zurich, but now published
+with Latin inscriptions, and engravings augmented and renewed by the
+worldly renowned poet Augustin Casimir Redel, &amp;c.&#8221;</p>
+
+<p>In this edition the Pope and all the other religious characters are
+omitted, probably by design. The etchings are very inferior to the fine
+originals, and without the name of the artist. The dresses are frequently
+modernised in the fashion of the time, and other variations are
+occasionally introduced.</p>
+
+<p>V. &#8220;Den Algemeynen dooden Spiegel van Pater Abraham &agrave; Sancta Clara,&#8221; <i>i.
+e.</i> The universal mirror of Death of Father Abraham &agrave; Sancta Clara. On a
+frontispiece engraved on copper, with a medallion of the author, and
+various allegorical figures. Then the printed title, &#8220;Den Algemeynen
+Dooden spiegel ofte de capelle der Dooden waer in alle Menschen sich al
+lacchende oft al weenende op recht konnen beschouwen verciert mer<span class="pagenum"><a name="Page_152" id="Page_152">[Pg 152]</a></span> aerdige
+historien, Siu-rycke gedichten ende sedenleer-ende Beeldt-schetsen op
+gestelt door den eerweerdigen Pater Abraham &agrave; Sancta Clara Difinitor der
+Provincie van het order der ongeschoende Augustynen ende Predickant van
+syne Keyserlycke Majesteyt Leopoldus. Getrouwelyck overgeset vyt het
+hoogh-duyts in onse Nederduytsche Taele. Tot Brussel, by de Wed. G. Jacobs
+tegen de Baert-brugge in de Druckerye, 1730.&#8221; 12mo. <i>i. e.</i> &#8220;The universal
+mirror of Death taken from the chapel of the dead; in which all men may
+see themselves properly, whether laughing or weeping, ornamented with
+pretty stories, spirited poems, and instructive prints, arranged by Father
+Abraham &agrave; Sancta Clara, of the Augustinian order, and preacher to his
+Imperial Majesty Leopold, and faithfully translated out of High Dutch into
+our Netherlandish language.&#8221;</p>
+
+<p>The work consists of sixty-seven engravings on wood within borders, and of
+very indifferent execution in all respects; the text a mixture of prose
+and poetry of a religious nature, allusive to the subjects, which are not
+uniformly a dance of Death. The best among them are the Painter, p. 45;
+the Drunkard, p. 75; the dancing Couple, Death playing the Flageolet, p.
+103; the Fowler, p. 113; the hen-pecked Husband, p. 139; the Courtezan, p.
+147; the Musician, p. 193; the Gamester, p. 221; and the blind Beggar, p.
+289.</p>
+
+<p>VI. &#8220;Geistliche Todts-Gedanchen bey allerhand semahlden und Tchildereyn in
+vabildung Interschiedlichen geschlechts, alters, standes, und wurdend
+perschnen sich des Todes zucrinneren ans dessen lehrdie tugende zu&uuml;ben und
+die Tundzu meyden Erstlich in kupfer entworffen nachmaler durch sittliche
+erdrtherung und aberlegung unter Todten-farben in vorschem gebracht,
+dardurch zumheyl der seelen im gemuth des geneighten lesers ein lebendige
+forcht und embsige vorsorg des Todes zu erwecken. Cum permissu superiorum.
+Passau Gedrucht bey Frederich Gabriel Mangold, hochfurst,<span class="pagenum"><a name="Page_153" id="Page_153">[Pg 153]</a></span> hof
+buchdruckern, 1753. Lintz, verlegts Frantz Anton Ilger, Burgerl,
+Buchhandlern allda.&#8221; Folio. In English, &#8220;The Spiritual Dance of Death in
+all kinds of pictures and representations, whereby persons of every age,
+sex, rank, and dignity, may be reminded of Death, from which lesson they
+may exercise themselves in virtue, and avoid sin. First put upon copper,
+and afterwards, through moral considerations and investigations brought to
+light in Death&#8217;s own colours, thereby for the good of the souls of the
+well inclined readers to awaken in them a lively fear and diligent
+anticipation of Death.&#8221;</p>
+
+<p>The subjects are: 1. The Creation. 2. Temptation. 3. Expulsion. 4.
+Punishment. 5. A charnel house, with various figures of Death, three in
+the back-ground dancing. 6. The Pope. 7. Cardinal. 8. Bishop. 9. Abbot.
+10. Canon. 11. Preacher. 12. Chaplain. 13. Monk. 14. Abbess. 15. Nun. 16.
+Emperor. 17. Empress. 18. King. 19. Queen. 20. Prince. 21. Princess. 22.
+Earl. 23. Countess. 24. Knight. 25. Nobleman. 26. Judge. 27. Counsellor.
+28. Advocate. 29. Physician. 30. Astrologer. 31. Rich man. 32. Merchant.
+33. Shipwreck. 34. Lovers. 35. Child. 36. Old man. 37. Old woman. 38.
+Carrier. 39. Pedler. 40. Ploughman. 41. Soldier. 42. Gamesters. 43.
+Drunkards. 44. Murderer. 45. Fool. 46. Blind man. 47. Beggar. 48. Hermit.
+49. Corruption. 50. Last Judgment. 51. Allegory of Death&#8217;s Arms, &amp;c.</p>
+
+<p>The designs and some of the engravings are by M. Rentz, for the most part
+original, with occasional hints from the Lyons wood-cuts.</p>
+
+<p>Another edition with some variation was printed at Hamburg, 1759, folio.</p>
+
+<p>VII. In the Lavenburg Calendar for 1792, are 12 designs by Chodowiecki for
+a Dance of Death. These are: 1. The Pope. 2. The King. 3. The Queen. 4.
+The General. 5. The Genealogist. 6. The Physician.<span class="pagenum"><a name="Page_154" id="Page_154">[Pg 154]</a></span> 7. The Mother. 8. The
+Centinel. 9. The Fish Woman. 10. The Beggar. 11. The fille de joye and
+bawd. 12. The Infant.</p>
+
+<p>VIII. A Dance of Death in one of the Berne Almanacks, consisting of the 16
+following subjects. 1. Death fantastically dressed as a beau, seizes the
+city maiden. 2. Death wearing a Kevenhuller hat, takes the housemaid&#8217;s
+broom from her. 3. Death seizes a terrified washerwoman. 4. He takes some
+of the apple-woman&#8217;s fruit out of her basket. 5. The cellar maid or
+tapster standing at the door of an alehouse is summoned by death to
+accompany him. 6. He lays violent hands upon an abusive strumpet. 7. In
+the habit of an old woman he lays hold of a midwife with a newly born
+infant in her hands. 8. With a shroud thrown over his shoulder he summons
+the female mourner. 9. In the character of a young man with a chapeau bras
+he brings a urinal for the physician&#8217;s inspection. 10. The life-guardsman
+is accompanied by Death also on horseback and wearing an enormous military
+hat. 11. Death with a skillet on his head plunders the tinker&#8217;s basket.
+12. Death in a pair of jack-boots leads the postilion. 13. The lame beggar
+led by Death. 14. Death standing in a grave pulls the grave digger towards
+him by the leg. 15. Death seated on a plough with a scythe in his left
+hand, seizes the farmer, who carries several implements of husbandry on
+his shoulders. 16. The fraudulent inn-keeper in the act of adulterating
+his liquor in the cask, is throttled by Death who carries an ale vessel at
+his back. These figures are cut on wood in a free and masterly manner, by
+Zimmerman, an artist much employed in the decoration of these calendars.
+The prints are accompanied with dialogues between Death and the respective
+parties.</p>
+
+<p>IX. &#8220;Freund Heins Erscheinungen in Holbeins manier von J. R. Schellenberg
+Winterthur, bey Heinrich Steiner und Comp. 1785, 8vo.&#8221; That is&mdash;&#8220;Friend
+Heins <span class="pagenum"><a name="Page_155" id="Page_155">[Pg 155]</a></span>appearance in the manner of Holbein, by J. R. Schellenberg.&#8221; The
+preface states that from the poverty of the German language in synonymous
+expressions for the allegorical or ideal Death, the author has ventured to
+coin the jocose appellation of Friend Hein, which will be understood from
+its resemblance to Hain or Hayn, a word signifying a grove. The sagacity
+of the German reader will perhaps discover the analogy. The subjects are
+24 in number, as follow:</p>
+
+<p>1. Love interrupted. The lovers are caught by Death in a net, and in no
+very decent attitude.</p>
+
+<p>2. Suicide. A man shoots himself with a pistol, and falls into the arms of
+Death.</p>
+
+<p>3. Death in the character of a beau visits a lady at her toilet.</p>
+
+<p>4. The Aeronaut. The balloon takes fire, and the aeronaut is precipitated.</p>
+
+<p>5. Death&#8217;s visit to the school. He enters at a door inscribed <span class="smcaplc">SILENTIUM</span>,
+and puts the scholars to flight.</p>
+
+<p>6. Bad distribution of alms.</p>
+
+<p>7. Expectation deluded. Death disguised as a fine lady lays hands upon a
+beau, who seems to have expected a very different sort of visitor.</p>
+
+<p>8. Unwelcome officiousness. Death feeding an infant with poison, the nurse
+wringing her hands in despair.</p>
+
+<p>9. The dissolution of the monastery. The Abbot followed by his monks
+receives the fatal summons in a letter delivered to him by Death.</p>
+
+<p>10. The company of a friend. An aged man near a grave wrings his hands.
+Death behind directs his attention to heaven.</p>
+
+<p>11. The lottery gambler. Death presents him with the unlucky ticket.</p>
+
+<p>12. The woman of Vienna and the woman of Rome. Death seizes one, and
+points to the other.</p>
+
+<p>13. The Usurer. Death shuts him into his money chest.</p>
+
+<p><span class="pagenum"><a name="Page_156" id="Page_156">[Pg 156]</a></span>14. The Glutton. Death seizes him at table, and forcibly pours wine down
+his throat.</p>
+
+<p>15. The Rope-dancer. Death mounted on an ass, and fantastically
+apparelled, enters the circle of spectators, and seizes the performer by
+one of his legs.</p>
+
+<p>16. The lodge of secrecy (freemasonry). Death introduces a novice
+blindfold to the lodge.</p>
+
+<p>17. The recruiting Officer. Death enlists some country fellows, a fiddler
+preceding.</p>
+
+<p>18. Berthold Swartz. Death ignites the contents of the mortar, and blows
+up the monk. In the usual representations of this story the Devil is
+always placed near the monk.</p>
+
+<p>19. The Duel. A man strikes with a sword at Death, who is lifting up the
+valves of a window.</p>
+
+<p>20. The plunder of the falling-trap. Death demolishes a student by
+throwing a bookcase filled with books upon him.</p>
+
+<p>21. Silence surrendered. Death appears to a schoolmistress. The children
+terrified, escape.</p>
+
+<p>22. The privilege of the strong. Death lays violent hands on a lady, whom
+her male companions in vain endeavour to protect.</p>
+
+<p>23. The apothecary. Death enters his shop, and directs his attention to
+the poor patients who are coming in.</p>
+
+<p>24. The Conclusion. Two anatomists joining hands are both embraced by
+Death.</p>
+
+<p>The best of these subjects are Nos. 4, 13, 14, 15, and 18. The text is a
+mixture of prose and verse.</p>
+
+<p>X. &#8220;The English Dance of Death, from the designs of Thomas Rowlandson,
+with metrical illustrations by the author of Doctor Syntax.&#8221; 2 vols. 8vo.
+1815-1816. Ackermann.</p>
+
+<p>In seventy-two coloured engravings. Among these the most prominent and
+appropriate are, the last Chase; the Recruit; the Catchpole; the
+Death-blow; the Dramshop; the Skaiters; the Duel; the Kitchen; the
+<span class="pagenum"><a name="Page_157" id="Page_157">[Pg 157]</a></span>Toastmaster; the Gallant&#8217;s downfall; and the fall of four in hand. The
+rest are comparatively feeble and irrelevant, and many of the subjects
+ill-chosen, and devoid of that humour which might have been expected from
+the pencil of Rowlandson, whose grotesque predominates as usual in the
+groups.</p>
+
+<p>XI. &#8220;Death&#8217;s Doings, consisting of numerous original compositions in prose
+and verse, the friendly contributions of various writers, principally
+intended as illustrations of 24 plates designed and etched by R. Dagley,
+author of &#8220;Select gems from the antique,&#8221; &amp;c.&#8221; 1826. 8vo.</p>
+
+<p>From the intrinsic value and well deserved success of this work, a new
+edition was almost immediately called for, which received many important
+additions from the modest and ingenious author. Among these a new
+frontispiece, from the design of Adrian Van Venne, the celebrated Dutch
+poet and painter, is particularly to be noticed. This edition is likewise
+enriched with numerous elegant contributions, both in prose and verse,
+from some of the best writers of the age.</p>
+
+<p>XII. A modern French Dance of Death, under the title of &#8220;Voyage pour
+l&#8217;Eternit&eacute;, service g&eacute;n&eacute;ral des omnibus acc&eacute;l&eacute;r&eacute;s, depart &agrave; tout heure et
+de tous les point du globe.&#8221; Par J. Grandville. No date, but about 1830. A
+series of nine lithographic engravings, including the frontispiece. Oblong
+4to. These are the subjects:</p>
+
+<p>1. Frontispiece. Death conducting passengers in his omnibus to the
+cemetery of P&egrave;re la Chaise.</p>
+
+<p>2. &#8220;C&#8217;est ici le dernier relai.&#8221; Death as a postilion gives notice to a
+traveller incumbered with his baggage, &amp;c.</p>
+
+<p>3. &#8220;Vais-je bien? ... vous avancez horriblement.&#8221; Death enters a
+watchmaker&#8217;s shop, and shews his hour-glass to the master and his
+apprentice.</p>
+
+<p>4. &#8220;Monsieur le Baron, on vous demande.&mdash;Dites que je n&#8217;y suis pas.&#8221; Death
+having entered the <span class="pagenum"><a name="Page_158" id="Page_158">[Pg 158]</a></span>apartment, the valet communicates his summons to his
+gouty master lying on a couch.</p>
+
+<p>5. &#8220;Soyez tranquille, j&#8217;ai un gar&ccedil;on qui ne se trompe jamais.&#8221; The
+apothecary addresses these words to some cautious patients whilst he fills
+a vessel which they have brought to his shop. Death, as an apprentice in
+another room, pounds medicines in a mortar.</p>
+
+<p>6. &#8220;Voila, Messieurs, un plat de mon metier.&#8221; A feast. Death as a waiter
+enters with a plate of poisonous fruit.</p>
+
+<p>7. &#8220;Voulez vous monter chez moi, mon petit Monsieur, vous n&#8217;en serez pas
+f&acirc;ch&eacute;, allez.&#8221; Death, tricked out as a fille de joye with a mask, entices
+a youth introduced by a companion.</p>
+
+<p>8. &#8220;&mdash;Pour une consultation, Docteur, j&#8217;en suis j&#8217;vous suis ...&#8221; Death in
+the character of an undertaker, his hearse behind, invites an old man to
+follow him.</p>
+
+<p>9. &#8220;Oui, Madame, ce sera bien la promenade la plus delicieuse! une voiture
+dans le dernier go&ucirc;t! un cheval qui fend l&#8217;air, et le meilleur groom de
+France.&#8221; Death, habited as a beau, conducts a lady followed by her maid to
+a carriage in waiting.</p>
+
+<p>XIII. The British Dance of Death, exemplified by a series of engravings
+from drawings by Van Assen, with explanatory and moral essays. Printed by
+and for George Smeeton, Royal Arcade, Pall Mall. 8vo. no date. With a
+frontispiece designed by Geo. Cruikshank, representing a crowned sitting
+Death, holding a scythe in one hand, and with the other leaning on a
+globe. This is circular in the middle. Over it two small compartments of
+Death striking an infant in the cradle, and a sick man. At bottom, two
+others of Death demolishing a glutton and a drunkard. A short preface
+states that the work is on the plan of &#8220;the celebrated designs of
+Holbein,&#8221; meaning of course the Lyons work, but to which it has not the
+smallest resemblance, and refers to Lord Orford for the mention of the
+Basle dance, which,<span class="pagenum"><a name="Page_159" id="Page_159">[Pg 159]</a></span> as having two or sometimes three figures only, it
+does resemble. It then states that the late Mr. Van Assen had no intention
+of publishing these designs, which now appear in compliance with the
+wishes of many of his friends to possess them. They are very neatly
+engraved, and tinted in imitation of the original drawings, but are wholly
+destitute of that humour which might have been expected from the pencil of
+the ingenious inventor, and which he has manifested on many other
+occasions. The subjects are the following: 1. The Infant. 2. Juvenile
+piety. 3. The Student. 4. The Sempstress. 5. The musical Student. 6. The
+Dancer. 7. The female Student. 8. The Lovers. 9. The industrious Wife. 10.
+The Warrior. 11. The Pugilists. 12. The Glutton. 13. The Drunkard. 14. The
+Watchman. 15. The Fishwoman. 16. The Physician. 17. The Miser. 18. Old
+Age. Death with his dart is standing near all these figures, but does not
+seem to be noticed by any of them.</p>
+
+<p>XIV. A Dance of Death in Danish rimes is mentioned in Nyerup&#8217;s &#8220;Bidragh
+til den Danske digtakunst historie.&#8221; 1800. 12mo.</p>
+
+<p>XV. John Nixon Coleraine, an amateur, and secretary to the original Beef
+Stake Club, etched a dance of Death for ladies&#8217; fans. He died only a few
+years ago. Published by Mr. Fores, of Piccadilly, who had the
+copper-plates, but of which no impressions are now remaining.</p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_160" id="Page_160">[Pg 160]</a></span></p>
+<h2><a name="CHAPTER_XI" id="CHAPTER_XI"></a>CHAPTER XI.</h2>
+
+<p class="center"><i>Dances of Death, with such text only as describes the subjects.</i></p>
+
+
+<p>&nbsp;</p>
+<p><span class="dropfig"><img src="images/cap_s.jpg" alt="I. S" /></span>ix small circles on a single sheet, engraved on copper by Israel Van
+Meckenen. 1. Christ sitting on his cross. 2. Three skulls on a table. 3.
+Death and the Pope. 4. Death riding on a lion, and the Patriarch. 5. Death
+and the Standard-bearer. 6. Death and the Lady. At top &#8220;memento mori,&#8221; at
+bottom &#8220;Israhel V. M.&#8221;</p>
+
+<p>II. A Dance of Death, engraved on copper, by Henry Aldegrever. 1. Creation
+of Eve. 2. Adam and Eve eating the forbidden fruit. 3. Expulsion from
+Paradise. 4. Adam digging, Eve spinning. 5. Death and the Pope. 6. Death
+and the Cardinal. 7. Death and the Bishop. 8. Death and the Abbot. All
+these have the date 1541, and with some variations follow the Lyons
+woodcuts. They have scriptural texts in Latin. 12mo. The whole were
+afterwards copied in a work by Kieser, already described, p. <a href="#Page_121">121</a>.</p>
+
+<p>III. A Dance of Death, consisting of eight subjects, engraved on copper by
+an unknown artist, whose mark is <img src="images/mono_ac.jpg" alt="[monogram]" />. 1. Death beating a drum,
+precedes a lady and gentleman accompanied by a little dog. 2. Death
+playing on a stickado, precedes a lady and gentleman dancing back to back,
+below an hour-glass. 3. Death, with an hour-glass in his right hand, lays
+his left on the shoulder of a gentleman taking hold of a lady with his
+right hand, and carrying a hawk with his left.<span class="pagenum"><a name="Page_161" id="Page_161">[Pg 161]</a></span> 4. Death crowned with a
+garland, and holding an hour-glass in his left hand, stands between a lady
+and gentleman joining hands. 5. Death, with a fool&#8217;s cap and hood, a
+dagger of lath, and a bladder, holds up an hour-glass with his right hand;
+with his left he seizes the hand of a terrified lady accompanied by a
+gentleman, who endeavours to thrust away the unwelcome companion. 6.
+Another couple led by Death. 7. Death with a cap and feathers holds an
+hour-glass in his right hand, and with his left seizes a lady, whom a
+gentleman endeavours to draw away from him. All have the date 1562. 12mo.
+Size, three inches by two. They are described also in Bartsch, Peintre
+Graveur, ix. 482, and have been sometimes erroneously ascribed to
+Aldegrever.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img003tmb.jpg" alt="" /><br />
+<a href="images/img003.jpg"><small>Larger Image</small></a></div>
+<p>&nbsp;</p>
+
+<p>IV. A Dance of Death, extremely well executed on wood, the designs of
+which have been taken from a set of initial letters, that will hereafter
+be particularly described. They are upright, and measure two inches by one
+and a half. Each subject is accompanied with two German verses.</p>
+
+<p>V. On the back of the title page to &#8220;Die kleyn furstlich Chronica,&#8221;
+Strasb. 1544, 4to. are three subjects that appear to be part of a series.
+1. Death and the Pope, who has a book and triple crosier. Death kneels
+to him whilst he plays on a tabor and drum. 2. Death and the King. Death
+blows a trumpet. 3. Death shoots an arrow at a warrior armed with sword
+and battle-axe. All these figures are accompanied with German verses, and
+are neatly engraved on wood.</p>
+
+<p>VI. A series of single figures, etched with great spirit by Giovanni Maria
+Mitelli. They are not accompanied by Death, but hold dialogues with him in
+Italian stanzas. The characters are, 1. The Astrologer. 2. The Doctor of
+universal science. 3. The Hunter. 4. The Mathematician. 5. The Idolater.
+They are not mentioned in Bartsch, nor in any other list of the<span class="pagenum"><a name="Page_162" id="Page_162">[Pg 162]</a></span> works of
+engravers. It is possible that there are more of them.</p>
+
+<p>VII. The five Deaths, etched by Della Bella. 1. A terrific figure of Death
+on a galloping horse. In his left hand a trumpet, to which a flag,
+agitated by the wind, is attached. In the back ground, several human
+skeletons, variously employed. 2. Death carrying off an infant in his
+arms. In the back-ground, the church-yard of the Innocents at Paris. 3.
+Death walking away with a young child on his back. In the distance,
+another view of the above cemetery. 4. Death carrying off a female on his
+shoulders, with her head downwards, followed at a distance by another
+Death holding a corpse in his arms. 5. Death dragging a reluctant old man
+towards a grave, in which another Death, with an hour-glass in his hand,
+awaits him. All these are extremely fine, and executed in the artist&#8217;s
+best time. There is a sixth of the series, representing Death throwing a
+young man into a well, but it is very inferior to the others. It was begun
+by Della Bella a short time before his death, and finished by his pupil
+Galestruzzi, about 1664. Della Bella likewise etched a long print of the
+triumph of Death.</p>
+
+<p>VIII. A single anonymous French engraving on copper, 14&#189; by 6&#189;,
+containing three subjects. 1. Death and the soldier. 2. Death standing
+with a pruning knife in his right hand, and a winged hour-glass in his
+left. Under him are three prostrate females, one plays on a violin; the
+next, who represents Pride, holds a peacock in one hand and a mirror in
+the other; the third has a flower in her left hand. 3. Death and the lady.
+He holds an hour-glass and dart, and she a flower in her right hand. Under
+each subject are French verses. This may perhaps be one only of a set.</p>
+
+<p>IX. A German Dance of Death, in eight oblong engravings on copper, 11 by
+8&#189;, consisting of eight sheets<span class="pagenum"><a name="Page_163" id="Page_163">[Pg 163]</a></span> and twenty-five subjects, as follow. 1.
+A fantastic figure of a Death, with a cap and feathers, in the attitude of
+dancing and playing on a flute. He is followed by another dancing skeleton
+carrying a coffin on his shoulder. 2. Pope. 3. Emperor. 4 Empress. 5.
+Cardinal. 6. King. 7. Bishop. 8. Duke or General. 9. Abbot. 10. Knight.
+11. Carthusian. 12. Burgomaster. 13. Canon. 14. Nobleman. 15. Physician.
+16. Usurer. 17. Chaplain. 18. Bailiff or Steward. 19. Churchwarden. 20.
+Merchant. 21. Hermit. 22. Peasant. 23. Young Man. 24. Maiden. 25. Child.
+This is a complete set of the prints, representing the Lubeck painting,
+already described in p. <a href="#Page_43">43</a>. In the translation of the inscriptions, as
+given by Dr. Nugent, two more characters are added at the end, viz. the
+Dancing Master and the Fencing Master. On the spectator&#8217;s left hand of No.
+1. of these engravings, is a column containing the following inscription
+in German, in English as follows: &#8220;Silence, fool-hardy one, whoever thou
+art, who, with needless words, profanest this holy place. This is no
+chapel for talking, but thy sure place is in Death&#8217;s Dance. Silence then,
+silence, and let the painting on these silent walls commune with thee, and
+convince thee that man is and will be earth:&#8221; and on Nos. 4 and 5, the
+words &#8220;Zu finden in Lubeck by Christian Gotfried Donatius.&#8221;</p>
+
+<p>X. The following entry is in the Stationers&#8217; books:</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="table">
+<tr><td>28 b.</td><td><span class="spacer">&nbsp;</span></td><td><span style="margin-left: 2em;">v<sup>o</sup> Januarij [1597.]</span></td></tr>
+<tr><td>Tho. Purfoote, sen.</td><td valign="top" rowspan="3"><span class="giant">}</span></td><td>Entered their c. Mr. Dix and Wm. M. The</td></tr>
+<tr><td>Tho. Purfoote, jun.</td><td><span style="margin-left: 2em;">roll of the Daunce of Death, with pictures</span></td></tr>
+<tr><td>&nbsp;</td>
+  <td><span style="margin-left: 2em;">and verses upon the same</span><span class="spacer">&nbsp;</span><span class="spacer">&nbsp;</span>VI<i>d</i>.</td></tr></table>
+
+<p>XI. In the catalogue of the library of R. Smith, secretary of the Poultry
+Compter, which was sold by auction in 1682, is this article &#8220;Dance of
+Death in the cloyster of Paul&#8217;s, with figures, very old.&#8221; Probably a
+single sheet.</p>
+
+<p><span class="pagenum"><a name="Page_164" id="Page_164">[Pg 164]</a></span>XII. &#8220;The Dance of Death;&#8221; a single sheet, engraved on copper, with the
+following figures. In the middle, Death leading the king; the beggar hand
+in hand with the king; Death leading the old man, followed by a child; the
+fool; the wise man, as an astrologer, led by Death. On the spectator&#8217;s
+left hand, Death bringing a man before a judge; with the motto, &#8220;The
+greatest judge that sits in honour&#8217;s seat, must come to grave, where&#8217;t
+boots not to intreate.&#8221; A man and woman in a brothel, Death behind; with
+the motto, &#8220;Leave, wanton youth, thou must no longer stay; if once I call
+all mortals must obey.&#8221; On the opposite side, the Miser and Death; the
+motto, &#8220;Come, worldling, come, gold hath no power to save, leave it thou
+shalt, and dance with me to grave.&#8221; Death and the Prisoner; the motto,
+&#8220;Prisoner arise, ile ease thy fetterd feet, and now betake thee to thy
+winding sheet.&#8221; In the middle of the print sits a minstrel on a stool
+formed of bones placed on a coffin with a pick-axe and spade. He plays on
+a tabor and pipe; with this motto, &#8220;Sickness, despaire, sword, famine,
+sudden death, all these do serve as minstrells unto Death; the beggar,
+king, fool, and profound, courtier and clown all dance this round.&#8221; Under
+the above figures is a poem of sixty-six lines on the power of Death,
+beginning thus:</p>
+
+<p class="poem">Yea, Adam&#8217;s brood and earthly wights which breath now on the earth,<br />
+Come dance this dance, and mark the song of this most mighty Death.<br />
+Full well my power is known and seen in all the world about,<br />
+When I do strike of force do yeeld both noble, wise, and stout, &amp;c.</p>
+
+<p>Printed cullored and sould by R. Walton at the Globe and Compasses at the
+West end of St. Paules church turning down towards Ludgate.</p>
+
+<p>XIII. A large anonymous German engraving on copper, in folio. In the
+middle is a circular Dance of Death, with nine females, from the Empress
+to the Fool. In the four corners, two persons kneeling before<span class="pagenum"><a name="Page_165" id="Page_165">[Pg 165]</a></span> a crucifix;
+saints in heaven; the temptation; and the infernal regions. At top, a
+frame with these verses:</p>
+
+<p class="poem">Vulneris en nostri certam solamque medelam<br />
+En data divina pr&aelig;mia larga manu.<br />
+Der Todt Christi Zunicht hat gmacht<br />
+Den Todt und Sleben wider bracht.</p>
+
+<p>At bottom in a similar frame:</p>
+
+<p class="poem">Per unius peccatum Mors intravit in mundum.<br />
+Den Todt und ewig hellisch pein<br />
+Hat veruhr sagt die Sund allein.</p>
+
+<p>This is within a broad frame, containing a Dance of Death, in twelve
+ovals. The names of the characters are in German: 1. The Pope. 2. Emperor.
+3. King. 4. Cardinal. 5. Bishop. 6. Duke. 7. Earl. 8. Gentleman. 9.
+Citizen. 10. Peasant. 11. Soldier and Beggar. 12. Fool and Child. Under
+each subject is an appropriate inscription in Latin and German. In the
+middle at top, a Death&#8217;s head and bones, an hour-glass and a dial. In the
+middle at bottom, a lamp burning on a Death&#8217;s head, and a pot of holy
+water with an aspergillum. On the sides, in the middle, funereal
+implements.</p>
+
+<p>XIV. Heineken, in his &#8220;Dictionnaire des Graveurs,&#8221; iii. 77, mentions a
+Dance of Death engraved about 1740 by Maurice Bodenehr of Friburg, but
+without any further notice.</p>
+
+<p>XV. Another very large print, 2 feet by 1&#189;, in mezzotinto, the subject
+as in No. 10. but the figures varied, and much better drawn. At bottom,
+&#8220;Joh. El. Ridinger excud. Aug. Vindel.&#8221;</p>
+
+<p>XVI. Newton&#8217;s Dances of Death. Published July 12, 1796, by Wm. Holland,
+No. 50, Oxford Street, consisting of the following grotesque subjects
+engraved on copper. The size 6 inches by 5. 1. Auctioneer. 2. Lawyer. 3.
+Old Maid on Death&#8217;s back. 4. Gamblers. 5. Scolding Wife. 6. Apple-woman.
+7. Blind Beggar.<span class="pagenum"><a name="Page_166" id="Page_166">[Pg 166]</a></span> 8. Distressed Poet and Bailiff. 9. Undertaker. 10.
+Sleeping Lady. 11. Old Woman and her Cats. 12. Gouty Parson feeding on a
+tythe pig. 12. Same subject differently treated. 13. Sailor and
+Sweetheart. 14. Physician, Gravedigger, and Death dancing a round. 15.
+Market-man. 16. Doctor, sick Patient, and Nurse. 17. Watchman. 18.
+Gravedigger putting a corpse into the grave. 19. Old maid reading, Death
+extinguishes the candle. 20. Gravedigger making a grave. 21. Old Woman.
+22. Barber. 23. Lady and Death reflected in the mirror. 24. Waiter. 25.
+Amorous Old Man and Young Woman. 26. Jew Old Clothes-man. 27. Miser. 28.
+Female Gin-drinker.</p>
+
+<p>XVII. The Dance of Death modernised. Published July 13, 1800, and designed
+by G. M. Woodward, Berners&#8217; Street, Oxford Street. Contains the following
+caricatures. Size 5 by 4&#189;.</p>
+
+<p>1. King. &#8220;Return the diadem and I&#8217;ll follow you.&#8221;</p>
+
+<p>2. Cardinal. &#8220;Zounds, take care of my great toe, or I shall never rise
+higher than a cardinal.&#8221;</p>
+
+<p>3. Bishop. &#8220;I cannot go, I am a bishop.&#8221;</p>
+
+<p>4. Old Man. &#8220;My good friend, I am too old, I assure you.&#8221;</p>
+
+<p>5. Dancing-master. &#8220;I never practised such an Allemande as this since I
+have been a dancing-master.&#8221;</p>
+
+<p>6. Alderman. &#8220;If you detain me in this way my venison will be quite cold.&#8221;</p>
+
+<p>7. Methodist Preacher. &#8220;If you wo&#8217;nt take I, I&#8217;ll never mention you or the
+Devil in my sarmons as long as I lives.&#8221;</p>
+
+<p>8. Parson. &#8220;I can&#8217;t leave my company till I&#8217;ve finish&#8217;d my pipe and
+bottle.&#8221;</p>
+
+<p>9. Schoolmaster. &#8220;I am only a poor schoolmaster, and sets good examples in
+the willage.&#8221;</p>
+
+<p>10. Miser. &#8220;Spare my money, and I&#8217;ll go contented.&#8221;</p>
+
+<p>11. Politician. &#8220;Stay till I have finished the <span class="pagenum"><a name="Page_167" id="Page_167">[Pg 167]</a></span>newspaper, for I am told
+there is great intelligence from the continent.&#8221;</p>
+
+<p>12. Press-gang Sailor. &#8220;Why d&mdash; me I&#8217;m one of your apprentices.&#8221;</p>
+
+<p>13. Beggar. &#8220;This is the universal dance from a king to a beggar.&#8221;</p>
+
+<p>14. Jockey. &#8220;I assure you I am engaged at Newmarket.&#8221;</p>
+
+<p>15. Undertaker. &#8220;A pretty dance this for an undertaker.&#8221;</p>
+
+<p>16. Gouty Man. &#8220;Buzaglo&#8217;s exercise was nothing to this.&#8221;</p>
+
+<p>17. Poet. &#8220;I am but a poor poet, and always praised the ode to your honour
+written by the late King of Prussia.&#8221;</p>
+
+<p>18. Physician. &#8220;Here&#8217;s fine encouragement for the faculty.&#8221;</p>
+
+<p>19. Lawyer. &#8220;The law is always exempt by the statutes.&#8221;</p>
+
+<p>20. Old Maid. &#8220;Let me but stay till I am married, and I&#8217;ll ask no longer
+time.&#8221;</p>
+
+<p>21. Fine Lady. &#8220;Don&#8217;t be so boisterous, you filthy wretch. I am a woman of
+fashion.&#8221;</p>
+
+<p>22. Empress. &#8220;Fellow, I am an empress.&#8221;</p>
+
+<p>23. Young Lady. &#8220;Indeed, Sir, I am too young.&#8221;</p>
+
+<p>24. Old Bawd. &#8220;You may call me old bawd, if you please, but I am sure I
+have always been a friend to your worship.&#8221;</p>
+
+<p>XVIII. Bonaparte&#8217;s Dance of Death. Invented, drawn, and etched by Richard
+Newton, 7 by 5.</p>
+
+<p>1. Stabb&#8217;d at Malta. 2. Drown&#8217;d at Alexandria. 3. Strangled at Cairo. 4.
+Shot by a Tripoline gentleman. 5. Devoured by wild beasts in the desert.
+6. Alive in Paris.</p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_168" id="Page_168">[Pg 168]</a></span></p>
+<h2><a name="CHAPTER_XII" id="CHAPTER_XII"></a>CHAPTER XII.</h2>
+
+<p class="center"><i>Books in which the subject is occasionally introduced.</i></p>
+
+
+<p>&nbsp;</p>
+<p><span class="dropfig"><img src="images/cap_t.jpg" alt="T" /></span>o offer any thing in the shape of a perfect list of these, would be to
+attempt an impossibility, and therefore such only as have come under the
+author&#8217;s immediate inspection are here presented to the curious reader.
+The same remark will apply to the list of single prints that follows.</p>
+
+<p>There is a very singular book, printed, as supposed, about 1460, at
+Bamberg, by Albert Pfister. It is in German, and a sort of moral allegory
+in the shape of complaints against Death, with his answers to these
+accusations. It is very particularly described from the only known perfect
+copy in the royal library at Paris, by M. Camus, in vol. ii. of &#8220;Memoires
+de l&#8217;institut. national des sciences et arts: litterature et beaux arts,&#8221;
+p. 6 et seq. It contains five engravings on wood, the first of which
+represents Death seated on a throne. Before him stands a man with an
+infant to complain that Death has taken the mother, who is seen wrapped in
+a shroud upon a tomb. The second cut represents Death also on a throne
+with the same person as before, making his complaint, accompanied by
+several other persons at the feet of Death, sorrowfully deposing the
+attributes of their respective conditions, and at the head of them a Pope
+kneeling with one knee on the ground. The third cut has two figures of
+Death, one of which, on foot, mows down several boys and girls; the other
+is on<span class="pagenum"><a name="Page_169" id="Page_169">[Pg 169]</a></span> horseback, and pursues some cavaliers, against whom he shoots his
+arrows. The fourth cut is in two compartments, the upper representing, as
+before, a man complaining to Death seated on a throne with a crown on his
+head. Below, on the spectator&#8217;s left hand, is a convent whence several
+monks are issuing towards a garden encircled with hurdles, in which is a
+tree laden with fruit by the side of a river; a woman is seen crowning a
+child with a chaplet, near whom stands another female in conversation with
+a young man. M. Camus, in the course of his description of this cut, has
+fallen into a very ludicrous error. He mistakes the very plain and obvious
+gate of the garden, for a board, on which, he says, <i>several characters
+are engraved which may be meant to signify the arts and sciences, none of
+which are competent to protection against the attacks of Death</i>. These
+supposed characters, however, are nothing more than the flowered hinges,
+ring or knocker, and lock of the door, which stands ajar. The fifth cut is
+described as follows, and probably with greater accuracy than in M. Camus,
+by Dr. Dibdin, from a single leaf of this very curious work in the
+Bibliotheca Spenceriana, vol. i. p. 104, accompanied with a copy of part
+of it only. &#8220;Above the figures there seen sits the Almighty upon a throne,
+with an attendant angel on each side. He is putting the forefinger of his
+left hand into the centre of his right, and upon each of the hands is an
+eye, denoting, I presume, the omniscience of the Deity.&#8221; The fac-simile
+cut partly corresponds with M. Camus&#8217;s description of Death, and the
+complainant before Christ seated on a throne in a heaven interspersed with
+stars. The above fourth cut among these is on a single leaf in the
+possession of the author, which had Dr. Dibdin seen, he would not have
+introduced M. Camus&#8217;s erroneous account of it, who has also referred to
+Heineken&#8217;s Id&eacute;e, &amp;c. p. 276, where it certainly is not in the French
+edition of 1771. 8vo.</p>
+
+<p><span class="pagenum"><a name="Page_170" id="Page_170">[Pg 170]</a></span>In the celebrated Nuremberg Chronicle, printed in that city, 1493, large
+folio, there is at fo. cclxiiii. a fine wood-cut of three Deaths dancing
+hand in hand, another playing to them on a haut-boy. Below is a skeleton
+rising from a grave. It is inscribed <span class="smcaplc">IMAGO MORTIS</span>.</p>
+
+<p>In the &#8220;Stultifera navis&#8221; of Sebastian Brant, originally printed in German
+at Basle and Nuremberg, 1494, are several prints, finely cut on wood, in
+which Death is introduced. In an edition printed at Basle, 1572, 12mo.
+with elegant wood engravings, after the designs of Christopher Maurer, and
+which differ very materially from those in the early editions, there is a
+cut of great merit to the verses that have for their title, &#8220;Qui alios
+judicat.&#8221; It represents a man on his death bed; and as the poet&#8217;s
+intention is to condemn the folly of those who, judging falsely or
+uncharitably of others, forget that they must die themselves, Death is
+introduced as pulling a stool from under a fool, who sits by the bed-side
+of the dying man. In the original cut the fool is tumbling into the jaws
+of hell, which, as usual, is represented by a monstrous dragon.</p>
+
+<p>In the &#8220;Calendrier des Bergers,&#8221; Paris, 1500, folio, at sign. g. 6, is a
+terrific figure of Death on the pale horse; and at sign. g. 5. Death in a
+cemetery, with crosses and monuments; in his left hand the lid of a coffin
+in which his left foot is placed. These cuts are not in the English
+translation.</p>
+
+<p>&#8220;Ortulus Rosarum,&#8221; circa 1500, 12mo. A wood-cut of Death bearing a coffin
+on his shoulder, leads a group consisting of a pope, a cardinal, &amp;c.</p>
+
+<p>In the dialogue &#8220;Of lyfe and death,&#8221; at the end of &#8220;the dialoges of
+creatures moralysed,&#8221; probably printed abroad without date or printer&#8217;s
+name soon after 1500, are two engravings in wood, one representing Death
+appearing to a man with a falcon on his fist, the other Death with his
+spade leading an emperor, a king, and a<span class="pagenum"><a name="Page_171" id="Page_171">[Pg 171]</a></span> duke. The latter is not found in
+the Latin editions of this work, and has probably formed a part of some
+very old Dance of Death.</p>
+
+<p>In an edition of &#8220;Boetius de consolatione,&#8221; Strasburg, 1501, folio, is a
+figure of Death on a lean horse throwing his dart at a group of warriors.</p>
+
+<p>In the &#8220;Freidanck,&#8221; Strasburg, 1508, 4to, near the end is a wood-cut of a
+garden, in which two men and two women are feasting at a table. They are
+interrupted by the unexpected appearance of Death, who forcibly seizes one
+of the party, whilst the rest make their escape.</p>
+
+<p>In the &#8220;Mortilogus&#8221; of Conrad Reitter, Prior of Nordlingen, printed at
+Augsbourg by Erhard Oglin and Geo. Nadler, 1508, 4to. there is a wood-cut
+of Death in a church-yard, holding a spade with one hand and with the
+other showing his hour-glass to a young soldier; and another of Death
+shooting an arrow at a flying man.</p>
+
+<p>In &#8220;Heures &agrave; l&#8217;usaige de Sens,&#8221; printed at Paris by Jean de Brie, 1512,
+8vo. the month of December in the calendar is figured by Death pulling an
+old man towards a grave; a subject which is, perhaps, nowhere else to be
+found as a representation of that month. It is certainly appropriate, as
+being at once the symbol of the termination of the year and of man&#8217;s life.</p>
+
+<p>In the &#8220;Chevalier de la Tour,&#8221; printed by Guillaume Eustace, Paris, 1514,
+folio, there is an allegorical cut, very finely engraved on wood, at fo.
+xxii. nearly filling the page. The subject is the expulsion of Adam and
+Eve from Paradise, the gate of which exhibits a regular entrance, with
+round towers and portcullis. Behind this gate is seen the forbidden tree,
+at the bottom of which is the Devil, seemingly rejoicing at the expulsion,
+with an apple in his hand. Near the gate stands the angel with his sword,
+and a cross on his head. Between<span class="pagenum"><a name="Page_172" id="Page_172">[Pg 172]</a></span> him and the parties expelled is a
+picturesque figure of Death with a scythe ready for action.</p>
+
+<p>&#8220;Hor&aelig; ad usum Romanum,&#8221; printed for Geoffrey Tory of Tours, 1525. Before
+the Vigili&aelig; Mortuorum is a wood-cut of a winged Death holding a clock in
+one hand; with the other he strikes to the ground and tramples on several
+men and women. Near him is a tree with a crow uttering <span class="smcaplc">CRAS CRAS</span>. In
+another edition, dated 1527, is a different cut of a crowned figure of
+Death mounted on a black mule and holding a scythe and hour-glass. He is
+trampling on several dead bodies, and is preceded by another Death, armed
+also with a scythe, whilst a third behind strikes the mule, who stops to
+devour one of the prostrate figures. Above is a crow.</p>
+
+<p>In a beautiful Officium Virg. printed at Venice, 1525, 12mo. is a vignette
+of Death aiming an arrow at a group consisting of a pope, cardinal, &amp;c.
+Another Death is behind, on the spectator&#8217;s left.</p>
+
+<p>In &#8220;Heures de Notre Dame mises en reyne, &amp;c.&#8221; par Pierre Gringoire, 1527,
+8vo. there is a cut at fo. lx. before the vigilles de la mort, of a king
+lying on a bier in a chapel with tapers burning, several mourners
+attending, and on the ground a pot of holy water. A hideous figure of
+Death holding a scythe in one hand and a horn in the other, tramples on
+the body of the deceased monarch.</p>
+
+<p>In a folio missal for the use of Salisbury, printed at Paris by Francis
+Regnault, 1531, there is a singular cut prefixed to the Officium
+Mortuorum, representing two Deaths seizing a body that has the horrible
+appearance of having been some time in its grave.</p>
+
+<p>In a Flemish metrical translation of Pope Innocent III.&#8217;s work, &#8220;De
+vilitate conditionis human&aelig;,&#8221; Ghend, 1543, 12mo. there is a wood-cut of
+Death emerging from hell, armed with a dart and a three-pronged fork,<span class="pagenum"><a name="Page_173" id="Page_173">[Pg 173]</a></span>
+with which he attacks a party taking their repast at a table.</p>
+
+<p>In the cuts to the Old Testament, beautifully engraved on wood by Solomon
+or le petit Bernard, Lyons, 1553, 12mo. Death is introduced in the vision
+of Ezekiel, ch. xxxvii. In this work the expulsion from Paradise is
+imitated from the same subject in the Lyons wood-cuts.</p>
+
+<p>In &#8220;Hawes&#8217;s History of Graund Amoure and la bel Pucell, called the Pastime
+of Pleasure,&#8221; printed by R. Tottel, 1555, 4to. are two prints; the first
+exhibits a female seated on a throne, in contemplation of several men and
+animals, some of whom are lying dead at her feet; behind the throne Death
+is seen armed with a dart, which he seems to have been just making use of:
+there is no allusion to it in the text, and it must have been intended for
+some other work. The second print has two figures of Death and a young
+man, whom he threatens with a sort of mace in his right hand, whilst he
+holds a pickaxe with his left.</p>
+
+<p>&#8220;Imagines elegantissim&aelig; qu&aelig; multum lucis ad intelligendos doctrin&aelig;
+Christian&aelig; locos adferre possunt, collect&aelig; &agrave; Johann Cogelero verbi divini
+ministro, Stetini.&#8221; Viteberg, 1560, 12mo. It contains a wood-print, finely
+executed, of the following subject. In the front Death, armed with a
+hunting-spear, pushes a naked figure into the mouth of hell, in which are
+seen a pope and two monks. Behind this group, Moses, with a pair of bulls&#8217;
+horns, and attended by two Jews, holds the tables of the law. In the
+distance the temptation, and the brazen serpent.</p>
+
+<p>A German translation of the well known block book, the &#8220;Ars Moriendi,&#8221; was
+printed at Dilingen, 1569, 12mo. with several additional engravings on
+wood. It is perhaps the last publication of the work. On the title-page is
+an oval cut, representing a winged boy sleeping on a scull, and Death
+shooting an arrow at him. The<span class="pagenum"><a name="Page_174" id="Page_174">[Pg 174]</a></span> first cut exhibits a sort of Death&#8217;s dance,
+in eight small compartments. 1. A woman in bed just delivered of a child,
+with which Death is running away. 2. A man sitting at a table, Death
+seizes him behind, and pulls him over the bench on which he is sitting. 3.
+Death drowning a man in a river. 4. Flames of fire issue from a house,
+Death tramples on a man endeavouring to escape. 5. Two men fighting, one
+of whom pierces the other with his sword. The wounded man is seized by
+Death, the other by the Devil. 6. A man on horseback is seized by Death
+also mounted behind. 7. Death holds his hour-glass to a man on his
+death-bed. 8. Death leading an aged man to the grave. At the end of this
+curious volume is a singular cut, intitled &#8220;Symbolum M. Joannis Stotzinger
+Presbyteri Dilingensis.&#8221; It exhibits a young man sitting at a table, on
+which is a violin, music books, and an hour-glass. On the table is written
+<span class="smcaplc">RESPICE FINEM</span>. Near him his guardian angel holding a label, inscribed
+<span class="smcaplc">ANGELVS ASTAT</span>. Behind them Death about to strike the young man with his
+dart, and over him <span class="smcaplc">MORS MINATVR</span>. At the end of the table Conscience as a
+female, whom a serpent bites, with the label <span class="smcaplc">CONSCIENTIA MORDET</span>, and near
+her the Devil, with the label <span class="smcaplc">DIABOLVS ACCVSAT</span>. Above is the Deity looking
+down, and the motto <span class="smcaplc">DEVS VIDET</span>.</p>
+
+<p>&#8220;Il Cavallero Determinado,&#8221; Antwerp, 1591, 4to. A translation from the
+French romance of Olivier de la Marche, with etchings by Vander Borcht.
+The last print represents Death, armed with a coffin lid as a shield,
+attacking a knight on horseback. In several of the other prints Death is
+represented under the name of Atropos, as president in tournaments. In
+other editions the cuts are on wood by the artist with the mark <img src="images/mono_a.jpg" alt="[monogram]" />.</p>
+
+<p>In the margins of some of the Hor&aelig;, printed by Thielman Kerver, there are
+several grotesque figures of Death, independently of the usual Dance.</p>
+
+<p>In many of the Bibles that have prints to the <span class="pagenum"><a name="Page_175" id="Page_175">[Pg 175]</a></span>Revelations, that of Death
+on the pale horse is to be noticed.</p>
+
+<p>In Petrarch&#8217;s work &#8220;de remediis utriusque fortun&aelig;,&#8221; both in the German and
+Latin editions, there are several cuts that relate materially to the
+subject. It may be as well to mention that this work has been improperly
+ascribed to Petrarch.</p>
+
+<p>In many of the old editions of Petrarch&#8217;s works which contain the
+triumphs, that of Death is usually accompanied with some terrific print of
+Death in a car drawn by oxen, trampling upon all conditions of men from
+the pope to the beggar.</p>
+
+<p>&#8220;Guilleville, Pelerin de la vie humaine.&#8221; The pilgrim is conducted by
+Abstinence into a refectory, where he sees many figures of Death in the
+act of feeding several persons sitting at table. These are good people
+long deceased, who during their lives have been bountiful to their
+fellow-creatures. At the end, the pilgrim is struck by Death with two
+darts whilst on his bed.</p>
+
+<p>Death kicking at a man, his wife, and child. From some book printed at
+Strasburg in the 16th century.</p>
+
+<p>Death, as an ecclesiastic, sitting on the ground and writing in a book.
+Another Death holding an inscribed paper in one hand, seizes with the
+other a man pointing to a similar paper. The Deity in a cloud looking on.
+From the same book.</p>
+
+<p>&#8220;Mors,&#8221; a Latin comedy, by William Drury, a professor of poetry and
+rhetoric in the English college at Douay. It was acted in the refectory of
+the college and elsewhere, and with considerable applause, which it very
+well deserved. There is as much, and sometimes more, wit and humour in it
+than are found in many English farces. It was printed at Douay, 1628,
+12mo. with two other Latin plays, but not of equal interest.</p>
+
+<p>A moral and poetical Drama, in eleven scenes, intitled, &#8220;Youth&#8217;s Tragedy,
+by T. S.&#8221; 1671 and 1707, 4to. in which the interlocutors are, Youth, the
+Devil,<span class="pagenum"><a name="Page_176" id="Page_176">[Pg 176]</a></span> Wisdom, Time, Death, and the Soul. It is miserable stuff.</p>
+
+<p>&#8220;La Historia della Morte,&#8221; Trevigi, 1674, 4to. four leaves only. It is a
+poem in octave stanzas. The author, wandering in a wood, is overwhelmed
+with tears in reflecting on the approach of Death and his omnipotent
+dominion over mankind. He is suddenly accosted by the king of terrors, who
+is thus described:</p>
+
+<p class="poem">Un ombra mi coperse prestamente<br />
+Che mi fece tremar in cotal sorte<br />
+Ell&#8217;era magra, e longa in sua figura,<br />
+Che chi la vede perde gioco, e festa,<br />
+Dente d&#8217;acciaio haveva in bocca oscura,<br />
+Corna di ferro due sopra la testa<br />
+Ella mi fe tremar dalla paura, &amp;c.</p>
+
+<p>The work consists of a long dialogue between the parties. The author
+enquires of Death if he was born of father and mother. Death answers that
+he was created, by Jesus Christ, &#8220;che e signor giocondo,&#8221; with the other
+angels; that after Adam&#8217;s sin he was called <i>Death</i>. The author tells him
+that he seems rather to be a malignant spirit, and presses for some
+
+further information. He is referred to the Bible, and the account of
+David&#8217;s destroying angel:</p>
+
+<p class="poem">Quando Roma per me fu tribulata<br />
+Gregorio videmi con suo occhio honesto<br />
+Con una spada ch&#8217;era insanguinata<br />
+Al castel de Sant Angelo chiamato<br />
+Da l&#8217;hora in qua cosi fu appellato.</p>
+
+<p>This corresponds with the usual story, that during a plague Gregory saw an
+angel hovering over the castle, who, on the Pope&#8217;s looking up to him,
+immediately sheathed his flaming sword. More questions are then propounded
+by Death, particularly as to the use of his horns and teeth, and the
+curiosity of the author is most condescendingly gratified.</p>
+
+<p>Bishop Warburton and Mr. Malone have referred to<span class="pagenum"><a name="Page_177" id="Page_177">[Pg 177]</a></span> old Moralities, in which
+the fool escaping from the pursuit of Death is introduced. Ritson has
+denied the existence of any such farces, and he is perhaps right with
+respect to printed ones; but vestiges of such a drama were observed
+several years ago at the fair of Bristol by the present writer. See the
+notes to Measure for Measure, Act iii. sc. 1, and to Pericles, Act iii.
+sc. 2.</p>
+
+<p>In &#8220;Musart Adolescens Academicus sub institutione Salomonis,&#8221; Duaci, 1633,
+12mo. is an engraving on copper of a modern Bacchus astride upon a wine
+cask drawn by two tigers. In one hand he holds a thyrsus composed of
+grapes and vine leaves, and in the other a cup or vase, from which a
+serpent springs, to indicate poison. Behind this Bacchus Death is seated,
+armed with his scythe and lying in wait for him. The motto, &#8220;Vesani
+calices quid non fecere,&#8221; a parody on the line, &#8220;Fecundi calices quem non
+fecere disertum?&#8221; Horat. lib. i. epist. v. 1. 19.</p>
+
+<p>In &#8220;Christopher Van Sichem&#8217;s Bibels&#8217; Tresoor,&#8221; 1646, 4to. there is a
+wood-cut of Death assisting Adam to dig the ground, partly copied from the
+subject of &#8220;the Curse,&#8221; in the work printed at Lyons.</p>
+
+<p>In &#8220;De Chertablon, maniere de se bien preparer &agrave; la mort, &amp;c.&#8221; Anvers,
+1700, 4to. there is an allegorical print in which a man is led by his
+guardian angel to the dwelling of Faith, Hope, and Charity, but is
+violently seized by Death, who points to his last habitation, in the shape
+of a sepulchral monument.</p>
+
+<p>In Luyken&#8217;s &#8220;Onwaardige wereld,&#8221; Amst. 1710, 12mo. are three allegorical
+engravings relating to this subject.</p>
+
+<p>In a very singular book, intitled &#8220;Confusio disposita rosis
+rhetorico-poeticis fragrans, sive quatuor lusus satyrico morales, &amp;c.
+authore Josepho Melchiore Francisco a Glarus, dicto Tschudi de Greplang.&#8221;
+Augsburg, 1725, 12mo. are the following subjects. 1. The world<span class="pagenum"><a name="Page_178" id="Page_178">[Pg 178]</a></span> as Spring,
+represented by a fine lady in a flower-garden, Death and the Devil behind
+her. 2. Death and the Devil lying in wait for the miser. 3. Death and the
+Devil hewing down the barren fig-tree. 4. A group of dancers at a ball
+interrupted by Death. 5. Death striking a lady in bed attended by her
+waiting maid. 6. Death gives the coup-de-grace to a drunken fellow who had
+fallen down stairs. 7. Death mounted on a skeleton-horse dashes among a
+group of rich men counting their gold, &amp;c. 8. A rich man refused entrance
+into heaven. He has been brought to the gate in a sedan chair, carried by
+a couple of Deaths in full-bottom periwigs.</p>
+
+<p>In Luyken&#8217;s &#8220;Vonken der lief de Jezus,&#8221; Amst. 1727, 12mo. are several
+engravings relating to the subject. In one of them Death pours a draught
+into the mouth of a sick man in bed.</p>
+
+<p>In Moncrief&#8217;s &#8220;March of Intellect,&#8221; 1830, 18mo. scene a workhouse, Death
+brings in a bowl of soup, a label on the ground, inscribed &#8220;Death in the
+pot.&#8221; An engraving in wood after Cruikshank.</p>
+
+<p>In Jan Huygen&#8217;s &#8220;Beginselen van Gods koninryk,&#8221; Amst. 1738, 12mo. with
+engravings by Luyken, a dying man attended by his physician and friends;
+Death at the head of the bed eagerly lying in wait for him.</p>
+
+<p>In one of the livraisons of &#8220;Goethe&#8217;s Balladen und Romanzen,&#8221; 1831, in
+folio, with beautiful marginal decorations, there is a Dance of Death in a
+church-yard, accompanied with a description, of which an English
+translation is inserted in the &#8220;Literary Gazette&#8221; for 1832, p. 731, under
+the title of &#8220;The Skeleton Dance,&#8221; with a reference to another indifferent
+version in the &#8220;Souvenir.&#8221;</p>
+
+<p>The well-known subjects of Death and the old man with the bundle of
+sticks, &amp;c. and Cupid and Death in many editions of &AElig;sopian fables.</p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_179" id="Page_179">[Pg 179]</a></span></p>
+<h2><a name="CHAPTER_XIII" id="CHAPTER_XIII"></a>CHAPTER XIII.</h2>
+
+<div class="note"><p class="hang"><i>Books of emblems and fables.&mdash;Frontispieces and title-pages, in some
+degree connected with the Dance of Death.</i></p></div>
+
+<p>&nbsp;</p>
+<p class="center">EMBLEMS AND FABLES.</p>
+
+<p>&nbsp;</p>
+<p><span class="dropfig"><img src="images/cap_i.jpg" alt="I" /></span>t is very seldom that in this numerous and amusing class of books a
+subject relating to Death, either moral or of a ludicrous nature does not
+occur. It may be sufficient to notice a few of them.</p>
+
+<p>&#8220;La Morosophie de Guillaume de la Perriere,&#8221; 1553, 12mo.</p>
+
+<p>&#8220;Emblemes ou devises Chretiennes,&#8221; par Georgette de Montenaye, 1571, 4to.</p>
+
+<p>&#8220;Le Imprese del S. Gab. Symeoni.&#8221; Lyons, 1574, 4to.</p>
+
+<p>&#8220;Enchiridion artis pingendi, fingendi et sculpendi. Auth. Justo Ammanno,
+Tig.&#8221; Francof. 1578, 4to. This is one of Jost Amman&#8217;s emblematical books
+in wood, and contains at the end a figure of Death about to cut off two
+lovers with his scythe, Cupid hovering over them.</p>
+
+<p>&#8220;Apologi creaturarum.&#8221; Plantin, 1590, 4to. with elegant etchings by Marc
+Gerard. It has one subject only of Death summoning a youth with a hawk on
+his fist to a church-yard in the back-ground.</p>
+
+<p>Reusner&#8217;s &#8220;aureolorum emblematum liber singularis,&#8221;<span class="pagenum"><a name="Page_180" id="Page_180">[Pg 180]</a></span> Argentorati, 1591,
+12mo. A print of Death taking away a lady who has been stung by a serpent;
+designed and engraved by Tobias Stimmer.</p>
+
+<p>&#8220;De Bry Proscenium vit&aelig; human&aelig;,&#8221; Francof. 1592 and 1627, 4to. This
+collection has two subjects: 1. Death and the Young Man. 2. Death and the
+Virgin.</p>
+
+<p>&#8220;Jani Jacobi Boissardi Emblematum liber, a Theodoro de Bry sculpta.&#8221;
+Francof. 1593. Contains one print, intitled &#8220;Sola virtus est funeris
+expers.&#8221; The three Fates, one of whom holds a tablet with <span class="smcaplc">SIC VISVM
+SVPERIS</span>. Death attending with his hour-glass. Below, crowns, sceptres, and
+various emblems of human vanity. On the spectator&#8217;s left, a figure of
+Virtue standing, with sword and shield.</p>
+
+<p>&#8220;De Bry Emblemata.&#8221; Francof. 1593, 4to. The last emblem has Death striking
+an old man, who still clings to the world, represented as a globe.</p>
+
+<p>&#8220;Rolandini variar. imaginum, lib. iii.&#8221; Panormi, 1595, 12mo.</p>
+
+<p>&#8220;Alciati Emblemata,&#8221; one of the earliest books of its kind, and a
+favourite that has passed through a great many editions.</p>
+
+<p>&#8220;Typotii symbola divina et humana Pontificum Imperatorum, Regum, &amp;c.&#8221;
+Francofurti, 1601, folio.</p>
+
+<p>&#8220;Friderich&#8217;s Emblems,&#8221; 1617, 8vo. Several engravings on the subject.</p>
+
+<p>&#8220;Das erneurte Stamm-und Stechbuchlein.&#8221; By Fabian Athyr. Nuremberg, 1654.
+Small obl. 4to.</p>
+
+<p>&#8220;Mannichii Emblemata.&#8221; Nuremberg, 1624, 4to.</p>
+
+<p>&#8220;Minne Beelden toe-ghepast de Lievende Jonckheyt,&#8221; Amst. 1635, 12mo. The
+cuts on the subject are extremely grotesque and singular.</p>
+
+<p>&#8220;Sciographia Cosmica.&#8221; A description of the principal towns and cities in
+the world, with views engraved by Paul Furst, and appropriate emblems. By
+Daniel Meisner: in eight parts. Nuremberg, 1637. Oblong<span class="pagenum"><a name="Page_181" id="Page_181">[Pg 181]</a></span> 4to. In the print
+of the town of Freyburg, Death stands near an old man, and holds a clock
+in one hand. In that of the city of Toledo Death accompanies a female who
+has a mirror in her hand.</p>
+
+<p>In the same work, at vol. A. 4, is a figure of Death trampling on Envy,
+with the motto, &#8220;Der Todt mach dem Neyd ein ende.&#8221; At A. 39, Death
+intercepting a traveller, the motto, &#8220;Vitam morti obviam procedit.&#8221; At A.
+74, Death standing near a city, the motto, &#8220;Tros Tyriusve mihi nullo
+discrimine habetur.&#8221; At C. 9, a man and woman in the chains of matrimony,
+which Death dissolves by striking the chain with a bone, the motto,
+&#8220;Conjugii vinculum firmissimum est.&#8221; At C. 30, Death about to mow down a
+philosopher holding a clock, the motto, &#8220;Omnis dies, omnis hora, quam
+nihil sumus ostendit.&#8221; At E. 32, Death standing in the middle of a
+parterre of flowers, holding in one hand a branch of laurel, in the other
+a palm branch, the motto, &#8220;Ante mortem nullus beatus est.&#8221; At E. 35, Death
+shooting with a cross-bow at a miser before his chest of money, the motto,
+&#8220;Nec divitiis nec auro.&#8221; At E. 44, Death seizes a young man writing the
+words, &#8220;sic visum superis&#8221; on a tablet, the motto, &#8220;Viva virtus est
+funeris expers.&#8221; At G. 32, Death pursues a king and a peasant, all on
+horseback, the motto, &#8220;Mors sceptra ligonibus &aelig;quat.&#8221; At G. 66, a woman
+looking in a mirror sees Death, who stands behind her reflected, the
+motto, &#8220;Tota vita sapientis est meditatio mortis.&#8221; At H. 66, a company of
+drunkards. Death strikes one of them behind when drinking, the motto,
+&#8220;Malus inter poculo mos est.&#8221; At H. 80, Death cuts down a genealogical
+tree, with a young man and woman, the motto, &#8220;Juventus proponit, mors
+disponit.&#8221;</p>
+
+<p>&#8220;Conrad Buno Driestandige Sinnbilder,&#8221; 1643. Oblong 4to.</p>
+
+<p>&#8220;Amoris divini et humani antipathia.&#8221; Antw. 1670. 12mo.</p>
+
+<p><span class="pagenum"><a name="Page_182" id="Page_182">[Pg 182]</a></span>&#8220;Typotii Symbola varia diversorum principum sacrosanct&aelig; ecclesi&aelig; et sacri
+Imperii Romani.&#8221; Arnheim, 1679. 12mo.</p>
+
+<p>In Sluiter&#8217;s &#8220;Somer en winter leven,&#8221; Amst. 1687, 12mo. is a figure of
+Death knocking at the door of a house and alarming the inhabitants with
+his unexpected visit. The designer most probably had in his recollection
+Horace&#8217;s &#8220;Mors &aelig;quo pede pulsat pauperum tabernas regumque turres.&#8221;</p>
+
+<p>&#8220;Euterpe soboles hoc est emblemata varia, &amp;c.&#8221; with stanzas in Latin and
+German to each print. No date. Oblong 4to. The engravings by Peter Rollo.
+Republished at Paris, with this title, &#8220;Le Centre de l&#8217;amour, &amp;c.&#8221; A Paris
+chez Cupidon. Same form, and without date. This edition has several
+additional cuts.</p>
+
+<p>&#8220;Rollenhagii nucleus Emblematum.&#8221; The cuts by Crispin de Passe.</p>
+
+<p>In Herman Krul&#8217;s &#8220;Eerlyche tytkorting, &amp;c.&#8221; a Dutch book of emblems, 4to.
+n. d. there are some subjects in which Death is allegorically introduced,
+and sometimes in a very ludicrous manner.</p>
+
+<p>Death enters the study of a seated philosopher, from whose mouth and
+breast proceed rays of light, and presents him with an hour-glass. Below a
+grave, over which hangs one foot of the philosopher. A. Venne invent. Obl.
+5&#189; by 4&#189;.</p>
+
+<p>&#8220;Catz&#8217;s Emblems,&#8221; in a variety of forms and editions, containing several
+prints relating to the subject.</p>
+
+<p>&#8220;Oth. V&aelig;nii Emblemata Horatiana.&#8221; Several editions, with the same prints.</p>
+
+<p>&#8220;Le Centre de l&#8217;Amour decouvert soubs divers emblesmes galans et
+facetieux. A Paris chez Cupidon.&#8221; Obl. 4to. without date. One print only
+of a man sitting in a chair seized by Death, whilst admiring a female,
+who, not liking the intrusion, is making her escape. The book contains
+several very singular subjects, accompanied by Latin and German subjects.
+It occurs also<span class="pagenum"><a name="Page_183" id="Page_183">[Pg 183]</a></span> under the title of &#8220;Euterp&aelig; soboles hoc est emblemata
+varia eleganti jocorum mistura, &amp;c.&#8221;</p>
+
+<p>&#8220;Fables nouvelles par M. de la Motte.&#8221; 4to. edition. Amsterd. 1727, 12mo.</p>
+
+<p>&#8220;Apophthegmata Symbolica, &amp;c.&#8221; per A. C. Redelium Belgam. Augspurg, 1700.
+Oblong 4to. Death and the soldier; Death interrupting a feast; Death and
+the miser; Death and the old man; Death drawing the curtain of life, &amp;c.
+&amp;c.</p>
+
+<p>&#8220;Choice emblems, divine and moral.&#8221; 1732. 12mo.</p>
+
+
+<p>&nbsp;</p>
+<p class="center">FRONTISPIECES AND TITLE PAGES TO BOOKS.</p>
+
+<p>&#8220;Arent Bosman.&#8221; This is the title to an old Dutch legend of a man who had
+a vision of hell, which is related much in the manner of those of Tundale
+and others. It was printed at Antwerp in 1504, 4to. The frontispiece has a
+figure of Death in pursuit of a terrified young man, and may probably
+belong to some other work.</p>
+
+<p>On a portion of the finely engraved wood frontispiece to &#8220;Joh. de Bromyard
+Summa predicantium.&#8221; Nuremberg, 1518, folio. Death with scythe and
+hour-glass stands on an urn, supported by four persons, and terrifies
+several others who are taking flight and stumbling over each other.</p>
+
+<p>&#8220;Schawspiel Menchliches Lebens.&#8221; Frankfort, 1596, 4to. Another edition in
+Latin, intitled, &#8220;Theatrum vit&aelig; human&aelig;,&#8221; by J. Boissard, the engravings by
+De Bry. At the top of the elegant title or frontispiece to this work is an
+oblong oval of a marriage, interrupted by Death, who seizes the
+bridegroom. At bottom a similar oval of Death digging the grave of an old
+man who is looking into it. On one side of the page, Death striking an
+infant in its cradle; on the other, a merchant about to ship his goods is
+intercepted by Death.</p>
+
+<p><span class="pagenum"><a name="Page_184" id="Page_184">[Pg 184]</a></span>On the title-page to a German jeu d&#8217;esprit, in ridicule of some anonymous
+pedant, there is a wood-cut of Death mounted backwards on an ass, and near
+him a fool hammering a block of some kind on an anvil. The title of this
+satirical morsel is &#8220;Res Mira. Asinus sex linguarum jucundissimis
+anagrammatismis et epigrammatibus oneratus, tractionibus, depositionibus,
+et fustuariis prob&egrave; dedolatus, hero suo remissus, ac instar prodromi
+pr&aelig;missus, donec meliora sequantur, Asininitates aboleantur, virique boni
+restituantur: ubi etiam ostenditur ab asino salso intentata vitia non esse
+vitia. Ob variam ejus jucunditatem, suavitatem et versuum leporem recusus,
+anno 1625.&#8221; The address to the reader is dated from Giessen, 19th June,
+1606, and the object of the satire disguised under the name of Jonas
+Melid&aelig;us.</p>
+
+<p>&#8220;Les Consolations de l&#8217;ame fidelle contre les frayeurs de la mort, par
+Charles Drelincourt.&#8221; Amsterdam, 1660. 8vo.</p>
+
+<p>&#8220;Deugden Spoor De Vijfte Der-Eeringe Aen de Medicijas met sampt Monsieur
+Joncker Doctor Koe-Beest ende alle sijne Complicen.&#8221; Death introduces an
+old man to a physician who is inspecting a urinal. 12mo.</p>
+
+<p>Death leading an old man with a crutch, near a charnel-house, inscribed
+<span class="smcaplc">MEMENTO MORI</span>. At top these verses:</p>
+
+<p class="poem">Il faut sans diferer me suivre<br />
+<span style="margin-left: 1em;">Tu dois &ecirc;tre pr&egrave;t a partir</span><br />
+Dieu ne t&#8217;a fait si longtemps vivre<br />
+<span style="margin-left: 1em;">Que pour l&#8217;aprendre &agrave; bien mourir.</span></p>
+
+<p>A Amsterdam chez Henri Desbordes. Another print, with the same design. &#8220;Se
+vendent &agrave; Londres par Daniel Du Chemin.&#8221; On a spade, the monogram
+<img src="images/mono_hf.jpg" alt="[monogram]" /> 8vo.</p>
+
+<p>&#8220;Reflexions sur les grands hommes.&#8221; In the <span class="pagenum"><a name="Page_185" id="Page_185">[Pg 185]</a></span>foreground various pranks of
+Death. In the distance, a church-yard with a regular dance, in a circle,
+of men, women, and Deaths, two of the latter sitting on a monument and
+playing on a violin and violoncello. Engraved by A. D. Putter. 12mo.</p>
+
+<p>&#8220;La Dance Macabre, or Death&#8217;s Duell,&#8221; by W. C. <i>i. e.</i> Colman. Printed by
+Wm. Stansby, no date, 12mo. It has an elegantly engraved frontispiece by
+T. Cecill, with eight compartments, exhibiting Death with the pope, the
+emperor, the priest, the nobles, the painter, the priest, and the peasant.
+The poem, in six line stanzas, is of considerable merit, and entirely
+moral on the subject of Death, but it is not the Macaber Dance of Lydgate.
+At the end, the author apologizes for the title of his book, which, he
+says, was injuriously conferred by Roger Muchill upon a sermon of Dr.
+Donne&#8217;s, and adds a satirical epistle against &#8220;Muchill that never did
+good.&#8221; There certainly was a sermon by Donne, published by Muchill or
+Michel, with the title of &#8220;Death&#8217;s Duell.&#8221;</p>
+
+<p>There appears to have been another edition of this book, the title-page
+only of which is preserved among Bagford&#8217;s collections among the Harl.
+MSS. No. 5930. It has the same printed title, with the initials W. C. and
+the name of W. Stansby. It is also without date. This frontispiece is on a
+curtain held by two winged boys. At the top, a figure of Death, at bottom
+another of Time kneeling on a globe. In the right-hand corner, which is
+torn, there seems to have been a hand coup&eacute; with a bracelet as a crest; in
+the left, a coat of arms with a cross boutonn&eacute; arg. and sable, and four
+mullets, arg. and sable. On each side, four oval compartments, with the
+following subjects. 1. A pope, a cardinal, and four bishops. 2. Several
+monks and friars. 3. Several magistrates. 4. A schoolmaster reading to his
+pupils. 5. An emperor, a king, a queen, a duke, a duchess, and a male
+attendant. 6. A group of noblemen or <span class="pagenum"><a name="Page_186" id="Page_186">[Pg 186]</a></span>gentlemen. 7. A painter painting a
+figure of Death, in the back ground a woman who seems to be purchasing
+articles of dress. 8. Two men with spades, one of them digging. This very
+beautiful print is engraved by T. Cecil. On the top of each of the above
+compartments, Death holds a string with both his hands.</p>
+
+<p>&#8220;Theatrum omnium miserarum.&#8221; A theatre filled with a vast number of
+people. In the centre, an obelisk on a pedestal, behind which is a small
+stage with persons sitting. In the foreground, Death holding a cord, with
+which three naked figures are bound, and another Death with a naked figure
+in a net. Between these figures symbols of the world, the flesh, and the
+Devil. 4to.</p>
+
+<p>&#8220;Les Consolations de l&#8217;Ame fidelle contre les frayeurs de la mort.&#8221; Death
+holds his scythe over a group of persons, consisting of an old man and a
+child near a grave, who are followed by a king, queen, and a shepherd,
+with various pious inscriptions. 8vo.</p>
+
+<p>&#8220;La maniere de se bien preparer &agrave; la mort, par M. de Chertablon.&#8221; Anvers,
+1700, 4to.</p>
+
+<p>In an engraved frontispiece, a figure of Time or Death trampling upon a
+heap of articles expressive of worldly pomp and grandeur, strikes one end
+of his scythe against the door of a building, on which is inscribed
+&#8220;<span class="smcaplc">STATVTVM EST OMNIBVS HOMINIBVS. SEMEL MORI</span>. Hebr. ix.&#8221;</p>
+
+<p>At the bottom, within a frame ornamented with emblems of mortality, a
+sarcophagus with the skeleton of a man raised from it. Two Deaths are
+standing near, one of whom blows a trumpet, the other points upward with
+one hand, and holds a scythe in the other. On one side of the sarcophagus
+are several females weeping; on the other, a philosopher sitting, who
+addresses a group of sovereigns, &amp;c. who are looking at the skeleton.</p>
+
+<p>&#8220;Palingenii Zodiacus Vit&aelig;.&#8221; Rotterdam, 1722.<span class="pagenum"><a name="Page_187" id="Page_187">[Pg 187]</a></span> 12mo. Death seizes a sitting
+figure crowned with laurel, perhaps intended for Virtue, who clings to a
+bust of Minerva, &amp;c.</p>
+
+<p>Death leading a bishop holding his crosier. He is preceded by another
+Death as a bellman with bell and lanthorn. Above, emblems of mortality
+over a label, inscribed &#8220;A Vision.&#8221; 12mo.</p>
+
+<p>Scene, a church-yard. Death holding an hour-glass in one hand levels his
+dart at a young man in the habit of an ecclesiastic, with a mask in his
+hand. &#8220;Worlidge inv. Boitard sculp.&#8221; The book unknown. 8vo.</p>
+
+<p>Three figures of Death uncovering a circular mirror, with a group of
+persons dying, &amp;c. At bottom, <span class="smcaplc">INGREDIMVR. CVNCTI. DIVES. CVM. PAUPERE.
+MIXTVS</span>. J. Sturt sculp.</p>
+
+<p>Death touching a globe, on which is inscribed <span class="smcaplc">VANITY</span>, appears to a man in
+bed. &#8220;Hayman inv. C. Grignion sc.&#8221; 8vo.</p>
+
+<p>To a little French work, intitled &#8220;Spectriana,&#8221; Paris, 1817, 24mo. there
+is a frontispiece on copper representing the subject of one of the
+stories. A figure of Death incumbered with chains beckons to an armed man
+to follow him into a cave.</p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_188" id="Page_188">[Pg 188]</a></span></p>
+<h2><a name="CHAPTER_XIV" id="CHAPTER_XIV"></a>CHAPTER XIV.</h2>
+
+<p class="center"><i>Single prints connected with the Dance of Death.</i></p>
+
+
+<p>&nbsp;</p>
+<p class="center">1500-1600.</p>
+
+<p class="center">(N. B. The right and left hands are those of the spectator. The prints on
+<i>wood</i> are so specified.)</p>
+
+<p>&nbsp;</p>
+<p><span class="dropfig"><img src="images/cap_a.jpg" alt="A" /></span>n ancient engraving, in the manner of Israel Van Meckenen. Death is
+playing at chess with a king, who is alarmed at an impending check-mate. A
+pope, cardinal, bishop, and other persons are looking on. Above are three
+labels. Bartsch x. 55. No. 32.</p>
+
+<p>Albert Durer&#8217;s knight preceded by Death, and followed by a demon, a
+well-known and beautiful engraving.</p>
+
+<p>A very scarce and curious engraving, representing the interior of a
+brothel. At the feet of a bed a man is sitting by a woman almost naked,
+who puts her hand into his purse, and clandestinely delivers the money she
+takes from it to a fellow standing behind one of the curtains. On the
+opposite side is a grinning fool making significant signs with his fingers
+to a figure of Death peeping in at a window. This singular print has the
+mark L upon it, and is something in the manner of Lucas Van Leyden, but is
+not mentioned in Bartsch&#8217;s catalogue of his prints. Upright 7&#189; by
+5&#189;.</p>
+
+<p>A small etching, very delicately executed, and ascribed to Lucas Van
+Leyden, whose manner it certainly <span class="pagenum"><a name="Page_189" id="Page_189">[Pg 189]</a></span>resembles. At a table on the left a
+family of old and young persons are assembled. They are startled by the
+appearance of a hideous figure of Death with a long beard and his head
+covered. Near him is a young female, crowned with a chaplet of flowers,
+holding in her hand a scull, Death&#8217;s head, and hour-glass, and which the
+father of the family turns round to contemplate. Above is an angel or
+genius shooting an arrow at the family, and as it were at random. At top
+on the right is the letter L, and the date 1523. See Bartsch, vol. vii. p.
+435. Oblong, 5&#189; by 4.</p>
+
+<p>A small upright print of Death with a spade on his shoulder, and leading
+an armed soldier. The mark <span class="mono">L</span> below on a tablet. Not mentioned by Bartsch.</p>
+
+<p>A small circular engraving, of several persons feasting and dancing. Death
+lies in wait behind a sort of canopy. Probably a brothel scene, as part of
+the story of the prodigal son. The mark is <span class="mono">L</span>. Not noticed by Bartsch.</p>
+
+<p>A reverse of this engraving, marked <span class="mono">S</span>.</p>
+
+<p>An engraving on wood of Death presenting an hour-glass, surmounted by a
+dial, to a soldier who holds with both his hands a long battle-axe. The
+parties seem to be conversing. With Albert Durer&#8217;s mark, and the date
+1510. It has several German verses. See Bartsch, vii. 145, No. 132.</p>
+
+<p>A wood print of Death in a tree pointing with his right hand to a crow on
+his left, with which he holds an hour-glass. At the foot of the tree an
+old German soldier holding a sword pointed to the ground. On his left,
+another soldier with a long pike. A female sitting by the side of a large
+river with a lap-dog. The mark of Urs Graaf <img src="images/mono_vg.jpg" alt="[monogram]" /> and the date
+1524 on the tree. Upright, 8 by 4&#189;.</p>
+
+<p>Death as a buffoon, with cap, bauble, and hour-glass, leading a lady. The
+motto, <span class="smcaplc">OMNEM IN HOMINE</span> <span class="pagenum"><a name="Page_190" id="Page_190">[Pg 190]</a></span>
+<span class="smcaplc">VENVSTATEM MORS ABOLET</span>. With the mark and date
+<img src="images/mono_hsb.jpg" alt="[monogram]" /> 1541. Bartsch, viii. 174.</p>
+
+<p>An engraving of Adam and Eve near the tree of life, which is singularly
+represented by Death entwined with a serpent. Adam holds in one hand a
+flaming sword, and with the other receives the apple from Eve, who has
+taken it from the serpent&#8217;s mouth. At top is a tablet with the mark and
+date <img src="images/mono_hsb.jpg" alt="[monogram]" /> 1543. A copy from Barthol. Beham. Bartsch, viii. 116.</p>
+
+<p>Death seizing a naked female. A small upright engraving. The motto, <span class="smcaplc">OMNEM
+IN HOMINE VENVSTATEM MORS ABOLET</span>. With the mark and date <img src="images/mono_hsb.jpg" alt="[monogram]" /> 1546.
+Bartsch, viii. 175.</p>
+
+<p>A small upright engraving, representing Death with three naked women, one
+of whom he holds by the hair of her head. A lascivious print. The mark
+<img src="images/mono_hcb.jpg" alt="[monogram]" /> on a label at bottom. Bartsch, viii. 176, who calls the women
+sorceresses.</p>
+
+<p>A small upright engraving of Death holding an hour-glass and dial to a
+soldier with a halberd. At top, the mark and date <img src="images/mono_hcb.jpg" alt="[monogram]" /> 1532.
+Bartsch, viii. 276.</p>
+
+<p>An upright engraving of Death seizing a soldier, who struggles to escape
+from him. Below, an hour-glass. In a corner at top, the mark <img src="images/mono_hcb.jpg" alt="[monogram]" />.</p>
+
+<p>An upright engraving of Death trampling upon a vanquished soldier, who
+endeavours to parry with his sword a blow that with one hand his adversary
+aims at him, whilst with the other he breaks the soldier&#8217;s spear. In a
+corner at top, the mark <img src="images/mono_hcb.jpg" alt="[monogram]" />. A truly terrific print, engraved also
+by <img src="images/mono_ac_mod.jpg" alt="[monogram]" />. Bartsch, viii. 277.</p>
+
+<p>A naked female seized by a naked man in a very indecent manner. Death who
+is behind seizes the man whose left hand is placed on a little boy taking
+money<span class="pagenum"><a name="Page_191" id="Page_191">[Pg 191]</a></span> out of a bag.
+The motto, <span class="smcaplc">HO: MORS VLTIMA LINEA RERVM</span>, with the mark
+and date <img src="images/mono_hsp.jpg" alt="[monogram]" /> 1529. See Bartsch, viii. 176.</p>
+
+<p>Near the end of an English Primer, printed at Paris, 1538, 4to. is a small
+print of Death leading a pope, engraved with great spirit on wood, but it
+has certainly not formed part of a series of a Dance of Death.</p>
+
+<p>An upright engraving of a pair of lovers interrupted by Death with scythe
+and hour-glass, with the mark and date <img src="images/mono_hm.jpg" alt="[monogram]" /> 1550. Not in
+Bartsch.</p>
+
+<p>A small wood print of a gentleman conducting a lady, whose train is held
+up by Death with one hand, whilst he holds up an hour-glass with the
+other. In a corner below, the supposed mark of Jost de Negher, <img src="images/mono_yf.jpg" alt="[monogram]" />.
+Upright, 2 by 1&#190;.</p>
+
+<p>A German anonymous wood print of the prodigal son at a brothel, a female
+fool attending. Death unexpectedly appears and takes him by the hand,
+whilst another female is caressing him. Oblong, 4&#189; by 4.</p>
+
+<p>An upright engraving on wood, 14 by 11, of a naked female on a couch.
+Death with a spade and hour-glass approaches her. With her left hand she
+holds one corner of a counterpane, Death seizing the other, and trampling
+upon it. Under the counterpane, and at the foot of the couch is a dead and
+naked man grasping a sword in one hand. There is no indication of the
+artist of this singular print.</p>
+
+<p>An upright wood engraving, 14&#189; by 11, of a whole-length naked female
+turning her head to a mirror, which she holds behind her with both hands.
+Death, unnoticed, with an hour-glass, enters the apartment; before him a
+wheel. On the left at bottom a blank tablet, and near the woman&#8217;s left
+foot a large wing.</p>
+
+<p>An engraving on wood by David Hopfer of Death and the Devil surprizing a
+worldly dame, who admires herself in a mirror. Oblong, 8 inches by 5&#189;.</p>
+
+<p><span class="pagenum"><a name="Page_192" id="Page_192">[Pg 192]</a></span>An upright engraving of a lady holding in one hand a bunch of roses and in
+the other a glove. Death behind with his hour-glass; the motto, <span class="smcaplc">OMNEM IN
+HOMINE VENVSTATEM MORS ABOLET.</span> and the mark F. B. Bartsch, ix. 464.</p>
+
+<p>A wood print of Death seizing a child. On the left, at top, is a blank
+tablet. Upright, 2&#189; by 2.</p>
+
+<p>A small oblong anonymous engraving of a naked female asleep on a couch. A
+winged Death places an hour-glass on her shoulder. A lascivious print.</p>
+
+<p>An ancient anonymous wood print: scene, a forest. Death habited as a
+woodman, with a hatchet at his girdle and a scythe, shoots his arrows into
+a youth with a large plume of feathers, a female and a man lying prostrate
+on the ground; near them are two dead infants with amputated arms; the
+whole group at the foot of a tree. In the back-ground, a stag wounded by
+an arrow, probably by the young man. 4to. size.</p>
+
+<p>A small wood-cut of Death seizing a child. Anonymous, in the manner of A.
+Durer. 2&#188; by 1&#8542;.</p>
+
+<p>A very old oblong wood-cut, which appears to have been part of a Dutch or
+Flemish Macaber Dance. The subjects are, Death and the Pope, with &#8220;Die
+doot seyt,&#8221; &#8220;die paens seyt,&#8221; &amp;c. and the Cardinal with &#8220;Die doot seyt,&#8221;
+and &#8220;Die Cardinael seyt.&#8221; There have been verses under each character.
+9&#189; by 6&#189;.</p>
+
+<p>A small wood print of a tree, in which are four men, one of whom falls
+from the tree into a grave at the foot of it. Death, as a woodman, cuts
+down the tree with a hatchet. In the back-ground, another man fallen into
+a grave.</p>
+
+<p>A figure of Death as a naked old man with a long beard. He leans on a
+pedestal, on which are placed a scull and an hour-glass, and with his left
+hand draws towards him a draped female, who holds a globe in her left
+hand. At the bottom of the print, <span class="smcaplc">MORS OMNIA</span>
+<span class="pagenum"><a name="Page_193" id="Page_193">[Pg 193]</a></span> <span class="smcaplc">MVTAT</span>, with the unknown
+monogram <img src="images/mono_bad.jpg" alt="[monogram]" />. Upright, 5 inches by 2&#190;. It is a very rare
+print on copper, not mentioned by Bartsch.</p>
+
+<p>A small anonymous wood print of Death playing on a vielle, or beggar&#8217;s
+lyre.</p>
+
+<p>An ancient anonymous copper engraving of Death standing on a bier, and
+laying hands upon a youth over whom are the words, &#8220;Ach got min sal ich,&#8221;
+and over Death, &#8220;hie her by mich.&#8221; Both inscriptions on labels. Bartsch,
+x. p. 54, No. 30.</p>
+
+<p>An allegorical engraving on copper by Cuerenhert, after Martin Heemskirk,
+1550. A naked man bestrides a large sack of money, on which a figure or
+statue of Hope is standing. Death with one hand levels his dart at the
+terrified man, and holds a circle in the other. The money is falling from
+the sack, and appears to have demolished the hour-glass of Death. Upright,
+11 inches by 8. At bottom, these lines:</p>
+
+<p class="poem">Maer als hemdie eininghe doot comt voer ogen<br />
+Dan vint hii hem doer &uuml;dele hope bedrogen.</p>
+
+<p>There is a smaller copy of it.</p>
+
+<p>A circular engraving, two inches diameter, of a pair of lovers in a
+garden. The lady is playing on a harp, her companion&#8217;s lute is on the
+ground. They are accompanied by a fool, and Death behind is standing with
+a dart in his hand ready for aim at the youthful couple.</p>
+
+<p>A very large engraving on wood tinted in chiaroscuro. It represents a sort
+of triumphal arch at the top of which is a Death&#8217;s head, above, an
+hour-glass between two arm bones, that support a stone; evidently borrowed
+from the last cut of the arms of Death in the Lyons wood-cuts. Underneath,
+the three Fates between obelisks crowned with Deaths&#8217; heads and crosses,
+with the words <span class="smcaplc">&#924;&#925;&#919;&#924;&#927;&#925;&#917;&#933;&#917; &#913;&#928;&#927;&#936;&#933;&#935;&#917;&#921;&#925;</span>
+and <span class="smcaplc">ITER AD VITAM</span>. In the middle, a circle with eight compartments, in which are skeleton heads of a
+pope, an <span class="pagenum"><a name="Page_194" id="Page_194">[Pg 194]</a></span>emperor, &amp;c. with mottoes. In the extremity of the circle, the
+words &#8220;Post hoc autem judicium statutum est omnibus hominibus semel mori.&#8221;
+The above obelisks are supported by whole length figures of Death, near
+which are shields with <span class="smcaplc">BONIS BONA</span> and <span class="smcaplc">MALIS MALA</span>. On the pedestals that
+support the figures of Death are shields inscribed <span class="smcaplc">MEMENTO MORI</span> and
+<span class="smcaplc">MEMORARE NOVISSIMA</span>. Underneath the circle, a sort of table monument with
+Death&#8217;s head brackets, and on its plinth a sceptre, cardinal&#8217;s cross,
+abbot&#8217;s crozier, a vessel with money, and two books. Between the brackets,
+in capitals:</p>
+
+<p class="poem"><span style="margin-left: .5em;">TRIA SUNT VERE</span><br />
+QV&AElig; ME FACIVNT<br />
+<span style="margin-left: 2.5em;">FLERE.</span></p>
+
+<p>And underneath in italics:</p>
+
+<p class="poem">Primum quidem durum, quia scio me moriturum.<br />
+Secundum vero plango, quia moriar, et nescio quando.<br />
+Tertium autem flebo, quia nescio ubi manebo.</p>
+
+<p>In a corner at bottom, &#8220;Ill. D. Petro Caballo J. C. Poutr&eacute;m Relig. D.
+Steph. ordinisq. milit. Ser. M. D. Hetr: Auditori mon: Joh. Fortuna
+Fortunius Inven. Seni..... <span class="smcaplc">MDLXXXVIII.</span>&#8221; It is a very fine print, engraved
+with considerable spirit.</p>
+
+
+<p>&nbsp;</p>
+<p class="center">1600-1700.</p>
+
+<p>A very beautiful engraving by John Wierix, of a large party feasting and
+dancing, with music, in a garden. Death suddenly enters, and strikes a
+young female supported by her partner. At bottom, &#8220;Medio, lusu, risuque
+rapimur &aelig;ternum cruciandi.&#8221; Oblong, 6&#189; by 4&#189;.</p>
+
+<p>Its companion&mdash;Death, crowned with serpents, drags away a falling female,
+round whom he has affixed his chain, which is in vain held back by one of
+the party who supplicates for mercy. At bottom these lines:</p>
+
+<p class="poem"><span class="pagenum"><a name="Page_195" id="Page_195">[Pg 195]</a></span>Divitibus mors dura venit, redimita corona<br />
+Anguifera, et risus ultimo luctus habet.</p>
+
+<p>On the top of the print, &#8220;O mors quam amara est memoria tua homini pacem
+habenti in substantiis suis, etc.&#8221; Eccl. cap. xli.</p>
+
+<p>An allegorical print by one of the Wierxes, after H. Van Balen. The Virgin
+Mary and a man are kneeling before and imploring Christ, who is about to
+strike a bell suspended to the branch of a tree, the root of which Death
+cuts with an axe, whilst the Devil assists in pulling at it with a rope.
+Upright, 4&#189; by 3&#189;.</p>
+
+<p>Time holding a mirror to two lovers, Death behind waiting for them. At
+bottom, &#8220;Luxuries predulce malum cui tempus, &amp;c.&#8221; Engraved by Jerom Wierx.
+Oblong, 12 by 8.</p>
+
+<p>An allegorical engraving by Jerom Wierx, after Martin De Vos, with four
+moral stanzas at bottom, beginning &#8220;Gratia magna Dei c&aelig;lo demittitur
+alto.&#8221; A figure of Faith directs the attention of a man, accompanied with
+two infants, to a variety of worldly vanities scattered in a sun-beam. On
+the right, a miser counting his gold is seized and stricken by Death. At
+top, four lines of Latin and Dutch. Oblong, 13 by 10.</p>
+
+<p>A rare etching, by Rembrant, of a youthful couple surprized by Death.
+Date, 1639. Upright, 4&#188; by 3.</p>
+
+<p>Rembrant&#8217;s &#8220;Hour of Death.&#8221; An old man sitting in a tent is visited by a
+young female. He points to a figure of Death with spade and hour-glass.
+Upright, 5&#188; by 3&#189;.</p>
+
+<p>An engraving by De Bry. In the middle, an oblong oval, representing a
+marriage, Death attending. On the sides, grotesques of apes, goats, &amp;c. At
+bottom, S. P. and these lines:</p>
+
+<p class="poem">Ordo licet reliquos sit pr&aelig;stantissimus inter<br />
+Conjugium, heu nimium s&aelig;pe doloris habet.</p>
+
+<p>Oblong, 5&#189; by 2&#188;.</p>
+
+<p><span class="pagenum"><a name="Page_196" id="Page_196">[Pg 196]</a></span>Its companion&mdash;Death digging a grave for an old man, who looks into it.
+Psal. 49 and 90.</p>
+
+<p>An engraving by Crispin de Pas of Death standing behind an old man, who
+endeavours, by means of his money spread out upon a table, to entice a
+young female, who takes refuge in the arms of her young lover. At bottom,
+the following dialogue.</p>
+
+<p class="poem"><span style="margin-left: 5em;"><span class="smcap">Senex.</span></span><br />
+Nil aurei? nil te coronati juvant?<br />
+<span style="margin-left: 1em;">Argenteis referto bulga nil movet?</span><br />
+<br />
+<br />
+<span style="margin-left: 5.5em;"><span class="smcap">Mors.</span></span><br />
+Varios quid at Senex amores expetis:<br />
+<span style="margin-left: 1em;">Tumulum tu&aelig; finemque vit&aelig; respice.</span><br />
+<br />
+<br />
+<span style="margin-left: 5em;"><span class="smcap">Juvenis.</span></span><br />
+Quid aureorum me beabit copia.<br />
+<span style="margin-left: 1em;">Amore si privata sim dulcissimo.</span></p>
+
+<p>Its companion&mdash;Death with his hour-glass stands behind an old woman, who
+offers money to a youth turning in disdain to his young mistress. At
+bottom, these lines:</p>
+
+<p class="poem"><span style="margin-left: 5em;"><span class="smcap">Juvenis.</span></span><br />
+Facie esse quid mihi gratius posset tua<br />
+<span style="margin-left: 1em;">Ipsius haud Corinthi gaza divitis.</span><br />
+<br />
+<br />
+<span style="margin-left: 5em;"><span class="smcap">Vetula.</span></span><br />
+Formam quid ah miselle nudam respicis<br />
+<span style="margin-left: 1em;">Cum plus beare possit auri copia.</span><br />
+<br />
+<br />
+<span style="margin-left: 5.5em;"><span class="smcap">Mors.</span></span><br />
+At tu juventa quid torqu&ecirc;re frustra anus<br />
+<span style="margin-left: 1em;">Quin jam sepulchri instantis es potius memor.</span></p>
+
+<p>Both oblong, 6 by 4.</p>
+
+<p>An engraving by Bosse of a queen reposing on a tent bed, Death peeps in
+through the curtains, another Death stands at the corner of the bed,
+whilst a female with a shield, inscribed <span class="smcaplc">PIETAS</span>, levels a dart at the
+queen. Underneath, these verses:</p>
+
+<p class="poem"><span class="pagenum"><a name="Page_197" id="Page_197">[Pg 197]</a></span>Grand Dieu je suis donc le victime<br />
+<span style="margin-left: 2em;">Qu&#8217;une vengeance legitime</span><br />
+<span style="margin-left: 2em;">Doit immoler &agrave; tes autels</span><br />
+Je n&#8217;ay point de repos qui n&#8217;augmente ma peine<br />
+Et les tristes objets d&#8217;une face inhumaine<br />
+<span style="margin-left: 2em;">Me sont autant de coups mortels.</span></p>
+
+<p>Oblong, 4&#189; by 3.</p>
+
+<p>An engraving by John Sadeler, after Stradanus, of an old couple, with
+their children and grandchildren, in the kitchen of a farm-house. Death
+enters, fantastically crowned with flowers and an hour-glass, and with a
+bagpipe in his left hand. Round his right arm and body is a chain with a
+hook at the extremity. He offers his right hand to the old woman, who on
+her knees is imploring him for a little more delay. In the back-ground, a
+man conducted to prison; beggars receiving alms, &amp;c. At bottom, these
+lines:</p>
+
+<p class="poem">&#8220;Pauperibus mors grata venit; redimita corona<br />
+Florifera, et luctus ultima risus habet.&#8221;</p>
+
+<p>On the top of the print, &#8220;O mors bonum est judicium tuum homini indigenti,
+et qui minoratur viribus defecto &aelig;tate, &amp;c.&#8221; Eccl. cap. xli. Oblong, 11 by
+8&#189;.</p>
+
+<p>An exceedingly clever etching by Tiepolo of a group of various persons, to
+whom Death, sitting on the ground and habited grotesquely as an old woman,
+is reading a lecture. Oblong, 7 by 5&#189;.</p>
+
+<p>A small circle, engraved by Le Blond, of Death appearing to the
+astrologer, copied from the same subject in the Lyons wood-cuts.</p>
+
+<p>A print, painted and engraved by John Lyvijus of two card players
+quarrelling. Death seizes and strikes at them with a bone. Below,</p>
+
+<p class="poem">Rixas atque odia satagit dispergere serpens,<br />
+Antiquus, cuncta at jurgia morte cadunt.</p>
+
+<p>Oblong, 10 by 7&#189;.</p>
+
+<p><span class="pagenum"><a name="Page_198" id="Page_198">[Pg 198]</a></span>An engraving by Langlois. Death with a basket at his shoulder, on which
+sits an owl, and holding with one hand a lantern, seizes the dice of a
+gambler sitting at a table with his winnings spread before him. At top,
+these verses:</p>
+
+<p class="poem">Alarme O le pipeur, chassez, chassez le moy,<br />
+Je ne veux pas jouer a la raffle avec toy.<br />
+<br />
+<span style="margin-left: 5em;"><span class="smcap">La Mort.</span></span><br />
+<br />
+A la raffle je joue avec toutes personnes<br />
+Toutes pieces je prends, tant meschantes que bonnes.</p>
+
+<p>At bottom, a dialogue between the gambler and Death, in verse, beginning
+&#8220;J&#8217;ay ramen&egrave; ma chance il n&#8217;y a plus rem&eacute;de.&#8221; Upright, 10 by 7&#189;.</p>
+
+<p>A print by De Gheyn, but wanting his name, of an elegantly attired lady,
+with a feather on her head, and a fan mirror in her hand. She is
+accompanied by Death handsomely attired, with a similar feather, and
+holding an hour-glass. At bottom,</p>
+
+<p class="poem">Qui genio indulges, media inter gaudia morti<br />
+Non dubi&aelig; certum sis memor esse locum.</p>
+
+<p>Upright, 8 by 5&#189;.</p>
+
+<p>Hollar&#8217;s etching in Dugdale&#8217;s Monasticon and his history of St. Paul&#8217;s,
+from the old wood-cut in Lydgate&#8217;s Dance of Macaber, already described,
+and an outline copy in Mr. Edwards&#8217;s publication of Hollar&#8217;s Dance of
+Death.</p>
+
+<p>Death and two Misers, 11&#190; by 10. Engraved by Michael Pregel, 1616. At
+bottom, six Latin lines, beginning &#8220;Si mihi diviti&aelig; sint omnes totius
+orbis.&#8221;</p>
+
+<p>An oblong allegorical print, 14 by 10&#189;. Death and Time at war with man
+and animals. In the foreground, Death levels three arrows at a numerous
+group of mortals of all ranks and conditions, who endeavour, in every
+possible way, to repel his attack. In the<span class="pagenum"><a name="Page_199" id="Page_199">[Pg 199]</a></span> back-ground, he shoots a single
+arrow at various animals. It is a very rare and beautiful engraving by
+Bolsverd, after Vinck-boons, dated 1610. At bottom, six lines in Latin, by
+J. Semmius, beginning &#8220;Cernis ut imperio succumbant omnia Mortis.&#8221;</p>
+
+<p>An oblong print, 18&#189; by 13, intitled, &#8220;Alle mans vrees,&#8221; <i>i. e.</i> &#8220;Every
+man&#8217;s terror,&#8221; and engraved by Cornelius Van Dalen, after Adrian Van
+Venne. It exhibits Death armed with a spade, and overturning and putting
+to flight a variety of persons. At bottom, four stanzas of Dutch verses,
+beginning &#8220;Dits de vrees van alle man.&#8221;</p>
+
+<p>A large allegorical oblong engraving, 18&#189; by 13, by Peter Nolpe, after
+Peter Potter. On the left, a figure of religion, an angel hovering over
+her with a crown and palm branch. She points to several figures bearing
+crosses, and ascending a steep hill to heaven. On the right, the Devil
+blowing into the ear of a female, representing worldly vanity. In the
+middle, Death beating a drum to a man and woman dancing. In the
+back-ground, several groups of people variously employed, and a city in
+flames.</p>
+
+<p>An anonymous Venetian engraving of Death striking a lady sitting at a
+table covered with various fruits, a lute, &amp;c. She falls into the arms of
+her lover or protector. Oblong, 9&#189; by 7.</p>
+
+<p>A print, after Martin Heemskirk, of Charon ferrying over souls. On the
+right, a winged Death supporting an emperor about to enter the fatal boat.
+Below, four lines, beginning &#8220;Sed terris debentur opes, quas linquere
+fato.&#8221;</p>
+
+<p>An oblong engraving, 14 by 12, after John Cossiers. On the right, Death
+entering at a door, seizes a young man. In the middle, a music-master
+teaching a lady the lute, Death near them holding a violin and music-book.
+On the left, in another apartment, Death in a dancing attitude, with a
+double bagpipe, leads an aged<span class="pagenum"><a name="Page_200" id="Page_200">[Pg 200]</a></span> man with a rosary in his left hand, and
+leaning on a staff with his right. At bottom, three stanzas of French
+verses, beginning &#8220;La Mort qui n&#8217;a point d&#8217;oreilles.&#8221;</p>
+
+<p>A very small wood print, that seems to have belonged to some English book,
+about 1600. It represents Death behind a female, who sees his reflected
+image in a mirror which she holds, instead of her own. 1&#189; by 1&#189;.</p>
+
+<p>The Devil&#8217;s Ruff shop, into which a young gallant introduces his mistress,
+whose ruff one of the Devils is stiffening with a poking-stick. Death,
+with a ruff on his neck, waits at the door, near which is a coffin. This
+very curious satirical print, after Martin De Vos, is covered with
+inscriptions in French and Dutch. Oblong, 11&#189; by 8.</p>
+
+<p>A small anonymous engraving of two Deaths hand in hand; the one holds a
+flower, the other two serpents; a man and woman also hand in hand; the
+latter holds a flower in her hand; they are preceded by a little boy on a
+cock-horse and a girl with a doll. Underneath, four lines, beginning &#8220;Quid
+sit, quid fuerit, quid tandem aliquando futurus.&#8221;</p>
+
+<p>An anonymous engraving of a young gallant looking up to an image of Hope
+placed on a bag of money, near which plate, jewels, and money lie
+scattered on the ground. Death enters at a door, holding a circle in one
+hand and a dart with the other, in a menacing attitude. At bottom, these
+Latin lines:</p>
+
+<p class="poem">Namque ubi Mors trucibus supra caput adstitit armis,<br />
+Hei quam tunc nullo pondere nummus erit.</p>
+
+<p>The same in Dutch. Upright, 8&#189; by 6. This print was afterwards copied
+in a reduced form into a book of emblems, with the title, &#8220;Stulte hoc
+nocte repetent animam tuam,&#8221; with verses in Latin, French, and German.</p>
+
+<p>A small anonymous wood engraving of five Deaths<span class="pagenum"><a name="Page_201" id="Page_201">[Pg 201]</a></span> dancing in a circle; the
+motto, <span class="smcaplc">DOODEN DANS OP LESTEM</span>, <i>i. e.</i> the last Dance of Death.</p>
+
+<p>A very clever etching of a winged and laurelled Death playing on the
+bagpipe and making his appearance to an old couple at table. The man puts
+off his cap and takes the visitor by the hand, as if to bid him welcome.
+Below, two Dutch lines, beginning &#8220;Maerdie hier sterven, &amp;c.&#8221; At top, on
+the left, &#8220;W. V. Valckert, in. fe. 1612.&#8221; Oblong, 8&#189; by 6&#189;.</p>
+
+<p>A very complicated and anonymous allegorical print, with a great variety
+of figures. In the middle, Death is striking with a sledge-hammer at a
+soul placed in a crucible over a sort of furnace. A demon with bellows is
+blowing the fire, and a female, representing the world, is adding fuel to
+it. In various parts of the print are Dutch inscriptions. Oblong, 10&#189;
+by 6.</p>
+
+<p>Two old misers, a man and a woman. She weighs the gold, and he enters it
+in a book. Death with an hour-glass peeps in at one window, and the Devil
+at another. On the left, stands a demon with a book and a purse of money.
+On the right, in a corner, I. V. <span class="smcaplc">BRVG: F.</span> &#8220;Se vend chez Audran rue S.
+Jaques aux deux piliers d&#8217;or.&#8221; An upright mezzotint, 11&#189; by 8&#189;.</p>
+
+<p>Two old misers, a man and a woman. He holds a purse, and she weighs the
+money. Death behind lies in wait for them. Below, a French stanza,
+beginning &#8220;Fol en cette nuit on te redemande ton ame,&#8221; and the same in
+Latin. Below, &#8220;J. Meheux sculp. A Paris chez Audran rue St. Jaques aux
+deux pilliers d&#8217;or.&#8221; An upright mezzotint, 10 by 7&#189;.</p>
+
+<p>An oval engraving in a frame of slips of trees. Death pulling down a fruit
+tree; a hand in a cloud cutting a flower with a sickle. Motto, &#8220;Fortior
+frango, tenera meto.&#8221; Upright, 6&#189; by 4.</p>
+
+<p>An anonymous engraving of a lady sitting at her toilet. She starts at the
+reflected image of Death standing behind her, in her looking glass. Her
+lover<span class="pagenum"><a name="Page_202" id="Page_202">[Pg 202]</a></span> stands near her in the act of drawing his sword to repel the
+unwelcome visitor. Upright, 7&#188; by 6&#189;. To some such print or
+painting, Hamlet, holding a scull in his hand, evidently alludes in Act v.
+Sc. 1. &#8220;Now get you to my lady&#8217;s chamber, and tell her let her paint an
+inch thick, to this favour she must come.&#8221;</p>
+
+<p>A print of the tree of knowledge, the serpent holding the apple in his
+mouth. Below, several animals, as in the usual representations of
+Paradise. On one side a youth on horseback with a hawk on his fist; on the
+other, Death strikes at him with his dart. On the right, at bottom, the
+letters R. P. ex. and these verses:</p>
+
+<p class="poem">Nor noble, valiant, youthfull or wise, have<br />
+The least exemption from the gloomy grave.</p>
+
+<p>Upright, 6 by 4.</p>
+
+<p>A large oblong engraving, on copper, 22 by 17. On the left, is an arched
+cavern, from which issue two Deaths, one of whom holds a string, the end
+of which is attached to an owl, placed as a bird decoy, on a pillar in the
+middle of the print. Under the string, three men reading. On the left,
+near a tree, is a ghastly sitting figure, whose head has been flayed. On
+the opposite side below, a musical group of three men and a woman. In the
+back-ground, several men caught in a net; near them, Death with a hound
+pursuing three persons who are about to be intercepted by a net spread
+between two trees. In the distance, a vessel with a Death&#8217;s head on the
+inflated sail. On the top of the arched cavern, a group of seven persons,
+one of whom, a female, points to the interior of an urn; near them a
+flying angel holding a blank shield of arms. In the middle of the print,
+at bottom, some inscription has been erased.</p>
+
+<p>A print, intitled &#8220;Cursus Mundi.&#8221; A woman holds, in one hand, a broken
+vessel with live coals; in the other, a lamp, at which a little boy is
+about to light a<span class="pagenum"><a name="Page_203" id="Page_203">[Pg 203]</a></span> candle. Death appears on the left. At bottom, a Latin
+inscription stating that the picture was painted by William Panneels, the
+scholar of Rubens, in 1631, and that it is in the palace of Anselm
+Casimir, archbishop of Mentz. Upright, 9&#189; by 6&#189;.</p>
+
+<p>A small anonymous engraving of Death sitting on a large fractured
+bass-viol, near which, on the ground, is a broken violin.</p>
+
+<p>An elegant small and anonymous engraving of a young soldier, whom Death
+strikes with his dart whilst he despoils him of his hat and feather. At
+bottom, six couplets of French verses, beginning &#8220;Retire toy de moy O
+monstre insatiable.&#8221; Upright, 3&#190; by 2&#190;.</p>
+
+<p>A small anonymous engraving of a merchant watching the embarkation of his
+goods, Death behind waiting for him. Motto from Psalm 39, &#8220;Computat et
+parcit nec quis sit noverit, h&aelig;res, &amp;c.&#8221; Upright, 3&#188; by 1&#189;.</p>
+
+<p>Its companion&mdash;Death striking a child in a cradle. Job 14. &#8220;Vita brevis
+hominum variis obnoxia curis, &amp;c.&#8221; These were probably part of a series.</p>
+
+<p>An anonymous engraving of a man on his death-bed. On one side, the vision
+of a bishop saint in a cloud; on the other, Death has just entered the
+room to receive his victim. Oblong, 5&#189; by 2&#189;.</p>
+
+<p>An anonymous engraving of a woman sitting under a tree. Sin, as a boy,
+with <span class="smcaplc">PECCATVM</span> inscribed on his forehead, delivers a globe, on which a
+serpent is entwined, to Death. At bottom, &#8220;A muliere initium factum est
+peccati et per illam omnes morimur. Eccl. <span class="smcaplc">C. XXV.</span>&#8221;</p>
+
+<p>A small anonymous engraving of Death interrupting a Turkish sultan at
+table. In the back ground, another Turk contemplating a heap of sculls.</p>
+
+<p>A mezzotint by Gole, of Death appearing to a miser, treading on an
+hour-glass and playing on the violin. In the back-ground, a room in which
+is Death seizing a young man. The floor is covered with youthful
+instruments<span class="pagenum"><a name="Page_204" id="Page_204">[Pg 204]</a></span> of recreation. This subject has been painted by Old Franks
+and Otho V&aelig;nius. Upright, 9 by 6&#189;. Another mezzotint of the same
+subject by P. Schenck is mentioned by Peignot, p. 19. It is inscribed
+&#8220;Mortis ingrata musica.&#8221;</p>
+
+<p>A very singular, anonymous, and unintelligible engraving of a figure that
+seems intended for a blacksmith, who holds a large hammer in his hand. On
+his right, two monks, and behind him, Death folding his arms to his
+breast. Below, writing implements, &amp;c. Upright, 4 by 3.</p>
+
+<p>The triumphal car of Time drawn by genii, and accompanied by a pope,
+cardinal, emperor, king, queen, &amp;c. At the top of the car, Death blows a
+trumpet, to which a banner is suspended, with &#8220;Je trompe tout le monde.&#8221;
+In the back-ground a running fountain, with &#8220;Ainsi passe la gloire du
+monde.&#8221; An anonymous upright engraving, 4 by 2&#189;.</p>
+
+<p>A very neat engraving by Le Blon of several European coins. In the centre,
+a room in which Death strikes at two misers, a man and a woman sitting at
+a table covered with money. On the table cloth, &#8220;Luc. 12 ca.&#8221;</p>
+
+<p>Its companion&mdash;Death and the Miser. The design from the same subject in
+the Lyons wood-cuts. A label on the wall, with &#8220;Luc. 12.&#8221; Oblong, 6&#189; by
+3&#189;.</p>
+
+<p>A German anonymous print, apparently from a book of emblems, representing
+Death waiting with a scythe to cut off the following persons: 1. A lady.
+2. A gentleman. 3. An advocate. 4. A soldier: and, 5. A preacher. Each has
+an inscription. 1. Ich todt euch alle (I kill you all). 2. Ich erfrew euch
+alle (I rejoice you all). 3. Ich eruhr euch alle (I honour you all). 4.
+Ich red fur euch alle (I speak for you all). 5. Ich fecht fur euch alle (I
+fight for you all). 6. Ich bett fur euch alle (I pray for you all). With
+verses at bottom, in Latin and German. Oblong, 5&#188; by 4.</p>
+
+<p><span class="pagenum"><a name="Page_205" id="Page_205">[Pg 205]</a></span>An anonymous engraving of a naked youth who with a sword strikes at the
+head of Death pursuing another youth. Oblong, 9&#189; by 5&#189;.</p>
+
+<p>An upright engraving, 5&#189; by 4, representing a young man on horseback
+holding a hawk on his fist, and surrounded by various animals. Death
+holding an hour-glass, strikes at him with his dart. Behind, the tree of
+knowledge, with the serpent and apple. At bottom, on the right, are the
+initials T. P. ex.</p>
+
+<p>An engraving of the Duke of Savoy, who, attended by his guards, receives
+petitions from various persons. Before him stands in a cloud the angel of
+Death, who points towards heaven. At bottom, on the left, &#8220;Delphinus
+pinxit. Brambilla del. 1676,&#8221; and on the right, &#8220;Nobilis de Piene S. R. C.
+Prim. c&aelig;lator f. Taur.&#8221; Oblong, 10&#189; by 7&#189;.</p>
+
+<p>An engraving by De Gheyn, intitled, &#8220;Vanitas, idelheit.&#8221; A lady is sitting
+at a table, on which is a box of jewels and a heap of money. A hideous
+female Death strikes at her with a flaming dart, which, at the same time,
+scatters the leaves of a flower which she holds in her left hand. Upright,
+9 by 7.</p>
+
+<p>A very small circular wood-cut, apparently some printer&#8217;s device,
+representing an old and a young man, holding up a mirror, in which is
+reflected the figure of Death standing behind them, with the motto,
+&#8220;Beholde your glory.&#8221;</p>
+
+<p>An anonymous print of Death and the miser. Death seizes his money, which
+he conveys into a dish. Upright, 3&#189; by 2&#189;. It is a copy from the
+same subject in the Lyons wood-cuts.</p>
+
+
+<p>&nbsp;</p>
+<p class="center">1700-1800.</p>
+
+<p>An anonymous modern copy of Death and the bridegroom, copied from the
+Lyons wood-cuts, edition 1562.</p>
+
+<p><span class="pagenum"><a name="Page_206" id="Page_206">[Pg 206]</a></span>An etching of Death, with an hour-glass in one hand and a cane in the
+other, entering a room where a poor poet has been writing, and who would
+willingly dispense with the visit. At bottom &#8220;And when Death himself
+knocked at my door, ye bad him come again; and in so gay a tone of
+careless indifference did ye do it, that he doubted of his commission.
+There must certainly be some mistake in this matter, quoth he.&#8221; The same
+in Italian. This is one of Patch&#8217;s caricatures after Ghezzi. Upright,
+16&#189; by 12.</p>
+
+<p>A print intitled &#8220;Time&#8217;s lecture to man,&#8221; with eight stanzas in verse,
+beginning &#8220;Why start you at that skeleton.&#8221; It consists of three
+divisions. At top a young man starts at the appearance of time and death.
+Under the youth &#8220;Calcanda semel via lethi.&#8221; At each extremity of this
+division is a figure of Death sitting on a monument. The verses, in double
+columns, are placed between two borders with compartments. That on the
+right a scull crowned with a mitre; an angel with a censer; time carrying
+off a female on his back; Death with an infant in his arms; Death on
+horseback with a flag; Death wrestling with a man. The border on the left
+has a scull with a regal crown; an angel dancing with a book; Death
+carrying off an old man; Death leading a child; Death with a naked corpse;
+Death digging a grave. At bottom &#8220;Sold by Clark and Pine, engravers, in
+Castle Yard, near Chancery Lane, T. Witham, frame-maker, in Long Lane,
+near West Smithfield, London.&#8221; With a vignette of three Deaths&#8217; heads. 13
+by 9&#189;.</p>
+
+<p>There is a very singular ancient gem engraved in &#8220;Passeri de Gemmis
+Astriferis,&#8221; tom. ii. p. 248. representing a skeleton Death standing in a
+car drawn by two animals that may be intended for lions; he holds a whip
+in his hand, and is driving over other skeletons. It is covered with
+barbarous and unintelligible words in Greek characters, and is to be
+classed among those<span class="pagenum"><a name="Page_207" id="Page_207">[Pg 207]</a></span> gems which are used as amulets or for magical
+purposes. It seems to have suggested some of the designs that accompany
+the old editions of Petrarch&#8217;s Triumph of Death.</p>
+
+<p>A folio mezzotint of J. Daniel von Menzel, an Austrian hussar. Behind him
+is a figure of Death with the hussar&#8217;s hat on his head, by whom he is
+seized. There are some German verses, and below</p>
+
+<p class="poem">Mon amis avec moi &agrave; la danse<br />
+C&#8217;est pour vous la juste recompense.</p>
+
+<p>The print is dated 1744.</p>
+
+<p>A Dutch anonymous oblong engraving on copper, 10&#189; by 10, intitled
+&#8220;Bombario, o dood! te schendig in de nood.&#8221; Death leads a large group of
+various characters. At bottom verses beginning &#8220;De Boertjes knappen al
+temaal.&#8221; On each side caricatures inscribed Democritus and Heraclitus. It
+is one of the numerous caricatures on the famous South Sea or Mississippi
+bubble.</p>
+
+<p>An engraving, published by Darly, entitled &#8220;Macaronies drawn after the
+life.&#8221; On the left a macaroni standing. On the floor dice and dice-box. On
+a table cards and two books. On the right, Death with a spade, leaning on
+a sarcophagus, inscribed &#8220;Here lies interred Dicky Daffodil, &amp;c.&#8221; Oblong,
+9 by 6.</p>
+
+<p>A very clever private etching by Colonel Turner, of the Guards, 1799,
+representing, in the foreground, three Deaths dancing in most grotesque
+attitudes. In the distance several groups of skeletons, some of whom are
+dancing, one of them beating a drum. Oblong, 5&#189; by 3&#189;.</p>
+
+<p>A small engraving by Chodowiecki. Death appears to a medical student
+sitting at a table; underneath these lines,</p>
+
+<p class="poem">De grace epargne moi, je me fais medecin,<br />
+Tu recevras de moi la moiti&eacute; des malades.</p>
+
+<p><span class="pagenum"><a name="Page_208" id="Page_208">[Pg 208]</a></span>Upright, 3&#189; by 2. This is not included in his Dance of Death.</p>
+
+<p>The same slightly retouched, with German verses.</p>
+
+<p>A small engraving, by Chodowiecki, of Death approaching a dying man
+attended by his family and a physician. Oblong, 2&#189; by 2.</p>
+
+<p>A modern engraving, intitled &#8220;An emblem of a modern marriage.&#8221; Death
+habited as a beau stands by a lady, who points to a monument inscribed
+&#8220;Requiescat in pace.&#8221; Above a weeping Cupid with an inverted torch. At
+bottom</p>
+
+<p class="poem"><span style="margin-left: 3em;">... No smiles for us the Godhead wears,</span><br />
+His torch inverted and his face in tears.</p>
+
+<p>Drawn by M. H. from a sketch cut with a diamond on a pane of glass.
+Published according to act of parliament, June 15, 1775.</p>
+
+<p>A modern caricature intitled &#8220;A patch for t&#8217;other eye.&#8221; Death is about to
+place a patch on the right eye of an old general, who has one already on
+the other. His hat and truncheon lie on the ground, and he is drawing his
+sword for the purpose of opposing the intention of his grim adversary,
+exclaiming at the same time, &#8220;Oh G&mdash;d d&mdash;n ye, if that&#8217;s your sport, have
+at ye.&#8221; Upright, 8 inches by 7.</p>
+
+<p>A small engraving by Chr. de Mechel, 1775, of an apothecary&#8217;s shop. He
+holds up a urinal to a patient who comes to consult him, behind whom Death
+is standing and laying hands upon him. Below these verses:</p>
+
+<p class="poem">Docteur, en vain tu projettes<br />
+<span style="margin-left: 1em;">De prononcer sur cette eau,</span><br />
+La mort rit de tes recettes<br />
+<span style="margin-left: 1em;">Et conduit l&#8217;homme au tombeau.</span></p>
+
+<p>Oblong, 4 by 3.</p>
+
+<p>An anonymous and spirited etching of Death obsequiously and with his arms
+crossed entering a room<span class="pagenum"><a name="Page_209" id="Page_209">[Pg 209]</a></span> in which is a woman in bed with three infants.
+With uplifted arms she screams at the sight of the apparition. Below in a
+corner the husband, accompanied with four other children. Upright, 11 by
+10&#189;.</p>
+
+<p>&#8220;The lawyer&#8217;s last circuit.&#8221; He is attacked by four Deaths mounted on
+skeleton horses. He is placed behind one of them, and all gallop off with
+him. A road-post inscribed &#8220;Road to hell.&#8221; Below, the lines from Hamlet,
+&#8220;Where be his quiddits now? his quillets, his cases, his tenures, and his
+tricks, &amp;c.&#8221; Published April 25, 1782, by R. Smith, opposite the Pantheon,
+Oxford Street. Oblong, 10 by 6&#189;.</p>
+
+
+<p>&nbsp;</p>
+<p class="center">1800.</p>
+
+<p>A modern wood-cut of a drinking and smoking party. Demons of destruction
+hover over them in the characters of Poverty, Apoplexy, Madness, Dropsy,
+and Gout. In the bowl on the table is a monstrous head inscribed
+&#8220;Disease.&#8221; Behind, a gigantic figure of Death with scythe and hour-glass.
+Oblong, 3&#189; by 3.</p>
+
+<p>A Sketch by Samuel Ireland, after Mortimer, in imitation of a chalk
+drawing, apparently exhibiting an Englishman, a Dutchman, and a Spaniard.
+Death behind stretching his arms upon all of them. Oblong 10&#189; by 8.</p>
+
+<p>A wood print intitled &#8220;Das betruhte Brautfest.&#8221; Death seizes a man looking
+at a table covered with wedding-cakes, &amp;c. From a modern Swiss almanack.
+Oblong 6&#189; by 5&#189;.</p>
+
+<p>A mezzotint of a physician, who attending a sick patient in bed is
+attacked by a group of Deaths bearing standards, inscribed &#8220;Despair,&#8221;
+&#8220;l&#8217;amour,&#8221; &#8220;omnia vincit amor,&#8221; and &#8220;luxury.&#8221; Oblong, 11 by 8&#189;.</p>
+
+<p>An etching from a drawing by Van Venne of Death preaching from a
+charnel-house to a group of people. His text book rests on the figure of a
+skeleton as a<span class="pagenum"><a name="Page_210" id="Page_210">[Pg 210]</a></span> reading desk. It is prefixed to Mr. Dagley&#8217;s &#8220;Death&#8217;s
+Doings,&#8221; mentioned in p. 157. Oblong, 5&#189; by 4&#188;.</p>
+
+<p>Mr. Dagley, in the second edition of his &#8220;Death&#8217;s Doings,&#8221; p. 9, mentions
+a print of &#8220;a man draining an enormous bowl, and Death standing ready to
+confirm the title of the print, &#8220;the last drop.&#8221;</p>
+
+<p>An etching by Dagley, after Birch, of Baxter, a famous cricketer, bowled
+out by Death. Below, his portrait at full length. Oblong, 9 by 7.</p>
+
+<p>&#8220;Sketches of the celebrated skeletons, originally designed on the long
+wall between Turnham-Green and Brentford.&#8221; Etchings of various groups; the
+subjects, billiards, drafts, cards, dice, toss, and pitch. Oblong, 18 by
+11.</p>
+
+<p>&#8220;Humorous sketches of skeletons engaged in the various sciences of
+Singing, Dancing, Music, Oratory, Painting, and Sculpture.&#8221; Drawn by H.
+Heathcote Russell as a companion to the skeletons copied from the long
+wall at Brentford. Published 3d June, 1830. Same size as the preceding
+print.</p>
+
+<p>A lithographic print of a conjurer pointing with his magic wand to a table
+on which are cups, a lanthorn, &amp;c. In the back-ground, the Devil running
+away with a baker, and a group of three dancing Deaths. Below, birds in
+cages, cards, &amp;c. Oblong, 8 by 6.</p>
+
+<p>A small modern wood-cut of Death seizing a lady at a ball. He is disguised
+as one of the party. Underneath, &#8220;Death leads the dance.&#8221;&mdash;<i>Young&mdash;Night
+5.</i></p>
+
+<p>From &#8220;the Christian&#8217;s Pocket Magazine.&#8221; Oblong, 2&#189; by 1&#189;.</p>
+
+<p>A design for the ballad of Leonora, by Lady Diana Beauclerc. A spectre, as
+Death, carrying off a lady on horseback, and striking her with his dart.
+Other Death-like spectres waiting for her. Oblong, 11&#190; by 9.</p>
+
+<p>A small modern engraving of Death presenting a smelling bottle to a
+fainting butcher with one hand, and with the other fanning him. The motto,
+&#8220;A<span class="pagenum"><a name="Page_211" id="Page_211">[Pg 211]</a></span> butcher overcome with extreme sensibility, is as strangely revived.&#8221;</p>
+
+<p>A modern halfpenny wood-cut of several groups, among which is a man
+presenting an old woman to Death. The motto, &#8220;Death come for a wicked
+woman.&#8221;</p>
+
+<p>An oval etching, by Harding, intitled &#8220;Death and the Doctor.&#8221; Upright,
+4&#189; by 3&#189;.</p>
+
+<p>A modern etching of Death striking a sleeping lady leaning on a table, on
+which little imps are dancing. At bottom, &#8220;Marks fecit.&#8221; Oblong, 4 by 3.</p>
+
+<p>An anonymous modern wood-cut of Death seizing a usurer, over whom another
+Death is throwing a counterpane. Square, 4 by 4.</p>
+
+<p>An etching, intitled &#8220;the Last Drop.&#8221; A fat citizen draining a punch-bowl.
+Death behind is about to strike him with his dart. Upright, 8&#189; by
+6&#189;.</p>
+
+<p>In an elegant series of prints, illustrative of the poetical works of
+Goethe, there is a poem of seven stanzas, intitled &#8220;Der Todtentanz,&#8221; where
+the embellishment represents a church-yard, in which several groups of
+skeletons are introduced, some of them rising, or just raised, from their
+graves; others in the attitude of dancing together or preparing for a
+dance. These prints are beautifully etched in outline in the manner of the
+drawings in the margins of Albert Durer&#8217;s prayer-book in the library of
+Munich.</p>
+
+<p>Prefixed to a poem by Edward Quillinan, in a volume of wood-cuts used at
+the press of Lee Priory, the seat of Sir Egerton Brydges, intitled &#8220;Death
+to Doctor Quackery,&#8221; there is an elegant wood-cut, representing Death
+hob-and-nobbing with the Doctor at a table.</p>
+
+<p>In the same volume is another wood-cut on the subject of a dance given by
+the Lord of Death in Clifton Halls. A motley group of various characters
+are dancing in a circle whilst Death plays the fiddle.</p>
+
+<p>In 1832 was published at Paris &#8220;La Danse des<span class="pagenum"><a name="Page_212" id="Page_212">[Pg 212]</a></span> Morts, ballade dedi&eacute;e &agrave;
+Madame la Comtesse de Tryon Montalembert. Paroles et musique de P.
+Merruau.&#8221; The subject is as follows: A girl named Lise is admonished by
+her mother not to dance on a Saturday, the day on which Satan calls the
+dead to the infernal <i>Sabbat</i>. She promises obedience, but whilst her
+mother is napping, escapes to the ball. She forgets the midnight hour,
+when a company of damned souls, led by Satan, enter the ball-room
+hand-in-hand, exclaiming &#8220;Make way for Death.&#8221; All the party escape,
+except Lise, who suddenly finds herself encircled by skeletons, who
+continue dancing round her. From that time, on every Saturday at midnight,
+there is heard under ground, in the church-yard, the lamentation of a soul
+forcibly detained, and exclaiming &#8220;Girls beware of dancing Satan!&#8221; At the
+head of this ballad is a lithographic print of the terrified Lise in
+Satan&#8217;s clutches, surrounded by dancing, piping, and fiddling Deaths.</p>
+
+<p>About the same time there appeared a silly ballad, set to music, intitled
+&#8220;the Cork Leg,&#8221; accompanied by a print in which the man with the cork leg
+falling on the ground drops his leg. It is seized by Death, who stalks
+away with it in a very grotesque manner.</p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_213" id="Page_213">[Pg 213]</a></span></p>
+<h2><a name="CHAPTER_XV" id="CHAPTER_XV"></a>CHAPTER XV.</h2>
+
+<p class="center"><i>Initial or capital Letters with the Dance of Death.</i></p>
+
+
+<p>&nbsp;</p>
+<p><span class="dropfig"><img src="images/cap_i.jpg" alt="I" /></span>t is very well known that the use of initial or capital letters,
+especially with figures of any kind, is not coeval with the invention of
+printing. It was some time before they were introduced at all, a blank
+being left, or else a small letter printed for the illuminators to cover
+or fill up, as they had been accustomed to do in manuscripts; for,
+although the art of printing nearly put an end to the occupation of that
+ingenious class of artists, they continued to be employed by the early
+printers to decorate their books with elegant initials, and particularly
+to illuminate the first pages of them with beautiful borders of foliage or
+animals, for the purpose of giving them the appearance of manuscripts.</p>
+
+<p>It has more than once been most erroneously asserted by bibliographers and
+writers on typography, that Erhard Ratdolt, a printer at Venice, was the
+first person who made use of initial letters about the year 1477; for
+instances are not wanting of their introduction into some of the earliest
+printed books. Among the latter the most beautiful specimen of an
+ornamented capital letter is the B in the Psalter of 1457, of which Dr.
+Dibdin has given a very faithful copy in vol. I. p. 107, of the
+Bibliotheca Spenceriana. This truly elegant letter seems to have been
+regarded as the only one of its kind; but, in a fragment of an undescribed
+missal in folio, printed in the same type as the above-mentioned Psalter,
+there is an equally beautiful initial T, prefixed<span class="pagenum"><a name="Page_214" id="Page_214">[Pg 214]</a></span> to the &#8220;Te igitur&#8221;
+canon of the mass. It is ornamented with flowers and foliage, and in both
+these precious volumes there are many other smaller capitals, but whether
+printed with the other type, or afterwards stamped, may admit of some
+doubt. This unique and valuable fragment is in the collection of the
+present writer.</p>
+
+<p>As the art of printing advanced, the initial letters assumed every
+possible variety of form, with respect to the subjects with which they
+were ornamented. Incidents from scripture and profane history, animals of
+every kind, and the most ludicrous grotesques, constitute the general
+materials; nor has the Dance of Death been forgotten. It was first
+introduced into the books printed at Basle by Bebelius and Cratander about
+the year 1530, and for one or the other of these celebrated printers an
+alphabet of initial letters was constructed, which, in elegance of design
+and delicacy of engraving, have scarcely ever been equalled, and certainly
+never exceeded. Whether they were engraved in relief on blocks of type or
+printer&#8217;s metal, in the manner of wood-cutting, or executed in wood in the
+usual manner, is a matter of doubt, and likely to remain so. They may, in
+every point of view be regarded as the chef d&#8217;&oelig;uvre of ancient block
+engraving, and to copy them successfully at this time might require the
+utmost efforts of such artists as Harvey, Jackson, and Byfield.<a name='fna_134' id='fna_134' href='#f_134'><small>[134]</small></a></p>
+
+<p>A proof set of this alphabet, in the possession of the present writer, was
+shown to M. De Mechel when he was in London, on which occasion he stated
+that he had seen in the public library of Basle another proof set on a
+single sheet, with the inscription &#8220;Hans Lutzelburger,&#8221; who is elsewhere
+called <i>formschneider</i>, or<span class="pagenum"><a name="Page_215" id="Page_215">[Pg 215]</a></span> block-cutter, of which he has written a
+memorandum on the leaf containing the first abovementioned set of proofs.
+M. de Mechel, with great probability, inferred that this person was either
+the designer or engraver of the alphabet as well as of the cuts to the
+&#8220;Histori&eacute;es faces de la mort,&#8221; on one of which, as already stated, the
+mark <img src="images/mono_hl.jpg" alt="[monogram]" /> is placed;<a name='fna_135' id='fna_135' href='#f_135'><small>[135]</small></a> but to whomsoever this mark may turn
+out to belong, certain it is that Holbein never made use of it.<a name='fna_136' id='fna_136' href='#f_136'><small>[136]</small></a> These
+letters measure precisely 1 inch by &#8542; of an inch, and the subjects are
+as follow:</p>
+
+<p>A. A group of Deaths passing through a cemetery covered with sculls. One
+of them blows a trumpet, and another plays on a tabor and pipe.</p>
+
+<p>B. Two Deaths seize upon a pope, on whom a demon fastens, to prevent their
+dragging him along.</p>
+
+<p>C. An emperor in the clutches of two Deaths, one of whom he resists,
+whilst the other pulls off his crown.</p>
+
+<p>D. A king thrown to the ground and forcibly dragged away by two Deaths.</p>
+
+<p>E. Death and the cardinal.</p>
+
+<p>F. An empress sitting in a chair is attacked by two Deaths, one of whom
+lifts up her petticoat.</p>
+
+<p>G. A queen seized by two Deaths, one of whom plays on a fife.</p>
+
+<p>H. A bishop led away by Death.</p>
+
+<p>I. A duke with his hands clasped in despair is seized behind by Death in
+the grotesque figure of an old woman.</p>
+
+<p>K. Death with a furred cap and mantle, and a flail in his right hand,
+seizes a nobleman.</p>
+
+<p>L. Death in the habit of a priest with a vessel of holy water takes
+possession of the canon.</p>
+
+<p><span class="pagenum"><a name="Page_216" id="Page_216">[Pg 216]</a></span>M. Death behind a physician in his study lays his hand on a urinal which
+he is inspecting.</p>
+
+<p>N. One Death lays hold on a miser, whilst another carries off his money
+from a table.</p>
+
+<p>O. Death carries off a terrified monk.</p>
+
+<p>P. Combat between Death and the soldier.</p>
+
+<p>Q. Death very quietly leads away a nun.</p>
+
+<p>R. Death and the fool who strikes at him with his bauble.</p>
+
+<p>S. Exhibits two Deaths, one of whom is in a very licentious action with a
+female, whilst the other runs off with an hour-glass on his back.</p>
+
+<p>T. A minstrel with his pipe, lying prostrate on the ground, is dragged
+away by one Death, whilst another pours something from a vessel into his
+mouth.</p>
+
+<p>V. A man on horseback endeavouring to escape from Death is seized by him
+behind.</p>
+
+<p>W. Death and the hermit.</p>
+
+<p>X. Death and the Devil among the gamblers.</p>
+
+<p>Y. Death, the nurse, and the infant.</p>
+
+<p>Z. The last Judgment.</p>
+
+<p>But they were not only used at Basle by Bebelius Isingrin and Cratander,
+but also at Strasburg by Wolfgang Cephaleus, and probably by other
+printers; because in an edition of Huttichius&#8217;s &#8220;Romanorum principum
+effigies,&#8221; printed by Cephaleus at Strasburg in 1552, they appear in a
+very worn and much used condition. In his Greek Bible of 1526, near half
+the alphabet were used, some of them by different hands.</p>
+
+<p>They were separately published in a very small volume without date, each
+letter being accompanied with appropriate scriptural allusions taken from
+the Vulgate Bible.</p>
+
+<p>They were badly copied, and with occasional variations, for books printed
+at Strasburg by J. Schott about 1540. Same size as the originals. The same
+initials were used by Henry Stainer of Augsburg in 1530.</p>
+
+<p><span class="pagenum"><a name="Page_217" id="Page_217">[Pg 217]</a></span>Schott also used two other sets of a larger size, the same subjects with
+variations, and which occur likewise in books printed at Frankfort about
+1550 by Cyriacus Jacob.</p>
+
+<p>Christopher Froschover, of Zurich, used two alphabets with the Dance of
+Death. In Gesner&#8217;s &#8220;Bibliotheca Universalis,&#8221; printed by him in 1545,
+folio, he used the letters A. B. C. in indifferent copies of the originals
+with some variation. In a Vulgate Bible, printed by him in 1544, he uses
+the A and C of the same alphabet, and also the following letters, with
+different subjects, viz. F. Death blowing a trumpet in his left hand, with
+the right seizes a friar holding his beads and endeavouring to escape. O.
+Death and the Swiss soldier with his battle-axe; and, S. a queen between
+two Deaths, one of whom leads her, the other holds up her train. The
+Gesner has also a Q from the same alphabet of Death and the nun. This
+second alphabet is coarsely engraved on wood, and both are of the same
+size as the originals.</p>
+
+<p>In Francolin&#8217;s &#8220;Rerum pr&aelig;clare gestarum, intra et extra m&oelig;nia civitatis
+Viennensis, pedestri et equestri pr&aelig;lio, terra et aqua, elapso Mense Junio
+Anni Domini <span class="smcaplc">MDLX.</span> elegantissimis iconibus ad vivum illustratarum, in
+laudem et gloriam sere. poten. invictissimique principis et Domini, Domini
+Ferdinandi electi Roma: imperatoris, &amp;c. Vienna excudebat Raphael
+Hofhalter,&#8221; at fo. xxii. b. the letter D is closely copied in wood from
+the original, and appears to have been much used. This very rare work is
+extremely interesting for its large and spirited etchings of the various
+ceremonies on the above occasion, but more particularly for the
+tournaments. It is also valuable for the marks of the artists, some of
+which are quite unknown.</p>
+
+<p>Other copies of them on wood occur in English books, but whether the whole
+alphabet was copied would be difficult to ascertain. In a Coverdale&#8217;s
+Bible, printed<span class="pagenum"><a name="Page_218" id="Page_218">[Pg 218]</a></span> by James Nicolson in Southwark, the letters A. I. and T.
+occur. The subject of the A. is that of the fool and Death, from the R. of
+the originals, with the addition of the fool&#8217;s bauble on the ground: the
+two other letters are like the originals. The size 2 inches by 1&#189;. The
+same letters, and no others, occur in a folio English Bible, the date of
+which has not been ascertained, it being only a fragment. The A is found
+as late as 1618 in an edition of Stowe&#8217;s &#8220;Survey of London.&#8221; In all these
+letters large white spots are on the back-ground, which might be taken for
+worm-holes, but are not so. The I occurs in J. Waley&#8217;s &#8220;table of yeres of
+kings,&#8221; 1567, 12mo.</p>
+
+<p>An X and a T, an inch and &#189; square, with the same subjects as in the
+originals, and not only closely copied, but nearly as well engraved on
+wood, are in the author&#8217;s collection. Their locality has not been traced.</p>
+
+<p>Hollar etched the first six letters of the alphabet from the initials
+described in p. <a href="#Page_214">214</a>. They are rather larger than the originals, but
+greatly inferior to them in spirit and effect.</p>
+
+<p>Two other alphabets, the one of peasants dancing, the other of boys
+playing, by the same artists, have been already described in p. <a href="#Page_101">101</a>, and
+were also used by the Basle and other printers.</p>
+
+<p>In Braunii Civitates Orbis terrarum, Par. I. No. 37, edit. 1576, there is
+an H, inch and &#189; square. The subject, Death leading a Pope on horseback.
+It is engraved on wood with much spirit.</p>
+
+<p>In &#8220;Prodicion y destierro de los Moriscos de Castilla, por F. Marcos de
+Guadalajara y Xavier.&#8221; Pamplona, 1614, 4to. there is an initial E cut in
+wood with the subject of the cardinal, varied from that in Lutzenberger&#8217;s
+alphabet.</p>
+
+<p>A Greek &#928; on wood, with Death leading away the pope, was used by
+Cephal&aelig;us in a Testament.</p>
+
+<p>In &#8220;Fulwell&#8217;s Flower of Fame,&#8221; printed by W. <span class="pagenum"><a name="Page_219" id="Page_219">[Pg 219]</a></span>Hoskins, 1575, 4to. is an
+initial of Death leading a king, probably belonging to some alphabet.</p>
+
+<p>An S rudely cut on wood with Death seizing two children was used by the
+English printers, J. Herford and T. Marshe.</p>
+
+<p>An A well cut on wood, representing Death striking a miser, who is
+counting his money at a table. It occurs at fo. 5 of Quad&#8217;s &#8220;fasciculus
+geographicus.&#8221; Cologne, 1608, small folio, printed by John Buxemacher.</p>
+
+<p>An R indifferently cut on wood, two inches square. The subject, Death in a
+grave pulls an old man towards him. A boy making his escape. From some
+unknown book.</p>
+
+<p>An S indifferently cut on wood, two inches square. Death shovelling two
+sculls, one crowned, into a grave. On the shovel the word <span class="smcaplc">IDEM</span>, and below,
+the initials of the engraver or designer, I. F. From some unknown book.</p>
+
+<p>An H, an inch and half square, very beautifully cut on wood. The letter is
+surrounded by a group of people, over whom Death below is drawing a net.
+It is from some Dutch book of emblems, about 1640.</p>
+
+<p>An M cut on wood in p. 353 of a Suetonius, edited by Charles Patin, and
+printed 1675, 4to. &#8220;Basle typis Genathianis.&#8221; The subject is, Death
+seizing Cupid. Size, 1&#189; square.</p>
+
+<p>A W, 2&#8539; square, engraved on copper, with the initials of Michael
+Burghers. A large palm tree in the middle, Death with his scythe
+approaches a shepherd sitting on a bank and tending his flock.</p>
+
+<p>In the second volume of Braun and Hogenberg Civitates orbis terrarum, and
+prefixed to a complimentary letter from Remaglus Lymburgus, a physician
+and canon of Liege, there is an initial letter about an inch and a half
+square, representing a pope and an emperor playing at cards. They are
+interrupted by Death, who<span class="pagenum"><a name="Page_220" id="Page_220">[Pg 220]</a></span> offers them a cup which he holds in his left
+hand whilst he points to them with his right. Other figures are
+introduced. This letter is very finely engraved on wood.</p>
+
+<p>In Vol. II. p. 118 (misprinted 208) of Steinwich&#8217;s &#8220;Bibliothec&aelig;
+Ecclesiastic&aelig;.&#8221; Colon. Agrip. 1599, folio. There is a single initial
+letter V only, which may have been part of an alphabet with a Dance of
+Death. The subject is Death and the queen. The size nearly an inch square.</p>
+
+<p>At fo. 1. of &#8220;F. Marco de Guadalajara y Xavier, Memorable expulsion y
+justissimo destierro de los Moriscos de Espana, Pamplona, 1613, 4to.&#8221;
+there is an initial E, finely drawn and well engraved in wood. The subject
+has been taken from two cuts in the Lyons Dance of Death, viz. the
+cardinal and the emperor. From the first, the figures of the cardinal and
+Death seizing his hat; and from the other, the figures of the kneeling
+man, and of Death seizing the emperor&#8217;s crown, are introduced as a
+complete group in the above initial letter. Size, 1&#189; inch square.</p>
+
+<p>In p. 66 of the same work there is another letter that has probably
+belonged to a set of initials with a Dance of Death. It is an H, and
+copied from the subject of the bishop taken by Death from his flock, in
+the Lyons series. It is engraved in a different and inferior style from
+that last mentioned, yet with considerable spirit. Size, 1&#189; inch.</p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_221" id="Page_221">[Pg 221]</a></span></p>
+<h2><a name="CHAPTER_XVI" id="CHAPTER_XVI"></a>CHAPTER XVI.</h2>
+
+<p class="center"><i>Paintings.&mdash;Drawings.&mdash;Miscellaneous.</i></p>
+
+
+<p>&nbsp;</p>
+<p><span class="dropfig"><img src="images/cap_r.jpg" alt="R" /></span>ene of Anjou is said to have painted a sort of Death&#8217;s Dance at Avignon,
+which was destroyed in the French revolution.</p>
+
+<p>In one of the wardrobe accounts of Henry VIII. a picture at Westminster is
+thus described: &#8220;Item, a table with the picture of a woman playing upon a
+lute, and an old manne holding a glasse in th&#8217; one hande and a deadde
+mannes headde in th&#8217; other hande.&#8221; MS. Harl. No. 1419.</p>
+
+<p>A round painting in oil, by or from Hans Holbein. The subject, an old man
+making love to a young girl. Death pulling him back, hints at the
+consequences, whilst the absurdity is manifested by the presence of a
+fool, with cockscomb and bauble, on the other side. Diameter, 15 inches.
+From the striking resemblance in the features of the old lover to those of
+Erasmus, there is no doubt that Holbein intended by this group to retort
+upon his friend, who, on one of the drawings which Holbein had inserted in
+a copy of Erasmus&#8217;s Praise of Folly, now in the public library at Basle,
+and which represented a fat epicure at table embracing a wench, had
+written the name of <span class="smcap">Holbein</span>, in allusion to his well-known intemperance.
+In the present writer&#8217;s possession.</p>
+
+<p>The small painting by Isaac Oliver, from Holbein, formerly at Whitehall,
+of Death with a green garland, &amp;c. already more particularly described at
+p. <a href="#Page_145">145</a>.</p>
+
+<p>A small painting in oil, by Old Franks, of a gouty<span class="pagenum"><a name="Page_222" id="Page_222">[Pg 222]</a></span> old miser startled at
+the unexpected appearance of Death, who approaches him playing on a
+violin, one of his feet resting on an hour-glass. In the distance, and in
+another room, Death is seen in conversation with a sitting gentleman.
+Upright, 7&#189; by 5&#189;.</p>
+
+<p>The same subject, painted in oil by Otho V&aelig;nius, in which a guitar is
+substituted for the violin. This picture was in the collection of Richard
+Cosway, Esquire. Upright, 12 by 6, and is now belonging to the present
+writer.</p>
+
+<p>A Mr. Knowles, a modern artist, is said to have painted a miser counting
+his hoard, and Death putting an extinguisher over him.</p>
+
+<p>At p. 460 of the memoirs of that most ingenious artist, Charles Alfred
+Stothard, by his widow, mention is made of an old picture, at Nettlecombe
+Hall, Somersetshire, belonging to its owner, a clergyman, of a Dance of
+Death.</p>
+
+<p>Mr. Tyssen, a bookseller at Bristol, is said to possess a will of the 15th
+century, in which the testator bequeaths a painting of the Dance of Death.</p>
+
+
+<p>&nbsp;</p>
+<p class="center">DRAWINGS.</p>
+
+<p>In a beautifully illuminated Psalter, supposed to have been made for
+Richard II. and preserved among the Cotton MSS. Domit. xvii. is a very
+singular painting, representing part of the choir of a cathedral, with ten
+monks sitting in their stalls, and chaunting the service. At the top of
+these stalls, and behind it, are five grotesque Deaths looking down on the
+monks. One of the Deaths has a cardinal&#8217;s hat, two have baronial crowns on
+their heads, and those of the remaining two are decorated with a sort of
+imperial crowns, shaped like the papal tiara. A priest celebrates mass at
+the altar, before which another priest or monk prostrates himself. What
+the object of the painter was in the<span class="pagenum"><a name="Page_223" id="Page_223">[Pg 223]</a></span> introduction of these singular
+figures of Death is difficult to comprehend.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img004.jpg" alt="" /></div>
+<p>&nbsp;</p>
+
+<p>In the manuscript and illuminated copies of the &#8220;Romance of the Rose,&#8221; the
+&#8220;Pelerin de la vie humaine&#8221; and the &#8220;Chevalier Deliber&eacute;,&#8221; representations
+of Death as Atropos, are introduced.</p>
+
+<p>A very ancient and masterly drawing of Death and the beggar, the outlines
+black on a blue ground, tinted with white and red. The figures <img src="images/mono_fig.jpg" alt="[monogram]" />
+at bottom indicate its having been part of a Macaber Dance. Upright, 5&#188;
+by 4. In the author&#8217;s possession.</p>
+
+<p>Sir Thomas Lawrence had four very small drawings by Callot that seemed to
+be part of an intended series of a Dance of Death. 1. Death and the
+bishop. 2. Death and the soldier. 3. Death and the fool. 4. Death and the
+old woman.</p>
+
+<p>An extremely fine drawing by Rembrandt of four Deaths, their hands joined
+in a dance, their faces outwards. One has a then fashionable female cap on
+his head, and another a cap and feather. Upright, 9&#189; by 6&#189;. In the
+author&#8217;s possession.</p>
+
+<p>A very singular drawing in pen and ink and bistre. In the middle, a
+sitting figure of a naked man holding a spindle, whilst an old woman,
+leaning over a tub on a bench, cuts the thread which he has drawn out.
+Near the old woman Death peeps in behind a wall. Close to the bench is a
+woman sitting on the ground mending a piece of linen, a child leaning on
+her shoulder. On the other side is a sitting female weaving, and another
+woman in an upright posture, and stretching one of her hands towards a
+shelf. Oblong, 11&#188; by 8. In the author&#8217;s possession.</p>
+
+<p>An anonymous drawing in pen and ink of a Death embracing a naked woman.
+His companion is mounted on the back of another naked female, and holds a
+dart in each hand. Oblong, 4 by 3&#188;. In the author&#8217;s possession.</p>
+
+<p><span class="pagenum"><a name="Page_224" id="Page_224">[Pg 224]</a></span>A single sheet, containing four subjects, skilfully drawn with a pen and
+tinted in Indian ink. 1. An allegorical, but unknown figure sitting on a
+globe, with a sort of sceptre in his right hand. Death seizes him by his
+garment with great vigour, and endeavours to pull him from his seat. 2.
+Two men eating and drinking at a table. Death, unperceived, enters the
+room, and levels his dart at them. 3. Death seizes two naked persons very
+amorously situated. 4. Death seizes a miser counting his money. In the
+author&#8217;s possession.</p>
+
+<p>Twenty-four very beautiful coloured drawings by a modern artist from those
+in the public library at Berne that were copied by Stettler from Kauw&#8217;s
+drawings of the original painting by Nicolas Manuel Deutch. In the
+author&#8217;s possession, together with lithographic copies of them that have
+been recently published at Berne.<a name='fna_137' id='fna_137' href='#f_137'><small>[137]</small></a></p>
+
+<p>A modern Indian ink drawing of a drunken party of men and women. Death
+above in a cloud levels his dart at them. Upright, 5&#188; by 3&#189;. In the
+author&#8217;s possession.</p>
+
+<p>A spirited drawing in Indian ink of two Deaths as pugilists with their
+bottle-holders. Oblong, 7 by 4&#189;. In the author&#8217;s possession.</p>
+
+<p>A pen and ink tinted drawing, intitled &#8220;The Last Drop.&#8221; A female seated
+before a table on which is a bottle of gin or brandy. She is drinking a
+glass of it, Death standing by and directing his dart at her. In the
+author&#8217;s possession.</p>
+
+<p>Mr. Dagley, in the second edition of his &#8220;Death&#8217;s Doings,&#8221; p. 7, has
+noticed some very masterly designs chalked on a wall bordering the road
+from Turnham-Green towards Kew-Bridge. They exhibited figures of Death as
+a skeleton ludicrously occupied<span class="pagenum"><a name="Page_225" id="Page_225">[Pg 225]</a></span> with gamblers, dancers, boxers, &amp;c. all
+of the natural size. They were unfortunately swept away before any copies
+were made to perpetuate them, as they well deserved. It was stated in The
+Times newspaper that these sketches were made by a nephew of Mr. Baron
+Garrow, then living in retirement near the spot, but who afterwards
+obtained a situation in India. These drawings were made in 1819.</p>
+
+<p>Four very clever coloured drawings by Rowlandson, being probably a portion
+of an unfinished series of a Death&#8217;s Dance. 1. The Suicide. A man seated
+near a table is in the act of discharging a pistol at his head. The sudden
+and terrific appearance of Death, who, starting from behind a curtain,
+significantly stares at him through an eye-glass. One of the candles is
+thrown down, and a wine-glass jerked out of the hand of the suicide, who,
+from a broken sword and a hat with a cockade, seems intended for some
+ruined soldier of fashion. A female servant, alarmed at the report of the
+pistol, rushes into the apartment. Below, these verses:</p>
+
+<p class="poem">Death smiles, and seems his dart to hide,<br />
+When he beholds the suicide.</p>
+
+<p>2. The Good Man, Death, and the Doctor. A young clergyman reads prayers to
+the dying man; the females of his family are shedding tears. Death
+unceremoniously shoves out the physician, who puts one hand behind him, as
+expecting a fee, whilst with the other he lifts his cane to his nostrils.
+Below, these lines:</p>
+
+<p class="poem">No scene so blest in Virtue&#8217;s eyes,<br />
+As when the man of virtue dies.</p>
+
+<p>3. The Honey-moon. A gouty old fellow seated on a sopha with his youthful
+bride, who puts her hand through a window for a military lover to kiss it.
+A table covered with a desert, wine, &amp;c. Death, stretching over a screen,
+pours something from a bottle into<span class="pagenum"><a name="Page_226" id="Page_226">[Pg 226]</a></span> the glass which the husband holds in
+his hand. Below, these verses:</p>
+
+<p class="poem">When the old fool has drunk his wine,<br />
+And gone to rest, I will be thine.</p>
+
+<p>4. The Fortune-teller. Some females enter the conjurer&#8217;s study to have
+their fortunes told. Death seizes the back of his chair and oversets him.
+Below, these verses:</p>
+
+<p class="poem">All fates he vow&#8217;d to him were known,<br />
+And yet he could not tell his own.</p>
+
+<p>These drawings are oblong, 9 by 5 inches. In the author&#8217;s possession.</p>
+
+
+<p>&nbsp;</p>
+<p class="center">MISCELLANEOUS.</p>
+
+<p>A circular carving on wood, with the mark of Hans Schaufelin <img src="images/mono_hs.jpg" alt="[monogram]" />,
+representing Death seizing a naked female, who turns her head from
+him with a very melancholy visage. It is executed in a masterly manner.
+Diameter, 4 inches. In the author&#8217;s possession.</p>
+
+<p>In Boxgrove church, Sussex, there is a splendid and elaborately sculptured
+monument of the Lords Delawar; and on the side which has not been engraved
+in Mr. Dallaway&#8217;s history of the county, there are two figures of Death
+and a female, wholly unconnected with the other subjects on the tomb.
+These figures are 9&#189; inches in height, and of rude design. Many persons
+will probably remember to have seen among the ballads, &amp;c. that were
+formerly, and are still exhibited on some walls in the metropolis, a poem,
+intitled &#8220;Death and the Lady.&#8221; This is usually accompanied with a
+wood-cut, resembling the above figures. It is proper to mention likewise
+on this occasion the old alliterative poem in Bishop Percy&#8217;s famous
+manuscript, intitled <i>Death and Liffe</i>, the subject of which is a
+vision<span class="pagenum"><a name="Page_227" id="Page_227">[Pg 227]</a></span> wherein the poet sees a contest for superiority between &#8220;our
+Lady Dame Life,&#8221; and the &#8220;ugly fiend, Dame Death.&#8221; See &#8220;Percy&#8217;s Reliques
+of ancient English poetry,&#8221; in the Essay on the Metre of Pierce Plowman&#8217;s
+Vision. Whether there may have been any connexion between these respective
+subjects must be left to the decision of others. There is certainly some
+reason to suppose so.</p>
+
+<p>&nbsp;</p>
+<div class="figcenter"><img src="images/img005.jpg" alt="" /></div>
+<p>&nbsp;</p>
+
+<p>The sculptures at Berlin and Fescamp have been already described.</p>
+
+<p>Among the subjects of tapestry at the Tower of London, the most ancient
+residence of our kings, was &#8220;the Dance of Macabre.&#8221; See the inventory of
+King Henry VIII.&#8217;s Guardrobe, &amp;c. in MS. Harl. 1419, fo. 5.</p>
+
+<p>Two panes of glass with a portion of a Dance of Death. 1. Three Deaths,
+that appear to have been placed at the beginning of the Dance. Over them,
+in a character of the time of Henry VII. these lines:</p>
+
+<p class="poem">... ev&#8217;ry man to be contented w<sup>t</sup> his chaunce,<br />
+And when it shall please God to folowe my daunce.</p>
+
+<p>2. Death and the Pope. No verses. Size, upright, 8&#189; by 7 inches. In the
+author&#8217;s possession. They have probably belonged to a Macaber Dance in the
+windows of some church.</p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_228" id="Page_228">[Pg 228]</a></span></p>
+<h2><a name="CHAPTER_XVII" id="CHAPTER_XVII"></a>CHAPTER XVII.</h2>
+
+<p class="center"><i>Trois vifs et trois morts.&mdash;Negro figure of Death.&mdash;Danse aux Avengles.</i></p>
+
+
+<p>&nbsp;</p>
+<p><span class="dropfig"><img src="images/cap_t.jpg" alt="T" /></span>he first of these subjects, as connected with the Macaber Dance, has been
+already introduced at p. <a href="#Page_31">31-33</a>; what is now added will not, it is
+presumed, be thought unworthy of notice.</p>
+
+<p>It is needless to repeat the descriptions that have been given by M.
+Peignot of the manuscripts in the Duke de la Valliere&#8217;s catalogue. The
+following are some of the printed volumes in which representations of the
+<i>trois vifs et trois morts</i> occur.</p>
+
+<p>They are to be found in all the editions of the Danse Macabre that have
+already been described, and in the following Hor&aelig; and other service books
+of the catholic church.</p>
+
+<p>&#8220;Hor&aelig; ad usum Sarum,&#8221; 1495, no place, no printer. 4to. Three Deaths, three
+horsemen with hawks and hounds. The hermit, to whom the vision appeared,
+in his cell.</p>
+
+<p>&#8220;Heures &agrave; l&#8217;usaige de Rome.&#8221; Paris. Nicolas Higman, for Guil. Eustace,
+1506, 12mo.</p>
+
+<p>&#8220;Hor&aelig; ad usum Traject.&#8221; 1513. 18mo.</p>
+
+<p>&#8220;Breviarium seu horarium domesticum ad usum Sarum.&#8221; Paris, F. Byrckman,
+1516. Large folio. Three Deaths and three young men.</p>
+
+<p>&#8220;Hor&aelig; ad usum Romanum.&#8221; Paris. Thielman Kerver, 1522. 8vo. And again,
+1535. 4to.</p>
+
+<p><span class="pagenum"><a name="Page_229" id="Page_229">[Pg 229]</a></span>A Dutch &#8220;Hor&aelig;.&#8221; Paris. Thielman Kerver, 1522. 8vo.</p>
+
+<p>&#8220;Heures &agrave; l&#8217;usage de Paris.&#8221; Thielman Kerver&#8217;s widow, 1525. 8vo.</p>
+
+<p>&#8220;Missale ad usum Sarum.&#8221; Paris, 1527. Folio. Three horsemen as noblemen,
+but without hawks or hounds.</p>
+
+<p>&#8220;Enchiridion preclare ecclesie Sarum.&#8221; Paris. Thielman Kerver, 1528. 32mo.</p>
+
+<p>&#8220;Hor&aelig; ad usum fratrum predicatorum ordinis S. Dominici.&#8221; Paris. Thielman
+Kerver, 1529. 8vo.</p>
+
+<p>&#8220;Hor&aelig; ad usum Romanum.&#8221; Paris. Yolande Bonhomme, widow of T. Kerver, 1531.
+8vo.</p>
+
+<p>&#8220;Missale ad usum Sarum.&#8221; Paris. F. Regnault, 1531. Three Deaths only;
+different from the others.</p>
+
+<p>&#8220;Prayer of Salisbury.&#8221; Paris. Francois Regnault, 1531, 12mo.</p>
+
+<p>&#8220;Hor&aelig; ad usum Sarum.&#8221; Paris. Widow of Thielman Kerver, 1532. 12mo.</p>
+
+<p>&#8220;Heures &agrave; l&#8217;usage de Paris.&#8221; Francois Regnault, 1535. 12mo.</p>
+
+<p>&#8220;Hor&aelig; ad usum Romanum.&#8221; Paris. Gilles Hardouyn, 1537. 18mo. The subject is
+different from all the others, and very curiously treated.</p>
+
+<p>&#8220;Heures &agrave; l&#8217;usage de Paris.&#8221; Thielman Kerver, 1558. 12mo.</p>
+
+<p>&#8220;Heures &agrave; l&#8217;usage de Rome.&#8221; Paris. Thielman Kerver, 1573. 12mo.</p>
+
+<p>&#8220;Heures &agrave; l&#8217;usage de Paris.&#8221; Jacques Kerver, 1573. 12mo. And again, 1575.
+12mo.</p>
+
+<p>In &#8220;The Contemplation of Sinners,&#8221; printed by Wynkyn de Worde. 4to.</p>
+
+<p>All the above articles are in the collections of the author of this
+dissertation.</p>
+
+<p>In an elegant MS. &#8220;Hor&aelig;,&#8221; in the Harl. Coll. No. 2917, 12mo. three Deaths
+appear to a pope, an emperor,<span class="pagenum"><a name="Page_230" id="Page_230">[Pg 230]</a></span> and a king coming out of a church. All the
+parties are crowned.</p>
+
+<p>At the end of Desrey&#8217;s &#8220;Macabri speculum chore&aelig; mortuorum,&#8221; a hermit sees
+a vision of a king, a legislator, and a vain female. They are all lectured
+by skeletons in their own likenesses.</p>
+
+<p>In a manuscript collection of unpublished and chiefly pious poems of John
+Awdeley, a blind poet and canon of the monastery of Haghmon, in
+Shropshire, anno 1426, there is one on the &#8220;<i>trois vifs et trois morts</i>,&#8221;
+in alliterative verses, and composed in a very grand and terrific style.</p>
+
+
+<p>&nbsp;</p>
+<p class="center">NEGRO FIGURE OF DEATH.</p>
+
+<p>In some degree connected with the old painting of the Macaber Dance in the
+church-yard of the Innocents at Paris, was that of a black man over a
+vaulted roof, constructed by the celebrated N. Flamel, about the year
+1390. This is supposed to have perished with the Danse Macabre; but a copy
+of the figure has been preserved in some of the printed editions of the
+dance. It exhibits a Negro blowing a trumpet, and was certainly intended
+as a personification of Death. In one of the oldest of the above editions
+he is accompanied with these verses:</p>
+
+<p class="poem"><span style="margin-left: 3em;"><span class="smcap">Cry de Mort.</span></span><br />
+Tost, tost, tost, que chacun savance<br />
+Main &agrave; main venir a la danse<br />
+De Mort, danser la convient,<br />
+Tous et a plusieurs nen souvient.<br />
+Venez hommes femmes et enfans,<br />
+Jeunes et vieulx, petis et grans,<br />
+Ung tout seul nen eschapperoit,<br />
+Pour mille escuz si les donnoit, &amp;c.</p>
+
+<p>Before the females in the dance the figure is repeated with a second &#8220;Cry
+de Mort.&#8221;</p>
+
+<p class="poem"><span class="pagenum"><a name="Page_231" id="Page_231">[Pg 231]</a></span>
+Tost, tost, venez femmes danser<br />
+Apres les hommes incontinent,<br />
+Et gardez vous bien de verser,<br />
+Car vous danserez vrayment;<br />
+Mon cornet corne bien souvent<br />
+Apres les petis et les grans.<br />
+Despecte vous legierement,<br />
+Apres la pluye vient le beau temps.</p>
+
+<p>These lines are differently given in the various printed copies of the
+Danse Macabre.</p>
+
+<p>This figure is not to be confounded with an alabaster statue of Death that
+remained in the church-yard of the Innocents, when it was entirely
+destroyed in 1786. It had been usually regarded as the work of Germain
+Pilon, but with greater probability belonged to Francois Gentil, a
+sculptor at Troyes, about 1540. It was transported to Notre Dame, after
+being bronzed and repaired, by M. Deseine, a distinguished artist. It was
+saved from the fury of the iconoclast revolutionists by M. Le Noir, and
+deposited in the Museum which he so patriotically established in the Rue
+des petits Augustins, but it has since disappeared. It was an upright
+skeleton figure, holding in one hand a lance which pointed to a shield
+with this inscription:</p>
+
+<p class="poem">Il n&#8217;est vivant, tant soit plein d&#8217;art,<br />
+<span style="margin-left: 1em;">Ne de force pour resistance,</span><br />
+Que je ne frappe de mon dart,<br />
+<span style="margin-left: 1em;">Pour bailler aux vers leur pitance.</span><br />
+<span style="margin-left: 6em;">Priez Dieu pour les trespass&eacute;s.</span></p>
+
+<p>It is engraved in the second volume of M. Le Noir&#8217;s &#8220;Mus&eacute;e des monumens
+Francais,&#8221; and also in his &#8220;Histoire des arts en France,&#8221; No. 91.</p>
+
+
+<p>&nbsp;</p>
+<p class="center">DANSE AUX AVEUGLES.</p>
+
+<p>There is a poetical work, in some degree connected with the subject of
+this dissertation, that ought not to<span class="pagenum"><a name="Page_232" id="Page_232">[Pg 232]</a></span> be overlooked. It was composed by
+one Pierre Michault, of whom little more seems to be known than that he
+was in the service of Charles, Count of Charolois, son of Philip le Bon,
+Duke of Burgundy. It is intitled &#8220;La Danse aux Aveugles,&#8221; and the object
+of it is to show that all men are subject to the influence of three blind
+guides, Love, Fortune, and Death, before whom several persons are
+whimsically made to dance. It is a dialogue in a dream between the Author
+and Understanding, and the respective blind guides describe themselves,
+their nature, and power over mankind, in ten-line stanzas, of which the
+following is the first of those which are pronounced by Death:</p>
+
+<p class="poem">Je suis la Mort de nature ennemie,<br />
+Qui tous vivans finablement consomme,<br />
+Anichillant &agrave; tous humains la vie,<br />
+Reduis en terre et en cendre tout homme.<br />
+Je suis la mort qui dure me surnomme,<br />
+Pour ce qu&#8217;il fault que maine tout affin;<br />
+Je nay parent, amy, frere ou affin<br />
+Que ne face tout rediger en pouldre,<br />
+Et suis de Dieu ad ce commise affin,<br />
+Que l&#8217;on me doubte autant que tonnant fouldre.</p>
+
+<p>Some of the editions are ornamented with cuts, in which Death is
+occasionally introduced, and that portion of the work which exclusively
+relates to him seems to have been separately published, M. Goujet<a name='fna_138' id='fna_138' href='#f_138'><small>[138]</small></a>
+having mentioned that he had seen a copy in vellum, containing twelve
+leaves, with an engraving to every one of the stanzas, twenty-three in
+number. More is unnecessary to be added, as M. Peignot has elaborately and
+very completely handled the subject in his interesting &#8220;Recherches sur les
+Danses des Morts.&#8221; Dijon, 1826. octavo.</p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_233" id="Page_233">[Pg 233]</a></span></p>
+<h2><a name="CHAPTER_XVIII" id="CHAPTER_XVIII"></a>CHAPTER XVIII.</h2>
+
+<p class="center"><i>Errors of various writers who have introduced the subject of the Dance of Death.</i></p>
+
+
+<p>&nbsp;</p>
+<p><span class="dropfig"><img src="images/cap_t.jpg" alt="T" /></span>o enumerate even a moiety of these mistakes would almost occupy a
+separate volume, but it may be as well to notice some of them which are to
+be found in works of common occurrence.</p>
+
+<p><span class="smcap">Travellers.</span>&mdash;The erroneous remarks of Bishop Burnet and Mr. Coxe have been
+already adverted to. See pp. <a href="#Page_79">79</a>, <a href="#Page_134">134</a>, and <a href="#Page_138">138</a>.</p>
+
+<p>Misson seems to regard the old Danse Macabre as the work of Holbein.</p>
+
+<p>The Rev. Robert Gray, in &#8220;Letters during the course of a tour through
+Germany and Switzerland in the year 1791 and 1792,&#8221; has stated that Mechel
+has engraved <i>Rubens&#8217;s designs</i> from the Dance of Death, now perishing on
+the walls of the church-yard of the Predicant convent, where it was
+sketched in 1431.</p>
+
+<p>Mr. Wood, in his &#8220;View of the History of Switzerland,&#8221; as quoted in the
+Monthly Review, Nov. 1799, p. 290, states, that &#8220;the Dance of Death in the
+church-yard of the Predicants has been falsely ascribed to Holbein, as it
+is proved that it was painted <i>long after the death of that artist, and
+not before he was born</i>, as the honourable Horace Walpole supposes.&#8221; Here
+the corrector stands in need himself of correction, unless it be possible
+that he is not fairly quoted by the reviewer.</p>
+
+<p>Miss Williams, in her Swiss tour, 1798, when speaking<span class="pagenum"><a name="Page_234" id="Page_234">[Pg 234]</a></span> of the Basle Dance
+of Death, says it was painted by Kleber, a <i>pupil of Holbein</i>.</p>
+
+<p>Those intelligent and amusing travellers, Breval, Keysler, and Blainville
+have carefully avoided the above strange mistakes.</p>
+
+<p><span class="smcap">Writers on painting and engraving.</span>&mdash;Meyssens, in his article for Holbein
+in &#8220;the effigies of the Painters,&#8221; mentions his &#8220;Death&#8217;s Dance, in the
+town-hall of Basle, the design whereof he first neatly cut in wood and
+afterwards painted, which appeared so fine to the learned Erasmus, &amp;c.&#8221;
+English edition, 1694, p. 15.</p>
+
+<p>Felibien, in his &#8220;Entretiens sur les vies des Peintres,&#8221; follows Meyssens
+as to the painting in the town-hall.</p>
+
+<p>Le Comte places the supposed painting by Holbein in the fish-market, and
+in other respects copies Meyssens. &#8220;Cabinet des Singularit&eacute;s, &amp;c.&#8221; tom.
+iii. p. 323, edit. 1702, 12mo.</p>
+
+<p>Bullart not only places the painting in the town-hall of Basle, but adds,
+that he afterwards engraved it in wood. &#8220;Acad. des Sciences et des Arts,&#8221;
+tom. ii. p. 412.</p>
+
+<p>Mr. Evelyn, in his &#8220;Sculptura,&#8221; the only one of his works that does him no
+credit, and which is a meagre and extremely inaccurate compilation, when
+speaking of Holbein, actually runs riot in error and misconception. He
+calls him a Dane. He makes what he terms &#8220;the licentiousness of the friars
+and nuns,&#8221; meaning probably Hollar&#8217;s sixteen etchings after Holbein&#8217;s
+satire on monks and friars and other members of the Romish church as the
+persecutors of Christ, and also the &#8220;Dance Machabre and Mortis imago,&#8221; to
+have been cut in wood, and one or both of the latter to have been painted
+in the church of Basle. Mr. Evelyn&#8217;s own copy of this work, with several
+additions in manuscript, is in the possession of Mr. Taylor, a retired and
+ingenious artist, of Cirencester-place. He probably <span class="pagenum"><a name="Page_235" id="Page_235">[Pg 235]</a></span>intended to reprint
+it, and opposite the above-mentioned word &#8220;Dane,&#8221; has inserted a query.</p>
+
+<p>Sandrart places the Dance of Death in the fish-market at Basle, and makes
+Holbein the painter as well as the engraver. &#8220;Acad. artis pictori&aelig;,&#8221; p.
+238, edit. 1683, folio.</p>
+
+<p>Baldinucci speaks of twenty prints of the Dance of Death painted by
+Holbein in the Senate-house of Basle. &#8220;Notizie d&egrave; professori del disegno,
+&amp;c.&#8221; tom. iii. 313 and 319.</p>
+
+<p>M. Descamps inadvertently ascribes the old Dance of Death on the walls of
+the church-yard of Saint Peter to the pencil of Holbein. &#8220;Vie des Peintres
+Flamandi,&#8221; &amp;c. 1753. 8vo. Tom. i. p. 75.</p>
+
+<p>Papillon, in his account of the Dance of Death, abounds with inaccuracies.
+He says, that a magistrate of Basle employed him to paint a Dance of Death
+in the fish-market, near a church-yard; that the work greatly increased
+his reputation, and made much noise in the world, although it has many
+anatomical defects; that he engraved this painting on small blocks of wood
+with unparalleled beauty and delicacy. He supposes that they first
+appeared in 1530 at Basle or Zuric, and as he thinks with a title and
+German verses on each print. Now he had never seen any edition so early as
+1530, nor any of the cuts with German verses, and having probably been
+misled on this occasion, he has been the cause of misleading many
+subsequent writers, as Fournier, Huber, Strutt, &amp;c. He adopts the error as
+to the mark <img src="images/mono_hl.jpg" alt="[monogram]" /> on the thirty-sixth subject belonging to
+Holbein. He is entirely ignorant of the nature and character of the fool
+or idiot in No. xliii. whom he terms &#8220;un homme lascif qui a lev&eacute; le devant
+de sa robbe:&#8221; and, to crown the whole, he makes the old Macaber Dance an
+<i>imitation</i> of that ascribed to Holbein.</p>
+
+<p>De Murr, in tom. ii. p. 535 of his &#8220;Biblioth&eacute;que de<span class="pagenum"><a name="Page_236" id="Page_236">[Pg 236]</a></span> Peinture, &amp;c.&#8221;
+servilely copies Papillon in all that he has said on the subject, with
+some additional errors of his own.</p>
+
+<p>The Abb&eacute; Fontenai, in the article for Holbein in his &#8220;Dictionnaire des
+Artistes,&#8221; Paris, 1776, 8vo. not only makes him the painter of the old
+Macaber Dance, but places it in the town-house at Basle.</p>
+
+<p>Mr. Walpole, or rather Vertue, in the &#8220;Anecdotes of Painting in England,&#8221;
+corrects the error of those who give the old Macaber Dance to Holbein, but
+inadvertently makes that which is usually ascribed to him to have been
+borrowed from the other.</p>
+
+<p>Messrs. Huber and Rost make Holbein the engraver of the Lyons wood-cuts,
+and suppose the original drawings to be preserved in the public library at
+Basle. They probably allude to the problematical drawings that were used
+by M. de Mechel, and which are now in Russia. &#8220;Manuel des curieux et des
+amateurs de l&#8217;art.&#8221; Tom. i. p. 155.</p>
+
+<p>In the &#8220;Notices sur les graveurs,&#8221; Besancon, 1807, 8vo. a work that has,
+by some writers, been given to M. Malp&eacute;, and by others to the Abb&eacute;
+Baverel, Papillon is followed with respect to the supposed edition of
+1530, and its German verses.</p>
+
+<p>Mr. Janssen is more inaccurate than any of his predecessors, some of whom
+have occasionally misled him. He makes Albert Durer the inventor of the
+designs, the greater part of which, he says, are from the Dance of Death
+at Berne. He adopts the edition of 1530, and the German verses. He
+condemns the title-page of the edition of 1562 for stating an addition of
+seventeen plates, whereas, says he, there are but five; but the editor
+meant only that there were seventeen more cuts than in the original, which
+had only forty-one.</p>
+
+<p><span class="smcap">Miscellaneous writers.</span>&mdash;Charles Patin, a libeller of the English nation,
+has made Holbein the engraver on wood of a Dance of Death, which, he says,
+is &#8220;not<span class="pagenum"><a name="Page_237" id="Page_237">[Pg 237]</a></span> much unlike that in the church-yard of the Predicants at Basle,
+painted, as some say, from the life, by Holbein.&#8221; He ought to have known
+that this work was executed near a century before Holbein was born.
+&#8220;Erasmi stultiti&aelig; laus.&#8221; Basile&aelig;, 1676, 8vo. at the end of the list of
+Holbein&#8217;s works.</p>
+
+<p>Martiniere, in his Geographical Dictionary, makes Holbein the inventor of
+the Macaber Dance at Basle.</p>
+
+<p>Goujet, in his very useful &#8220;Biblioth&eacute;que Francoise,&#8221; tom. x. p. 436, has
+erroneously stated that the Lyons engravings on wood were by the
+celebrated artist Salomon Bernard, usually called &#8220;Le petit Bernard.&#8221; The
+mistake is very pardonable, as it appears that Bernard chiefly worked in
+the above city.</p>
+
+<p>M. Compan, in his &#8220;Dictionnaire de Danse,&#8221; 1787, 12mo. under the article
+<i>Macabr&eacute;e</i>, very gravely asserts that the author took his work from the
+Maccabees, &#8220;qui, comme tout le monde scait danserent, et en ont fait
+epoque pour les morts.&#8221; He then quotes some lines from a modern edition of
+the &#8220;Danse Macabre,&#8221; where the word <i>Machab&eacute;es</i> is ignorantly substituted
+for &#8220;Machabre.&#8221;</p>
+
+<p>M. Fournier states that Holbein painted a Dance of Death in the
+fish-market at Basle, reduced it, and engraved it. &#8220;Dissertation sur
+l&#8217;imprimerie,&#8221; p. 70.</p>
+
+<p>Mr. Warton has converted the imaginary Machabree into <i>a French poet</i>, but
+corrects himself in his &#8220;Hist. of Engl. Poetry.&#8221; He supposes the single
+cut in Lydgate to represent <i>all</i> the figures that were in St. Paul&#8217;s
+cloister. He atones for these errors in referring to Holbein&#8217;s cuts in
+Cranmer&#8217;s Catechism, as entirely different in style from those published
+at Lyons, <i>but which he thinks, are probably the work of Albert Durer</i>,
+and also in his conjecture that the painter Reperdius might have been
+concerned in the latter. See &#8220;Observations on the Fairy Queen of Spenser,&#8221;
+vol. ii. 116, &amp;c. In his most elegant and instructive History of English
+Poetry<span class="pagenum"><a name="Page_238" id="Page_238">[Pg 238]</a></span> he relapses into error when he states that Holbein painted a Dance
+of Death in the Augustine monastery at Basle in 1543, and that Georgius
+&AElig;mylius published this Dance at Lyons, 1542, one year before Holbein&#8217;s
+painting at Basle appeared. Hist. Engl. Poetry, vol. ii. p. 364, edit.
+Price.</p>
+
+<p>The Marquis de Paulmy ascribes the old Macaber Dance at Basle to Holbein,
+and adds, &#8220;le sujet et l&#8217;execution en sont aussi singuliers que
+ridicules.&#8221; &#8220;M&eacute;langes tir&eacute;s d&#8217;une grande biblioth&eacute;que,&#8221; tom. Ff. 371.</p>
+
+<p>M. Champollion Figeac in Millin&#8217;s &#8220;Magazin encyclopedique,&#8221; 1811, tom. vi.
+has an article on an edition of the &#8220;Danse Macabre anterieure &agrave; celle de
+1486.&#8221; In this article he states that Holbein painted a fresco Dance of
+Death at Basle near the end of the 15th century (Holbein was not born till
+1498!); that this Dance resembled the Danse Macabre, all the characters of
+which are in Holbein&#8217;s style; that it is still more like the Dance in the
+Monasticon Anglicanum in a single print; and that the English Dance
+belongs to John Porey, an author who appears, however, to be unknown to
+all biographers. We should have been obliged to M. Figeac if he had
+mentioned where he met with this John Porey, whom he again mentions, but
+in such a manner as to leave a doubt whether he means to consider him as a
+poet or a painter. Even M. Millin himself, from whom more accuracy might
+have been expected, speaks of Holbein&#8217;s work as at the Dominican convent
+at Basle.</p>
+
+<p>The &#8220;Nouveau Dictionnaire Historique,&#8221; 1789, 8vo. gives the painting on
+the walls of the cemetery of St. Peter at Basle, to Holbein, confounding
+the two works as some other French biographical dictionaries have done,
+especially one that has cited an edition of the Danse Macabre in 1486 as
+the first of Holbein&#8217;s painting, though it immediately afterwards states
+that artist to have been born in 1498.</p>
+
+<p><span class="pagenum"><a name="Page_239" id="Page_239">[Pg 239]</a></span>In that excellent work, the &#8220;Biographie universelle,&#8221; in 42 vols. 8vo.
+1811-1828, M. Ponce, under the article &#8220;Holbein,&#8221; inaccurately refers to
+&#8220;the Dance of Death painted in 1543 on the walls of a cemetery at Basle,&#8221;
+at the same time properly remarking that it was not Holbein&#8217;s. He refers
+to the supposed original drawings of Holbein&#8217;s work at Petersburg that
+were engraved by De Mechel, and concludes his brief note with a reference
+to a dissertation of M. Raymond in Millin&#8217;s &#8220;Magazin encyclopedique,&#8221;
+1814, tom. v. which is nothing more than a simple notice of two editions
+of the Danse Macabre, described in the present dissertation.</p>
+
+<p>And lastly&mdash;The Reviewer of the first edition of the present dissertation
+prefixed to Mr. Edwards&#8217;s engravings or etchings by Wenceslaus Hollar, has
+displayed considerable ingenuity in his attempt to correct supposed
+errors, by a lavish substitution of many of his own, some of which are the
+following:</p>
+
+<p>That the Dance of Death is found in <i>carvings in wood in the choirs of
+churches</i>. Not a single instance can be produced.</p>
+
+<p>That Hollar&#8217;s etchings are on <i>wood</i>.</p>
+
+<p>&#8220;Black letter&#8221; is <i>corrected</i> to &#8220;Black letters.&#8221;</p>
+
+<p>That the book would have been more <i>complete if Lydgate&#8217;s stanzas</i> had
+been quoted, in common with others in <i>Piers Plowman</i>. Now all the stanzas
+of Lydgate are given, and not a single one is to be found in Piers
+Plowman.</p>
+
+<p>And they most <i>ingeniously and scientifically</i> denominate the skeleton
+figure of Death &#8220;the Gothic monster of Holbein!&#8221;</p>
+
+<hr style="width: 25%;" />
+
+<p><span class="pagenum"><a name="Page_240" id="Page_240">[Pg 240]</a></span>A short time after the completion of the present Dissertation, the author
+accidentally became possessed of a recently published German life of
+Holbein, in which not a single addition of importance to what has been
+gleaned from preceding writers can possibly be found. It contains a
+general, but extremely superficial account of the works of that artist,
+including the Dance of Death, which, as a matter of course, is ascribed to
+him. As the author, a Mr. Ulrich Hegner, who is said to be a <i>Swiss
+gentleman and amateur</i>, has not conducted himself with that urbanity and
+politeness which might have been looked for from such a <i>character</i>, and
+has thought proper, in adverting to the slight Essay by the present
+writer, prefixed, at the instance of the late Mr. Edwards, to his
+publication of Hollar&#8217;s etchings of the Dance of Death, to speak of it
+with a degree of contempt, which, even with all its imperfections, others
+may think it may not have deserved; the above <i>gentleman</i> will have but
+little reason to complain should he meet with a somewhat uncourteous
+retort in the course of the following remarks on his compilation.</p>
+
+<p>Had Mr. Hegner written with a becoming diffidence in his opinions, his
+work might have commanded and deserved respect, though greatly abounding
+in error and false conceit. He has undertaken a task for which he has
+shown himself wholly unqualified, and with much unseemly arrogance, and
+its usual concomitant, ignorance, has assumed to himself a monopoly of
+information on the subject which he discusses. His arguments, if worthy of
+the name, are, generally speaking, of a most weak and flimsy texture. In
+support of his dogmatical opinion that the original designs for the Lyons
+Dance of Death exclusively belong to Holbein he has not adduced a single
+fact. He has not been in possession of a tenth part of the materials that
+were necessary for the proper investigation of his subject,<span class="pagenum"><a name="Page_241" id="Page_241">[Pg 241]</a></span> nor does he
+appear to have even seen them. The very best judges of whatever relates to
+the history and art of engraving are quite satisfied that most of the
+persons who have written on them, with the exception of Mr. Ottley, and of
+the modest and urbane Monsieur Peignot, are liable to the charge of
+extreme inaccuracy and imperfection in their treatment of the Dance of
+Death, and the list of such writers may now be closed with the addition of
+Herr Hegner.</p>
+
+<p>Some of his positions are now to be stated and examined.</p>
+
+<p>He makes Holbein the author of a new Dance of Death in the Crozat or
+Gallitzin drawings in Indian ink which have been already described in the
+present dissertation, adding that he also <i>engraved</i> them, and suppressing
+any mention in this place of the monogram on one of the cuts which he
+<i>elsewhere admits not to belong to Holbein</i>. Soon afterwards, and with
+very good reason, he doubts the originality of the drawings, which he says
+M. de Mechel caused to be copied by Rudolph Schellenberg, a skilful
+artist, already mentioned as the author of a Dance of Death of his own
+invention; and proceeds to state, that from these copies De Mechel
+employed some inferior persons in his service to make engravings;
+advancing all this without the accompaniment of any proof whatever, and in
+direct contradiction to De Mechel&#8217;s authority of having himself engraved
+them. An apparently bitter enemy to De Mechel, whose posthumous materials,
+now in the library at Basle, he nevertheless admits to have used for his
+work, he invidiously enlarges on the discrepancies between his engravings
+and the Lyons wood-cuts, both in size and manner; and then concludes that
+they were copied from the wood-cuts, the copyist allowing himself the
+privilege of making arbitrary variations, especially in the figure of the
+Eve in the second cut, which, he says, is of the family of Boucher, who,
+in<span class="pagenum"><a name="Page_242" id="Page_242">[Pg 242]</a></span> spite of Hegner&#8217;s opinion, is regarded by better judges as a clever
+painter. Whether the remarks on any deviations of De Mechel&#8217;s prints from
+the Crozat drawings are just or otherwise can now be decided by comparison
+only, and Hegner does not appear to have seen them, or at least does not
+tell us so. His criticisms on the merit of the engravings in De Mechel&#8217;s
+work cannot be justified, for though they may occasionally be faulty, they
+are very neatly, and many will think beautifully executed.</p>
+
+<p>What Hegner has said respecting the alphabets of initial letters, is at
+once futile and inaccurate; but his comment on Hans Lutzenberger deserves
+the severest censure. Adverting to the inscription with the name of this
+fine artist on one of the sets of the initials, he terms him &#8220;an itinerant
+<i>bookseller</i>, who had bought the blocks and put his name on them;&#8221; and
+this after having himself referred to a print on which Lutzenberger is
+called <span class="smcaplc">FORMSCHNEIDER</span>, <i>i. e.</i> woodcutter: making in this instance a clumsy
+and dishonest effort to get rid of an excellent engraver, who stands so
+recorded in opposition to his own untenable system.</p>
+
+<p>The very important and indelible expressions in the dedication to the
+first known edition of the Lyons wood-cuts, he very modestly terms &#8220;a play
+upon words,&#8221; and endeavours to account for the death of the painter by
+supposing Holbein&#8217;s absence in England would warrant the language of the
+dedication. This is indeed a most desperate argument. Frellon, the
+publisher and proprietor of the work, must have known better than to have
+permitted the dedication to accompany his edition had it been susceptible
+of so silly a construction.</p>
+
+<p>He again adheres to the improbable notion that <i>Holbein engraved</i> the cuts
+to the Lyons book, and this in defiance of the mark or monogram <img src="images/mono_hl.jpg" alt="[monogram]" />
+which this painter never used; nor will a single print with <span class="pagenum"><a name="Page_243" id="Page_243">[Pg 243]</a></span>Holbein&#8217;s
+accredited name be found to bear the slightest resemblance to the style of
+the wood-cuts. Even those in Cranmer&#8217;s catechism, which approach the
+nearest to them, are in a different manner. His earlier engravings on
+wood, whether in design only, or as the engraver, resemble those by Urs
+Graaf, who, as well as Holbein, decorated the frontispieces or titles to
+many of the books printed at Basle. It is not improbable that Urs Graaf
+was at that time a pupil of Holbein.</p>
+
+<p>Hegner next endeavours to annihilate the painting at Whitehall recorded in
+Nieuhoff&#8217;s etchings and dedications, but still by arguments of an entirely
+negative kind. He lays much stress on this painting not being specifically
+mentioned by Sandrart or Van Mander, who were in England; but where does
+it appear that the latter, during his short stay in this country, had
+visited Whitehall? Even admitting that both these persons had seen that
+palace, it is most probable that the fresco painting of the Dance of
+Death, would, from length of time, dampness of the walls, and neglect,
+have been in a condition that would not warrant the exhibition of it, and
+it was, moreover, placed in a gallery which scarcely formed, at that time,
+a part of Whitehall, and which was, probably, not shown to visitors. It
+must not, however, be omitted to mention that Sandrart, in p. 239 of his
+Acad. Pict. states, though ambiguously, that &#8220;there was still remaining at
+Whitehall a work by Holbein that would constitute him the Apelles of his
+time,&#8221; an expression which we may remember had been also applied to
+Holbein by his friend Borbonius in the complimentary lines on a Dance of
+Death.</p>
+
+<p>The Herr Hegner has thought fit to speak of Mr. T. Nieuhoff in terms of
+indecorous and unjust contempt, describing him as &#8220;an unknown and
+unimportant Dutch copper-plate engraver,&#8221; and arraigning his evidence as
+being in manuscript only; as if manuscripts that have never been printed
+were of no authority.<span class="pagenum"><a name="Page_244" id="Page_244">[Pg 244]</a></span> But where has Hegner discovered that Nieuhoff was a
+Dutch copper-plate engraver, by which is meant a professed artist; or even
+though he had been such, would that circumstance vitiate his testimony? In
+his dedication to Lord William Benting the expressions allusive to his
+ardent love of the arts, seem to constitute him an amateur attempter of
+etching; for what he has left us in that way is indeed of a very
+subordinate character, and unworthy of a professed artist. He appears to
+have been one of the Dutchmen who accompanied King William to England, and
+to have had apartments assigned to him at Whitehall. At the end of his
+dedication to Lord W. Benting, he calls himself an old servant of that
+person&#8217;s father, and subscribes himself &#8220;your and your illustrious
+family&#8217;s most obedient and humble servant.&#8221;</p>
+
+<p>The identification of William Benting must be left to the sagacity of
+others. He could not have been the Earl of Portland created in 1689, or he
+would have been addressed accordingly. He is, moreover, described as a
+youth born at Whitehall, and then residing there, and whose dwelling
+consisted of nearly the whole of the palace that remained after the fire.</p>
+
+<p>Again,&mdash;We have before us a person living in the palace of Whitehall
+anterior to its destruction, testifying what he had himself seen, and
+addressing one who could not be imposed upon, as residing also in the
+palace. There seems to be no possible motive on the part of Nieuhoff for
+stating an untruth, and his most clear and unimpeachable testimony is
+opposed by Hegner&#8217;s wild and weak conjectures, and chiefly by the negative
+argument that a few strangers who visited England in a hasty manner have
+not mentioned the painting in question at Whitehall, amidst those
+inaccurate and superficial accounts of England which, with little
+exception, have been given by foreign travellers. Among these Hegner has
+selected Patin and Sandrart.<span class="pagenum"><a name="Page_245" id="Page_245">[Pg 245]</a></span> Before adducing the former, he would have
+done well to have looked at his very imperfect and erroneous account of
+Holbein&#8217;s works, in his edition of the &#924;&#937;&#929;&#921;&#913;&#931; &#917;&#915;&#922;&#937;&#924;&#921;&#927;&#925; of
+Erasmus; and, with respect to the latter, the stamp of inaccuracy has been
+long affixed to most of the works he has published. He has mentioned, that
+being in company with Rubens in a Dutch passage boat &#8220;the conversation
+fell upon Holbein&#8217;s book of cuts, representing the Dance of Death; that
+Rubens gave them the highest encomiums, advising him, who was then a young
+man, to set the highest value upon them, informing him, at the same time,
+that he in his youth had copied them.&#8221;<a name='fna_139' id='fna_139' href='#f_139'><small>[139]</small></a> On this passage Mr. Warton has
+well remarked that if Rubens styled these prints Holbein&#8217;s, in familiar
+conversation, it was but calling them by the name which the world had
+given them, and by which they were generally known; and that Sandrart has,
+in another place, confounded them with the Basle painting.<a name='fna_140' id='fna_140' href='#f_140'><small>[140]</small></a></p>
+
+<p>To conclude,&mdash;Juvenal&#8217;s &#8220;hoc volo, sic jubeo, sit pro ratione voluntas,&#8221;
+may be regarded as Herr Hegner&#8217;s literary motto. He has advocated the
+vague traditions of unauthenticated Dances of Death by Holbein, and has
+made a most unjustifiable attempt to deprive that truly great artist of
+the only painting on the subject which really appears to belong to him.
+Yet, if by fair and candid argument, supported by the necessary proofs,
+the usual and long standing claim on the part of Holbein can be
+substantiated, no one will thereby be more highly gratified than the
+author of this dissertation.</p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_246" id="Page_246">[Pg 246]</a></span></p>
+<h2>ADDITIONS AND CORRECTIONS.</h2>
+
+
+<p><a href="#Page_59">P. 59</a>. After No. 17 add &#8220;La Danse Macabre.&#8221; Paris, Nicole de la Barre,
+1523, 4to. with very different cuts, and some characters omitted in former
+editions.</p>
+
+<p><a href="#Page_77">P. 77</a>, last line of the text. There is a German work intitled &#8220;The process
+or law-suit of Death,&#8221; printed, and perhaps written, by Conrad Fyner in
+1477; but as it is not noticed in Panzer&#8217;s list of German books, no
+further account of it can be given than that it is briefly mentioned by
+Joseph Heller, in a German work on the subject of engraving on wood, in
+which one cut from it is introduced, that exhibits Death conversing with a
+husbandman who holds a flail in one of his hands. It is probable that the
+book would be found to contain other figures relating to a Macaber Dance.</p>
+
+<p><a href="#Page_112">P. 112</a>, l. ult. There is another work by Glissenti, intitled &#8220;La Morte
+innamorata.&#8221; Venet. 1608, 24mo. with a dedication to Sir Henry Wotton, the
+English ambassador at Venice, by Elisabetta Glissenti Serenella, the
+author&#8217;s niece; in which, after stating that Sir Henry had seen it
+represented, she adds, that she had ventured to have it printed for the
+purpose of offering it to him as a very humble donation, &amp;c. It is a
+moral, dramatic, and allegorical fable of five acts, in which <i>Man</i>, to
+avoid <i>Death</i>, who has fallen in love with him, retires with his family to
+the country of <i>Long Life</i>, where he takes up his abode in the house of
+<i>the World</i>, by whom and his wife <i>Fraud</i>, who is in strict friendship
+with <i>Fortune</i>, he is apparently made much of, and calculates on being
+very happy. <i>Death</i> follows the<span class="pagenum"><a name="Page_247" id="Page_247">[Pg 247]</a></span> <i>Man</i>, and being unknown in the above
+region, contrives, with the aid of <i>Infirmity</i>, the <i>Man&#8217;s</i> nurse, to make
+him fall sick. The <i>World</i> being tired of his guest, and very desirous to
+get rid of, and plunder him of his property, under pretence of introducing
+him to <i>Fortune</i>, and consequent happiness, enters into a plot with <i>Time</i>
+to disguise <i>Death</i>, who is lodged in the same house with him, as
+<i>Fortune</i>, and thus to give him possession of the <i>Man</i>, who imagines that
+he is just about to secure <i>Fortune</i>. Each act of this piece is ornamented
+with some wood-cut that had been already introduced into the other work of
+Glissenti.</p>
+
+<p><a href="#Page_118">P. 118</a>, line 32. Ebert, in his &#8220;Bibliographisches Lexicon,&#8221; Leipsig. 1821,
+4to. has mentioned some later editions of Denneker&#8217;s engravings. See the
+article Denecker, p. 972.</p>
+
+<p><a href="#Page_126">P. 126</a>, l. 14. It is not impossible that Hollar may have copied a bust
+carved in wood, or some other material, by Holbein, as Albert Durer and
+other great artists are known to have practised sculpture in this manner.</p>
+
+<p><a href="#Page_135">P. 135</a>, l. 25. These four prints are in the author&#8217;s possession.</p>
+
+<p><a href="#Page_137">P. 137</a>, l. ult. Other imitations of the Lyons cuts are, 1. A wood
+engraving of Adam digging and Eve spinning, by Corn. Van Sichem in the
+&#8220;Bibel&#8217;s tresor,&#8221; Amst. 1646, 4to. 2. The Astrologer, a small circular
+print on copper by Le Blond. 3. The Bridegroom, an anonymous modern
+engraving on wood. 4. The Miser, a small modern and anonymous print on
+copper.</p>
+
+<p><a href="#Page_147">P. 147</a>, l. 19. In the library at Lambeth palace, No. 1049, there is a copy
+of this book in Greek, Latin, Italian, Spanish, English, and French,
+printed by J. Day, 1569, 8vo. It was given by Archb. Tillotson, and from a
+memorandum in it supposed to have been the Queen&#8217;s own copy. The cut of
+the Queen kneeling was used so<span class="pagenum"><a name="Page_248" id="Page_248">[Pg 248]</a></span> late as 1652, in Benlowes&#8217; Theophila. Some
+of the cuts have the unexplained mark <img src="images/mono_ci.jpg" alt="[monogram]" />.</p>
+
+<p><a href="#Page_164">P. 164</a>, Article xii. This print is a copy, with a few variations, of a
+much older one engraved on wood, and probably unique, in the very curious
+collection of single sheets and black letter ballads, belonging to George
+Daniel, Esquire, of Islington. The figures are executed in a style of
+considerable merit, and each of them is described in a stanza of four
+lines. It may probably be the same as No. 1 or No. 2, mentioned in p. <a href="#Page_76">76</a>,
+or either of Nos. x. or xi. described in p. <a href="#Page_163">163</a>.</p>
+
+<p><a href="#Page_226">P. 226</a>, line 12. Another drawing by Rowlandson, intitled &#8220;Death and the
+Drunkards.&#8221; Five topers are sitting at a table and enjoying their punch.
+Death suddenly enters and violently seizes one of them. Another perceives
+the unwelcome and terrific intruder, whilst the rest are too intent on
+their liquor to be disturbed at the moment. It is a very spirited and
+masterly performance. 11 by 9. In the author&#8217;s possession.</p>
+
+<p><a href="#Page_239">P. 239</a>, l. 12. There is likewise in the &#8220;Biographie Universelle&#8221; an
+article intitled &#8220;Macaber, poete Allemand&#8221; by M. Weiss, and it is to be
+regretted that a writer whose learning and research are so eminently
+conspicuous in many of the best lives in the work, should have permitted
+himself to be misled in much that he has said, by the errors of
+Champollion Figeac in the Magazin Encyclopedique. He certainly doubts the
+existence of Macaber as a writer, but inclines to M. Van Praet&#8217;s Arabic
+<i>Magbarah</i>. He states, that the English version of the Macaber Dance
+belongs to John Porey, <i>a poet who remains unknown even to his
+countrymen</i>, and is inserted in the Monasticon Anglicanum. Now this
+<i>unknown poet</i>, who is likewise adopted by M. Peignot, is merely the
+person who contributed Hollar&#8217;s plate in the Monasticon, already mentioned
+in p. <a href="#Page_52">52</a>, and whose coat of arms is at the top of that plate, with the
+following inscription, &#8220;Quo pr&aelig;sentes<span class="pagenum"><a name="Page_249" id="Page_249">[Pg 249]</a></span> et posteri Mortis, ut vidimus, omni
+Ordini comunis, sint magis memores, posuit <span class="smcaplc">IOHANNES POREY</span>.&#8221; Mr. Weiss has
+likewise inadvertently adopted the error that Holbein painted the old
+Dance of Macaber in the convent of the Augustines at Basle.</p>
+
+<p>Two recently published Dances of Death have come to hand too late to have
+been noticed in their proper places.</p>
+
+<p>1. &#8220;Der Todtentantz. Ein Gedicht von Ludwig Bechstein, mit 48 kupfern in
+treuen Conturen nach H. Holbein. Leipzig bei Friedrich August Leo, 1831.&#8221;
+8vo. These prints are executed in a faithful and elegant outline, and
+accompanied with modern German verses.</p>
+
+<p>2. &#8220;Hans Holbein&#8217;s Todtentanz in 53 getreu nach den Holz schnitten
+lithographirten Blattern. Heraus gegeben von J. Schlotthaver k. Professor
+Mit erkl&auml;rendem Texte. Munchen, 1832, Auf Rosten des Heraus gegebers.&#8221;
+12mo. The prints are most accurately and elegantly lithographed in
+imitation of wood engraving. The descriptions are in German verse, and
+accompanied with some brief prefatory matter by Dr. H. F. Massmann, which
+is said to have been amplified in one of the German journals or reviews.</p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_250" id="Page_250">[Pg 250]</a></span></p>
+<h2>DESCRIPTION OF THE CUTS GIVEN IN THE DISSERTATION.</h2>
+
+<div class="note">
+<p>I. The frontispiece is a design for the sheath of a dagger, probably made
+by Holbein for the use of a goldsmith or chaser. The original drawing is
+in the public library at Basle. See some remarks on it in p. <a href="#Page_133">133</a>.</p>
+
+<p>II. These circular engravings by Israel Van Meckenen are mentioned in p. <a href="#Page_160">160</a>.</p>
+
+<p>III. Copy of an ancient drawing, 1454, of Death and the Beggar. See p. <a href="#Page_223">223</a>.</p>
+
+<p>IV. Figures of Death and the Lady, sculptured on a monument of the
+Delawars, in Boxgrove church, Sussex. See p. <a href="#Page_226">226</a>.</p>
+
+<p>V. A fac-simile of one of the cuts to a very early edition, printed
+without date at Troyes by Nicolas le Rouge. It represents the story of the
+<i>trois morts et trois vifs</i>, and the vision of Saint Macarius. See pp. <a href="#Page_33">33</a>,
+<a href="#Page_34">34</a>, and <a href="#Page_59">59</a>.</p>
+
+<p>VI. A fac-simile of another cut from the edition of a Danse Macabre,
+mentioned in No. V.</p></div>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p><span class="pagenum"><a name="Page_251" id="Page_251">[Pg 251]</a></span></p>
+<h2>DESCRIPTION OF THE LYONS WOOD-CUTS<br />
+OF THE<br />
+DANCE OF DEATH.</h2>
+<p><span class="pagenum"><a name="Page_252" id="Page_252">[Pg 252]</a></span></p>
+
+<p>&nbsp;</p>
+<p><span class="pagenum"><a name="Page_253" id="Page_253">[Pg 253]</a></span></p>
+<div class="blockquot"><p class="hang"><i>The Copies have been made by</i> <span class="smcap">Mr. Bonner</span> <i>from the Cuts belonging to
+the &#8220;Imagines Mortis, Lugduni sub scuto Coloniensi, 1547,&#8221; 12mo. and
+which have been usually ascribed to Holbein.</i></p></div>
+
+<p>1. THE CREATION OF ALL THINGS. The Deity is seen taking Eve from the side
+of Adam. &#8220;Formavit Dominus Deus hominem de limo terr&aelig;, &amp;c.&#8221; Gen. i.</p>
+
+<p>2. THE TEMPTATION. Eve has just received the forbidden fruit from the
+serpent, who, on the authority of venerable Bede, is here, as well as in
+most ancient representations of the subject, depicted with a female human
+face. She holds it up to Adam, and entices him to gather more of it from
+the tree. &#8220;Quia audisti vocem uxoris tu&aelig;, et comedisti de ligno, &amp;c.&#8221; Gen.
+iii.</p>
+
+<p>3. THE EXPULSION FROM PARADISE. Adam and Eve are preceded by Death, who
+plays on a vielle, or beggar&#8217;s lyre, as if demonstrating his joy at the
+victory he has obtained over man. &#8220;Emisit eum Dominum Deus de Paradiso
+voluptatis, ut operaretur terram de qua sumptus est.&#8221; Gen. iii.</p>
+
+<p>4. THE CONSEQUENCES OF THE FALL OF MAN. Adam is digging the ground,
+assisted by Death. In the distance Eve is suckling her first-born and
+holding a distaff. Whence the proverb in many languages:</p>
+
+<p class="poem">When Adam delv&#8217;d and Eve span<br />
+Where was then the gentleman?</p>
+
+<p>&#8220;Maledicta terra in opere tuo, in laboribus comedes cunctis diebus vit&aelig;
+tu&aelig;, donec revertaris, &amp;c.&#8221; Gen. iii.</p>
+
+<p><span class="pagenum"><a name="Page_254" id="Page_254">[Pg 254]</a></span>5. A CEMETERY, in which several Deaths are assembled, most of whom are
+playing on noisy instruments of music, as a general summons to mortals to
+attend them. &#8220;V&aelig;, v&aelig;, v&aelig; habitantibus in terra.&#8221; Apoc. viii.</p>
+
+<p>6. THE POPE. He is crowning an Emperor, who kneels before him, two
+Cardinals attending, one of whom is ludicrously personated by Death. In
+the back-ground are bishops, &amp;c. Death embraces the Pope with one hand,
+and with the other leans on a crutch. Two grotesque Devils are introduced
+into the cut, one of whom hovers over the Pope, the other in the air holds
+a diploma, to which several seals are appended. &#8220;Moriatur sacerdos
+magnus.&#8221; Josue xx.</p>
+
+<p>7. THE EMPEROR. Seated on a throne, and attended by his courtiers, he
+seems to be listening to, or deciding, the complaint of a poor man who is
+kneeling before him, against his rich oppressor, whom the Emperor, holding
+the sword of justice, seems to regard with an angry countenance. Behind
+him Death lays hands upon his crown. &#8220;Dispone domui tu&aelig;, morieris, enim
+tu, et non vives.&#8221; Isai&aelig; xxxviii.</p>
+
+<p>8. THE KING. He is sitting at his repast before a well-covered table,
+under a canopy studded with fleurs-de-lis. Death intrudes himself as a
+cupbearer, and presents the King with probably his last draught. The
+figure of the King seems intended as a portrait of Francis I. &#8220;Sicut et
+Rex hodie est, et cras morietur; nemo enim ex regibus aliud habuit.&#8221;
+Ecclesiast. x. et Sapient. vii.</p>
+
+<p>9. THE CARDINAL. There is some difficulty in ascertaining the real meaning
+of the designer of this subject. It has been described as the Cardinal
+receiving the bull of his appointment, or as a rich man making a purchase
+of indulgences. The latter interpretation seems warranted by the Latin
+motto. Death<span class="pagenum"><a name="Page_255" id="Page_255">[Pg 255]</a></span> is twisting off the Cardinal&#8217;s hat. &#8220;V&aelig; qui justificatis
+impium pro muneribus, et justitiam justi aufertis ab eo.&#8221; Isai&aelig; v.</p>
+
+<p>10. THE EMPRESS. Gorgeously attired and attended by her maids of honour,
+she is intercepted in her walk by Death in the character of a shrivelled
+old woman, who points to an open grave, and seems to say, &#8220;to this you
+must come at last.&#8221; &#8220;Gradientes in superbia potest Deus humiliare.&#8221; Dan.
+iv.</p>
+
+<p>11. THE QUEEN. She has just issued from her palace, when Death
+unexpectedly appears and forcibly drags her away. Her jester, in whose
+habiliments Death has ludicrously attired himself, endeavours in vain to
+protect his mistress. A female attendant is violently screaming. Death
+holds up his hour-glass to indicate the arrival of the fatal hour.
+&#8220;Mulieres opulent&aelig; surgite, et audite vocem meam: post dies et annum, et
+vos conturbemini.&#8221; Isai&aelig; xxxii.</p>
+
+<p>12. THE BISHOP. Quietly resigned to his fate he is led away by Death,
+whilst the loss of the worthy Pastor is symbolically deplored by the
+flight and terror of several shepherds in the distance amidst their
+flocks. The setting sun is very judiciously introduced. &#8220;Percutiam
+pastorem, et dispergentur oves gregis.&#8221; Mat. xxvi. Mar. xiv.</p>
+
+<p>13. THE DUKE. Attended by his courtiers, he is accosted in the street for
+charity by a poor beggar woman with her child. He disdainfully turns aside
+from her supplication, whilst Death, fantastically crowned with leaves,
+unexpectedly lays violent hands upon him. &#8220;Princeps induetur moerore, et
+quiescere faciam superbiam potentium.&#8221; Ezech. viii.</p>
+
+<p>14. THE ABBOT. Death having despoiled him of his mitre and crosier, drags
+him away. The Abbot resists with all his might, and is about to throw his
+breviary<span class="pagenum"><a name="Page_256" id="Page_256">[Pg 256]</a></span> at his adversary. &#8220;Ipse morietur, quia non habuit disciplinam,
+et in multitudine stultiti&aelig; su&aelig; decipietur.&#8221;</p>
+
+<p>15. THE ABBESS. Death, grotesquely crowned with flags, seizes the poor
+Abbess by her scapulary. A Nun at the convent gate, with uplifted hands,
+bewails the fate of her superior. &#8220;Laudavi magis mortuos quam viventes.&#8221;
+Eccles. iv.</p>
+
+<p>16. THE GENTLEMAN. He vainly, with uplifted sword, endeavours to liberate
+himself from the grasp of Death. The hour-glass is placed on his bier.
+&#8220;Quis est homo qui vivet, et non videbit mortem, eruet animam suam de manu
+inferi?&#8221;</p>
+
+<p>17. THE CANON. Death holds up his hour-glass to him as he is entering a
+cathedral. They are followed by a noble person with a hawk on his fist,
+his buffoon or jester, and a little boy. &#8220;Ecce appropinquat hora.&#8221; Mat.
+xxvi.</p>
+
+<p>18. THE JUDGE. He is deciding a cause between a rich and a poor man. From
+the former he is about to receive a bribe. Death behind him snatches his
+staff of office from one of his hands. &#8220;Disperdam judicem de medio ejus.&#8221;
+Amos ii.</p>
+
+<p>19. THE ADVOCATE. The rich client is putting a fee into the hands of the
+dishonest lawyer, to which Death also contributes, but reminds him at the
+same time that his glass is run out. To this admonition he seems to pay
+little regard, fully occupied in counting the money. Behind this group is
+the poor suitor, wringing his hands, and lamenting that his poverty
+disables him from coping with his wealthy adversary. &#8220;Callidus vidit
+malum, et abscondit se: innocens pertransiit, et afflictus est damno.&#8221;
+Prover. xxii.</p>
+
+<p>20. THE MAGISTRATE. A Demon is blowing corruption into the ear of a
+magistrate, who has turned his back on a poor man, whilst he is in close
+conversation<span class="pagenum"><a name="Page_257" id="Page_257">[Pg 257]</a></span> with another person, to whose story he seems emphatically
+attentive. Death at his feet with an hour-glass and spade. &#8220;Qui obturat
+aurem suam ad clamorem pauperis, et ipse clamabit, et non exaudietur.&#8221;
+Prover. xxi.</p>
+
+<p>21. THE PREACHER. Death with a stole about his neck stands behind the
+preacher, and holds a jaw-bone over his head, typifying perhaps thereby
+that he is the best preacher of the two. &#8220;V&aelig; qui dicitis malum bonum, et
+bonum malum: ponentes tenebras lucem, et lucem tenebras: ponentes amarum
+in dulce, et dulce in amarum.&#8221; Isai&aelig; v.</p>
+
+<p>22. THE PRIEST. He is carrying the viaticum, or sacrament, to some dying
+person. Attendants follow with tapers and holy water. Death strides on
+before, with bell and lanthern, to announce the coming of the priest. &#8220;Sum
+quidem et ego mortalis homo.&#8221; Sap. vii.</p>
+
+<p>23. THE MENDICANT FRIAR. He is just entering his convent with his money
+box and wallet. Death seizes him by the cowl, and forcibly drags him away.
+&#8220;Sedentes in tenebris, et in umbra mortis, vinctos in mendicitate.&#8221; Psal.
+cvi.</p>
+
+<p>24. THE NUN. Here is a mixture of gallantry and religion. The young lady
+has admitted her lover into her apartment. She is kneeling before an
+altar, and hesitates whether to persist in her devotions or listen to the
+amorous music of the young man, who, seated on a bed, touches a theorbo
+lute. Death extinguishes the candles on the altar, by which the designer
+of the subject probably intimates the punishment of unlawful love. &#8220;Est
+via qu&aelig; videtur homini justa: novissima autem ejus deducunt hominem ad
+mortem.&#8221; Prover. iv.</p>
+
+<p>25. THE OLD WOMAN. She is accompanied by two Deaths, one of whom, playing
+on a stickado, or<span class="pagenum"><a name="Page_258" id="Page_258">[Pg 258]</a></span> wooden psalter, precedes her. She seems more attentive
+to her rosary of bones than to the music, whilst the other Death
+impatiently urges her forward with blows. &#8220;Melior est mors quam vita.&#8221;
+Eccle. xxx.</p>
+
+<p>26. THE PHYSICIAN. He holds out his hand to receive, for inspection, a
+urinal which Death presents to him, and which contains the water of a
+decrepid old man whom he introduces, and seems to say to the physician,
+&#8220;Canst thou cure this man who is already in my power?&#8221; &#8220;Medice cura te
+ipsum.&#8221; Luc. iv.</p>
+
+<p>27. THE ASTROLOGER. He is seen in his study, looking attentively at a
+suspended sphere. Death holds out a skull to him, and seems, in mockery,
+to say, &#8220;Here is a better subject for your contemplation.&#8221; &#8220;Indica mihi si
+nosti omnia. Sciebas quod nasciturus esses, et numerum dierum tuorum
+noveras?&#8221; Job xxxviii.</p>
+
+<p>28. THE MISER. Death has burst into his strong room, where he is sitting
+among his chests and bags of gold, and, seated on a stool, deliberately
+collects into a large dish the money on the table which the Miser had been
+counting. In an agony of terror and despair, the poor man seems to implore
+forbearance on the part of his unwelcome visitor. &#8220;Stulte, hac nocte
+repetunt animam tuam: et qu&aelig; parasti, cujus erunt?&#8221; Luc&aelig; xii.</p>
+
+<p>29. THE MERCHANT. After having escaped the perils of the sea, and happily
+reached the wished-for shore with his bales of merchandize; this too
+secure adventurer, whilst contemplating his riches, is surprised by Death.
+One of his companions holds up his hands in despair. &#8220;Qui congregat
+thesauros lingua mendacii, vanus et excors est, et impingetur ad laqueos
+mortis.&#8221; Proverb. xxi.</p>
+
+<p>30. THE SHIP IN A TEMPEST. Death is vigorously employed in breaking the
+mast. The owner of<span class="pagenum"><a name="Page_259" id="Page_259">[Pg 259]</a></span> the vessel is wringing his hands in despair. One man
+seems perfectly resigned to his impending fate. &#8220;Qui volunt ditescere,
+incidunt in tentationem et laqueum, et cupiditates multas, stultas ac
+noxias, qu&aelig; demergunt homines in exitium et interitum.&#8221; 1 ad Tim. vi.</p>
+
+<p>31. THE KNIGHT. After escaping the perils in his numerous combats, he is
+vanquished by Death, whom he ineffectually resists. &#8220;Subito morientur, et
+in media nocte turbabuntur populi, et auferent violentum absque manu.&#8221; Job
+xxxiv.</p>
+
+<p>32. THE COUNT. Death, in the character of a ragged peasant, revenges
+himself against his proud oppressor by crushing him with his own armour.
+On the ground lie a helmet, crest, and flail. &#8220;Quoniam cum interierit non
+sumet secum omnia, neque cum eo descendet gloria ejus.&#8221; Psal. xlviii.</p>
+
+<p>33. THE OLD MAN. Death leads his aged victim to the grave, beguiling him
+with the music of a dulcimer. &#8220;Spiritus meus attenuabitur, dies mei
+breviabuntur, et solum mihi superest sepulchrum.&#8221; Job xvii.</p>
+
+<p>34. THE COUNTESS. She receives from an attendant the splendid dress and
+ornaments with which she is about to equip herself. On a chest are seen a
+mirror, a brush, and the hour-glass of Death, who, standing behind her,
+places on her neck a collar of bones. &#8220;Ducunt in bonis dies suos, et in
+puncto ad inferna descendant.&#8221; Job xxi.</p>
+
+<p>35. THE NEW-MARRIED LADY. She is accompanied by her husband, who
+endeavours to divert her attention from Death, who is insidiously dancing
+before them and beating a tambour. &#8220;Me et te sola mors separabit.&#8221; Ruth i.</p>
+
+<p>36. THE DUCHESS. She is sitting up, dressed, in her bed, at the foot of
+which are two Deaths, one of<span class="pagenum"><a name="Page_260" id="Page_260">[Pg 260]</a></span> whom plays on a violin, the other is pulling
+the clothes from the bed. &#8220;De lectulo, super quem ascendisti, non
+descendes, sed morte morieris.&#8221; 4 Reg. i.</p>
+
+<p>37. THE PEDLAR. Accompanied by his dog, and heavily laden, he is
+proceeding on his way, when he is intercepted by Death, who forcibly pulls
+him back. Another Death is playing on a trump-marine. &#8220;Venite ad me omnes
+qui laboratis, et onerati estis.&#8221; Matth. xi.</p>
+
+<p>38. THE HUSBANDMAN. He is assisted by Death, who conducts the horses of
+his plough. &#8220;In sudore vultus tui vesceris pane tuo.&#8221; Gen. iii.</p>
+
+<p>39. THE CHILD. A female cottager is preparing her family mess, when Death
+enters and carries off the youngest of her children. &#8220;Homo natus de
+muliere, brevi vivens tempore, repletur multis miseriis: qui quasi flos
+egreditur, et conteritur, et fugit velut umbra.&#8221; Job xiv.</p>
+
+<p>40. THE SOLDIER. He is engaged in unequal combat with Death, who simply
+attacks him with a bone. On the ground lie some of his demolished
+companions. In the distance, Death is beating a drum, and leading on a
+company of soldiers to battle. &#8220;Cum fortis armatus custodit atrium suum,
+&amp;c. Si autem fortior eo superveniens vicerit eum, universa ejus arma
+aufert, in quibus confidebat.&#8221; Luc. xi.</p>
+
+<p>41. THE GAMESTERS. Death and the Devil are disputing the possession of one
+of the gamesters, whom both have seized. Another seems to be interceding
+with the Devil on behalf of his companion, whilst a third is scraping
+together all the money on the table. &#8220;Quid prodest homini, si universum
+mundum lucretur, anim&aelig; autem su&aelig; detrimentum patiatur?&#8221; Mat. xvi.</p>
+
+<p>42. THE DRUNKARDS. They are assembled in a brothel, and intemperately
+feasting. Death pours<span class="pagenum"><a name="Page_261" id="Page_261">[Pg 261]</a></span> liquor from a flaggon into the mouth of one of the
+party. &#8220;Ne inebriemini vino, in quo est luxuria.&#8221; Ephes. v.</p>
+
+<p>43. THE IDEOT FOOL. He is mocking Death, by putting his finger in his
+mouth, and at the same time endeavouring to strike him with his
+bladder-bauble. Death smiling, and amused at his efforts, leads him away
+in a dancing attitude, playing at the same time on a bag-pipe. &#8220;Quasi
+agnus lasciviens, et ignorans, nescit quod ad vincula stultus trahatur.&#8221;
+Prover. vii.</p>
+
+<p>44. THE ROBBER. Whilst he is about to plunder a poor market-woman of her
+property, Death comes behind and lays violent hands on him. &#8220;Domine vim
+patior.&#8221; Isai&aelig; xxxviii.</p>
+
+<p>45. THE BLIND MAN. Carefully measuring his steps, and unconscious of his
+perilous situation, he is led on by Death, who with one hand takes him by
+the cloak, both parties having hold of his staff. &#8220;C&aelig;cus c&aelig;cum ducit: et
+ambo in foveam cadunt.&#8221; Matt. xv.</p>
+
+<p>46. THE WAGGONER. His cart, loaded with wine casks, has been overturned,
+and one of his horses thrown down by two mischievous Deaths. One of them
+is carrying off a wheel, and the other is employed in wrenching off a tie
+that had secured one of the hoops of the casks. The poor affrighted
+waggoner is clasping his hands together in despair. &#8220;Corruit in curru
+suo.&#8221; 1 Chron. xxii.</p>
+
+<p>47. THE BEGGAR. Almost naked, his hands joined together, and his head
+turned upwards as in the agonies of death, he is sitting on straw near the
+gate of some building, perhaps an hospital, into which several persons are
+entering, and some of them pointing to him as an object fit to be
+admitted. On the ground lie his crutches, and one of his legs is swathed
+with a<span class="pagenum"><a name="Page_262" id="Page_262">[Pg 262]</a></span> bandage. A female is looking on him from a window of the building.
+&#8220;Miser ego homo! quis me liberabit de corpore mortis hujus?&#8221; Rom. vii.</p>
+
+<p>48. THE LAST JUDGMENT. Christ sitting on a rainbow, and surrounded by a
+group of angels, patriarchs, &amp;c. rests his feet on a globe of the
+universe. Below, are several naked figures risen from their graves, and
+stretching out their hands in the act of imploring judgment and mercy.
+&#8220;Memorare novissima, et in &aelig;ternum non peccabis.&#8221; Eccle. vii.</p>
+
+<p>49. THE ALLEGORICAL ESCUTCHEON OF DEATH. The coat or shield is fractured
+in several places. On it is a skull, and at top the crest as a helmet
+surmounted by two arm bones, the hands of which are grasping a ragged
+piece of stone, and between them is placed an hour-glass. The supporters
+are a gentleman and lady in the dresses of the times. In the description
+of this cut Papillon has committed some very absurd mistakes, already
+noticed in p. <a href="#Page_110">110</a>.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">I</p>
+<p class="center">THE CREATION</p>
+<div class="figcenter"><img src="images/img006.jpg" alt="" /></div>
+<p class="center">Formavit Dominus Deus hominem de limo terr&aelig;, &amp;c. <i>Gen.</i> i.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">II</p>
+<p class="center">THE TEMPTATION</p>
+<div class="figcenter"><img src="images/img007.jpg" alt="" /></div>
+<p class="center">Quia audisti vocem uxoris tu&aelig;, et comedisti de ligno, &amp;c. <i>Gen.</i> iii.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">III</p>
+<p class="center">THE EXPULSION</p>
+<div class="figcenter"><img src="images/img008.jpg" alt="" /></div>
+<p class="center">Emisit eum Dominum Deus de Paradiso voluptatis,<br />ut operaretur terram de
+qua sumptus est. <i>Gen.</i> iii.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">IV</p>
+<p class="center">THE CONSEQUENCES OF THE FALL</p>
+<div class="figcenter"><img src="images/img009.jpg" alt="" /></div>
+<p class="center">Maledicta terra in opere tuo, in laboribus comedes cunctis<br />diebus vit&aelig;
+tu&aelig;, donec revertaris, &amp;c. <i>Gen.</i> iii.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">V</p>
+<p class="center">A CEMETERY</p>
+<div class="figcenter"><img src="images/img010.jpg" alt="" /></div>
+<p class="center">V&aelig;, v&aelig;, v&aelig; habitantibus in terra. <i>Apoc.</i> viii.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">VI</p>
+<p class="center">THE POPE</p>
+<div class="figcenter"><img src="images/img011.jpg" alt="" /></div>
+<p class="center">Moriatur sacerdos magnus. <i>Josue</i> xx.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">VII</p>
+<p class="center">THE EMPEROR</p>
+<div class="figcenter"><img src="images/img012.jpg" alt="" /></div>
+<p class="center">Dispone domui tu&aelig;, morieris, enim tu, et non vives.<br /><i>Isai&aelig;</i> xxxviii.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">VIII</p>
+<p class="center">THE KING</p>
+<div class="figcenter"><img src="images/img013.jpg" alt="" /></div>
+<p class="center">Sicut et Rex hodie est, et cras morietur; nemo enim ex<br />regibus aliud
+habuit. <i>Eccles.</i> x. <i>et Sapient.</i> vii.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">IX</p>
+<p class="center">THE CARDINAL</p>
+<div class="figcenter"><img src="images/img014.jpg" alt="" /></div>
+<p class="center">V&aelig; qui justificatis impium pro muneribus, et justitiam<br />justi aufertis ab
+eo. <i>Isai&aelig;</i> v.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">X</p>
+<p class="center">THE EMPRESS</p>
+<div class="figcenter"><img src="images/img015.jpg" alt="" /></div>
+<p class="center">Gradientes in superbia potest Deus humiliare. <i>Dan.</i> iv.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XI</p>
+<p class="center">THE QUEEN</p>
+<div class="figcenter"><img src="images/img016.jpg" alt="" /></div>
+<p class="center">Mulieres opulent&aelig; surgite, et audite vocem meam:<br />post dies et annum, et
+vos conturbemini. <i>Isai&aelig;</i> xxxii.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XII</p>
+<p class="center">THE BISHOP</p>
+<div class="figcenter"><img src="images/img017.jpg" alt="" /></div>
+<p class="center">Percutiam pastorem, et dispergentur oves gregis.<br /><i>Mat.</i> xxvi. <i>Mar.</i> xiv.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XIII</p>
+<p class="center">THE DUKE</p>
+<div class="figcenter"><img src="images/img018.jpg" alt="" /></div>
+<p class="center">Princeps induetur moerore, et quiescere faciam<br />superbiam potentium.
+<i>Ezech.</i> viii.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XIV</p>
+<p class="center">THE ABBOT</p>
+<div class="figcenter"><img src="images/img019.jpg" alt="" /></div>
+<p class="center">Ipse morietur, quia non habuit disciplinam,<br />et in multitudine stultiti&aelig;
+su&aelig; decipietur.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XV</p>
+<p class="center">THE ABBESS</p>
+<div class="figcenter"><img src="images/img020.jpg" alt="" /></div>
+<p class="center">Laudavi magis mortuos quam viventes. <i>Eccles.</i> iv.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XVI</p>
+<p class="center">THE GENTLEMAN</p>
+<div class="figcenter"><img src="images/img021.jpg" alt="" /></div>
+<p class="center">Quis est homo qui vivet, et non videbit mortem,<br />eruet animam suam de manu
+inferi?</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XVII</p>
+<p class="center">THE CANON</p>
+<div class="figcenter"><img src="images/img022.jpg" alt="" /></div>
+<p class="center">Ecce appropinquat hora. <i>Mat.</i> xxvi.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XVIII</p>
+<p class="center">THE JUDGE</p>
+<div class="figcenter"><img src="images/img023.jpg" alt="" /></div>
+<p class="center">Disperdam judicem de medio ejus. <i>Amos</i> ii.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XIX</p>
+<p class="center">THE ADVOCATE</p>
+<div class="figcenter"><img src="images/img024.jpg" alt="" /></div>
+<p class="center">Callidus vidit malum, et abscondit se: innocens<br />pertransiit, et afflictus
+est damno. <i>Prover.</i> xxii.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XX</p>
+<p class="center">THE MAGISTRATE</p>
+<div class="figcenter"><img src="images/img025.jpg" alt="" /></div>
+<p class="center">Qui obturat aurem suam ad clamorem pauperis,<br />et ipse clamabit, et non
+exaudietur. <i>Prover.</i> xxi.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XXI</p>
+<p class="center">THE PREACHER</p>
+<div class="figcenter"><img src="images/img026.jpg" alt="" /></div>
+<p class="center">V&aelig; qui dicitis malum bonum, et bonum malum: ponentes<br />tenebras lucem, et
+lucem tenebras: ponentes amarum<br />in dulce, et dulce in amarum. <i>Isai&aelig;</i> v.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XXII</p>
+<p class="center">THE PRIEST</p>
+<div class="figcenter"><img src="images/img027.jpg" alt="" /></div>
+<p class="center">Sum quidem et ego mortalis homo. <i>Sap.</i> vii.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XXIII</p>
+<p class="center">THE MENDICANT</p>
+<div class="figcenter"><img src="images/img028.jpg" alt="" /></div>
+<p class="center">Sedentes in tenebris, et in umbra mortis,<br />vinctos in mendicitate. <i>Psal.</i> cvi.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XXIV</p>
+<p class="center">THE NUN</p>
+<div class="figcenter"><img src="images/img029.jpg" alt="" /></div>
+<p class="center">Est via qu&aelig; videtur homini justa: novissima autem<br />ejus deducunt hominem ad
+mortem. <i>Prover.</i> iv.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XXV</p>
+<p class="center">THE OLD WOMAN</p>
+<div class="figcenter"><img src="images/img030.jpg" alt="" /></div>
+<p class="center">Melior est mors qu&agrave;m vita. <i>Eccle.</i> xxx.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XXVI</p>
+<p class="center">THE PHYSICIAN</p>
+<div class="figcenter"><img src="images/img031.jpg" alt="" /></div>
+<p class="center">Medice, cura te ipsum. <i>Luc.</i> iv.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XXVII</p>
+<p class="center">THE ASTROLOGER</p>
+<div class="figcenter"><img src="images/img032.jpg" alt="" /></div>
+<p class="center">Indica mihi si nosti omnia. Sciebas quod nasciturus esses,<br />et numerum
+dierum tuorum noveras? <i>Job</i> xxxviii.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XXVIII</p>
+<p class="center">THE MISER</p>
+<div class="figcenter"><img src="images/img033.jpg" alt="" /></div>
+<p class="center">Stulte, hac nocte repetunt animam tuam:<br />et qu&aelig; parasti, cujus erunt?
+<i>Luc&aelig;</i> xii.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XXIX</p>
+<p class="center">THE MERCHANT</p>
+<div class="figcenter"><img src="images/img034.jpg" alt="" /></div>
+<p class="center">Qui congregat thesauros lingua mendacii, vanus et excors est,<br />et
+impingetur ad laqueos mortis. <i>Proverb.</i> xxi.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XXX</p>
+<p class="center">THE SHIP IN A TEMPEST</p>
+<div class="figcenter"><img src="images/img035.jpg" alt="" /></div>
+<p class="center">Qui volunt ditescere, incidunt in tentationem et laqueum,<br />et cupiditates
+multas, stultas, ac noxias, qu&aelig; demergunt<br />homines in exitium et interitum.
+<i>1 ad Tim.</i> vi.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XXXI</p>
+<p class="center">THE KNIGHT</p>
+<div class="figcenter"><img src="images/img036.jpg" alt="" /></div>
+<p class="center">Subito morientur, et in media nocte turbabuntur populi,<br />et auferent
+violentum absque manu. <i>Job</i> xxxiv.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XXXII</p>
+<p class="center">THE COUNT</p>
+<div class="figcenter"><img src="images/img037.jpg" alt="" /></div>
+<p class="center">Quoniam cum interierit, non sumet secum omnia,<br />neque cum eo descendet
+gloria ejus. <i>Psal.</i> xlviii.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XXXIII</p>
+<p class="center">THE OLD MAN</p>
+<div class="figcenter"><img src="images/img038.jpg" alt="" /></div>
+<p class="center">Spiritus meus attenuabitur, dies mei breviabuntur,<br />et solum mihi superest
+sepulchrum. <i>Job</i> xvii.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XXXIV</p>
+<p class="center">THE COUNTESS</p>
+<div class="figcenter"><img src="images/img039.jpg" alt="" /></div>
+<p class="center">Ducunt in bonis dies suos, et in puncto ad inferna<br />descendunt. <i>Job</i> xxi.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XXXV</p>
+<p class="center">THE NEW-MARRIED LADY</p>
+<div class="figcenter"><img src="images/img040.jpg" alt="" /></div>
+<p class="center">Me et te sola mors separabit. <i>Ruth</i> i.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XXXVI</p>
+<p class="center">THE DUCHESS</p>
+<div class="figcenter"><img src="images/img041.jpg" alt="" /></div>
+<p class="center">De lectulo super quem ascendisti, non descendes,<br />sed morte morieris. <i>4
+Reg.</i> i.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XXXVII</p>
+<p class="center">THE PEDLAR</p>
+<div class="figcenter"><img src="images/img042.jpg" alt="" /></div>
+<p class="center">Venite ad me, omnes qui laboratis, et onerati estis. <i>Matth.</i> xi.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XXXVIII</p>
+<p class="center">THE HUSBANDMAN</p>
+<div class="figcenter"><img src="images/img043.jpg" alt="" /></div>
+<p class="center">In sudore vultus tui vesceris pane tuo. <i>Gen.</i> iii.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XXXIX</p>
+<p class="center">THE CHILD</p>
+<div class="figcenter"><img src="images/img044.jpg" alt="" /></div>
+<p class="center">Homo natus de muliere, brevi vivens tempore,<br />repletur multis miseriis: qui
+quasi flos egreditur,<br />et conteritur, et fugit velut umbra. <i>Job</i> xiv.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XL</p>
+<p class="center">THE SOLDIER</p>
+<div class="figcenter"><img src="images/img045.jpg" alt="" /></div>
+<p class="center">Cum fortis armatus custodit atrium suum, &amp;c.<br />Si autem fortior eo
+superveniens vicerit eum,<br />universa ejus arma aufert, in quibus<br />confidebat. <i>Luc.</i> xi.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XLI</p>
+<p class="center">THE GAMESTERS</p>
+<div class="figcenter"><img src="images/img046.jpg" alt="" /></div>
+<p class="center">Quid prodest homini, si universum mundum lucretur,<br />anim&aelig; autem su&aelig;
+detrimentum patiatur? <i>Mat.</i> xvi.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XLII</p>
+<p class="center">THE DRUNKARDS</p>
+<div class="figcenter"><img src="images/img047.jpg" alt="" /></div>
+<p class="center">Ne inebriemini vino, in quo est luxuria. <i>Ephes.</i> v.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XLIII</p>
+<p class="center">THE IDEOT FOOL</p>
+<div class="figcenter"><img src="images/img048.jpg" alt="" /></div>
+<p class="center">Quasi agnus lasciviens, et ignorans, nescit quod<br />ad vincula stultus
+trahatur. <i>Prover.</i> vii.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XLIV</p>
+<p class="center">THE ROBBER</p>
+<div class="figcenter"><img src="images/img049.jpg" alt="" /></div>
+<p class="center">Domine, vim patior. <i>Isai&aelig;</i> xxxviii.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XLV</p>
+<p class="center">THE BLIND MAN</p>
+<div class="figcenter"><img src="images/img050.jpg" alt="" /></div>
+<p class="center">C&aelig;cus c&aelig;cum ducit: et ambo in foveam cadunt. <i>Matt.</i> xv.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XLVI</p>
+<p class="center">THE WAGGONER</p>
+<div class="figcenter"><img src="images/img051.jpg" alt="" /></div>
+<p class="center">Corruit in curru suo. <i>1 Chron.</i> xxii.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XLVII</p>
+<p class="center">THE BEGGAR</p>
+<div class="figcenter"><img src="images/img052.jpg" alt="" /></div>
+<p class="center">Miser ego homo! quis me liberabit de corpore<br />mortis hujus? <i>Rom.</i> vii.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XLVIII</p>
+<p class="center">THE LAST JUDGMENT</p>
+<div class="figcenter"><img src="images/img053.jpg" alt="" /></div>
+<p class="center">Memorare novissima, et in &aelig;ternum non peccabis. <i>Eccle.</i> vii.</p>
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<p class="center">XLIX</p>
+<p class="center">ALLEGORICAL ESCUTCHEON OF DEATH</p>
+<div class="figcenter"><img src="images/img054.jpg" alt="" /></div>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<h2>MARKS OF ENGRAVERS.</h2>
+
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><span class="mono">G S.</span> <a href="#Page_41">41</a>, <a href="#Page_117">117</a></td></tr>
+
+<tr><td><img src="images/mono_hl.jpg" alt="[monogram]" /> <a href="#Page_93">93</a>, <a href="#Page_97">97</a>, <a href="#Page_98">98</a>, <a href="#Page_100">100</a>, <a href="#Page_111">111</a>, <a href="#Page_113">113</a>, <a href="#Page_114">114</a>, <a href="#Page_215">215</a>, <a href="#Page_235">235</a></td></tr>
+
+<tr><td><img src="images/mono_hn.jpg" alt="[monogram]" /> <a href="#Page_100">100</a></td></tr>
+
+<tr><td><span class="mono">S.</span> <a href="#Page_113">113</a></td></tr>
+
+<tr><td><img src="images/mono_a.jpg" alt="[monogram]" /> <a href="#Page_113">113</a>, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>, <a href="#Page_116">116</a>, <a href="#Page_127">127</a>, <a href="#Page_130">130</a>, <a href="#Page_136">136</a>, <a href="#Page_174">174</a></td></tr>
+
+<tr><td><img src="images/mono_w.jpg" alt="[monogram]" /> <a href="#Page_117">117</a></td></tr>
+
+<tr><td><img src="images/mono_cross.jpg" alt="[monogram]" /> <a href="#Page_117">117</a></td></tr>
+
+<tr><td><img src="images/mono_evi.jpg" alt="[monogram]" /> <a href="#Page_118">118</a></td></tr>
+
+<tr><td><img src="images/mono_a2.jpg" alt="[monogram]" /> <a href="#Page_124">124</a></td></tr>
+
+<tr><td><img src="images/mono_uh.jpg" alt="[monogram]" /> <a href="#Page_125">125</a></td></tr>
+
+<tr><td><img src="images/mono_wh.jpg" alt="[monogram]" /> <a href="#Page_125">125</a></td></tr>
+
+<tr><td><img src="images/mono_hb.jpg" alt="[monogram]" /> <a href="#Page_126">126</a></td></tr>
+
+<tr><td><img src="images/mono_hh.jpg" alt="[monogram]" /> <a href="#Page_126">126</a></td></tr>
+
+<tr><td><img src="images/mono_hholbein.jpg" alt="[monogram]" /> inv. <a href="#Page_126">126</a>, <a href="#Page_129">129</a></td></tr>
+
+<tr><td>H. HOLBEIN, inv. <a href="#Page_126">126</a>.</td></tr>
+
+<tr><td><span class="mono">W.</span> <a href="#Page_130">130</a></td></tr>
+
+<tr><td><img src="images/mono_lbf.jpg" alt="[monogram]" /> <a href="#Page_130">130</a></td></tr>
+
+<tr><td><img src="images/mono_ci.jpg" alt="[monogram]" /> <a href="#Page_147">147</a>, <a href="#Page_248">248</a></td></tr>
+
+<tr><td><img src="images/mono_ac.jpg" alt="[monogram]" /> <a href="#Page_160">160</a>, <a href="#Page_190">190</a></td></tr>
+
+<tr><td><img src="images/mono_hf.jpg" alt="[monogram]" /> <a href="#Page_184">184</a></td></tr>
+
+<tr><td><span class="mono">L</span> <a href="#Page_189">189</a></td></tr>
+
+<tr><td><img src="images/mono_vg.jpg" alt="[monogram]" /> <a href="#Page_189">189</a></td></tr>
+
+<tr><td><img src="images/mono_hsb.jpg" alt="[monogram]" /> <a href="#Page_190">190</a></td></tr>
+
+<tr><td><img src="images/mono_hcb.jpg" alt="[monogram]" /> <a href="#Page_190">190</a></td></tr>
+
+<tr><td><img src="images/mono_hsp.jpg" alt="[monogram]" /> <a href="#Page_191">191</a></td></tr>
+
+<tr><td><img src="images/mono_hm.jpg" alt="[monogram]" /> <a href="#Page_191">191</a></td></tr>
+
+<tr><td><img src="images/mono_yf.jpg" alt="[monogram]" /> <a href="#Page_191">191</a></td></tr>
+
+<tr><td><img src="images/mono_bad.jpg" alt="[monogram]" /> <a href="#Page_193">193</a></td></tr>
+
+<tr><td><span class="mono">I. F.</span> <a href="#Page_219">219</a></td></tr>
+
+<tr><td><img src="images/mono_fig.jpg" alt="[monogram]" /> <a href="#Page_223">223</a></td></tr>
+
+<tr><td><img src="images/mono_hs.jpg" alt="[monogram]" /> <a href="#Page_226">226</a></td></tr></table>
+
+
+<p>&nbsp;</p>
+<p class="center">These are the marks erroneously given to Holbein,</p>
+
+<p class="center"><img src="images/mono_line.jpg" alt="" /></p>
+
+<p>&nbsp;</p>
+<p class="center">And these the marks which really belong to him,</p>
+
+<table border="0" cellpadding="0" cellspacing="5" summary="table">
+<tr><td><span class="mono">HH.</span></td><td><span class="spacer">&nbsp;</span></td>
+    <td><span class="mono">II H.</span></td></tr>
+<tr><td><span class="mono">HANS HOLB.</span></td><td>&nbsp;</td>
+    <td><span class="mono">HANS HOLBEN.</span></td></tr>
+<tr><td><span class="mono">HANS HOLBEIN.</span></td><td>&nbsp;</td>
+    <td><img src="images/mono_ah1517.jpg" alt="[monogram]" /></td></tr>
+<tr><td><img src="images/mono_1519hf.jpg" alt="[monogram]" /></td><td>&nbsp;</td>
+    <td><img src="images/mono_h_sword_h.jpg" alt="[monogram]" /></td></tr>
+<tr><td><img src="images/mono_hf_fancy.jpg" alt="[monogram]" /></td><td>&nbsp;</td>
+    <td><img src="images/mono_hh_sword.jpg" alt="[monogram]" /></td></tr></table>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<h2>INDEX.</h2>
+
+
+<p class="index">
+<span class="mono">A.</span><br />
+<br />
+&AElig;mylius, Geo. his verses, <a href="#Page_84">84</a>.<br />
+<br />
+Alciatus, his emblems the earliest work of the kind, <a href="#Page_180">180</a>.<br />
+<br />
+Aldegrever, his Dance of Death, <a href="#Page_160">160</a>.<br />
+<br />
+Almanac, a Swiss one, with a Dance of Death, <a href="#Page_76">76</a>, <a href="#Page_209">209</a>.<br />
+<br />
+Alphabets, several curious, <a href="#Page_100">100</a>, <a href="#Page_214">214</a>, <a href="#Page_217">217</a>.<br />
+<br />
+Amman, Jost, a Dance of Death by him, <a href="#Page_41">41</a>.<br />
+<br />
+Ars moriendi, some account of the last edition of it, <a href="#Page_173">173</a>.<br />
+<br />
+Athyr, &#8220;Stamm-und Stechbuchlein,&#8221; a rare and singular book of emblems, <a href="#Page_180">180</a>.<br />
+<br />
+<br />
+<span class="mono">B.</span><br />
+<br />
+Baldinucci, a mistake by him corrected, <a href="#Page_235">235</a>.<br />
+<br />
+Basle, destruction of its celebrated painting of the Dance of Death, <a href="#Page_39">39</a>.<br />
+<span style="margin-left: 1em;">engravings of it, <a href="#Page_41">41</a>.</span><br />
+<br />
+Beauclerc, Lady Diana, her ballad of Leonora, <a href="#Page_210">210</a>.<br />
+<br />
+Bechstein, Ludwig, his edition of the Lyons&#8217; wood-cuts, <a href="#Page_136">136</a>.<br />
+<br />
+Beham, Barthol., his Dance of Death, <a href="#Page_190">190</a>.<br />
+<br />
+Bernard, le petit, his fine wood-cuts to the Old Testament, <a href="#Page_173">173</a>.<br />
+<br />
+Berne almanac, a Dance of Death in one of them, <a href="#Page_154">154</a>.<br />
+<br />
+Bock, Hans, not the painter of the Basle Dance of Death, <a href="#Page_39">39</a>.<br />
+<br />
+Bodenehr, Maurice, a Dance of Death by him, <a href="#Page_165">165</a>.<br />
+<br />
+&#8220;Boetius de consolatione,&#8221; a figure of Death in an old edition of it, <a href="#Page_171">171</a>.<br />
+<br />
+Bonaparte, Napoleon, a Dance of Death relating to him, <a href="#Page_167">167</a>.<br />
+<br />
+Books in which a Dance of Death is occasionally introduced, <a href="#Page_168">168</a>.<br />
+<br />
+Borbonius, Nicolas, his portrait, <a href="#Page_140">140</a>.<br />
+<span style="margin-left: 1em;">his verses, <a href="#Page_92">92</a>, <a href="#Page_94">94</a>, <a href="#Page_139">139</a>.</span><br />
+<span style="margin-left: 1em;">in England, <a href="#Page_140">140</a>.</span><br />
+<br />
+Bosman, Arent, a singular old Dutch legend relating to him, <a href="#Page_183">183</a>.<br />
+<br />
+Bosse, a curious engraving by him, <a href="#Page_196">196</a>.<br />
+<br />
+Boxgrove church in Sussex, sculpture in, <a href="#Page_226">226</a>.<br />
+<br />
+Brant, Sebastian, his stultifera navis, <a href="#Page_170">170</a>.<br />
+<br />
+Bromiard, John De, his &#8220;Summa predicantium,&#8221; a fine frontispiece to it, <a href="#Page_183">183</a>.<br />
+<br />
+Buno, Conrad, a book of emblems by him, <a href="#Page_181">181</a>.<br />
+<br />
+Burnet, Bishop, his ambiguous account of a Dance of Death at Basle, <a href="#Page_79">79</a>, <a href="#Page_138">138</a>.<br />
+<br />
+<br />
+<span class="mono">C.</span><br />
+<br />
+Calendrier des Bergers, <a href="#Page_170">170</a>.<br />
+<br />
+Callot, drawings by him of a Dance of Death in the collection of Sir Tho. Lawrence, <a href="#Page_223">223</a>.<br />
+<br />
+Camus, M. de, a ludicrous mistake by him, <a href="#Page_169">169</a>.<br />
+<br />
+Catz&#8217;s emblems, <a href="#Page_182">182</a>.<br />
+<br />
+Cavallero determinado, <a href="#Page_174">174</a>.<br />
+<br />
+Centre de l&#8217;amour, a singular book of emblems, <a href="#Page_182">182</a>.<br />
+<br />
+Chertablon, &#8220;Maniere de se bien preparer &agrave; la mort,&#8221; <a href="#Page_177">177</a>.<br />
+<br />
+&#8220;Chevalier de la tour,&#8221; a singular print from this curious romance, <a href="#Page_171">171</a>.<br />
+<br />
+Chodowiecki, his engravings relating to the Dance of Death, <a href="#Page_153">153</a>, <a href="#Page_207">207</a>, <a href="#Page_208">208</a>.<br />
+<br />
+Chorier, his &#8220;Antiquit&eacute;s de Vienne,&#8221; <a href="#Page_48">48</a>.<br />
+<br />
+Cogeler, &#8220;Imagines elegantissim&aelig;, &amp;c.&#8221; <a href="#Page_173">173</a>.<br />
+<br />
+Coleraine, I. Nixon, his Dance of Death on a fan, <a href="#Page_159">159</a>.<br />
+<br />
+Colman&#8217;s &#8220;Death&#8217;s duell,&#8221; <a href="#Page_185">185</a>.<br />
+<br />
+Compan, M. his mistake about a Dance of Death, <a href="#Page_237">237</a>.<br />
+<br />
+Coppa, a poem ascribed to Virgil, <a href="#Page_3">3</a>.<br />
+<br />
+Cossiers, John, a curious print after him, <a href="#Page_199">199</a>.<br />
+<br />
+Coverdale&#8217;s Bible, with initials of a Dance of Death, <a href="#Page_217">217</a>.<br />
+<br />
+Coxe&#8217;s travels in Switzerland, some account in them of M. Crozat&#8217;s drawings, <a href="#Page_134">134</a>.<br />
+<br />
+Crozat, M. De, account of some supposed drawings by Holbein in his collection, <a href="#Page_134">134</a>.<br />
+<br />
+<br />
+<span class="mono">D.</span><br />
+<br />
+Dagger, design for the sheath of one by Holbein, <a href="#Page_133">133</a>.<br />
+<br />
+Dagley&#8217;s &#8220;Death&#8217;s doings,&#8221; <a href="#Page_157">157</a>, <a href="#Page_210">210</a>, <a href="#Page_224">224</a>.<br />
+<br />
+Dance of Death, a pageant, <a href="#Page_5">5</a>.<br />
+<span style="margin-left: 1em;">Danish one, <a href="#Page_159">159</a>.</span><br />
+<span style="margin-left: 1em;">known to the ancients, <a href="#Page_12">12</a>.</span><br />
+<span style="margin-left: 1em;">one at Pompeii, <a href="#Page_13">13</a>.</span><br />
+<span style="margin-left: 1em;">the term sometimes improperly used, <a href="#Page_81">81</a>.</span><br />
+<span style="margin-left: 1em;">verses belonging to it, <a href="#Page_17">17</a>.</span><br />
+<span style="margin-left: 1em;">where sculptured and painted, <a href="#Page_17">17</a>.</span><br />
+<br />
+Dance, Mr. the painter, his imitation of a subject in the Dance of Death in his portrait of Mr. Garrick, <a href="#Page_137">137</a>.<br />
+<br />
+Dances of Death, with such text only as describes the subject, <a href="#Page_160">160</a>.<br />
+<span style="margin-left: 1em;">anonymous, <a href="#Page_161">161</a>, <a href="#Page_162">162</a>, <a href="#Page_163">163</a>, <a href="#Page_164">164</a>.</span><br />
+<span style="margin-left: 1em;">at the following places,</span><br />
+<span style="margin-left: 2em;">Amiens, <a href="#Page_47">47</a>.</span><br />
+<span style="margin-left: 2em;">Anneberg, <a href="#Page_44">44</a>.</span><br />
+<span style="margin-left: 2em;">Avignon, <a href="#Page_221">221</a>.</span><br />
+<span style="margin-left: 2em;">Basle, <a href="#Page_36">36</a>.</span><br />
+<span style="margin-left: 2em;">Berlin, <a href="#Page_48">48</a>.</span><br />
+<span style="margin-left: 2em;">Berne, <a href="#Page_45">45</a>.</span><br />
+<span style="margin-left: 2em;">Blois, <a href="#Page_47">47</a>.</span><br />
+<span style="margin-left: 2em;">Croydon, <a href="#Page_54">54</a>.</span><br />
+<span style="margin-left: 2em;">Dijon, <a href="#Page_35">35</a>.</span><br />
+<span style="margin-left: 2em;">Dresden, <a href="#Page_44">44</a>.</span><br />
+<span style="margin-left: 2em;">Erfurth, <a href="#Page_44">44</a>.</span><br />
+<span style="margin-left: 2em;">Fescamp, <a href="#Page_47">47</a>.</span><br />
+<span style="margin-left: 2em;">Hexham, <a href="#Page_53">53</a>.</span><br />
+<span style="margin-left: 2em;">Holland, <a href="#Page_49">49</a>.</span><br />
+<span style="margin-left: 2em;">Italy, <a href="#Page_49">49</a>.</span><br />
+<span style="margin-left: 2em;">Klingenthal, <a href="#Page_42">42</a>.</span><br />
+<span style="margin-left: 2em;">Leipsic, <a href="#Page_44">44</a>.</span><br />
+<span style="margin-left: 2em;">Lubeck, <a href="#Page_43">43</a>.</span><br />
+<span style="margin-left: 2em;">Lucerne, <a href="#Page_46">46</a>.</span><br />
+<span style="margin-left: 2em;">Minden, <a href="#Page_35">35</a>.</span><br />
+<span style="margin-left: 2em;">Nuremberg, <a href="#Page_45">45</a>.</span><br />
+<span style="margin-left: 2em;">Paris, <a href="#Page_14">14</a>, <a href="#Page_33">33</a>, <a href="#Page_35">35</a>.</span><br />
+<span style="margin-left: 2em;">Rouen, <a href="#Page_47">47</a>.</span><br />
+<span style="margin-left: 2em;">Salisbury, <a href="#Page_52">52</a>.</span><br />
+<span style="margin-left: 2em;">St. Paul&#8217;s, <a href="#Page_51">51</a>, <a href="#Page_76">76</a>.</span><br />
+<span style="margin-left: 2em;">Spain, <a href="#Page_50">50</a>.</span><br />
+<span style="margin-left: 2em;">Strasburg, <a href="#Page_47">47</a>.</span><br />
+<span style="margin-left: 2em;">Tower of London, <a href="#Page_54">54</a>.</span><br />
+<span style="margin-left: 2em;">Vienne, in Dauphin&eacute;, <a href="#Page_48">48</a>.</span><br />
+<span style="margin-left: 2em;">Wortley Hall, <a href="#Page_53">53</a>.</span><br />
+<br />
+Dancing in temples and churchyards, <a href="#Page_5">5</a>, <a href="#Page_6">6</a>.<br />
+<br />
+Daniel, Mr. an unique print of a Dance of Death in his possession, <a href="#Page_248">248</a>.<br />
+<br />
+Danse aux aveugles, <a href="#Page_231">231</a>.<br />
+<br />
+Death and the Lady, <a href="#Page_226">226</a>.<br />
+<span style="margin-left: 1em;">how personified by the Ancients, <a href="#Page_1">1</a>.</span><br />
+<span style="margin-left: 1em;">not in itself terrific, <a href="#Page_4">4</a>.</span><br />
+<span style="margin-left: 1em;">to Dr. Quackery, <a href="#Page_211">211</a>.</span><br />
+<br />
+De Bry, prints by him, <a href="#Page_180">180</a>, <a href="#Page_183">183</a>, <a href="#Page_195">195</a>.<br />
+<br />
+Dedication to the first edition of the Lyons wood-cuts, <a href="#Page_86">86</a>.<br />
+<span style="margin-left: 1em;">mistakes in it, <a href="#Page_87">87</a>.</span><br />
+<br />
+De Gheyn, prints by him, <a href="#Page_198">198</a>, <a href="#Page_205">205</a>.<br />
+<br />
+De la Motte&#8217;s fables, <a href="#Page_183">183</a>.<br />
+<br />
+Della Bella, <a href="#Page_162">162</a>.<br />
+<br />
+De Murr, his mistake about the Dance of Death, <a href="#Page_235">235</a><br />
+<br />
+Dennecker, or De Necker, Jobst, Dances of Death by him, <a href="#Page_40">40</a>, <a href="#Page_42">42</a>, <a href="#Page_85">85</a>, <a href="#Page_118">118</a>.<br />
+<br />
+De Pas, Crispin, description of a singular engraving by him, <a href="#Page_196">196</a>.<br />
+<br />
+Descamps, his mistake about the Dance of Death, <a href="#Page_235">235</a>.<br />
+<br />
+Deuchar, David, the Scottish Worlidge, his etchings of the Dance of Death, <a href="#Page_135">135</a>.<br />
+<br />
+Deutch, Nicolas Manuel, the painter of a Dance of Death at Berne, <a href="#Page_224">224</a>.<br />
+<br />
+Devil&#8217;s ruff-shop, <a href="#Page_200">200</a>.<br />
+<br />
+De Vos, Martin, print after him of the Devil&#8217;s ruff-shop, <a href="#Page_200">200</a>.<br />
+<br />
+Diepenbecke, Abraham, designer of the borders to Hollar&#8217;s etchings of the Dance of Death, <a href="#Page_125">125</a>.<br />
+<br />
+Dialogue of life and death, in &#8220;Dialogues of creatures moralized,&#8221; <a href="#Page_170">170</a>.<br />
+<br />
+Dominotiers, venders of coloured prints for the common people, <a href="#Page_77">77</a>.<br />
+<br />
+Drawings of the Dance of Death, <a href="#Page_222">222</a>.<br />
+<br />
+Drur&aelig;i Mors, an excellent Latin comedy, <a href="#Page_175">175</a>.<br />
+<br />
+Dugdale, his Monasticon, <a href="#Page_129">129</a>.<br />
+<span style="margin-left: 1em;">his St. Paul&#8217;s, <a href="#Page_129">129</a>.</span><br />
+<br />
+Durer, Albert, some prints by or after him described, <a href="#Page_188">188</a>, <a href="#Page_189">189</a>.<br />
+<br />
+<br />
+<span class="mono">E.</span><br />
+<br />
+Ear, the seat of memory among the Ancients, <a href="#Page_3">3</a>.<br />
+<span style="margin-left: 1em;">swearing by, <a href="#Page_3">3</a>.</span><br />
+<br />
+Edwards, Mr. the bookseller, the possessor of Hollar&#8217;s etchings of the Dance of Death, <a href="#Page_128">128</a>.<br />
+<br />
+Elizabeth, her prayer-book with a Dance of Death, <a href="#Page_147">147</a>, <a href="#Page_247">247</a>.<br />
+<br />
+Emblems and fables relating to the Dance of Death, <a href="#Page_179">179</a>.<br />
+<br />
+Engravings on wood, the earliest impressions of them not always the best, <a href="#Page_85">85</a>, <a href="#Page_90">90</a>.<br />
+<span style="margin-left: 1em;">commendations of them in books printed in France, Germany, and Italy, <a href="#Page_97">97</a>.</span><br />
+<br />
+Errors of miscellaneous writers on the Dance of Death, <a href="#Page_236">236</a>.<br />
+<span style="margin-left: 1em;">of travellers concerning it, <a href="#Page_233">233</a>.</span><br />
+<span style="margin-left: 1em;">of writers on painting and engraving concerning it, <a href="#Page_234">234</a>.</span><br />
+<br />
+Evelyn, Mr. his mistake concerning the Dance of Death, <a href="#Page_235">235</a>.<br />
+<br />
+<br />
+<span class="mono">F.</span><br />
+<br />
+Fables relating to the Dance of Death, <a href="#Page_179">179</a>.<br />
+<br />
+Faut mourir, le, <a href="#Page_26">26</a>.<br />
+<br />
+Felibien, his mistake about the Dance of Death, <a href="#Page_235">235</a>.<br />
+<br />
+Figeac, Champollion, his account of a Macaber Dance, <a href="#Page_238">238</a>.<br />
+<br />
+Fleischmann, Counsellor, of Strasburg, drawings of a Dance of Death in his possession, <a href="#Page_134">134</a>.<br />
+<br />
+Fontenai, Abb&eacute;, his mistake concerning the Dance of Death, <a href="#Page_236">236</a>.<br />
+<br />
+Fool and Death in old moralities, <a href="#Page_177">177</a>.<br />
+<br />
+Fournier, his mistake concerning the Dance of Death, <a href="#Page_237">237</a>.<br />
+<br />
+Fox, John, &#8220;Book of Christian Prayers,&#8221; compiled by him, <a href="#Page_147">147</a>.<br />
+<br />
+Francis I. an importer of fine artists into France, <a href="#Page_92">92</a>.<br />
+<br />
+Francolin, a rare work by him described, <a href="#Page_217">217</a>.<br />
+<br />
+Freidanck, <a href="#Page_171">171</a>.<br />
+<br />
+Friderich&#8217;s emblems, <a href="#Page_180">180</a>.<br />
+<br />
+Frontispieces connected with the Dance of Death, described, <a href="#Page_183">183</a>.<br />
+<br />
+Fulbert&#8217;s vision of the dispute between the soul and the body, <a href="#Page_32">32</a>.<br />
+<br />
+Fuseli, Mr. his opinion concerning the Dance of Death, <a href="#Page_83">83</a>.<br />
+<br />
+Fyner, Conrad, his process or law-suit of Death.<br />
+<br />
+<br />
+<span class="mono">G.</span><br />
+<br />
+Gallitzin, Prince, some supposed drawings by Holbein of a Dance of Death in his possession, <a href="#Page_134">134</a>.<br />
+<br />
+Gem, an ancient one, with a skeleton as the representative of Death, <a href="#Page_206">206</a>.<br />
+<br />
+Gerard, Mark, some etchings of fables by him, <a href="#Page_179">179</a>.<br />
+<br />
+Gesner&#8217;s Pandect&aelig;, remarks on a passage in that work, <a href="#Page_84">84</a>.<br />
+<br />
+Ghezzi, a figure of Death among his caricatures, <a href="#Page_206">206</a>.<br />
+<br />
+Glarus, Franciscus &agrave;, his &#8220;Confusio disposita, &amp;c.&#8221; noticed as a very singular work, <a href="#Page_177">177</a>.<br />
+<br />
+Glass, painted, with a Dance of Death, <a href="#Page_227">227</a>.<br />
+<br />
+Glissenti, his &#8220;Discorsi morali,&#8221; <a href="#Page_112">112</a>.<br />
+<span style="margin-left: 1em;">his &#8220;Morte inamorata,&#8221; <a href="#Page_246">246</a>.</span><br />
+<br />
+Gobin le gay, a name of one of the shepherds in an old print of the Adoration, <a href="#Page_69">69</a>.<br />
+<br />
+Gobin, Robert, his &#8220;loups ravissans,&#8221; remarkable for a Dance of Death, <a href="#Page_146">146</a>.<br />
+<br />
+Goethe, a Dance of Death in one of his works, <a href="#Page_178">178</a>, <a href="#Page_211">211</a>.<br />
+<br />
+Gole, a mezzotinto by him of Death and the Miser, <a href="#Page_203">203</a>.<br />
+<br />
+Goujet, his mistake about the Dance of Death at Basle, <a href="#Page_233">233</a>.<br />
+<br />
+Graaf, Urs, a print by him, and his monogram described, <a href="#Page_189">189</a>.<br />
+<br />
+Grandville, &#8220;Voyage pour l&#8217;eternit&eacute;,&#8221; <a href="#Page_157">157</a>.<br />
+<br />
+Gray, Rev. Robert, his mistake about the Dance of Death at Basle, <a href="#Page_233">233</a>.<br />
+<br />
+Gringoire, Pierre, his &#8220;Heures de Notre Dame,&#8221; <a href="#Page_172">172</a>.<br />
+<br />
+Grosthead, story from his &#8220;Manuel de P&eacute;ch&eacute;,&#8221; <a href="#Page_7">7</a>.<br />
+<br />
+Guilleville, &#8220;Pelerin de la vie humaine,&#8221; <a href="#Page_175">175</a>.<br />
+<br />
+<br />
+<span class="mono">H.</span><br />
+<br />
+Harding, an etching by him of &#8220;Death and the Doctor,&#8221; <a href="#Page_211">211</a>.<br />
+<br />
+Hawes&#8217;s &#8220;Pastime of Pleasure,&#8221; two prints from it described, <a href="#Page_173">173</a>.<br />
+<br />
+Heemskirk, Martin, a print by him described, <a href="#Page_193">193</a>, <a href="#Page_199">199</a>.<br />
+<br />
+Hegner, his life of Holbein, <a href="#Page_240">240</a>.<br />
+<br />
+Heymans, Mynheer, a dedication to him, <a href="#Page_141">141</a>.<br />
+<br />
+Historia della Morte, a poem so called, <a href="#Page_176">176</a>.<br />
+<br />
+Holbein, a German, life of him by Hegner, <a href="#Page_240">240</a>.<br />
+<span style="margin-left: 1em;">ambiguity with respect to the paintings at Basle ascribed to him, <a href="#Page_81">81</a>.</span><br />
+<span style="margin-left: 1em;">dance of peasants by him, <a href="#Page_80">80</a>.</span><br />
+<span style="margin-left: 1em;">engravings by him with his name, <a href="#Page_95">95</a>.</span><br />
+<span style="margin-left: 1em;">his Bible prints, <a href="#Page_94">94</a>.</span><br />
+<span style="margin-left: 1em;">his connexion with the Dance of Death, <a href="#Page_78">78</a>, <a href="#Page_138">138</a>.</span><br />
+<span style="margin-left: 1em;">his death, in 1554, <a href="#Page_144">144</a>.</span><br />
+<span style="margin-left: 1em;">his name not in the early editions of the Lyons wood-cuts, <a href="#Page_92">92</a>.</span><br />
+<span style="margin-left: 1em;">lives of him very defective, <a href="#Page_143">143</a>.</span><br />
+<span style="margin-left: 1em;">more particulars relating to him, <a href="#Page_143">143</a>.</span><br />
+<span style="margin-left: 1em;">not the painter of the Dance of Death at Basle, <a href="#Page_38">38</a>, <a href="#Page_43">43</a>, <a href="#Page_144">144</a>.</span><br />
+<span style="margin-left: 1em;">paints a Dance of Death at Whitehall, <a href="#Page_141">141</a>.</span><br />
+<span style="margin-left: 1em;">satirical painting of Erasmus by him, <a href="#Page_221">221</a>.</span><br />
+<br />
+Hollar, his copies of the Dance of Death, <a href="#Page_125">125</a>.<br />
+<br />
+Hopfer, David, his print of Death and the Devil, <a href="#Page_191">191</a>.<br />
+<br />
+Hor&aelig;, manuscripts of this service book with the Macaber Dance, <a href="#Page_60">60</a>.<br />
+<span style="margin-left: 1em;">printed copies of it with the same, and some similar designs, <a href="#Page_72">72</a>.</span><br />
+<br />
+Huber and Rust, their mistake concerning Holbein, <a href="#Page_236">236</a>.<br />
+<br />
+<br />
+<span class="mono">I.</span><br />
+<br />
+Jacques, Maitre, his &#8220;le faut mourir,&#8221; <a href="#Page_26">26</a>.<br />
+<br />
+Jansen, his mistake concerning the Dance of Death, <a href="#Page_236">236</a>.<br />
+<br />
+Imitations of and from the Lyons wood-cuts, <a href="#Page_137">137</a>.<br />
+<br />
+Initial letters with a Dance of Death, <a href="#Page_213">213</a>, <a href="#Page_214">214</a>, <a href="#Page_217">217</a>.<br />
+<br />
+Innocent III. Pope, his work &#8220;de vilitate conditionis human&aelig;,&#8221; <a href="#Page_172">172</a>.<br />
+<br />
+<br />
+<span class="mono">K.</span><br />
+<br />
+Karamsin, Nicolai, his account of a Dance of Death, <a href="#Page_44">44</a>.<br />
+<br />
+Kauw, his drawing of a Dance of Death, at Berne, <a href="#Page_224">224</a>.<br />
+<br />
+Kerver, Thielman, his editions of &#8220;Hor&aelig;,&#8221; <a href="#Page_174">174</a>.<br />
+<br />
+Klauber, John Hugh, a painter of a Dance of Death at Basle, <a href="#Page_36">36</a>, <a href="#Page_42">42</a>.<br />
+<br />
+<br />
+<span class="mono">L.</span><br />
+<br />
+Langlois, an engraving by him described, <a href="#Page_198">198</a>.<br />
+<br />
+Larv&aelig; and lemures, confusion among the ancients as to their respective qualities, <a href="#Page_4">4</a>.<br />
+<br />
+&#8220;Last drop,&#8221; an etching so intitled, <a href="#Page_211">211</a>.<br />
+<span style="margin-left: 1em;">a drawing of the same subject, <a href="#Page_224">224</a>.</span><br />
+<br />
+Lavenberg calendar, prints by Chodowiecki in it, <a href="#Page_153">153</a>.<br />
+<br />
+Lawrence, Sir Thomas, drawings by Callot of a Dance of Death in his possession, <a href="#Page_223">223</a>.<br />
+<br />
+&#8220;Lawyer&#8217;s last circuit,&#8221; a caricature print, <a href="#Page_209">209</a>.<br />
+<br />
+Le Blon, a circular print by him described, <a href="#Page_197">197</a>.<br />
+<br />
+Le Comte, his mistake concerning the Dance of Death, <a href="#Page_235">235</a>.<br />
+<br />
+Lubeck, a Dance of Death there, <a href="#Page_163">163</a>.<br />
+<br />
+Lutzenberger, Hans, the engraver of the Lyons wood-cuts of the Dance of Death, <a href="#Page_98">98</a>.<br />
+<span style="margin-left: 1em;">alphabets by him, <a href="#Page_100">100</a>.</span><br />
+<span style="margin-left: 1em;">various prints by him, <a href="#Page_99">99</a>.</span><br />
+<br />
+Luyken&#8217;s Emblems, <a href="#Page_177">177</a>, <a href="#Page_178">178</a>.<br />
+<br />
+Lydgate, his Verses to the Macaber Dance, <a href="#Page_29">29</a>, <a href="#Page_52">52</a>.<br />
+<br />
+Lyons, all the editions of the wood-cuts of the Dance of Death published there described, <a href="#Page_82">82</a>, <a href="#Page_103">103</a>.<br />
+<span style="margin-left: 1em;">copies of them by Hollar, <a href="#Page_125">125</a>.</span><br />
+<span style="margin-left: 1em;">copies of them on copper, <a href="#Page_121">121</a>.</span><br />
+<span style="margin-left: 1em;">copies of them on wood, <a href="#Page_111">111</a>.</span><br />
+<span style="margin-left: 1em;">various imitations of some of them, <a href="#Page_137">137</a>.</span><br />
+<br />
+Lyvijus, John, a print by him of two card players, <a href="#Page_197">197</a>.<br />
+<br />
+<br />
+<span class="mono">M.</span><br />
+<br />
+Macaber, a word falsely applied as the name of a supposed German poet, <a href="#Page_28">28</a>, <a href="#Page_34">34</a>.<br />
+<span style="margin-left: 1em;">its etymology discussed, <a href="#Page_30">30</a>, <a href="#Page_34">34</a>.</span><br />
+<br />
+Macaber Dance, <a href="#Page_13">13</a>, <a href="#Page_28">28</a>.<br />
+<span style="margin-left: 1em;">copies or engravings of it as painted at Basle, <a href="#Page_40">40</a>.</span><br />
+<span style="margin-left: 1em;">destruction of the painting at Basle, <a href="#Page_39">39</a>.</span><br />
+<span style="margin-left: 1em;">manuscripts in which it is represented, <a href="#Page_72">72</a>.</span><br />
+<span style="margin-left: 1em;">not painted by Holbein, <a href="#Page_38">38</a>.</span><br />
+<span style="margin-left: 1em;">printed books, in which it is represented, <a href="#Page_55">55</a>.</span><br />
+<span style="margin-left: 1em;">representations of it at the following places:&mdash;</span><br />
+<span style="margin-left: 2em;">Amiens, <a href="#Page_47">47</a>.</span><br />
+<span style="margin-left: 2em;">Anneberg, <a href="#Page_44">44</a>.</span><br />
+<span style="margin-left: 2em;">Basle, <a href="#Page_36">36</a>.</span><br />
+<span style="margin-left: 2em;">Berlin, <a href="#Page_48">48</a>.</span><br />
+<span style="margin-left: 2em;">Berne, <a href="#Page_45">45</a>.</span><br />
+<span style="margin-left: 2em;">Burgos, <a href="#Page_50">50</a>.</span><br />
+<span style="margin-left: 2em;">Croydon, <a href="#Page_54">54</a>.</span><br />
+<span style="margin-left: 2em;">Dijon, <a href="#Page_35">35</a>.</span><br />
+<span style="margin-left: 2em;">Dresden, <a href="#Page_44">44</a>, <a href="#Page_76">76</a>.</span><br />
+<span style="margin-left: 2em;">Erfurth, <a href="#Page_44">44</a>.</span><br />
+<span style="margin-left: 2em;">Hexham, <a href="#Page_53">53</a>.</span><br />
+<span style="margin-left: 2em;">Holland, <a href="#Page_49">49</a>.</span><br />
+<span style="margin-left: 2em;">Klingenthal, <a href="#Page_42">42</a>.</span><br />
+<span style="margin-left: 2em;">Lubeck, <a href="#Page_43">43</a>.</span><br />
+<span style="margin-left: 2em;">Lucerne, <a href="#Page_46">46</a>.</span><br />
+<span style="margin-left: 2em;">Minden, <a href="#Page_35">35</a>.</span><br />
+<span style="margin-left: 2em;">Naples, <a href="#Page_49">49</a>.</span><br />
+<span style="margin-left: 2em;">Rouen, <a href="#Page_47">47</a>.</span><br />
+<span style="margin-left: 2em;">Salisbury, <a href="#Page_52">52</a>.</span><br />
+<span style="margin-left: 2em;">St. Paul&#8217;s, <a href="#Page_51">51</a>, <a href="#Page_76">76</a>.</span><br />
+<span style="margin-left: 2em;">Strasburg, <a href="#Page_47">47</a>.</span><br />
+<span style="margin-left: 2em;">Tower of London, <a href="#Page_54">54</a>.</span><br />
+<span style="margin-left: 2em;">Vienne, <a href="#Page_48">48</a>.</span><br />
+<span style="margin-left: 2em;">Wortley Hall, <a href="#Page_53">53</a>.</span><br />
+<br />
+Macarius Saint, painting of a legend relating to him, by Orgagna, at the Campo Santo, <a href="#Page_32">32</a>, <a href="#Page_33">33</a>.<br />
+<br />
+Malp&eacute;, M., his mistake concerning the Dance of Death, <a href="#Page_236">236</a>.<br />
+<br />
+Mannichius, <a href="#Page_180">180</a>.<br />
+<br />
+Manuel de Pech&eacute;, by Grosthead, <a href="#Page_7">7</a>.<br />
+<br />
+Mapes, Walter de, an allusion by him to a Dance of Death, <a href="#Page_24">24</a>.<br />
+<span style="margin-left: 1em;">vision of a dispute between the soul and the body, ascribed to him, <a href="#Page_33">33</a>.</span><br />
+<br />
+Marks or monograms of engravers, their uncertainty, <a href="#Page_102">102</a>.<br />
+<br />
+Marmi, Gio. Battista, his &#8220;Ritratte della Morte,&#8221; <a href="#Page_129">129</a>.<br />
+<br />
+Mechel, Chretien de, <a href="#Page_132">132</a>, <a href="#Page_208">208</a>, <a href="#Page_214">214</a>.<br />
+<br />
+Meckenen, Israel Van, a Dance of Death by him, <a href="#Page_160">160</a>.<br />
+<br />
+Meisner, his &#8220;Sciographia Cosmica,&#8221; <a href="#Page_180">180</a>.<br />
+<br />
+Melid&aelig;us, Jonas, a satirical work under this disguised name, intitled &#8220;Res mira,&#8221; <a href="#Page_184">184</a>.<br />
+<br />
+Meyers, Rodolph, his Dance of Death, <a href="#Page_148">148</a>.<br />
+<br />
+Meyssens, his mistake concerning the Dance of Death, <a href="#Page_234">234</a>.<br />
+<br />
+Missal, an undescribed one, in the type of the psalter of 1457, <a href="#Page_213">213</a>.<br />
+<br />
+Misson, the traveller, his mistake concerning the Dance of Death, <a href="#Page_233">233</a>.<br />
+<br />
+Mitelli, Gio. Maria, a kind of Death&#8217;s Dance, by him, <a href="#Page_161">161</a>.<br />
+<br />
+Moncrief, his &#8220;March of Intellect,&#8221; quoted for a print after Cruikshank, <a href="#Page_178">178</a>.<br />
+<br />
+Montenaye, Georgette de, her emblems, <a href="#Page_179">179</a>.<br />
+<br />
+&#8220;Mors,&#8221; an excellent Latin comedy, by William Drury, <a href="#Page_175">175</a>.<br />
+<br />
+Mortimer, a sketch by him of Death seizing several persons, <a href="#Page_209">209</a>.<br />
+<br />
+Mortilogus, <a href="#Page_171">171</a>.<br />
+<br />
+<br />
+<span class="mono">N.</span><br />
+<br />
+Negro figure of Death, <a href="#Page_230">230</a>.<br />
+<br />
+Newton&#8217;s Dances of Death, <a href="#Page_165">165</a>.<br />
+<br />
+Nieuhoff, Piccard, <a href="#Page_130">130</a>, <a href="#Page_140">140</a>.<br />
+<br />
+Nuremberg Chronicle, a cut from it described, <a href="#Page_170">170</a>.<br />
+<span style="margin-left: 1em;">a story from it, <a href="#Page_6">6</a>.</span><br />
+<br />
+<br />
+<span class="mono">O.</span><br />
+<br />
+Old Franks, a curious painting by him, <a href="#Page_204">204</a>, <a href="#Page_221">221</a>.<br />
+<br />
+Oliver, Isaac, his copy of a painting by Holbein, at Whitehall, <a href="#Page_145">145</a>, <a href="#Page_221">221</a>.<br />
+<br />
+Orgagna, Andrea, his painting at the Campo Santo, <a href="#Page_32">32</a>.<br />
+<br />
+Ortulus Rosarum, <a href="#Page_170">170</a>.<br />
+<br />
+Otho V&aelig;nius, a curious painting by him, <a href="#Page_204">204</a>, <a href="#Page_222">222</a>.<br />
+<br />
+Ottley, Mr. his opinion in favour of Holbein as the designer of the Lyons wood-cuts, <a href="#Page_88">88</a>.<br />
+<span style="margin-left: 1em;">proof impressions of the Lyons wood-cuts in his valuable collection, <a href="#Page_85">85</a>.</span><br />
+<br />
+<br />
+<span class="mono">P.</span><br />
+<br />
+Palingenius, his &#8220;Zodiacus Vit&aelig;,&#8221; a frontispiece to this work described, <a href="#Page_186">186</a>.<br />
+<br />
+Panneels, William, a scholar of Rubens, mention of a painting by him, <a href="#Page_203">203</a>.<br />
+<br />
+Papillon, his ludicrous mistakes noticed, <a href="#Page_110">110</a>, <a href="#Page_114">114</a>.<br />
+<br />
+Patin, Charles, a traveller, and a libeller of the English, <a href="#Page_79">79</a>, <a href="#Page_138">138</a>, <a href="#Page_237">237</a>.<br />
+<br />
+Paulmy, Marquis de, his mistake concerning the Dance of Death, <a href="#Page_238">238</a>.<br />
+<br />
+Paul&#8217;s St., mention of the Dance of Death formerly there, <a href="#Page_51">51</a>, <a href="#Page_163">163</a>.<br />
+<br />
+Peasants, a dance of, painted at Basle, by Holbein, <a href="#Page_80">80</a>.<br />
+<br />
+Peignot, M. author of &#8220;Les Danses de Mort,&#8221; an interesting work, <a href="#Page_v">preface</a>.<br />
+<span style="margin-left: 1em;">his misconception relating to John Porey, <a href="#Page_248">248</a>.</span><br />
+<br />
+Perriere, his &#8220;Morosophie,&#8221; <a href="#Page_179">179</a>.<br />
+<br />
+Petrarch, his triumph of Death, <a href="#Page_175">175</a>, <a href="#Page_207">207</a>.<br />
+<span style="margin-left: 1em;">his work &#8220;de remediis utriusque fortun&aelig;,&#8221; <a href="#Page_175">175</a>.</span><br />
+<br />
+Pfister, Albert, his &#8220;Tribunal Mortis,&#8221; <a href="#Page_168">168</a>.<br />
+<br />
+Piccard, Nieuhoff, <a href="#Page_130">130</a>, <a href="#Page_140">140</a>.<br />
+<br />
+Piers Plowman, lines from, <a href="#Page_54">54</a>.<br />
+<br />
+Porey, John, a mistake concerning him corrected, <a href="#Page_248">248</a>.<br />
+<br />
+Potter, P. an allegorical engraving after him, <a href="#Page_199">199</a>.<br />
+<br />
+Prints, single, relating to the Dance of Death, list of, <a href="#Page_188">188</a>.<br />
+<br />
+Prior, Matthew, his lines on the Dance of Death, <a href="#Page_145">145</a>.<br />
+<br />
+Psalter of 1457, a beautiful initial letter in it noticed, <a href="#Page_213">213</a>.<br />
+<span style="margin-left: 1em;">of Richard II., a manuscript in the British Museum, <a href="#Page_222">222</a>.</span><br />
+<br />
+<br />
+<span class="mono">R.</span><br />
+<br />
+Rabbi Santo, a Jewish poet, about 1360, <a href="#Page_25">25</a>.<br />
+<br />
+Ratdolt, a Venetian printer, not, as usually supposed, the inventor of initial or capital letters, <a href="#Page_213">213</a>.<br />
+<br />
+Rembrandt, drawing of a Dance of Death by him, <a href="#Page_223">223</a>.<br />
+<span style="margin-left: 1em;">etching by him, <a href="#Page_195">195</a>.</span><br />
+<br />
+Ren&eacute;, of Anjou, painted a Dance of Death, <a href="#Page_221">221</a>.<br />
+<br />
+Reperdius, Geo. an eminent painter at Lyons, <a href="#Page_93">93</a>.<br />
+<br />
+Revelations, prints of the, <a href="#Page_175">175</a>.<br />
+<br />
+Reusner, his emblems, <a href="#Page_179">179</a>.<br />
+<br />
+Rive, Abb&eacute;, his bibliography of the Macaber Dance, <a href="#Page_75">75</a>.<br />
+<br />
+Rivoire, his history of Amiens commended, <a href="#Page_47">47</a>.<br />
+<br />
+Roderic, bishop of Zamora, <a href="#Page_17">17</a>, <a href="#Page_32">32</a>.<br />
+<br />
+Rolandini&#8217;s emblems, <a href="#Page_180">180</a>.<br />
+<br />
+Rollenhagius&#8217;s emblems, <a href="#Page_182">182</a>.<br />
+<br />
+Roll of the Dance of Death, 1597, <a href="#Page_163">163</a>.<br />
+<br />
+Rowlandson&#8217;s Dance of Death, <a href="#Page_156">156</a>, <a href="#Page_225">225</a>, <a href="#Page_248">248</a>.<br />
+<br />
+Rusting, Salomon Van, his Dance of Death, <a href="#Page_131">131</a>.<br />
+<br />
+<br />
+<span class="mono">S.</span><br />
+<br />
+<img src="images/mono_a.jpg" alt="[monogram]" />, some account of this monogram, <a href="#Page_115">115</a>.<br />
+<span style="margin-left: 1em;">its owner employed by Plantin, the famous printer at Antwerp, <a href="#Page_116">116</a>.</span><br />
+<br />
+Salisbury missal, singular cut in one, <a href="#Page_172">172</a>.<br />
+<br />
+Sallaerts, an artist supposed to have been employed by Plantin the celebrated printer, <a href="#Page_115">115</a>, <a href="#Page_116">116</a>.<br />
+<br />
+Sancta Clara, Abraham, a description of his &#8220;universal mirror of Death,&#8221; <a href="#Page_151">151</a>.<br />
+<br />
+Sandrart, his notice of a work by Holbein at Whitehall, <a href="#Page_145">145</a>.<br />
+<br />
+Schauffelin, Hans, a carving on wood by him described, <a href="#Page_226">226</a>.<br />
+<br />
+Schellenberg, I. R. a Dance of Death by him, <a href="#Page_154">154</a>.<br />
+<br />
+Schlotthaver, his edition of a Dance of Death, <a href="#Page_249">249</a>.<br />
+<br />
+Silvius, or Sylvius, Antony, an artist at Antwerp, account of a monogram supposed to belong to him, <a href="#Page_115">115</a>.<br />
+<br />
+Skeleton, use made of the human by the ancients, <a href="#Page_3">3</a>.<br />
+<br />
+&#8220;Spectriana,&#8221; a modern French work, frontispiece to it described, <a href="#Page_187">187</a>.<br />
+<br />
+Stelsius, his edition of a spurious copy of Holbein&#8217;s Bible cuts, <a href="#Page_97">97</a>.<br />
+<br />
+Stettler, his drawings of the Macaber Dance of Death at Berne, <a href="#Page_224">224</a>.<br />
+<br />
+&#8220;Stotzinger symbolum,&#8221; description of a cut so intitled, <a href="#Page_174">174</a>.<br />
+<br />
+Stradanus, an engraving after him described, <a href="#Page_197">197</a>.<br />
+<br />
+Susanna, a Latin play, <a href="#Page_18">18</a>.<br />
+<br />
+Symeoni, &#8220;Imprese,&#8221; <a href="#Page_179">179</a>.<br />
+<br />
+<br />
+<span class="mono">T.</span><br />
+<br />
+Tapestry at the Tower of London, <a href="#Page_227">227</a>.<br />
+<br />
+&#8220;Theatrum Mortis,&#8221; a work with a Dance of Death described, <a href="#Page_129">129</a>.<br />
+<br />
+Tiepolo, a clever etching by him described, <a href="#Page_197">197</a>.<br />
+<br />
+Title-pages connected with the Dance of Death, list of, <a href="#Page_183">183</a>.<br />
+<br />
+Tory, Geoffrey, Hor&aelig; printed by him described, <a href="#Page_172">172</a>.<br />
+<br />
+Tower of London, tapestry formerly there of a Dance of Death, <a href="#Page_227">227</a>.<br />
+<br />
+Trois mors et trois vifs, <a href="#Page_31">31</a>, <a href="#Page_33">33</a>, <a href="#Page_228">228</a>.<br />
+<br />
+Turner, Col., a Dance of Death by him, <a href="#Page_207">207</a>.<br />
+<br />
+Turnham Green, some account of chalk drawings of a Dance of Death on a wall there, <a href="#Page_210">210</a>, <a href="#Page_224">224</a>.<br />
+<br />
+Typotii symbola, <a href="#Page_180">180</a>, <a href="#Page_182">182</a>.<br />
+<br />
+<br />
+<span class="mono">U.</span><br />
+<br />
+Urs Graaf, his engravings noticed, <a href="#Page_243">243</a>.<br />
+<br />
+<br />
+<span class="mono">V.</span><br />
+<br />
+V&aelig;nius, Otho, some of his works mentioned, <a href="#Page_182">182</a>, <a href="#Page_204">204</a>.<br />
+<br />
+Valckert, a clever etching by him described, <a href="#Page_201">201</a>.<br />
+<br />
+Van Assen, a Dance of Death by him, <a href="#Page_158">158</a>.<br />
+<br />
+Van Leyden, Lucas, <a href="#Page_189">189</a>.<br />
+<br />
+Van Meckenen, Israel, his Dance of Death in circles, <a href="#Page_160">160</a>.<br />
+<br />
+Van Sichem, his prints to the Bible, <a href="#Page_177">177</a>.<br />
+<br />
+Van Venne, prints after him, <a href="#Page_157">157</a>, <a href="#Page_182">182</a>, <a href="#Page_199">199</a>, <a href="#Page_209">209</a>.<br />
+<br />
+Verses that accompany the Dance of Death, <a href="#Page_17">17</a>.<br />
+<br />
+Von Menzel, <a href="#Page_207">207</a>.<br />
+<br />
+&#8220;Voyage pour l&#8217;eternit&eacute;,&#8221; a modern Dance of Death, <a href="#Page_157">157</a>.<br />
+<br />
+<br />
+<span class="mono">W.</span><br />
+<br />
+Walpole, Mr. his mistake concerning the Dance of Death, <a href="#Page_236">236</a>.<br />
+<br />
+Warton, Mr. his remarks on the Dance of Death, <a href="#Page_237">237</a>.<br />
+<br />
+Weiss, Mr. author of some of the best lives in the &#8220;Biographie Universelle,&#8221; misled in his article &#8220;Macaber&#8221; by Champollion Figeac, <a href="#Page_249">249</a>.<br />
+<br />
+Whitehall, fire at, <a href="#Page_140">140</a>.<br />
+<span style="margin-left: 1em;">painting of a Dance of Death there by Holbein, <a href="#Page_141">141</a>.</span><br />
+<br />
+Wierix, John, some prints by him described, <a href="#Page_194">194</a>, <a href="#Page_195">195</a>.<br />
+<br />
+Williams, Miss, her mistake concerning the Dance of Death at Basle, in her Swiss tour, <a href="#Page_233">233</a>.<br />
+<br />
+Wolschaten, Geeraerdt Van, a Dance of Death by him, <a href="#Page_130">130</a>.<br />
+<br />
+Wood, engravings on, the first impressions of them not always the best, <a href="#Page_85">85</a>.<br />
+<br />
+Wood, Mr. his mistake concerning the Dance of Death in his &#8220;View of Switzerland,&#8221; <a href="#Page_233">233</a>.<br />
+<br />
+<br />
+<span class="mono">Y.</span><br />
+<br />
+&#8220;Youth&#8217;s Tragedy,&#8221; a moral drama, 1671, <a href="#Page_175">175</a>.<br />
+<br />
+<br />
+<span class="mono">Z.</span><br />
+<br />
+Zani, Abbate, of opinion that Holbein had no concern in the Lyons wood-cuts of the Dance of Death, <a href="#Page_98">98</a>, <a href="#Page_101">101</a>, <a href="#Page_138">138</a>.<br />
+<br />
+Zuinger, his account of paintings at Basle, <a href="#Page_139">139</a>.<br />
+</p>
+
+
+<p>&nbsp;</p>
+<p class="center">C. WHITTINGHAM, TOOKS COURT, CHANCERY LANE.</p>
+
+
+
+<p>&nbsp;</p><p>&nbsp;</p>
+<hr style="width: 50%;" />
+<p class="center"><strong>Footnotes:</strong></p>
+
+<p><a name='f_1' id='f_1' href='#fna_1'>[1]</a> Iliad, and after him Virgil, &AElig;n. vi. 278.</p>
+
+<p><a name='f_2' id='f_2' href='#fna_2'>[2]</a> Iliad IX. On an ancient gem likewise in Ficoroni&#8217;s Gemm&aelig; Antiqu&aelig;
+Litterat&aelig;, Tab. viii. No. 1, a human scull typifies mortality, and a
+butterfly immortality.</p>
+
+<p><a name='f_3' id='f_3' href='#fna_3'>[3]</a> Lib. ii. 78.</p>
+
+<p><a name='f_4' id='f_4' href='#fna_4'>[4]</a> Diarium, p. 212.</p>
+
+<p><a name='f_5' id='f_5' href='#fna_5'>[5]</a> Lib. xiii. l. 474.</p>
+
+<p><a name='f_6' id='f_6' href='#fna_6'>[6]</a> Epist. xxiv.</p>
+
+<p><a name='f_7' id='f_7' href='#fna_7'>[7]</a> Apolog. p. 506, 507. edit. Delph. 4to.</p>
+
+<p><a name='f_8' id='f_8' href='#fna_8'>[8]</a> Lib. iii.</p>
+
+<p><a name='f_9' id='f_9' href='#fna_9'>[9]</a> Leg. Antiq. iii. 84.</p>
+
+<p><a name='f_10' id='f_10' href='#fna_10'>[10]</a> Folio clxxxvii.</p>
+
+<p><a name='f_11' id='f_11' href='#fna_11'>[11]</a> Folio ccxvii.</p>
+
+<p><a name='f_12' id='f_12' href='#fna_12'>[12]</a> Bibl. Reg. 20 B. xiv. and Harl. MS. 4657.</p>
+
+<p><a name='f_13' id='f_13' href='#fna_13'>[13]</a> Contest.</p>
+
+<p><a name='f_14' id='f_14' href='#fna_14'>[14]</a> Q. Cowick in Yorkshire?</p>
+
+<p><a name='f_15' id='f_15' href='#fna_15'>[15]</a> Leader.</p>
+
+<p><a name='f_16' id='f_16' href='#fna_16'>[16]</a> Glee.</p>
+
+<p><a name='f_17' id='f_17' href='#fna_17'>[17]</a> Called.</p>
+
+<p><a name='f_18' id='f_18' href='#fna_18'>[18]</a> A name borrowed from Merwyn, Abbess of Ramsey, temp. Reg. Edgari.</p>
+
+<p><a name='f_19' id='f_19' href='#fna_19'>[19]</a> Took.</p>
+
+<p><a name='f_20' id='f_20' href='#fna_20'>[20]</a> Leafy.</p>
+
+<p><a name='f_21' id='f_21' href='#fna_21'>[21]</a> Place.</p>
+
+<p><a name='f_22' id='f_22' href='#fna_22'>[22]</a> Went.</p>
+
+<p><a name='f_23' id='f_23' href='#fna_23'>[23]</a> Places.</p>
+
+<p><a name='f_24' id='f_24' href='#fna_24'>[24]</a> A falsehood.</p>
+
+<p><a name='f_25' id='f_25' href='#fna_25'>[25]</a> Whoever may be desirous of inspecting other authorities for the
+story, may consult Vincent of Beauvais Speculum Historiale, lib. xxv. cap.
+10; Krantz Saxonia, lib. iv.; Trithemii Chron. Monast. Hirsaugensis;
+Chronicon Engelhusii ap. Leibnitz. Script. Brunsvicens. II. 1082;
+Chronicon. S. &AElig;gidii, ap. Leibnitz. iii. 582; Cantipranus de apibus; &amp;
+C&aelig;sarius Heisterbach. de Miraculis; in whose works several <i>veracious</i> and
+amusing stories of other instances of divine vengeance against dancing in
+general may be found. The most entertaining of all the dancing stories is
+that of the friar and the boy, as it occurs among the popular penny
+histories, of which, in one edition at least, it is, undoubtedly, the very
+best.</p>
+
+<p><a name='f_26' id='f_26' href='#fna_26'>[26]</a> Lib. i. Eleg. iii.</p>
+
+<p><a name='f_27' id='f_27' href='#fna_27'>[27]</a> &AElig;n. lib. vi. l. 44.</p>
+
+<p><a name='f_28' id='f_28' href='#fna_28'>[28]</a> Millin. Magaz. Encycl. 1813, tom. i. p. 200.</p>
+
+<p><a name='f_29' id='f_29' href='#fna_29'>[29]</a> Gori Mus. Florentin. tom. i. pl. 91, No. 3.</p>
+
+<p><a name='f_30' id='f_30' href='#fna_30'>[30]</a> Hist. Engl. Poetry, vol. ii. p. 43, edit. 8vo. and Carpentier. Suppl.
+ad Ducang. v. Machab&aelig;orum chorea.</p>
+
+<p><a name='f_31' id='f_31' href='#fna_31'>[31]</a> Id. ii. 364.</p>
+
+<p><a name='f_32' id='f_32' href='#fna_32'>[32]</a> Hist. des Ducs des Bourgogne, tom. v. p. 1821.</p>
+
+<p><a name='f_33' id='f_33' href='#fna_33'>[33]</a> Hist. de Ren&eacute; d&#8217;Anjou, tom. i. p. 54.</p>
+
+<p><a name='f_34' id='f_34' href='#fna_34'>[34]</a> Dulaure. Hist. Physique, &amp;c. de Paris, 1821, tom. ii. p. 552.</p>
+
+<p><a name='f_35' id='f_35' href='#fna_35'>[35]</a> Recherches sur les Danses des Morts. Dijon et Paris, 1826, 8vo. p.
+xxxiv. et seq.</p>
+
+<p><a name='f_36' id='f_36' href='#fna_36'>[36]</a> Mercure de France, Sept. 1742. Carpentier. Suppl. ad Ducang. v.
+Machab&aelig;orum chorea.</p>
+
+<p><a name='f_37' id='f_37' href='#fna_37'>[37]</a> Bibl. Reg. 8 B. vi. Lansd. MS. 397.</p>
+
+<p><a name='f_38' id='f_38' href='#fna_38'>[38]</a> Madrid. 1779, 8vo. p. 179.</p>
+
+<p><a name='f_39' id='f_39' href='#fna_39'>[39]</a> Bibl. Med. et Inf. &AElig;tat. tom. v. p. 1.</p>
+
+<p><a name='f_40' id='f_40' href='#fna_40'>[40]</a> Recherches sur les Danses de Mort, pp. 79 80.</p>
+
+<p><a name='f_41' id='f_41' href='#fna_41'>[41]</a> Passim.</p>
+
+<p><a name='f_42' id='f_42' href='#fna_42'>[42]</a> Modern edition of the Danse Macabre.</p>
+
+<p><a name='f_43' id='f_43' href='#fna_43'>[43]</a> Journal de Charles VII.</p>
+
+<p><a name='f_44' id='f_44' href='#fna_44'>[44]</a> Lansd. MS. No. 397&mdash;20.</p>
+
+<p><a name='f_45' id='f_45' href='#fna_45'>[45]</a> Peignot Recherches, p. 109.</p>
+
+<p><a name='f_46' id='f_46' href='#fna_46'>[46]</a> M&eacute;lange d&#8217;une Grande Biblioth&egrave;que, tom. vii. p. 22.</p>
+
+<p><a name='f_47' id='f_47' href='#fna_47'>[47]</a> Bibl. Instruc. No. 3109.</p>
+
+<p><a name='f_48' id='f_48' href='#fna_48'>[48]</a> Catal. La Valliere No. 2736&mdash;22.</p>
+
+<p><a name='f_49' id='f_49' href='#fna_49'>[49]</a> Vasari vite de Pittori, tom. i. p. 183, edit. 1568, 4to.</p>
+
+<p><a name='f_50' id='f_50' href='#fna_50'>[50]</a> Baldinucci Disegno, ii. 65.</p>
+
+<p><a name='f_51' id='f_51' href='#fna_51'>[51]</a> Morona Pisa Illustrata, i. 359.</p>
+
+<p><a name='f_52' id='f_52' href='#fna_52'>[52]</a> Du Breul Antiq. de Paris, 1612, 4to. p. 834, where the verses that
+accompany the sculpture are given. See likewise Sandrart Acad. Pictur&aelig;, p.
+101.</p>
+
+<p><a name='f_53' id='f_53' href='#fna_53'>[53]</a> Peignot Recherches, xxxvii-xxxix.</p>
+
+<p><a name='f_54' id='f_54' href='#fna_54'>[54]</a> Urtisii epitom. Hist. Basiliensis, 1522, 8vo.</p>
+
+<p><a name='f_55' id='f_55' href='#fna_55'>[55]</a> Peignot Recherches, xxvi-xxix.</p>
+
+<p><a name='f_56' id='f_56' href='#fna_56'>[56]</a> Travels, i. 376.</p>
+
+<p><a name='f_57' id='f_57' href='#fna_57'>[57]</a> Travels, i. 138, edit. 4to.</p>
+
+<p><a name='f_58' id='f_58' href='#fna_58'>[58]</a> Heinecken Dictionn. des Artistes, iii. 67, et iv. 595. He follows
+Keysler&#8217;s error respecting Hans Bock.</p>
+
+<p><a name='f_59' id='f_59' href='#fna_59'>[59]</a> Peintre graveur, ix. 398.</p>
+
+<p><a name='f_60' id='f_60' href='#fna_60'>[60]</a> Essai sur l&#8217;Orig. de la Gravure, i. 120.</p>
+
+<p><a name='f_61' id='f_61' href='#fna_61'>[61]</a> Heinecken Dictionn. des Artistes, i. 222.</p>
+
+<p><a name='f_62' id='f_62' href='#fna_62'>[62]</a> Recherches, &amp;c. p. 71.</p>
+
+<p><a name='f_63' id='f_63' href='#fna_63'>[63]</a> Heller Geschiche der holtzchein kunst. Bamberg, 1823, 12mo. p. 126.</p>
+
+<p><a name='f_64' id='f_64' href='#fna_64'>[64]</a> Basle Guide Book.</p>
+
+<p><a name='f_65' id='f_65' href='#fna_65'>[65]</a> Recherches, 11 et seq.</p>
+
+<p><a name='f_66' id='f_66' href='#fna_66'>[66]</a> More on the subject of the Lubeck Dance of Death may be found in 1.
+An anonymous work, which has on the last leaf, &#8220;Dodendantz, anno domini
+<span class="smcaplc">MCCCCXCVI</span>. Lubeck.&#8221; 2. &#8220;De Dodendantz fan Kaspar Scheit, na der utgave
+fan, 1558, unde de Lubecker fan, 1463.&#8221; This is a poem of four sheets in
+small 8vo. without mention of the place where printed. 3. Some account of
+this painting by Ludwig Suhl. Lubeck, 1783, 4to. 4. A poem, in rhyme, with
+wood-cuts, on 34 leaves, in 8vo. It is fully described from the Helms.
+library in Brun&#8217;s Beitrage zu krit. Bearb. alter handschr. p. 321 et seq.
+5. Jacob &agrave; Mellen Grundliche Nachbricht von Lubeck, 1713, 8vo. p. 84. 6.
+Schlott Lubikischers Todtentantz. 1701. 8vo. 7. Berkenmeyer, le curieux
+antiquaire, 8vo. p. 530; and, 8. Nugent&#8217;s Travels, i. 102. 8vo.</p>
+
+<p><a name='f_67' id='f_67' href='#fna_67'>[67]</a> Biblioth. Med. et inf. &aelig;tat. v. 2.</p>
+
+<p><a name='f_68' id='f_68' href='#fna_68'>[68]</a> Travels, i. 195.</p>
+
+<p><a name='f_69' id='f_69' href='#fna_69'>[69]</a> Recherches, xlii.</p>
+
+<p><a name='f_70' id='f_70' href='#fna_70'>[70]</a> Pilkington&#8217;s Dict. of Painters, p. 307, edit. Fuseli, who probably
+follows Fuesli&#8217;s work on the Painters. Merian, Topogr. Helveti&aelig;.</p>
+
+<p><a name='f_71' id='f_71' href='#fna_71'>[71]</a> Peignot Recherches, xlv. xlvi.</p>
+
+<p><a name='f_72' id='f_72' href='#fna_72'>[72]</a> Rivoire descr. de l&#8217;&eacute;glise cath&eacute;drale d&#8217;Amiens. Amiens, 1806. 8vo.</p>
+
+<p><a name='f_73' id='f_73' href='#fna_73'>[73]</a> Recherches, xlvii.</p>
+
+<p><a name='f_74' id='f_74' href='#fna_74'>[74]</a> Recherches, xlviii.</p>
+
+<p><a name='f_75' id='f_75' href='#fna_75'>[75]</a> Recherches sur les antiquit&eacute;s de Vienne. 1659. 12mo, p. 15.</p>
+
+<p><a name='f_76' id='f_76' href='#fna_76'>[76]</a> Dr. Cogan&#8217;s Tour to the Rhine, ii. 127.</p>
+
+<p><a name='f_77' id='f_77' href='#fna_77'>[77]</a> Travels, iii. 328, edit. 4to.</p>
+
+<p><a name='f_78' id='f_78' href='#fna_78'>[78]</a> Survay of London, p. 615, edit. 1618, 4to.</p>
+
+<p><a name='f_79' id='f_79' href='#fna_79'>[79]</a> In Tottel&#8217;s edition these verses are accompanied with a single
+wood-cut of Death leading up all ranks of mortals. This was afterwards
+copied by Hollar, as to general design, in Dugdale&#8217;s St. Paul&#8217;s, and in
+the Monasticon.</p>
+
+<p><a name='f_80' id='f_80' href='#fna_80'>[80]</a> Annales, p. 596, edit. 1631. folio. Sir Thomas More, treating of the
+remembrance of Death, has these words: &#8220;But if we not only here this word
+Death, but also let sink into our heartes, the very fantasye and depe
+imaginacion thereof, we shall parceive therby that we wer never so gretly
+moved by the beholding of the <i>Daunce of Death pictured in Poules</i>, as we
+shal fele ourself stered and altered by the feling of that imaginacion in
+our hertes. And no marvell. For those pictures expresse only y<sup>e</sup> lothely
+figure of our dead bony bodies, biten away y<sup>e</sup> flesh,&#8221; &amp;c.&mdash;Works, p. 77,
+edit. 1557, folio.</p>
+
+<p><a name='f_81' id='f_81' href='#fna_81'>[81]</a> Heylin&#8217;s Hist. of the Reformation, p. 73.</p>
+
+<p><a name='f_82' id='f_82' href='#fna_82'>[82]</a> Cotton MS. Vesp. A. xxv. fo. 181.</p>
+
+<p><a name='f_83' id='f_83' href='#fna_83'>[83]</a> Leland&#8217;s Itin. vol. iv. part i. p. 69.&mdash;Meas. for Meas. Act iii. sc.
+1.</p>
+
+<p><a name='f_84' id='f_84' href='#fna_84'>[84]</a> Hutchinson&#8217;s Northumberland, i. 98.</p>
+
+<p><a name='f_85' id='f_85' href='#fna_85'>[85]</a> Warton&#8217;s H. E. Poetry, ii. 43, edit. 8vo.</p>
+
+<p><a name='f_86' id='f_86' href='#fna_86'>[86]</a> And see a portion of Orgagna&#8217;s painting at the Campo Santo at Pisa,
+mentioned before in p. 33.</p>
+
+<p><a name='f_87' id='f_87' href='#fna_87'>[87]</a> From the Author&#8217;s own inspection.</p>
+
+<p><a name='f_88' id='f_88' href='#fna_88'>[88]</a> Recherches, p. 144, and see Catal. La Valliere, No. 295.</p>
+
+<p><a name='f_89' id='f_89' href='#fna_89'>[89]</a> Herbert&#8217;s typogr. antiq. p. 888.</p>
+
+<p><a name='f_90' id='f_90' href='#fna_90'>[90]</a> Trait&eacute; hist. de la gravure en bois, i. 182, 336.</p>
+
+<p><a name='f_91' id='f_91' href='#fna_91'>[91]</a> Letters containing an account of what seemed most remarkable in
+Switzerland, Italy, &amp;c. by G. Burnet, D. D. Rotterdam, 1686, 8vo. p. 265.</p>
+
+<p><a name='f_92' id='f_92' href='#fna_92'>[92]</a> Travels through Germany, &amp;c. i. 138, edit. 4to.</p>
+
+<p><a name='f_93' id='f_93' href='#fna_93'>[93]</a> Relations historiques et curieuses de voyages en Allemagne, &amp;c. Amst.
+1695, 12mo. p. 124.</p>
+
+<p><a name='f_94' id='f_94' href='#fna_94'>[94]</a> See likewise Zuinger, Methodus Academica, Basle, 1577, 4to. p. 199.</p>
+
+<p><a name='f_95' id='f_95' href='#fna_95'>[95]</a> Remarks on several parts of Europe, 1738, vol. ii. p. 72.</p>
+
+<p><a name='f_96' id='f_96' href='#fna_96'>[96]</a> Peignot places the dance of peasants in the fish-market of Basle, as
+other writers had the Dance of Death. Recherches, p. 15.</p>
+
+<p><a name='f_97' id='f_97' href='#fna_97'>[97]</a> Manuel de l&#8217;Amateur d&#8217;estampes, ii. 131.</p>
+
+<p><a name='f_98' id='f_98' href='#fna_98'>[98]</a> Manuel des curieux, &amp;c. i. 156.</p>
+
+<p><a name='f_99' id='f_99' href='#fna_99'>[99]</a> Some give it to the Abb&eacute; Baverel.</p>
+
+<p><a name='f_100' id='f_100' href='#fna_100'>[100]</a> Lib. ult. p. 86.</p>
+
+<p><a name='f_101' id='f_101' href='#fna_101'>[101]</a> The dedicator has apparently in this place been guilty of a strange
+misconception. The Death is not sucking the wine from the cask, but in the
+act of untwisting the fastening to one of the hoops. Nor is the carman
+crushed beneath the wheels: on the contrary, he is represented as standing
+upright and wringing his hands in despair at what he beholds. It is true
+that this cut was not then completed, and might have undergone some
+subsequent alteration. He likewise speaks of the rainbow in the cut of the
+Last Judgment, as being at that time unfinished, which, however, is
+introduced in this first edition.</p>
+
+<p><a name='f_102' id='f_102' href='#fna_102'>[102]</a> It would be of some importance if the date of Lutzenberger&#8217;s death
+could be ascertained.</p>
+
+<p><a name='f_103' id='f_103' href='#fna_103'>[103]</a> &#8220;An enquiry into the origin and early history of Engraving,&#8221; 1816,
+4to. vol. ii. p. 759.</p>
+
+<p><a name='f_104' id='f_104' href='#fna_104'>[104]</a> &#8220;An Enquiry,&#8221; &amp;c. ii. 762.</p>
+
+<p><a name='f_105' id='f_105' href='#fna_105'>[105]</a> The few engravings by or after Holbein that have his name or its
+initials are to be found in his early frontispieces or vignettes to books
+printed at Basle. In 1548, two delicate wood-cuts, with his name, occur in
+Cranmer&#8217;s Catechism. In the title-page to &#8220;a lytle treatise after the
+maner of an Epystle wryten by the famous clerk, Doctor Urbanus Regius,
+&amp;c.&#8221; Printed by Gwalter Lynne, 1548, 24mo, there is a cut in the same
+style of art of Christ attended by his disciples, and pointing to a
+fugitive monk, whose sheep are scattered, and some devoured by a wolf.
+Above and below are the words &#8220;John x. Ezech. xxxiiii. Mich. v. I am the
+good shepehearde. A good shepehearde geveth his lyfe for the shype. The
+hyred servaunt flyeth, because he is an hered servaunt, and careth not for
+the shepe.&#8221; On the cut at bottom <span class="smcaplc">HANS HOLBEIN</span>. There is a fourth cut of
+this kind in the British Museum collection with Christ brought before
+Pilate; and perhaps Holbein might have intended a series of small
+engravings for the New Testament; but all these are in a simple outline
+and very different from the cuts in the Dance of Death, or Lyons Bible. It
+might be difficult to refer to any other engravings belonging to Holbein
+after the above year.</p>
+
+<p><a name='f_106' id='f_106' href='#fna_106'>[106]</a> Brulliot dict. de monogrammes, &amp;c. Munich, 1817, 4to. p. 418, where
+the letter from De Mechel is given.</p>
+
+<p><a name='f_107' id='f_107' href='#fna_107'>[107]</a> Essai sur l&#8217;origine de la gravure, &amp;c. tom. i. p. 260.</p>
+
+<p><a name='f_108' id='f_108' href='#fna_108'>[108]</a> Id. p. 261.</p>
+
+<p><a name='f_109' id='f_109' href='#fna_109'>[109]</a> Dict. de monogrammes, &amp;c. tom. i. pp. 418, 499.</p>
+
+<p><a name='f_110' id='f_110' href='#fna_110'>[110]</a> Enciclop. metod. par ii. vol. vii. p. 16.</p>
+
+<p><a name='f_111' id='f_111' href='#fna_111'>[111]</a> Enciclop. metod. par. i. vol. x. p. 467.</p>
+
+<p><a name='f_112' id='f_112' href='#fna_112'>[112]</a> All the above prints are in the author&#8217;s possession, except No. 7,
+and his copy of No. 5 has not the tablets with the name, &amp;c.</p>
+
+<p><a name='f_113' id='f_113' href='#fna_113'>[113]</a> Edit. Javigny, iv. 559.</p>
+
+<p><a name='f_114' id='f_114' href='#fna_114'>[114]</a> This edition is given on the authority of Peignot, p. 62, but has
+not been seen by the author of this work. In the year 1547, there were
+three editions, and it is not improbable that, by the transposition of the
+two last figures, one of these might have been intended.</p>
+
+<p><a name='f_115' id='f_115' href='#fna_115'>[115]</a> Foppen&#8217;s Biblioth. Belgica, i. 363.</p>
+
+<p><a name='f_116' id='f_116' href='#fna_116'>[116]</a> That of 1557 has a frontispiece with Death pointing to his
+hour-glass when addressing a German soldier.</p>
+
+<p><a name='f_117' id='f_117' href='#fna_117'>[117]</a> Tom. i. p. 238, 525.</p>
+
+<p><a name='f_118' id='f_118' href='#fna_118'>[118]</a> Dict. de Monogrammes, col. 528.</p>
+
+<p><a name='f_119' id='f_119' href='#fna_119'>[119]</a> Biblioth. Belgica, i. 92.</p>
+
+<p><a name='f_120' id='f_120' href='#fna_120'>[120]</a> See p. <a href="#Page_40">40</a>.</p>
+
+<p><a name='f_121' id='f_121' href='#fna_121'>[121]</a> This is the same subject as that in the Augustan monastery described
+in p. <a href="#Page_48">48</a>.</p>
+
+<p><a name='f_122' id='f_122' href='#fna_122'>[122]</a> See p. <a href="#Page_34">34</a>.</p>
+
+<p><a name='f_123' id='f_123' href='#fna_123'>[123]</a> It has been stated that they were in the Arundelian collection
+whence they passed into the Netherlands, where forty-six of them became
+the property of Jan Bockhorst the painter, commonly called Long John. See
+Crozat&#8217;s catalogue.</p>
+
+<p><a name='f_124' id='f_124' href='#fna_124'>[124]</a> On the same dedication are founded the opinions of Zani, De Murr,
+Meintel, and some others.</p>
+
+<p><a name='f_125' id='f_125' href='#fna_125'>[125]</a> Zuinger methodus apodemica. Basil, 1557. 4to. p. 199.</p>
+
+<p><a name='f_126' id='f_126' href='#fna_126'>[126]</a> P. 427, edit. Lugd. apud Gryphium, and p. 445, edit. Basil.</p>
+
+<p><a name='f_127' id='f_127' href='#fna_127'>[127]</a> Nug&aelig;, lib. vi. carm. 12.</p>
+
+<p><a name='f_128' id='f_128' href='#fna_128'>[128]</a> Baldinucci notizie d&#8217;&eacute; professori del disegno, tom. iii. p. 317,
+4to. edit. where the inscription on it is given.</p>
+
+<p><a name='f_129' id='f_129' href='#fna_129'>[129]</a> Norfolk MS. 97, now in the Brit. Museum.</p>
+
+<p><a name='f_130' id='f_130' href='#fna_130'>[130]</a> Harl. MS. 4718.</p>
+
+<p><a name='f_131' id='f_131' href='#fna_131'>[131]</a> Acad. Pictur. 239.</p>
+
+<p><a name='f_132' id='f_132' href='#fna_132'>[132]</a> Strype&#8217;s Annals, I. 272, where the curious dialogue that ensued on
+the occasion is preserved.</p>
+
+<p><a name='f_133' id='f_133' href='#fna_133'>[133]</a> Catal. de la biblioth&egrave;que du Roi. II. 153.</p>
+
+<p><a name='f_134' id='f_134' href='#fna_134'>[134]</a> These initial letters have already been mentioned in p. <a href="#Page_101">101-102</a>. The
+elegant initials in Dr. Henderson&#8217;s excellent work on modern wines, and
+those in Dr. Nott&#8217;s Bristol edition of Decker&#8217;s Gull&#8217;s horn-book, should
+not pass unnoticed on this occasion.</p>
+
+<p><a name='f_135' id='f_135' href='#fna_135'>[135]</a> See before in p. <a href="#Page_97">97</a>.</p>
+
+<p><a name='f_136' id='f_136' href='#fna_136'>[136]</a> Zani saw this alphabet at Dresden, and ascribes it likewise to
+Lutzenberger. See his Enciclop. Metodica, Par. I. vol. x. p. 467.</p>
+
+<p><a name='f_137' id='f_137' href='#fna_137'>[137]</a> See before, in p. <a href="#Page_46">46</a>.</p>
+
+<p><a name='f_138' id='f_138' href='#fna_138'>[138]</a> Biblioth. Franc. tom. x. p. 436.</p>
+
+<p><a name='f_139' id='f_139' href='#fna_139'>[139]</a> Sandrart Acad. Pict. p. 241.</p>
+
+<p><a name='f_140' id='f_140' href='#fna_140'>[140]</a> Obs. on Spenser, II. 117, 118, 119.</p>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Dance of Death, by Francis Douce
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+The Project Gutenberg EBook of The Dance of Death, by Francis Douce
+
+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
+       Exhibited in Elegant Engravings on Wood with a Dissertation
+       on the Several Representations of that Subject but More
+       Particularly on Those Ascribed to Macaber and Hans Holbein
+
+Author: Francis Douce
+
+Illustrator: Hans Holbein
+
+Release Date: January 31, 2012 [EBook #38724]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE DANCE OF DEATH ***
+
+
+
+
+Produced by Chris Curnow and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive. Additional images courtesy of Google
+Books.)
+
+
+
+
+
+
+
+
+
+THE DANCE OF DEATH.
+
+
+
+
+[Illustration]
+
+
+
+
+  The Dance of Death
+
+  EXHIBITED IN ELEGANT ENGRAVINGS ON WOOD
+
+  WITH A DISSERTATION
+  ON THE SEVERAL REPRESENTATIONS OF THAT SUBJECT
+  BUT MORE PARTICULARLY ON THOSE ASCRIBED TO
+  Macaber and Hans Holbein
+
+
+  BY FRANCIS DOUCE ESQ. F. A. S.
+  AND A MEMBER OF THE SOCIETY OF ANTIQUARIES OF NORMANDY
+  AND OF THE ACADEMY OF SCIENCES ETC. AT CAEN
+
+  Pallida mors aequo pulsat pede pauperum tabernas
+  Regumque turres.                 HORAT. lib. i. od. 4.
+
+
+  LONDON
+  WILLIAM PICKERING
+  1833
+
+
+  C. Whittingham, Tooks Court, Chancery Lane.
+
+
+
+
+PREFACE.
+
+
+The very ample discussion which the extremely popular subject of the Dance
+of Death has already undergone might seem to preclude the necessity of
+attempting to bestow on it any further elucidation; nor would the present
+Essay have ever made its appearance, but for certain reasons which are
+necessary to be stated.
+
+The beautiful designs which have been, perhaps too implicitly, regarded as
+the invention of the justly celebrated painter, Hans Holbein, are chiefly
+known in this country by the inaccurate etchings of most of them by
+Wenceslaus Hollar, the copper-plates of which having formerly become the
+property of Mr. Edwards, of Pall Mall, were published by him, accompanied
+by a very hasty and imperfect dissertation; which, with fewer faults, and
+considerable enlargement, is here again submitted to public attention. It
+is appended to a set of fac-similes of the above-mentioned elegant
+designs, and which, at a very liberal expense that has been incurred by
+the proprietor and publisher of this volume, have been executed with
+consummate skill and fidelity by Messrs. Bonner and Byfield, two of our
+best artists in the line of wood engraving. They may very justly be
+regarded as scarcely distinguishable from their fine originals.
+
+The remarks in the course of this Essay on a supposed German poet, under
+the name of Macaber, and the discussion relating to Holbein's connection
+with the Dance of Death, may perhaps be found interesting to the critical
+reader only; but every admirer of ancient art will not fail to be
+gratified by an intimate acquaintance with one of its finest specimens in
+the copy which is here so faithfully exhibited.
+
+In the latest and best edition of some new designs for a Dance of Death,
+by Salomon Van Rusting, published by John George Meintel at Nuremberg,
+1736, 8vo. there is an elaborate preface by him, with a greater portion of
+verbosity than information. He has placed undue confidence in his
+predecessor, Paul Christian Hilscher, whose work, printed at Dresden in
+1705, had probably misled the truly learned Fabricius in what he has said
+concerning Macaber in his valuable work, the "Bibliotheca mediae et infimae
+aetatis." Meintel confesses his inability to point out the origin or the
+inventor of the subject. The last and completest work on the Dance, or
+Dances of Death, is that of the ingenious M. Peignot, so well and
+deservedly known by his numerous and useful books on bibliography. To this
+gentleman the present Essay has been occasionally indebted. He will,
+probably, at some future opportunity, remove the whimsical misnomer in his
+engraving of Death and the Ideot.
+
+The usual title, "The Dance of Death," which accompanies most of the
+printed works, is not altogether appropriate. It may indeed belong to the
+old Macaber painting and other similar works where Death is represented in
+a sort of dancing and grotesque attitude in the act of leading a single
+character; but where the subject consists of several figures, yet still
+with occasional exception, they are rather to be regarded as elegant
+emblems of human mortality in the premature intrusion of an unwelcome and
+inexorable visitor.
+
+It must not be supposed that the republication of this singular work is
+intended to excite the lugubrious sensations of sanctified devotees, or of
+terrified sinners; for, awful and impressive as must ever be the
+contemplation of our mortality in the mind of the philosopher and
+practiser of true religion, the mere sight of a skeleton cannot, as to
+them, excite any alarming sensation whatever. It is chiefly addressed to
+the ardent admirers of ancient art and pictorial invention; but
+nevertheless with a hope that it may excite a portion of that general
+attention to the labours of past ages, which reflects so much credit on
+the times in which we live.
+
+The widely scattered materials relating to the subject of the Dance of
+Death, and the difficulty of reconciling much discordant information, must
+apologize for a few repetitions in the course of this Essay, the regular
+progress of which has been too often interrupted by the manner in which
+matter of importance is so obscurely and defectively recorded; instances
+of which are, the omission of the name of the painter in the otherwise
+important dedication to the first edition of the engravings on wood of the
+Dance of Death that was published at Lyons; the uncertainty as to locality
+in some complimentary lines to Holbein by his friend Borbonius, and the
+want of more particulars in the account by Nieuhoff of Holbein's painting
+at Whitehall.
+
+The designs for the Dance of Death, published at Lyons in 1538, and
+hitherto regarded as the invention of Holbein, are, in the course of this
+Dissertation, referred to under the appellation of _the Lyons wood-cuts_;
+and with respect to the term _Macaber_, which has been so mistakenly used
+as the name of a real author, it has been nevertheless preserved on the
+same principle that the word _Gothic_ has been so generally adopted for
+the purpose of designating the pointed style of architecture in the middle
+ages.
+
+F. D.
+
+
+
+
+CONTENTS.
+
+
+                                                                      Page
+
+  CHAPTER I.
+
+  Personification of Death, and other modes of representing it
+  among the Ancients.--Same subject during the Middle Ages.--
+  Erroneous notions respecting Death.--Monumental
+  absurdities.--Allegorical pageant of the Dance of Death
+  represented in early times by living persons in churches and
+  cemeteries.--Some of these dances described.--Not unknown to
+  the Ancients.--Introduction of the infernal, or dance of
+  Macaber                                                                1
+
+
+  CHAPTER II.
+
+  Places where the Dance of Death was sculptured or depicted.--
+  Usually accompanied by verses describing the several
+  characters.--Other metrical compositions on the Dance                 17
+
+
+  CHAPTER III.
+
+  Macaber not a German or any other poet, but a nonentity.--
+  Corruption and confusion respecting this word.--Etymological
+  errors concerning it.--How connected with the Dance.--Trois
+  mors et trois vifs.--Orgagna's painting in the Campo Santo at
+  Pisa.--Its connection with the trois mors et trois vifs, as
+  well as with the Macaber Dance.--Saint Macarius the real
+  Macaber.--Paintings of this dance in various places.--At
+  Minden; Church-yard of the Innocents at Paris; Dijon; Basle;
+  Klingenthal; Lubeck; Leipsic; Anneberg; Dresden; Erfurth;
+  Nuremberg; Berne; Lucerne; Amiens; Rouen; Fescamp; Blois;
+  Strasburg; Berlin; Vienna; Holland; Italy; Spain                      28
+
+
+  CHAPTER IV.
+
+  Macaber Dance in England.--St. Paul's.--Salisbury.--
+  Wortley-hall.--Hexham.--Croydon.--Tower of London.--Lines in
+  Pierce Plowman's Vision supposed to refer to it                       51
+
+
+  CHAPTER V.
+
+  List of editions of the Macaber Dance.--Printed Horae that
+  contain it.--Manuscript Horae.--Other Manuscripts in which it
+  occurs.--Various articles with letter-press, not being single
+  prints, but connected with it                                         55
+
+
+  CHAPTER VI.
+
+  Hans Holbein's connection with the Dance of Death.--A dance
+  of peasants at Basle.--Lyons edition of the Dance of Death,
+  1538.--Doubts as to any prior edition.--Dedication to the
+  edition of 1538.--Mr. Ottley's opinion of it examined.--
+  Artists supposed to have been connected with this work.--
+  Holbein's name in none of the old editions.--Reperdius                78
+
+
+  CHAPTER VII.
+
+  Holbein's Bible cuts.--Examination of the claim of Hans
+  Lutzenberger as to the design or execution of the Lyons
+  engravings of the Dance of Death.--Other works by him                 94
+
+
+  CHAPTER VIII.
+
+  List of several editions of the Lyons work on the Dance of
+  Death with the mark of Lutzenberger.--Copies of them on
+  wood.--Copies on copper by anonymous artists.--By Wenceslaus
+  Hollar.--Other anonymous artists.--Nieuhoff Picard.--
+  Rusting.--Mechel.--Crozat's drawings.--Deuchar.--Imitations
+  of some of the subjects                                              103
+
+
+  CHAPTER IX.
+
+  Further examination of Holbein's title.--Borbonius.--
+  Biographical notice of Holbein.--Painting of a Dance of Death
+  at Whitehall by him                                                  138
+
+
+  CHAPTER X.
+
+  Other Dances of Death                                                146
+
+
+  CHAPTER XI.
+
+  Dances of Death, with such text only as describes the subjects       160
+
+
+  CHAPTER XII.
+
+  Books in which the subject is occasionally introduced                168
+
+
+  CHAPTER XIII.
+
+  Books of emblems and fables.--Frontispieces and title-pages
+  in some degree connected with the Dance of Death                     179
+
+
+  CHAPTER XIV.
+
+  Single prints connected with the Dance of Death                      188
+
+
+  CHAPTER XV.
+
+  Initial or capital Letters with the Dance of Death                   213
+
+
+  CHAPTER XVI.
+
+  Paintings.--Drawings.--Miscellaneous                                 221
+
+
+  CHAPTER XVII.
+
+  Trois vifs et trois morts.--Negro figure of Death.--Danse aux
+  Aveugles                                                             228
+
+
+  CHAPTER XVIII.
+
+  Errors of various writers who have introduced the subject of
+  the Dance of Death                                                   233
+
+
+
+
+ERRATA.
+
+
+  Page 7, line 25, for _Boistuan_ read _Boistuau_.
+       7,  ... 26, for _Prodigeuses_ read _Prodigieuses_.
+      28,  ... 14, read _in Holland_, &c.
+      32,  ... 23, for _Lamorensi_ read _Zamorensi_.
+      81,  ...  4, for _fex_ read _sex_.
+      88,  ... 10, after _difficulty_ add ?
+      89,  ... 21, after _works_ add "
+     180,  ... 23, for _Typotia_ read _Typotii_.
+     197,  ...  8, for _Stradamus_ read _Stradanus_.
+
+
+
+
+THE Dance of Death.
+
+
+
+
+CHAPTER I.
+
+    _Personification of Death, and other modes of representing it among
+    the Ancients.--Same subject during the Middle Ages.--Erroneous notions
+    respecting Death.--Monumental absurdities.--Allegorical pageant of the
+    Dance of Death represented in early times by living persons in
+    churches and cemeteries.--Some of these dances described.--Not unknown
+    to the Ancients.--Introduction of the infernal, or dance of Macaber._
+
+
+The manner in which the poets and artists of antiquity have symbolized or
+personified Death, has excited considerable discussion; and the various
+opinions of Lessing, Herder, Klotz, and other controversialists have only
+tended to demonstrate that the ancients adopted many different modes to
+accomplish this purpose. Some writers have maintained that they
+exclusively represented Death as a mere skeleton; whilst others have
+contended that this figure, so frequently to be found upon gems and
+sepulchral monuments, was never intended to personify the extinction of
+human life, but only as a simple and abstract representation. They insist
+that the ancients adopted a more elegant and allegorical method for this
+purpose; that they represented human mortality by various symbols of
+destruction, as birds devouring lizards and serpents, or pecking fruits
+and flowers; by goats browsing on vines; cocks fighting, or even by a
+Medusa's or Gorgon's head. The Romans seem to have adopted Homer's[1]
+definition of Death as the eldest brother of Sleep; and, accordingly, on
+several of their monumental and other sculptures we find two winged genii
+as the representatives of the above personages, and sometimes a genius
+bearing a sepulchral vase on his shoulder, and with a torch reversed in
+one of his hands. It is very well known that the ancients often symbolized
+the human soul by the figure of a butterfly, an idea that is extremely
+obvious and appropriate, as well as elegant. In a very interesting
+sepulchral monument, engraved in p. 7 of Spon's Miscellanea Eruditae
+Antiquitatis, a prostrate corpse is seen, and over it a butterfly that has
+just escaped from the _mouth_ of the deceased, or as Homer expresses it,
+"from the teeth's inclosure."[2] The above excellent antiquary has added
+the following very curious sepulchral inscription that was found in Spain,
+HAEREDIBVS MEIS MANDO ETIAM CINERE VTMEO VOLITET EBRIVS PAPILIO OSSA IPSA
+TEGANT MEA, &c. Rejecting this heathen symbol altogether, the painters and
+engravers of the middle ages have substituted a small human figure
+escaping from the mouths of dying persons, as it were, breathing out their
+souls.
+
+We have, however, the authority of Herodotus, that in the banquets of the
+Egyptians a person was introduced who carried round the table at which
+the guests were seated the figure of a dead body, placed on a coffin,
+exclaiming at the same time, "Behold this image of what yourselves will
+be; eat and drink therefore, and be happy."[3] Montfaucon has referred to
+an ancient manuscript to prove that this sentiment was conveyed in a
+Lacedaemonian proverb,[4] and it occurs also in the beautiful poem of
+Coppa, ascribed to Virgil, in which he is supposed to invite Maecenas to a
+rural banquet. It concludes with these lines:--
+
+  Pone merum et talos; pereat qui crastina curat,
+  Mors aurem vellens, vivite ait, venio.
+
+The phrase of pulling the ear is admonitory, that organ being regarded by
+the ancients as the seat of memory. It was customary also, and for the
+same reason, to take an oath by laying hold of the ear. It is impossible
+on this occasion to forget the passage in Isaiah xxii. 13, afterwards used
+by Saint Paul, on the beautiful parable in Luke xii. Plutarch also, in his
+banquet of the wise men, has remarked that the Egyptians exhibited a
+skeleton at their feasts to remind the parties of the brevity of human
+life; the same custom, as adopted by the Romans, is exemplified in
+Petronius's description of the feast of Trimalchio, where a jointed
+puppet, as a skeleton, is brought in by a boy, and this practice is also
+noticed by Silius Italicus:
+
+                    ... AEgyptia tellus
+  Claudit odorato post funus stantia Saxo
+  Corpora, et a mensis exsanguem haud separat umbram.[5]
+
+Some have imagined that these skeletons were intended to represent the
+larvae and lemures, the good and evil shadows of the dead, that
+occasionally made their appearance on earth. The larvae, or lares, were of
+a beneficent nature, friendly to man; in other words, the good demon of
+Socrates. The lemures, spirits of mischief and wickedness. The larva in
+Petronius was designed to admonish only, not to terrify; and this is
+proved from Seneca: "Nemo tam puer est ut Cerberum timeat et tenebras, et
+larvarum habitum nudis ossibus cohaerentium."[6] There is, however, some
+confusion even among the ancients themselves, as to the respective
+qualities of the larvae and lemures. Apuleius, in his noble and interesting
+defence against those who accused him of practising magic, tells them,
+"Tertium mendacium vestrum fuit, macilentam vel omnino evisceratam formam
+diri cadaveris fabricatam prorsus horribilem et larvalem;" and afterwards,
+when producing the image of his peculiar Deity, which he usually carried
+about him, he exclaims, "En vobis quem scelestus ille sceletum nominabat!
+Hiccine est sceletus? Haeccine est larva? Hoccine est quod appellitabatis
+Daemonium."[7] It is among Christian writers and artists that the
+personification of Death as a skeleton is intended to convey terrific
+ideas, conformably to the system that Death is the punishment for original
+sin.
+
+The circumstances that lead to Death, and not our actual dissolution, are
+alone of a terrific nature; for Death is, in fact, the end and cure of all
+the previous sufferings and horrors with which it is so frequently
+accompanied. In the dark ages of monkish bigotry and superstition, the
+deluded people, seduced into a belief that the fear of Death was
+acceptable to the great and beneficent author of their existence, appear
+to have derived one of their principal gratifications in contemplating
+this necessary termination of humanity, yet amidst ideas and impressions
+of the most horrible and disgusting nature: hence the frequent allusions
+to it, in all possible ways, among their preachers, and the
+personification of it in their books of religious offices, as well as in
+the paintings and sculptures of their ecclesiastical and other edifices.
+They seemed to have entirely banished from their recollection the
+consolatory doctrines of the Gospel, which contribute so essentially to
+dissipate the terrors of Death, and which enable the more enlightened
+Christian to abide that event with the most perfect tranquillity of mind.
+There are, indeed, some exceptions to this remark, for we may still trace
+the imbecility of former ages on too many of our sepulchral monuments,
+which are occasionally tricked out with the silly appendages of Death's
+heads, bones, and other useless remains of mortality, equally repulsive to
+the imagination and to the elegance of art.
+
+If it be necessary on any occasion to personify Death, this were surely
+better accomplished by means of some graceful and impressive figure of the
+Angel of Death, for whom we have the authority of Scripture; and such
+might become an established representative. The skulls and bones of
+modern, and the entire skeletons of former times, especially during the
+middle ages, had, probably, derived their origin from the vast quantities
+of sanctified human relics that were continually before the eyes, or
+otherwise in the recollection of the early Christians. But the favourite
+and principal emblem of mortality among our ancestors appears to have been
+the moral and allegorical pageant familiarly known by the appellation of
+the _Dance of Death_, which it has, in part, derived from the grotesque,
+and often ludicrous attitudes of the figures that composed it, and
+especially from the active and sarcastical mockery of the ruthless tyrant
+upon its victims, which may be, in a great measure, attributed to the
+whims and notions of the artists who were employed to represent the
+subject.
+
+It is very well known to have been the practice in very early times to
+profane the temples of the Deity with indecorous dancing, and ludicrous
+processions, either within or near them, in imitation, probably, of
+similar proceedings in Pagan times. Strabo mentions a custom of this
+nature among the Celtiberians,[8] and it obtained also among several of
+the northern nations before their conversion to Christianity. A Roman
+council, under Pope Eugenius II. in the 9th century, has thus noticed it:
+"Ut sacerdotes admoneant viros ac mulieres, qui festis diebus ad ecclesiam
+occurrunt, ne _ballando_ et turpia verba decantando choros teneant, ac
+ducunt, similitudinem Paganorum peragendo." Canciani mentions an ancient
+bequest of money for a dance in honour of the Virgin.[9]
+
+These riotous and irreverent tripudists and caperers appear to have
+possessed themselves of the church-yards to exhibit their dancing
+fooleries, till this profanation of consecrated ground was punished, as
+monkish histories inform us, with divine vengeance. The well-known
+Nuremberg Chronicle[10] has recorded, that in the time of the Emperor
+Henry the Second, whilst a priest was saying mass on Christmas Eve, in the
+church of Saint Magnus, in the diocese of Magdeburg, a company of eighteen
+men and ten women amused themselves with dancing and singing in the
+church-yard, to the hindrance of the priest in his duty. Notwithstanding
+his admonition, they refused to desist, and even derided the words he
+addressed to them. The priest being greatly provoked at their conduct,
+prayed to God and Saint Magnus that they might remain dancing and singing
+for a whole year without intermission, and so it happened; neither dew nor
+rain falling upon them. Hunger and fatigue were set at defiance, nor were
+their shoes or garments in the least worn away. At the end of the year
+they were released from their situation by Herebert, the archbishop of the
+diocese in which the event took place, and obtained forgiveness before
+the altar of the church; but not before the daughter of a priest and two
+others had perished; the rest, after sleeping for the space of three whole
+nights, died soon afterwards. Ubert, one of the party, left this story
+behind him, which is elsewhere recorded, with some variation and
+additional matter. The dance is called St. Vitus's, and the girl is made
+the daughter of a churchwarden, who having taken her by the arm, it came
+off, but she continued dancing. By the continual motion of the dancers
+they buried themselves in the earth to their waists. Many princes and
+others went to behold this strange spectacle, till the bishops of Cologne
+and Hildesheim, and some other devout priests, by their prayers, obtained
+the deliverance of the culprits; four of the party, however, died
+immediately, some slept three days and three nights, some three years, and
+others had trembling in their limbs during the whole of their lives. The
+Nuremberg Chronicle, crowded as it is with wood-cut embellishments by the
+hand of Wolgemut, the master of Albert Durer, has not omitted to exhibit
+the representations of the above unhappy persons, equally correct, no
+doubt, as the story itself, though the same warranty cannot be offered for
+a similar representation, in Gottfried's Chronicle and that copious
+repertory of monstrosities, Boistuau and Belleforest's Histoires
+Prodigieuses. The Nuremberg Chronicle[11] has yet another relation on this
+subject of some persons who continued dancing and singing on a bridge
+whilst the eucharist was passing over it. The bridge gave way in the
+middle, and from one end of it 200 persons were precipitated into the
+river Moselle, the other end remaining so as to permit the priest and his
+host to pass uninjured.
+
+In that extremely curious work, the Manuel de Peche, usually ascribed to
+Bishop Grosthead, the pious author, after much declamation against the
+vices of the times, has this passage:--
+
+  Karoles ne lutes ne deit nul fere,
+  En seint eglise ki me voil crere;
+  Kas en cimetere karoler,
+  Utrage est grant u lutter.[12]
+
+He then relates the story in the Nuremberg Chronicle, for which he quotes
+the book of Saint Clement. Grosthead's work was translated about the year
+1300 into English verse by Robert Mannyng, commonly called Robert de
+Brunne, a Gilbertine canon. His translation often differs from his
+original, with much amplification and occasional illustrations by himself.
+As the account of the Nuremberg story varies so materially, and as the
+scene is laid in England, it has been thought worth inserting.
+
+  Karolles wrastelynges or somour games,
+  Whosoever haunteth any swyche shames,
+  Yn cherche other yn cherche yerd,
+  Of sacrilage he may be aferd;
+  Or entyrludes or syngynge,
+  Or tabure bete or other pypynge;
+  All swyche thyng forboden es,
+  Whyle the prest stondeth at messe;
+  But for to leve in cherche for to daunce,
+  Y shall you telle a full grete chaunce,
+  And y trow the most that fel,
+  Ys sothe as y you telle.
+  And fyl thys chaunce yn thys londe,
+  Yn Ingland as y undyrstonde,
+  Yn a kynges tyme that hyght Edward,
+  Fyl this chaunce that was so hard.
+  Hyt was upon crystemesse nyzt
+  That twelve folys a karolle dyzt,
+  Yn Wodehed, as hyt were yn cuntek,[13]
+  They come to a toune men calle Cowek:[14]
+  The cherche of the toune that they to come,
+  Ys of Seynt Magne that suffred martyrdome,
+  Of Seynt Bukcestre hyt ys also,
+  Seynt Magnes suster, that they come to;
+  Here names of all thus fonde y wryte,
+  And as y wote now shal ye wyte
+  Here lodesman[15] that made hem glew,[16]
+  Thus ys wryte he hyzte[17] Gerlew;
+  Twey maydens were yn here coveyne,
+  Mayden Merswynde[18] and Wybessyne;
+  All these came thedyr for that enchesone,} doghtyr
+  Of the prestes of the toune.             }
+  The prest hyzt Robert as y can ame,
+  Azone hyzt hys sone by name,
+  Hys doghter that there men wulde have,
+  Thus ys wryte that she hyzt Ave.
+  Echone consented to o wyl,
+  Who shuld go Ave out to tyl,
+  They graunted echone out to sende,
+  Bothe Wybessyne and Merswynde:
+  These women zede and tolled[19] her oute,
+  Wyth hem to karolle the cherche aboute,
+  Benne ordeyned here karollyng,
+  Gerlew endyted what they shuld syng.
+  Thys ys the karolle that they sunge,
+  As telleth the Latyn tunge,
+  Equitabat Bevo per sylvam frondosam,}
+  Ducebat secum Merwyndam formosam,   }
+  Quid stamus cur non imus.           }
+  By the levede[20] wode rode Bevolyne,
+  Wyth hym he ledde feyre Merwyne,
+  Why stonde we why go we noght:
+  Thys ys the karolle that Grysly wroght,
+  Thys songe sung they yn chercheyerd,
+  Of foly were they nothyng aferd.
+
+The party continued dancing and carolling all the matins time, and till
+the mass began; when the priest, hearing the noise, came out to the church
+porch, and desired them to leave off dancing, and come into the church to
+hear the service; but they paid him no regard whatever, and continued
+their dance. The priest, now extremely incensed, prayed to God in favour
+of St. Magnes, the patron of the church:
+
+  That swych a venjeaunce were on hem sent,
+  Are they out of that stede[21] were went,
+  That myzt ever ryzt so wende,
+  Unto that tyme twelvemonth ende.
+  Yn the Latyne that y fonde thore,
+  He seyth not twelvemonth but evermore.
+
+The priest had no sooner finished his prayer, than the hands of the
+dancers were so locked together that none could separate them for a
+twelvemonth:
+
+  The preste yede[22] yn whan thys was done,
+  And comaunded hys sone Azone,
+  That shuld go swythe after Ave,
+  Oute of that karolle algate to have;
+  But al to late that wurde was sayde,
+  For on hem alle was the venjeaunce leyd.
+  Azonde wende weyl for to spede
+  Unto the karolle asswythe he yede;
+  Hys syster by the arme he hente,
+  And the arme fro the body wente;
+  Men wundred alle that there wore,
+  And merveyle nowe ye here more;
+  For seythen he had the arme yn hand,
+  The body yode furth karoland,
+  And nother body ne the arme
+  Bled never blode colde ne warme;
+  But was as drye with al the haunche,
+  As of a stok were ryve a braunche.
+
+Azone carries his sister's arm to the priest his father, and tells him the
+consequences of his rash curse. The priest, after much lamentation, buries
+the arm. The next morning it rises out of the grave; he buries it again,
+and again it rises. He buries it a third time, when it is cast out of the
+grave with considerable violence. He then carries it into the church that
+all might behold it. In the meantime the party continued dancing and
+singing, without taking any food or sleeping, "only a lepy wynke;" nor
+were they in the least affected by the weather. Their hair and nails
+ceased to grow, and their garments were neither soiled nor discoloured;
+but
+
+  Sunge that songge that the wo wrozt,
+  "Why stond we, why go we nozt."
+
+To see this curious and woful sight, the emperor travels from Rome, and
+orders his carpenters and other artificers to inclose them in a building;
+but this could not be done, for what was set up one day fell down on the
+next, and no covering could be made to protect the sinners till the time
+of mercy that Christ had appointed arrived; when, at the expiration of the
+twelvemonth, and in the very same hour in which the priest had pronounced
+his curse upon them, they were separated, and "in the twynklyng of an eye"
+ran into the church and fell down in a swoon on the pavement, where they
+lay three days before they were restored. On their recovery they tell the
+priest that he will not long survive:
+
+  For to thy long home sone shalt thou wende,
+  All they ryse that yche tyde,
+  But Ave she lay dede besyde.
+
+Her father dies soon afterwards. The emperor causes Ave's arm to be put
+into a vessel and suspended in the church as an example to the spectators.
+The rest of the party, although separated, travelled about, but always
+dancing; and as they had been inseparable before, they were now not
+permitted to remain together. Four of them went hopping to Rome, their
+clothes undergoing no change, and their hair and nails not continuing to
+grow:
+
+  Bruning the Bysshope of Seynt Tolous,
+  Wrote thys tale so merveylous;
+  Setthe was hys name of more renoun,
+  Men called him the Pope Leon;
+  Thys at the courte of Rome they wyte,
+  And yn the kronykeles hyt ys write;
+  Yn many stedys[23] beyounde the see,
+  More than ys yn thys cuntre:
+  Tharfor men seye an weyl ys trowed,
+  The nere the cherche the further fro God.
+  So fare men here by thys tale,
+  Some holde it but a trotevale,[24]
+  Yn other stedys hyt ys ful dere,
+  And for grete merveyle they wyl hyt here.
+
+In the French copies the story is said to have been taken from the
+itinerary of St. Clement. The name of the girl who lost her arm is
+Marcent, and her brother's John.[25]
+
+Previously to entering upon the immediate subject of this Essay, it may be
+permitted to observe, that a sort of Death's dance was not unknown to the
+ancients. It was the revelry of departed souls in Elysium, as may be
+collected from the end of the fourth ode of Anacreon. Among the Romans
+this practice is exemplified in the following lines of Tibullus.
+
+  Sed me, quod facilis tenero sum semper Amori,
+    Ipsa Venus campos ducit in Elysios.
+  Hic _choreae_ cantusque vigent ...[26]
+
+And Virgil has likewise alluded to it:
+
+  Pars pedibus plaudunt _choreas_ et carmina dicunt.[27]
+
+In the year 1810 several fragments of sculptured sarcophagi were
+accidentally discovered near Cuma, on one of which were represented three
+dancing skeletons,[28] indicating, as it is ingeniously supposed, that the
+passage from death to another state of existence has nothing in it that is
+sorrowful, or capable of exciting fear. They seem to throw some light on
+the above lines from Virgil and Tibullus.
+
+At a meeting of the Archaeological Society at Rome, in December, 1831, M.
+Kestner exhibited a Roman lamp on which were three dancing skeletons, and
+such are said to occur in one of the paintings at Pompeii.
+
+In the Grand Duke of Tuscany's museum at Florence there is an ancient gem,
+that, from its singularity and connexion with the present subject, is well
+deserving of notice. It represents an old man, probably a shepherd,
+clothed in a hairy garment. He sits upon a stone, his right foot resting
+on a globe, and is piping on a double flute, whilst a skeleton dances
+grotesquely before him. It might be a matter of some difficulty to explain
+the recondite meaning of this singular subject.[29]
+
+Notwithstanding the interdiction in several councils against the practice
+of dancing in churches and church-yards, it was found impossible to
+abolish it altogether; and it therefore became necessary that something of
+a similar, but more decorous, nature should be substituted, which, whilst
+it afforded recreation and amusement, might, at the same time, convey with
+it a moral and religious sensation. It is, therefore, extremely probable,
+that, in furtherance of this intention, the clergy contrived and
+introduced the Dance or Pageant of Death, or, as it was sometimes called,
+the Dance of Macaber, for reasons that will hereafter appear. Mr. Warton
+states, "that in many churches of France there was an ancient show, or
+mimickry, in which all ranks of life were personated by the ecclesiastics,
+who danced together, and disappeared one after another."[30] Again,
+speaking of Lydgate's poem on this subject, he says, "these verses,
+founded on a sort of spiritual masquerade antiently celebrated in
+churches, &c."[31] M. Barante, in his History of the Dukes of Burgundy,
+adverting to the entertainments that took place at Paris when Philip le
+Bon visited that city in 1424, observes, "that these were not solely made
+for the nobility, the common people being likewise amused from the month
+of August to the following season of Lent with the Dance of Death in the
+church yard of the Innocents, the English being particularly gratified
+with this exhibition, which included all ranks and conditions of men,
+Death being, morally, the principal character."[32] Another French
+historian, M. de Villeneuve Bargemont, informs us that the Duke of Bedford
+celebrated his victory at Verneuil by a festival in the centre of the
+French capital. The rest of what this writer has recorded on the subject
+before us will be best given in his own words, "Nous voulons parler de
+cette fameuse _procession_ qu'on vit defiler dans les rues de Paris, sous
+le nom de _danse Macabree ou infernale_, epouvantable divertissement,
+auquel presidoit un squelette ceint du diademe royal, tenant un sceptre
+dans ses mains decharnees et assis sur un trone resplendissant d'or et de
+pierreries. Ce spectacle repoussant, melange odieux de deuil et de joie,
+inconnu jusqu'alors, et qui ne s'est jamais renouvelle, n'eut guere pour
+temoins que des soldats etrangers, ou quelques malheureux echappes a tous
+les fleaux reunis, et qui avoient vu descendre tous leurs parens, tous
+leurs amis, dans ces sepulchres qu'on depouilloit alors de leurs
+ossemens."[33] A third French writer has also treated the Dance of Death
+as a spectacle exhibited in like manner to the people of Paris.[34] M.
+Peignot, to whom the reader is obliged for these historical notices in his
+ingenious researches on the present subject, very plausibly conceives that
+their authors have entirely mistaken the sense of an old chronicle or
+journal under Charles VI. and VII. which he quotes in the following
+words.--"Item. L'an 1424 fut faite la Danse Maratre (pour Macabre) aux
+Innocens, et fut comencee environ le moys d'Aoust et achevee au karesme
+suivant. En l'an 1429 le cordelier Richard preschant aux Innocens estoit
+monte sur ung hault eschaffaut qui estoit pres de toise et demie de hault,
+le dos tourne vers les charniers encontre la charounerie, a l'endroit de
+la danse Macabre." He observes, that the Dance of Death at the Innocents,
+having been commenced in August and finished at the ensuing Lent, could
+not possibly be represented by living persons, but was only a painting,
+the large dimensions of which required six months to complete it; and that
+a single Death must, in the other case, have danced with every individual
+belonging to the scene.[35] He might have added, that such a proceeding
+would have been totally at variance with the florid, but most inaccurate,
+description by M. Bargemont. The reader will, therefore, most probably
+feel inclined to adopt the opinion of M. Peignot, that the Dance of Death
+was not performed by living persons between 1424 and 1429.
+
+But although M. Peignot may have triumphantly demonstrated that this
+subject was not exhibited by living persons at the above place and period,
+it by no means follows that it was not so represented at some other time,
+and on some other spot. Accordingly, in the archives of the cathedral of
+Besancon, there is preserved an article respecting a delivery made to one
+of the officers of Saint John the Evangelist of four measures of wine, to
+be given to those persons who performed the Dance of Death after mass was
+concluded. This is the article itself, "Sexcallus [seneschallus] solvat D.
+Joanni Caleti matriculario S. Joannis quatuor simasias vini per dictum
+matricularium exhibitas illis qui choream Machabeorum fecerunt 10 Julii,
+1453, nuper lapsa hora misse in ecclesia S. Joannis Evangeliste propter
+capitulum provinciale fratrum Minorum."[36] This document then will set
+the matter completely at rest.
+
+At what time the personified exhibition of this pageant commenced, or when
+it was discontinued cannot now be correctly ascertained. If, from a moral
+spectacle, it became a licentious ceremony, as is by no means improbable,
+in imitation of electing a boy-bishop, of the feast of fools, or other
+similar absurdities, its termination may be looked for in the authority of
+some ecclesiastical council at present not easily to be traced.
+
+
+
+
+CHAPTER II.
+
+    _Places where the Dance of Death was sculptured or depicted.--Usually
+    accompanied by verses describing the several characters.--Other
+    Metrical Compositions on the Dance._
+
+
+The subject immediately before us was very often represented, not only on
+the walls, but in the windows of many churches, in the cloisters of
+monasteries, and even on bridges, especially in Germany and Switzerland.
+It was sometimes painted on church screens, and occasionally sculptured on
+them, as well as upon the fronts of domestic dwellings. It occurs in many
+of the manuscript and illuminated service books of the middle ages, and
+frequent allusions to it are found in other manuscripts, but very rarely
+in a perfect state, as to the number of subjects.
+
+Most of the representations of the Dance of Death were accompanied by
+descriptive or moral verses in different languages. Those which were added
+to the paintings of this subject in Germany appear to have differed very
+materially, and it is not now possible to ascertain which among them is
+the oldest. Those in the Basle painting are inserted in the editions
+published and engraved by Mathew Merian, but they had already occurred in
+the Decennalia humanae peregrinationis of Gaspar Landismann in 1584. Some
+Latin verses were published by Melchior Goldasti at the end of his edition
+of the Speculum omnium statuum, a celebrated moral work by Roderic, Bishop
+of Zamora, 1613, 4to. He most probably copied them from one of the early
+editions of the Danse Macabre, but without any comment whatever, the
+above title page professing that they are added on account of the
+similarity of the subject.
+
+A Provencal poet, called _Marcabres_ or _Marcabrus_, has been placed among
+the versifiers, but none of his works bear the least similitude to the
+subject; and, moreover, the language itself is an objection. The English
+metrical translation will be noticed hereafter. Whether any of the
+paintings were accompanied by descriptive verses that might be considered
+as anterior to those ascribed to the supposed Macaber, cannot now be
+ascertained.
+
+There are likewise some Latin verses in imitation of those
+above-mentioned, which, as well as the author of them, do not seem to have
+been noticed by any biographical or poetical writer. They occur at the end
+of a Latin play, intitled Susanna, Antverp. apud Michaelem Hillenium,
+MDXXXIII. As the volume is extremely rare, and the verses intimately
+connected with the present subject, it has been thought worth while to
+reprint them. After an elegy on the vanity and shortness of human life,
+and a Sapphic ode on the remembrance of Death, they follow under this
+title, "Plausus luctificae mortis ad modum dialogi extemporaliter ab
+Eusebio Candido lusus. Ad quem quique mortales invitantur omnes,
+cujuscujus sint conditionis: quibusque singulis Mors ipsa respondet."
+
+  Luctificae mortis plausum bene cernite cuncti.
+  Dum res laeta, mori et viventes discite, namque
+  Omnes ex aequo tandem huc properare necessum.
+
+Hic inducitur adolescens quaerens, et mors vel philosophus respondens.
+
+  Vita quid est hominis? Fumus super aream missus.
+  Vita quid est hominis? Via mortis, dura laborum
+  Colluvies, vita est hominis via longa doloris
+  Perpetui. Vita quid est hominis? cruciatus et error,
+  Vita quid est hominis? vestitus gramine multo,
+  Floribus et variis campus, quem parva pruina
+  Expoliat, sic vitam hominum mors impia tollit.
+  Quamlibet illa alacris, vegeta, aut opulenta ne felix,
+  Icta cadit modica crede aegritudine mortis.
+  Et quamvis superes auro vel murice Croesum,
+  Longaevum aut annis vivendo Nestora vincas,
+  Omnia mors aequat, vitae meta ultima mors est.
+
+
+  IMPERATOR.
+
+  Quid fers? Induperator ego, et moderamina rerum
+  Gesto manu, domuit mors impia sceptra potentum.
+
+
+  REX RHOMANUS.
+
+  Quid fers? en ego Rhomulidum rex. Mors manet omnes.
+
+
+  PAPA.
+
+  En ego Pontificum primus, signansque resignans.
+  Et coelos oraque locos. Mors te manet ergo.
+
+
+  CARDINALIS.
+
+  Cardineo fulgens ego honore, et Episcopus ecce
+  Mors manet ecce omnes, Phrygeus quos pileus ornat.
+
+
+  EPISCOPUS.
+
+  Insula splendidior vestit mea, tempora latum
+  Possideo imperium, multi mea jura tremiscunt.
+  Me dicant fraudis docti, producere lites.
+  Experti, aucupium docti nummorum, et averni
+  Causidici, rixatores, rabulaeque forenses.
+  Hos ego respicio, nihil attendens animarum,
+  Ecclesiae mihi commissae populive salutem
+  Sed satis est duros loculo infarcisse labores
+  Agricolum, et magnis placuisse heroibus orbis.
+  Non tamen effugies mortis mala spicula durae.
+
+
+  ECCLESIAE PRAELATUS.
+
+  Ecclesiae praelatus ego multis venerandus
+  Muneribus sacris, proventibus officiorum.
+  Comptior est vestis, popina frequentior aede
+  Sacra, et psalmorum cantus mihi rarior ipso
+  Talorum crepitu, Veneris quoque voce sonora.
+  Morte cades, annos speras ubi vivere plures.
+
+
+  CANONICUS.
+
+  En ego melotam gesto. Mors saeva propinquat.
+
+
+  PASTOR.
+
+  En parochus quoque pastor ego, mihi dulce falernum
+  Notius aede sacra: scortum mihi charius ipsa
+  Est animae cura populi. Mors te manet ergo.
+
+
+  ABBAS.
+
+  En abbas venio, Veneris quoque ventris amicus.
+  Coenobii rara est mihi cura, frequentior aula
+  Magnorum heroum. Chorea saltabis eadem.
+
+
+  PRIOR.
+
+  En prior, ornatus longa et splendente cuculla,
+  Falce cades mortis. Mors aufert nomina honoris.
+
+
+  PATER VESTALIUM.
+
+  Nympharum pater ecce ego sum ventrosior, offis
+  Pinguibus emacerans corpus. Mors te manet ipsa.
+
+
+  VESTALIS NYMPHA.
+
+  En monialis ego, Vestae servire parata.
+  Non te Vesta potest mortis subducere castris.
+
+
+  LEGATUS.
+
+  Legatus venio culparum vincla resolvemus
+  Omnia pro auro, abiens coelum vendo, infera claudo
+  Et quicquid patres sanxerunt, munere solvo
+  Juribus a mortis non te legatio solvet.
+
+
+  DOMINUS DOCTOR.
+
+  Quid fers? Ecce sophus, divina humanaque jura
+  Calleo, et a populo doctor Rabbique salutor,
+  Te manet expectans mors ultima linea rerum.
+
+
+  MEDICUS.
+
+  En ego sum medicus, vitam producere gnarus,
+  Venis lustratis morborum nomina dico,
+  Non poteris durae mortis vitare sagittas.
+
+
+  ASTRONOMUS.
+
+  En ego stellarum motus et sydera novi,
+  Et fati genus omne scio praedicere coeli.
+  Non potis es mortis durae praescire sagittas.
+
+
+  CURTISANUS.
+
+  En me Rhoma potens multis suffarsit onustum
+  Muneribus sacris, proventibus, officiisque
+  Non potes his mortis fugiens evadere tela.
+
+
+  ADVOCATUS.
+
+  Causarum patronus ego, producere doctus
+  Lites, et loculos lingua vacuare loquaci
+  Non te lingua loquax mortis subducet ab ictu.
+
+
+  JUDEX.
+
+  Justitiae judex quia sum, sub plebe salutor.
+  Vertice me nudo populus veneratur adorans.
+  Auri sacra fames pervertere saepe coegit
+  Justitiam. Mors te manet aequans omnia falce.
+
+
+  PRAETOR.
+
+  Praetor ego populi, me praetor nemo quid audet.
+  Accensor causis, per me stant omnia, namque
+  Et dono et adimo vitam, cum rebus honorem.
+  Munere conspecto, quod iniquum est jure triumphat
+  Emitto corvos, censura damno columbas.
+  Hinc metuendus ero superis ereboque profundo.
+  Te manet expectans Erebus Plutoque cruentus.
+
+
+  CONSUL.
+
+  Polleo consiliis, Consul dicorque salutor.
+  Munere conspecto, quid iniquum est consulo rectum
+  Quod rectum est flecto, nihil est quod nesciat auri
+  Sacra fames, hinc ditor et undique fio opulentus
+  Sed eris aeternum miser et mors impia tollet.
+
+
+  CAUSIDICUS.
+
+  Causidicus ego sum, causas narrare peritus,
+  Accior in causas, sed spes ubi fulserit auri
+  Ad fraudes docta solers utor bene lingua.
+  Muto, commuto, jura inflecto atque reflecto.
+  Et nihil est quod non astu pervincere possim.
+  Mors aequa expectat properans te fulmine diro.
+  Nec poteris astu mortis praevertere tela.
+
+
+  SCABINUS.
+
+  Ecce Scabinus ego, scabo bursas, prorogo causas.
+  Senatorque vocor, vulgus me poplite curvo,
+  Muneribusque datis veneratur, fronte retecta.
+  Nil mortem meditor loculos quando impleo nummis
+  Et dito haeredes nummis, vi, fraude receptis,
+  Justitiam nummis, pro sanguine, munere, vendo.
+  Quod rectum est curvo, quod curvum est munere rectum
+  Efficio, per me prorsus stant omnia jura.
+  Non poteris durae mortis transire sagittas.
+
+
+  LUDIMAGISTER.
+
+  En ego pervigili cura externoque labore.
+  Excolui juvenum ingenia, et praecepta Minervae
+  Tradens consenui, cathedraeque piget sine fructu.
+  Quid dabitur fructus, tanti quae dona laboris?
+  Omnia mors aequans, vitae ultima meta laboris.
+
+
+  MILES AURATUS.
+
+  Miles ego auratus, fulgenti murice et auro
+  Splendidus in populo. Mors te manet omnia perdens.
+
+
+  MILES ARMATUS.
+
+  Miles ego armatus, qui bella ferocia gessi.
+  Nullius occursum expavi, quam durus et audax.
+  Ergo immunis ero. Mors te intrepida ipsa necabit.
+
+
+  MERCATOR.
+
+  En ego mercator dives, maria omnia lustro
+  Et terras, ut res crescant. Mors te metet ipsa.
+
+
+  FUCKARDUS.
+
+  En ego fuckardus, loculos gesto aeris onustos,
+  Omnia per mundum coemens, vendo atque revendo.
+  Heroes me solicitant, atque aera requirunt.
+  Haud est me lato quisquam modo ditior orbe.
+  Mortis ego jura et frameas nihil ergo tremisco
+  Morte cades, mors te rebus spoliabit opimis.
+
+
+  QUAESTOR.
+
+  Quaestor ego, loculos suffersi arcasque capaces
+  Est mihi praenitidis fundata pecunia villis.
+  Hac dives redimam durae discrimina mortis
+  Te mors praeripiet nullo exorabilis auro.
+
+
+  NAUCLERUS.
+
+  En ego nauclerus spaciosa per aequora vectus,
+  Non timui maris aut venti discrimina mille.
+  Cymba tamen mortis capiet te quaeque vorantis.
+
+
+  AGRICOLA.
+
+  Agricola en ego sum, praeduro saepe labore,
+  Et vigili exhaustus cura, sudore perenni,
+  Victum praetenuem quaerens, sine fraude doloque
+  Omnia pertentans, miseram ut traducere possim
+  Vitam, nec mundo me est infelicior alter.
+  Mors tamen eduri fiet tibi meta laboris.
+
+
+  ORATOR.
+
+  Heroum interpres venio, fraudisque peritus,
+  Bellorum strepitus compono, et bella reduco,
+  Meque petunt reges, populus miratur adorans.
+  Nulla abiget fraudi lingueve peritia mortem.
+
+
+  PRINCEPS BELLI.
+
+  Fulmen ego belli, reges et regna subegi,
+  Victor ego ex omni praeduro quamlibet ecce
+  Marte fui, vitae hinc timeo discrimina nulla.
+  Te mors confodiet cauda Trigonis aquosi,
+  Atque eris exanimis moriens uno ictu homo bulla.
+
+
+  DIVES.
+
+  Sum rerum felix, foecunda est prolis et uxor,
+  Plena domus, laetum pecus, et cellaria plena
+  Nil igitur metuo. Quid ais? Mors te impia tollet.
+
+
+  PAUPER.
+
+  Iro ego pauperior, Codroque tenuior omni,
+  Despicior cunctis, nemo est qui sublevet heu heu.
+  Hinc parcet veniens mors: nam nihil auferet a me,
+  Non sic evades, ditem cum paupere tollit.
+
+
+  FOENERATOR.
+
+  Ut loculi intument auro, vi, fraude, doloque,
+  Foenore nunc quaestum facio, furtoque rapinaque,
+  Ut proles ditem, passim dicarque beatus,
+  Per fas perque nefas corradens omnia quaero.
+  Mors veniens furtim praedabitur, omnia tollens.
+
+
+  ADOLESCENS.
+
+  Sum juvenis, forma spectabilis, indole gaudens
+  Maturusque aevi, nullus praestantior alter,
+  Moribus egregiis populo laudatus ab omni.
+  Pallida, difformis mors auferet omnia raptim.
+
+
+  PUELLA.
+
+  Ecce puellarum pulcherrima, mortis iniquae
+  Spicula nil meditor, juvenilibus et fruor annis,
+  Meque proci expectant compti, facieque venusti.
+  Stulta, quid in vana spe jactas? Mors metet omnes
+  Difformes, pulchrosque simul cum paupere dices.
+
+
+  NUNCIUS.
+
+  Nuncius ecce ego sum, qui nuncia perfero pernix
+  Sed retrospectans post terga, papae audio quidnam?
+  Me tuba terrificans mortis vocat. Heu moriendum est.
+
+
+  PERORATIO.
+
+  Mortales igitur memores modo vivite laeti
+  Instar venturi furis, discrimine nullo
+  Cunctos rapturi passim ditesque inopesque.
+  Stultus et insipiens vita qui sperat in ista,
+  Instar quae fumi perit et cito desinit esse.
+  Fac igitur tota virtuti incumbito mente,
+  Quae nescit mortem, sed scandit ad ardua coeli.
+  Quo nos a fatis ducat rex Juppiter, Amen.
+
+  Plaudite nunc, animum cuncti retinete faventes.
+
+  FINIS.
+
+  Antwerpiae apud Michaelem Hillenium M.D.XXXIIII. Mense Maio.
+
+A very early allusion to the Dance of Death occurs in a Latin poem, that
+seems to have been composed in the twelfth century by our celebrated
+countryman Walter de Mapes, as it is found among other pieces that carry
+with them strong marks of his authorship. It is intitled "Lamentacio et
+deploracio pro Morte et consilium de vivente Deo."[37] In its construction
+there is a striking resemblance to the common metrical stanzas that
+accompany the Macaber Dance. Many characters, commencing with that of the
+Pope, are introduced, all of whom bewail the uncontrolable influence of
+Death. This is a specimen of the work, extracted from two manuscripts:
+
+  Cum mortem meditor nescit mihi causa doloris,
+  Nam cunctis horis mors venit ecce cito.
+  Pauperis et regis communis lex moriendi,
+  Dat causam flendi si bene scripta leges.
+  Gustato pomo missus transit sine morte
+  Heu missa sorte labitur omnis homo.
+
+  Vado mori Papa qui jussu regna    | Vado mori, Rex sum, quod honor,
+    subegi                          |   quod gloria regum,
+  Mors mihi regna tulit eccine vado | Est via mors hominis regia vado
+    mori.                           |   mori.
+
+Then follow similar stanzas, for presul, miles, monachus, legista,
+jurista, doctor, logicus, medicus, cantor, sapiens, dives, cultor,
+burgensis, nauta, pincerna, pauper.
+
+In Sanchez's collection of Spanish poetry before the year 1400,[38]
+mention is made of a Rabbi Santo as a good poet, who lived about 1360. He
+was a Jew, and surgeon to Don Pedro. His real name seems to have been
+Mose, but he calls himself Don Santo Judio de Carrion. This person is said
+to have written a moral poem, called "Danza General." It commences thus:
+
+  "_Dise la Muerte._
+
+  "Yo so la muerte cierta a todas criaturas,
+  Que son y seran en el mundo durante:
+  Demando y digo O ame! porque curas
+  De vida tan breve en punto passante?" &c.
+
+He then introduces a preacher, who announces Death to all persons, and
+advises them to be prepared by good works to enter his Dance, which is
+calculated for all degrees of mankind.
+
+  "Primaramente llama a su danza a dos doncellas,
+  A esta mi danza trax de presente,
+  Estas dos donzellas que vades fermosas:
+  Ellas vinieron de muy malamente
+  A oir mes canciones que son dolorosas,
+  Mas non les valdran flores nin rosas,
+  Nin las composturas que poner salian:
+  De mi, si pudiesen parterra querrian,
+  Mas non proveda ser, que son mis esposas."
+
+It may, however, be doubted whether the Jew Santo was the author of this
+Dance of Death, as it is by no means improbable that it may have been a
+subsequent work added to the manuscript referred to by Sanchez.
+
+In 1675, Maitre Jacques Jacques, a canon of the cathedral of Ambrun,
+published a singular work, intitled "Le faut mourir et les excuses
+inutiles que l'on apporte a cette necessite. Le tout en vers burlesques."
+Rouen, 1675, 12mo. It is written much in the style of Scarron and some
+other similar poets of the time. It commences with a humorous description
+given by Death of his proceedings with various persons in every part of
+the globe, which is followed by several dialogues between Death and the
+following characters: 1. The Pope. 2. A young lady betrothed. 3. A galley
+slave. 4. Guillot, who has lost his wife. 5. Don Diego Dalmazere, a
+Spanish hidalgo. 6. A king. 7. The young widow of a citizen. 8. A citizen.
+9. A decrepit rich man. 10. A canon. 11. A blind man. 12. A poor peasant.
+13. Tourmente, a poor soldier in the hospital. 14. A criminal in prison.
+15. A nun. 16. A physician. 17. An apothecary. 18. A lame beggar. 19. A
+rich usurer. 20. A merchant. 21. A rich merchant. As the book is uncommon,
+the following specimen is given from the scene between Death and the young
+betrothed girl:
+
+  LA MORT.
+
+  A vous la belle demoiselle,
+  Je vous apporte une nouvelle,
+  Qui certes vous surprendra fort.
+  C'est qu'il faut penser a la mort,
+  Tout vistement plies bagage,
+  Car il faut faire ce voyage.
+
+
+  LA DEMOISELLE.
+
+  Qu'entends-je? Tout mon sens se perd,
+  Helas! vous me prener sans verd;
+  C'est tout a fait hors de raison
+  Mourir dedans une saison
+  Que je ne dois songer qu'a rire,
+  Je suis contrainte de vous dire,
+  Que tres injuste est vostre choix,
+  Parce que mourir je ne dois,
+  N'estant qu'en ma quinzieme annee,
+  Voyez quelque vielle echinee,
+  Qui n'ait en bouche point de dent;
+  Vous l'obligerez grandement
+  De l'envoyer a l'autre monde,
+  Puis qu'ici toujours elle gronde;
+  Vous la prendrez tout a propos,
+  Et laissez moi dans le repos,
+  Moi qui suis toute poupinette,
+  Dans l'embonpoint et joliette,
+  Qui n'aime qu'a me rejouir,
+  De grace laissez moi jouir, &c.
+
+
+
+
+CHAPTER III.
+
+    _Macaber not a German or any other poet, but a nonentity.--Corruption
+    and confusion respecting this word.--Etymological errors concerning
+    it.--How connected with the Dance.--Trois mors et trois
+    vifs.--Orgagna's painting in the Campo Santo at Pisa.--Its connection
+    with the trois mors et trois vifs, as well as with the Macaber
+    dance.--Saint Macarius the real Macaber.--Paintings of this dance in
+    various places.--At Minden; Church-yard of the Innocents at Paris;
+    Dijon; Basle; Klingenthal; Lubeck; Leipsic; Anneberg; Dresden;
+    Erfurth; Nuremberg; Berne; Lucerne; Amiens; Rouen; Fescamp; Blois;
+    Strasburg; Berlin; Vienna; Holland; Italy; Spain._
+
+
+The next subject for investigation is the origin of the name of Macaber,
+as connected with the Dance of Death, either with respect to the verses
+that have usually accompanied it, or to the paintings or representations
+of the Dance itself; and first of the verses.
+
+It may, without much hazard, be maintained that, notwithstanding these
+have been ascribed to a German poet called Macaber, there never was a
+German, or any poet whatever bearing such a name. The first mention of him
+appears to have been in a French edition of the Danse Macabre, with the
+following title, "Chorea ab eximio Macabro versibus Alemannicis edito, et
+a Petro Desrey emendata. Parisiis per Magistrum Guidonem Mercatorem pro
+Godefrido de Marnef. 1490, folio." This title, from its ambiguity, is
+deserving of little consideration as a matter of authority; for if a
+comma be placed after the word Macabro, the title is equally applicable to
+the author of the verses and to the painter or inventor of the Dance. As
+the subject had been represented in several places in Germany, and of
+course accompanied with German descriptions, it is possible that Desrey
+might have translated and altered some or one of these, and, mistaking the
+real meaning of the word, have converted it into the name of an author. It
+may be asked in what German biography is such a person to be found? how it
+has happened that this _famous_ Macaber is so little known, or whether the
+name really has a Teutonic aspect? It was the above title in Desrey's work
+that misled the truly learned Fabricius inadvertently to introduce into
+his valuable work the article for Macaber as a German poet, and in a work
+to which it could not properly belong.[39]
+
+M. Peignot has very justly observed that the Danse Macabre had been very
+long known in France and elsewhere, not as a literary work, but as a
+painting; and he further remarks that although the verses are German in
+the Basil painting, executed about 1440, similar verses in French were
+placed under the dance at the Innocents at Paris in 1424.[40]
+
+At the beginning of the text in the early French edition of the Danse
+Macabre, we have only the words "la danse Macabre sappelle," but no
+specific mention is made of the author of the verses. John Lydgate, in his
+translation of them from the French, and which was most probably adopted
+in many places in England where the painting occurred, speaks of "the
+Frenche Machabrees daunce," and "the daunce of Machabree." At the end,
+"Machabree the Doctoure," is abruptly and unconnectedly introduced at the
+bottom of the page. It is not in the French printed copy, from the text
+of which Lydgate certainly varies in several respects. It remains,
+therefore, to ascertain whether these words belong to Lydgate, or to whom
+else; not that it is a matter of much importance.
+
+The earliest authority that has been traced for the name of "Danse
+Macabre," belongs to the painting at the Innocents, and occurs in the MS.
+diary of Charles VII. under the year 1424. It is also strangely called
+"Chorea Machabaeorum," in 1453, as appears from the before cited document
+at St. John's church at Besancon. Even the name of one _Maccabrees_, a
+Provencal poet of the 14th century, has been injudiciously connected with
+the subject, though his works are of a very different nature.
+
+Previously to attempting to account for the origin of the obscure and much
+controverted word Macaber, as applicable to the dance itself, it may be
+necessary to advert to the opinions on that subject that have already
+appeared. It has been disguised under the several names of Macabre,[41]
+Maccabees,[42] Maratre,[43] and even Macrobius.[44] Sometimes it has been
+regarded as an epithet. The learned and excellent M. Van Praet, the
+guardian of the royal library at Paris, has conjectured that _Macabre_ is
+derived from the Arabic _Magbarah_, magbourah, or magabir, all signifying
+a church-yard. M. Peignot seems to think that M. Van Praet intended to
+apply the word to the Dance itself,[45] but it is impossible that the
+intelligent librarian was not aware that personified sculpture, as well as
+the moral nature of the subject, cannot belong to the Mahometan religion.
+Another etymology extremely well calculated to disturb the gravity of the
+present subject, is that of M. Villaret, the French historian, when
+adverting to the spectacle of the Danse Macabre, supposed to have been
+given by the English in the church-yard of the Innocents at Paris. Relying
+on this circumstance, he unceremoniously decides that the name of the
+dance was likewise English; and that _Macabree_ is compounded of the
+words, to _make_ and to _break_. The same silly etymology is referred to
+as in some historical dictionary concerning the city of Paris by Mons.
+Compan in his Dictionaire de Danse, article _Macaber_; and another which
+is equally improbable has been hazarded by the accomplished Marquis de
+Paulmy, who, noticing some editions of the Danse Macabre in his fine
+library, now in the arsenal at Paris, very seriously states that Macaber
+is derived from two Greek words, which denote its meaning to be an
+_infernal dance_;[46] but if the Greek language were to be consulted on
+the occasion, the signification would turn out to be very different.
+
+It must not be left unnoticed that M. De Bure, in his account of the
+edition of the Danse Macabre, printed by Marchant, 1486, has stated that
+the verses have been attributed to Michel Marot; but the book is dated
+before Marot was born.[47]
+
+Again,--As to the connexion between the word Macaber with the Dance
+itself.
+
+In the course of the thirteenth century there appeared a French metrical
+work under the name of "Li trois Mors et li trois Vis," _i. e._ Les trois
+Morts et les trois Vifs. In the noble library of the Duke de la Valliere,
+there were three apparently coeval manuscripts of it, differing, however,
+from each other, but furnishing the names of two authors, Baudouin de
+Conde and Nicolas de Marginal.[48] These poems relate that three noble
+youths when hunting in a forest were intercepted by the like number of
+hideous spectres or images of Death, from whom they received a terrific
+lecture on the vanity of human grandeur. A very early, and perhaps the
+earliest, allusion to this vision, seems to occur in a painting by Andrew
+Orgagna in the Campo Santo at Pisa; and although it varies a little from
+the description in the above-mentioned poems, the story is evidently the
+same. The painter has introduced three young men on horseback with
+coronets on their caps, and who are attended by several domestics whilst
+pursuing the amusement of hawking. They arrive at the cell of Saint
+Macarius an Egyptian Anachorite, who with one hand presents to them a
+label with this inscription, as well as it can be made out, "Se nostra
+mente fia ben morta tenendo risa qui la vista affitta la vana gloria ci
+sara sconfitta la superbia e sara da morte;" and with the other points to
+three open coffins, in which are a skeleton and two dead bodies, one of
+them a king.
+
+A similar vision, but not immediately connected with the present subject,
+and hitherto unnoticed, occurs at the end of the Latin verses ascribed to
+Macaber, in Goldasti's edition of the Speculum omnium statuum a Roderico
+Zamorensi. Three persons appear to a hermit, whose name is not mentioned,
+in his sleep. The first is described as a man in a regal habit; the second
+as a civilian, and the third as a beautiful female decorated with gold and
+jewels. Whilst these persons are vainly boasting of their respective
+conditions, they are encountered by three horrible spectres in the shape
+of dead human bodies covered with worms, who very severely reprove them
+for their arrogance. This is evidently another version of the "Trois mors
+et trois vifs" in the text, but whether it be older or otherwise cannot
+easily be ascertained. It is composed in alternate rhymes, in the manner,
+and probably by the author of Philibert or Fulbert's vision of the dispute
+between the soul and the body, a work ascribed to S. Bernard, and
+sometimes to Walter de Mapes. There are translations of it both in French
+and English.
+
+[Illustration]
+
+[Illustration]
+
+For the mention of S. Macarius as the hermit in this painting by Orgagna,
+we are indebted to Vasari in his life of that artist; and he had, no
+doubt, possessed himself of some traditionary information on the subject
+of it. He further informs us, that the person on horseback who is stopping
+his nostrils, is intended for Andrea Uguzzione della fagivola. Above is a
+black and hideous figure of Death mowing down with his scythe all ranks
+and conditions of men. Vasari adds that Orgagna had crowded his picture
+with a great many inscriptions, most of which were obliterated by time.
+From one of them which he has preserved in his work, as addressed to some
+aged cripples, it should appear that, as in the Macaber Dance, Death
+apostrophizes the several characters.[49] Baldinucci, in his account of
+Orgagna, mentions this painting and the story of the Three Kings and Saint
+Macarius.[50] Morona, likewise, in his Pisa illustrata, adopts the name of
+Macarius when describing the same subject. The figures in the picture are
+all portraits, and their names may be seen, but with some variation as to
+description, both in Vasari and Morona.[51]
+
+Now the story of _Les trois mors et les trois vifs_, was prefixed to the
+painting of the Macaber Dance in the church-yard of the Innocents at
+Paris, and had also been sculptured over the portal of the church, by
+order of the Duke de Berry in 1408.[52] It is found in numerous manuscript
+copies of Horae and other service books prefixed to the burial office. All
+the printed editions of the Macaber Dance contain it, but with some
+variation, the figure of Saint Macarius in his cell not being always
+introduced. It occurs in many of the printed service books, and in some of
+our own for the use of Salisbury. The earliest wood engraving of it is in
+the black book of the "15 signa Judicii," where two of the young men are
+running away to avoid the three deaths, or skeletons, one of whom is
+rising from a grave. It is copied in Bibliotheca Spenceriana, vol. i. p.
+xxx.
+
+From the preceding statement then there is every reason to infer that the
+name of Macaber, so frequently, and without authority, applied to an
+unknown German poet, really belongs to the Saint, and that his name has
+undergone a slight and obvious corruption. The word _Macabre_ is found
+only in French authorities, and the Saint's name, which, in the modern
+orthography of that language, is _Macaire_, would, in many ancient
+manuscripts, be written _Macabre_ instead of _Macaure_, the letter _b_
+being substituted for that of _u_ from the caprice, ignorance, or
+carelessness of the transcribers.
+
+As no German copy of the verses describing the painting can, with any
+degree of certainty, be regarded as the original, we must substitute the
+Latin text, which may, perhaps, have an equal claim to originality. The
+author, at the beginning, has an address to the spectators, in which he
+tells them that the painting is called the Dance of Macaber. There is an
+end, therefore, of the name of Macaber, as the author of the verses,
+leaving it only as applicable to the painting, and almost, if not
+altogether confirmatory of the preceding conjecture. The French version,
+from which Lydgate made his translation, nearly agrees with the Latin.
+Lydgate, however, in the above address, has thought fit to use the word
+_translator_ instead of _author_, but this is of no moment, any more than
+the words _Machabree the Doctour_, which, not being in the French text,
+are most likely an interpolation. He likewise calls the work _the
+daunce_; and it may, once for all, be remarked, that scarcely any two
+versions of it will be found to correspond in all respects, every new
+editor assuming fresh liberties, according to the usual practice in former
+times.
+
+The ancient paintings of the Macaber Dance next demand our attention. Of
+these, the oldest on record was that of Minden in Westphalia, with the
+date 1383, and mentioned by Fabricius in his Biblioth. med. et infimae
+aetatis, tom. v. p. 2. It is to be wished that this statement had been
+accompanied with some authority; but the whole of the article is extremely
+careless and inaccurate.
+
+The earliest, of which the date has been satisfactorily defined, was that
+in the church-yard of the Innocents at Paris, and which has been already
+mentioned as having been painted in 1434.
+
+In the cloister of the church of the Sainte Chapelle at Dijon the Macaber
+Dance was painted by an artist whose name was Masoncelle. It had
+disappeared and was forgotten a long time ago, but its existence was
+discovered in the archives of the department by Mons. Boudot, an ardent
+investigator of the manners and customs of the middle ages. The date
+ascribed to this painting is 1436. The above church was destroyed in the
+revolution, previously to which another Macaber Dance existed in the
+church of Notre Dame in the above city. This was not a painting on the
+walls, but a piece of white embroidery on a black piece of stuff about two
+feet in height and very long. It was placed over the stalls in the choir
+on grand funeral ceremonies, and was also carried off with the other
+church moveables, in the abovementioned revolution.[53] Similar
+exhibitions, no doubt, prevailed in other places.
+
+The next Macaber Dance, in point of date, was the celebrated one at
+Basle, which has employed the pens and multiplied the errors of many
+writers and travellers. It was placed under cover in a sort of shed in the
+church-yard of the Dominican convent. It has been remarked by one very
+competent to know the fact, that nearly all the convents of the Dominicans
+had a Dance of Death.[54] As these friars were preachers by profession,
+the subject must have been exceedingly useful in supplying texts and
+matter for their sermons. The present Dance is said to have been painted
+at the instance of the prelates who assisted at the Grand Council of
+Basle, that lasted from 1431 to 1443; and in allusion, as supposed, to a
+plague that happened during its continuance. Plagues have also been
+assigned as the causes of other Dances of Death; but there is no
+foundation whatever for such an opinion, as is demonstrable from what has
+been already stated; and it has been also successfully combated by M.
+Peignot, who is nevertheless a little at variance with himself, when he
+afterwards introduces a conjecture that the painter of the first Dance
+imitated the violent motions and contortions of those affected by the
+plague in the dancing attitudes of the figures of Death.[55] The name of
+the original painter of this Basle work is unknown, and will probably ever
+remain so, for no dependance can be had on some vague conjectures, that
+without the smallest appearance of accuracy have been hazarded concerning
+it. It is on record that the old painting having become greatly injured by
+the ravages of time, John Hugh Klauber, an eminent painter at Basle, was
+employed to repair it in the year 1568, as appears from a Latin
+inscription placed on it at the time. This painter is said to have covered
+the decayed fresco with oil, and to have succeeded so well that no
+difference between his work and the original could be perceived. He was
+instructed to add the portrait of the celebrated Oecolampadius in the act
+of preaching, in commemoration of his interference in the Reformation,
+that had not very long before taken place. He likewise introduced at the
+end of the painting, portraits of himself, his wife Barbara Hallerin, and
+their little son Hans Birich Klauber. The following inscription, placed on
+the painting on this occasion, is preserved in Hentzner's Itinerary, and
+elsewhere.
+
+                     A. O. C.
+  Sebastiano Doppenstenio, Casparo Clugio Coss.
+  Bonaventura a Bruno, Jacobo Rudio Tribb. Pl.
+  Hunc mortales chorum fabulae, temporis injuria vitiatum
+      Lucas Gebhart, Iodoc. Pfister. Georgius Sporlinus
+                Hujus loci AEdiles.
+    Integritati suae restituendum curavere
+    Ut qui vocalis picturae divina monita securius audiunt
+    Mutae saltem poeseos miserab. spectaculo
+    Ad seriam philosophiam excitentur.
+         [Greek: ORATELOS MAKROU BIOU
+                 ARCHEN ORAMAKARIOU]
+                 CI=C= I=C= LXIIX.
+
+In the year 1616 a further reparation took place, and some alterations in
+the design are said to have been then made. The above inscription, with an
+addition only of the names of the then existing magistrates of the city,
+was continued. A short time before, Mathew Merian the elder, a celebrated
+topographical draftsman, had fortunately copied the older painting, of
+which he is supposed to have first published engravings in 1621, with all
+the inscriptions under the respective characters that were then remaining,
+but these could not possibly be the same in many respects that existed
+before the Reformation, and which are entirely lost. A proof of this may
+be gathered from the lines of the Pope's answer to Death, whom he is thus
+made to apostrophize: "Shall it be said that I, a God upon earth, a
+successor of St. Peter, a powerful prince, and a learned doctor, shall
+endure thy insolent summons, or that, in obedience to thy decree, I should
+be compelled to ascertain whether the keys which I now possess will open
+for me the gates of Paradise?" None of the inscriptions relating to the
+Pope in other ancient paintings before the Reformation approach in the
+least to language of this kind.
+
+Merian speaks of a tradition that in the original painting the portrait of
+Pope Felix V. was introduced, as well as those of the Emperor Sigismund
+and Duke Albert II. all of whom were present at the council; but admitting
+this to have been the fact, their respective features would scarcely
+remain after the subsequent alterations and repairs that took place.
+
+That intelligent traveller, Mons. Blainville, saw this painting in
+January, 1707. He states that as it had been much injured by the weather,
+and many of the figures effaced, the government caused it to be retouched
+by a painter, whom they imagined to be capable of repairing the ravages it
+had sustained, but that his execution was so miserable that they had much
+better have let it alone than to have had it so wretchedly bungled. He
+wholly rejects any retouching by Holbein. He particularizes two of the
+most remarkable subjects, namely, the fat jolly cook, whom Death seizes by
+the hand, carrying on his shoulder a spit with a capon ready larded, which
+he looks upon with a wishful eye, as if he regretted being obliged to set
+out before it was quite roasted. The other figure is that of the blind
+beggar led by his dog, whom Death snaps up with one hand, and with the
+other cuts the string by which the dog was tied to his master's arm.[56]
+
+The very absurd ascription of the Basle painting to the pencil of Hans
+Holbein, who was born near a century afterwards, has been adopted by
+several tourists, who have copied the errors of their predecessors,
+without taking the pains to make the necessary enquiries, or possessing
+the means of obtaining correct information. The name of Holbein,
+therefore, as combined with this painting, must be wholly laid aside, for
+there is no evidence that he was even employed to retouch it, as some have
+inadvertently stated; it was altogether a work unworthy of his talents,
+nor does it, even in its latest state, exhibit the smallest indication of
+his style of painting. This matter will be resumed hereafter, but in the
+mean time it may be necessary to correct the mistake of that truly learned
+and meritorious writer, John George Keysler, who, in his instructive and
+entertaining travels, has inadvertently stated that the Basle painting was
+executed by Hans Bock or Bok, a celebrated artist of that city;[57] but it
+is well known that this person was not born till the year 1584.
+
+The Basle painting is no longer in existence; for on the 2d of August,
+1806, and for reasons that have not been precisely ascertained, an
+infuriated mob, in which were several women, who carried lanterns to light
+the expedition, tumultuously burst the inclosure which contained the
+painting, tore it piecemeal from the walls, and in a very short space of
+time completely succeeded in its total demolition, a few fragments only
+being still preserved in the collection of Counsellor Vischer at his
+castle of Wildensheim, near Basle. This account of its destruction is
+recorded in Millin's Magazin Encyclopedique among the nouvelles
+litteraires for that year; but the Etrenne Helvetique for the above year
+has given a different account of the matter; it states that the painting
+having been once more renovated in the year 1703, fell afterwards into
+great decay, being entirely peeled from the wall--that this circumstance
+had, in some degree, arisen from the occupation of the cloister by a
+ropemaker--that the wall having been found to stand much in the way of
+some new buildings erected near the spot, the magistrates ventured, but
+not without much hesitation, to remove the cloister with its painting
+altogether in the year 1805--and that this occasioned some disturbance in
+the city among the common people, but more particularly with those who had
+resided in its neighbourhood, and conceived a renewed attachment to the
+painting.
+
+Of this Dance of Death very few specific copies have been made. M.
+Heinecken[58] has stated that it was engraved in 1544, by Jobst Denneker
+of Augsburg; but he has confounded it with a work by this artist on the
+other Dance of Death ascribed to Holbein, and which will be duly noticed
+hereafter. The work which contained the earliest engravings of the Basle
+painting, can on this occasion be noticed only from a modern reprint of it
+under the following title: "Der Todten-Tantz wie derselbe in der
+weitberuhmten Stadt Basel als ein Spiegel menslicher beschaffenheit gantz
+kuntlich mit lebendigen farben gemahlet, nicht ohne nutzliche vernunderung
+zu schen ist. Basel, bey Joh. Conrad und Joh. Jacob von Mechel, 1769,
+12mo." that is, "The Dance of Death, painted most skilfully, and in lively
+colours, in the very famous town of Basel, as a mirror of human life, and
+not to be looked on without useful admiration."
+
+The first page has some pious verses on the painting in the church-yard of
+the Predicants, of which the present work contains only ten subjects,
+namely, the cardinal, the abbess, the young woman, the piper, the jew, the
+heathen man, the heathen woman, the cook, the painter, and the painter's
+wife. On the abbess there is the mark D. R. probably that of the engraver,
+two cuts by whom are mentioned in Bartsch's work.[59] On the cut of the
+young woman there is the mark G S with the graving knife. They are
+coarsely executed, and with occasional variations of the figures in
+Merian's plates. The rest of the cuts, thirty-two in number, chiefly
+belong to the set usually called Holbein's. All the cuts in this
+miscellaneous volume have German verses at the top and bottom of each page
+with the subjects. If Jansen, who usually pillages some one else, can be
+trusted or understood, there was a prior edition of this book in 1606,
+with cuts having the last-mentioned mark, but which edition he calls the
+Dance of Death at Berne;[60] a title, considering the mixture of subjects,
+as faulty as that of the present book, of which, or of some part of it,
+there must have been a still earlier edition than the above-mentioned one
+of 1606, as on the last cut but one of this volume there is the date 1576,
+and the letters G S with the knife. It is most probable that this artist
+completed the series of the Basle Dance, and that some of the blocks
+having fallen into the hands of the above printers, they made up and
+published the present mixed copy. Jost Amman is said to have engraved 49
+plates of the Dance of Death in 1587. These are probably from the Basle
+painting.[61]
+
+The completest copies of this painting that are now perhaps extant, are to
+be found in a well-known set of engravings in copper, by Matthew Merian,
+the elder, the master of Hollar. There are great doubts as to their first
+appearance in 1621, as mentioned by Fuessli and Heinecken, but editions
+are known to exist with the respective dates of 1649, 1696, 1698, 1725,
+1744, 1756, and 1789. Some of these are in German, and the rest are
+accompanied with a French translation by P. Viene. They are all
+particularly described by Peignot.[62] Merian states in his preface that
+he had copied the paintings several years before, and given his plates to
+other persons to be published, adding that he had since redeemed and
+retouched them. He says this Dance was repaired in 1568 by Hans Hugo
+Klauber, a citizen of Basle, a fact also recorded on the cut of the
+painter himself, his wife, Barbara Hallerin, and his son, Hans Birich, by
+the before-mentioned artist, G. S., and that it contained the portraits of
+Pope Felix V., the Emperor Sigismund, and Albert, King of the Romans, all
+of whom assisted at the Council of Basle in the middle of the 15th
+century, when the painting was probably executed.
+
+A greatly altered and modernised edition of Merian's work was published in
+1788, 8vo. with the following title, "La Danse des Morts pour servir de
+miroir a la nature humaine, avec le costume dessine a la moderne, et des
+vers a chaques figures. Au Locle, chez S. Girardet libraire." This is on
+an engraved frontispiece, copied from that in Merian. The letter-press is
+extracted from the French translation of Merian, and the plates, which are
+neatly etched, agree as to general design with his; but the dresses of
+many of the characters are rather ludicrously modernised. Some moral
+pieces are added to this edition, and particularly an old and popular
+treatise, composed in 1593, intitled "L'Art de bien vivre et de bien
+mourir."
+
+A Dance of Death is recorded with the following title "Todtentantz durch
+alle Stande der Menschen," Leipsig, durch David de Necker, formschneider.
+1572, 4to.[63] Whether this be a copy of the Basle or the Berne painting,
+must be decided on inspection, or it may possibly be a later edition of
+the copy of the wood-cuts of Lyons, that will be mentioned hereafter.
+
+In the little Basle, on the opposite side of the Rhine, there was a
+nunnery called Klingenthal, erected towards the end of the 13th century.
+In an old cloister, belonging to it there are the remains of a Dance of
+Death painted on its walls, and said to have been much ruder in execution
+than that in the Dominican cemetery at Basle. On this painting there was
+the date 1312. In the year 1766 one Emanuel Ruchel, a baker by trade, but
+an enthusiastic admirer of the fine arts, made a copy in water colours of
+all that remained of this ancient painting, and which is preserved in the
+public library at Basle.[64]
+
+The numerous mistakes that have been made by those writers who have
+mentioned the Basle painting have been already adverted to by M. Peignot,
+and are not, in this place, worthy of repetition.[65] That which requires
+most particular notice, and has been so frequently repeated, is the making
+Hans Holbein the painter of it, who was not born till a considerable time
+after its execution, and even for whose supposed retouching of a work,
+almost beneath his notice in point of art, there is not the slightest
+authority.
+
+In the small organ chapel, or, according to some, in the porch, of the
+church of St. Mary at Lubeck in Lower Alsace, there is, or was, a very
+ancient Dance of Death, said to have been painted in 1463. Dr. Nugent, who
+has given some account of it, says, that it is much talked of in all parts
+of Germany; that the figures were repaired at different times, as in 1588,
+1642, and last of all in 1701. The verses that originally accompanied it
+were in low Dutch, but at the last repair it was thought proper to change
+them for German verses which were written by Nathaniel Schlott of
+Dantzick. The Doctor has given an English translation of them, made for
+him by a young lady of Lubeck.[66] This painting has been engraved, and
+will be again mentioned. Leipsic had also a Dance of Death, but no
+particulars of it seem to have been recorded.
+
+In 1525 a similar dance was painted at Anneberg in Saxony, which Fabricius
+seems alone to have noticed. He also mentions another in 1534, at the
+palace of Duke George at Dresden.[67] This is described in a German work
+written on the subject generally, by Paul Christian Hilscher, and
+published at Dresden, 1705, 8vo. and again at Bautzen, 1721, 8vo. It
+consisted of a long frieze sculptured in stone on the front of the
+building, containing twenty-seven figures. A view of this very curious
+structure, with the Dance itself, and also on a separate print, on a
+larger scale, varying considerably from the usual mode of representing the
+Macaber Dance, is given in Anthony Wecken's Chronicle of Dresden, printed
+in German at Dresden 1680, folio. It is said to have been removed in 1721
+to the church-yard of Old Dresden.
+
+Nicolai Karamsin has given a very brief, but ludicrous, account of a Dance
+of Death in the cross aisle of the Orphan House at Erfurth;[68] but
+Peignot places it in the convent of the Augustins, and seems to say that
+it was painted on the panels between the windows of the cell inhabited by
+Luther.[69] In all probability the same place is intended by both these
+writers.
+
+There is some reason to suppose that there was a Dance of Death at
+Nuremberg. Misson, describing a wedding in that city, states that the
+bridegroom and his company sat down on one side of the church and the
+bride on the other. Over each of their heads was a figure of Death upon
+the wall. This would seem very like a Dance of Death, if the circumstance
+of the figure being on both sides of the church did not excite a doubt on
+the subject.
+
+Whether there ever was a Macaber Dance at Berne of equal antiquity with
+that of Basle has not been ascertained: but Sandrart, in his article for
+Nicolas Manuel Deutch, a celebrated painter at Berne, in the beginning of
+the 16th century, has recorded a Dance of Death painted by him in oil, and
+regrets that a work materially contributing to the celebrity of that city
+had been so extremely neglected that he had only been able to lay before
+the readers the following German rhymes which had been inscribed on it:
+
+  Manuel aller welt figur,
+  Hastu gemahlt uf diese mur
+  Nu must sterben da, hilft kun fund:
+  Bist nit sicher minut noch stund.
+
+Which he thus translates:
+
+  Cunctorum in muris pictis ex arte figuris.
+  Tu quoque decedes; etsi hoc vix tempore credes.
+
+Then Manuel's answer:
+
+  Kilf eineger Heiland! dru ich dich bitt:
+  Dann hic ist gar kein Bleibens nit
+    So mir der Tod mein red wird stellen
+    So bhut euch Gott, mein liebe Gsellen.
+
+That is, in Latin:
+
+  En tibi me credo, Deus, hoc dum sorte recedo
+  Mors rapiat me, te, reliquos sociosque, valete!
+
+To which account M. Fuseli adds, that this painting, equally remarkable
+for invention and character, was retouched in 1553; and in 1560, to render
+the street in which it was placed more spacious, entirely demolished.
+There were, however, two copies of it preserved at Berne, both in water
+colours, one by Albrech Kauw, the other a copy from that by Wilhelm
+Stettler, a painter of Berne, and pupil of Conrad Meyer of Zurich. The
+painting is here said to have been in _fresco_ on the wall of the
+Dominican cemetery.[70]
+
+The verses that accompanied this painting have been mentioned as
+containing sarcastical freedoms against the clergy; and as Manuel had
+himself undergone some persecutions on the score of religion at the time
+of the Reformation, this is by no means improbable. There is even a
+tradition that he introduced portraits of some of his friends, who
+assisted in bringing about that event.
+
+In 1832, lithographic copies of the Berne painting, after the drawings of
+Stettler, were published at Berne, with a portrait of Manuel; and a set of
+very beautiful drawings in colours, made by some artist at Berne, either
+after those by Stettler or Kauw, in the public library, are in the
+possession of the writer of this essay. They, as well as the lithographic
+prints, exhibit Manuel's likeness in the subject of the painter.
+
+One of the bridges at Lucerne was covered with a Macaber Dance, executed
+by a painter named Meglinger, but at what time we are not informed. It is
+said to have been very well painted, but injured greatly by injudicious
+retouchings; yet there seems to be a difference of opinion as to the merit
+of the paintings, which are or were thirty-six in number, and supposed to
+have been copied from the Basle dance. Lucerne has also another of the
+same kind in the burial ground of the parish church of Im-hof. One of the
+subjects placed over the tomb of some canon, the founder of a musical
+society, is Death playing on the violin, and summoning the canon to
+follow him, who, not in the least terrified, marks the place in the book
+he was reading, and appears quite disposed to obey. This Dance is probably
+more modern than the other.[71] The subject of Death performing on the
+above instrument to some person or other is by no means uncommon among the
+old painters.
+
+M. Maurice Rivoire, in his very excellent description of the cathedral of
+Amiens, mentions the cloister of the Machabees, originally called, says
+he, the cloister of Macabre, and, as he supposes, from the name of the
+author of the verses. He gives some lines that were on one of the walls,
+in which the Almighty commands Death to bring all mortals before him.[72]
+This cloister was destroyed about the year 1817, but not before the
+present writer had seen some vestiges of the painting that remained on one
+of the sides of the building.
+
+M. Peignot has a very probable conjecture that the church-yard of Saint
+Maclou, at Rouen, had a Macaber Dance, from a border or frieze that
+contains several emblematical subjects of mortality. The place had more
+than once been destroyed.[73] On the pillars of the church at Fescamp, in
+Normandy, the Dance of Death was sculptured in stone, and it is in
+evidence that the castle of Blois had formerly this subject represented in
+some part of it.
+
+In the course of some recent alterations in the new church of the
+Protestants at Strasburg, formerly a Dominican convent, the workmen
+accidentally uncovered a Dance of Death that had been whitewashed, either
+for the purpose of obliteration or concealment. This painting seems to
+differ from the usual Macaber Dance, not always confined like that to two
+figures only, but having occasionally several grouped together. M.
+Peignot has given some more curious particulars relating to it, extracted
+from a literary journal by M. Schweighaeuser, of Strasburg.[74] It is to be
+hoped that engravings of it will be given.
+
+Chorier has mentioned the mills of Macabrey, and also a piece of land with
+the same appellation, which he says was given to the chapter of St.
+Maurice at Vienne in Dauphine, by one Marc Apvril, a citizen of that
+place. He adds, that he is well aware of the Dance of Macabre. Is it not,
+therefore, probable, that the latter might have existed at Vienne, and
+have led to the corruption of the above citizen's name by the common
+people.[75]
+
+Misson has noticed a Dance of Death in St. Mary's church at Berlin, and
+obscurely referred to another in some church at Nuremberg.
+
+Bruckmann, in his Epistolae Itinerariae, vol. v. Epist. xxxii. describes
+several churches and other religious buildings at Vienna, and among them
+the monastery of the Augustinians, where, he says, there is a painting of
+a house with Death entering one of the windows by a ladder.
+
+In the same letter he describes a chapel of Death in the above monastery,
+which had been decorated with moral paintings by Father Abraham a St.
+Clara, one of the monks. Among these were, 1. Death demolishing a student.
+2. Death attacking a hunter who had just killed a stag. 3. Death in an
+apothecary's shop, breaking the phials and medicine boxes. 4. Death
+playing at draughts with a nobleman. 5. Harlequin making grimaces at
+Death. A description of this chapel, and its painting was published after
+the good father's decease. Nuremberg, 1710, 8vo.
+
+The only specimen of it in Holland that has occurred on the present
+occasion is in the celebrated _Orange-Salle_, which constitutes the grand
+apartment of the country seat belonging to the Prince of Orange in the
+wood adjacent to the Hague. In three of its compartments, Death is
+represented by skeletons darting their arrows against a host of
+opponents.[76]
+
+Nor has Italy furnished any materials for the present essay. Blainville
+has, indeed, described a singular and whimsical representation of Death in
+the church of St. Peter the Martyr, at Naples, in the following words. "At
+the entrance on the left is a marble with a representation of Death in a
+grotesque form. He has two crowns on his head, with a hawk on his fist, as
+ready for hunting. Under his feet are extended a great number of persons
+of both sexes and of every age. He addresses them in these lines:
+
+  Eo so la morte che caccio
+  Sopera voi jente mondana,
+  La malata e la sana,
+  Di, e notte la percaccio;
+  Non fugge, vessuna intana
+  Per scampare dal mio laczio
+  Che tutto il mondo abbraczio,
+  E tutta la jente humana
+  Perche nessuno se conforta,
+  Ma prenda spavento
+  Ch'eo per comandamento
+  Di prender a chi viene la sorte.
+  Sia vi per gastigamento
+  Questa figura di morte,
+  E pensa vie di fare forte
+  Tu via di salvamento.
+
+Opposite to the figure of Death is that of a man dressed like a tradesman
+or merchant, who throws a bag of money on a table, and speaks thus:
+
+  Tutti ti volio dare
+  Se mi lasci scampare.
+
+To which Death answers:
+
+  Se mi potesti dare
+  Quanto si pote dimandare
+  Non te pote scampare la morte
+  Se te viene la sorte.[77]
+
+It can hardly be supposed that this subject was not known in Spain, though
+nothing relating to it seems to have been recorded, if we except the poem
+that has been mentioned in p. 25, but no Spanish painting has been
+specified that can be called a regular Macaber Dance. There are grounds,
+however, for believing that there was such a painting in the cathedral of
+Burgos, as a gentleman known to the author saw there the remains of a
+skeleton figure on a whitewashed wall.
+
+
+
+
+CHAPTER IV.
+
+    _Macaber Dance in England.--St. Paul's.--Salisbury.--Wortley
+    Hall.--Hexham.--Croydon.--Tower of London.--Lines in Pierce Plowman's
+    Vision supposed to refer to it._
+
+
+We are next to examine this subject in relation to its existence in our
+own country. On the authority of the work ascribed to Walter de Mapes,
+already noticed in p. 24, it is not unreasonable to infer that paintings
+of the Macaber Dance were coeval with that writer, though no specimens of
+it that now remain will warrant the conclusion. We know that it existed at
+Old Saint Paul's. Stowe informs us that there was a great cloister on the
+north side of the church, environing a plot of ground, of old time called
+Pardon church-yard. He then states, that "about this _cloyster_ was
+artificially and richly painted the Dance of Machabray, or Dance of Death,
+commonly called the Dance of Paul's: the like whereof was painted about
+St. Innocent's cloyster at Paris: the meters or poesie of this dance were
+translated out of French into English, by John Lidgate, Monke of Bury, the
+picture of Death leading all estates; at the dispence of Jenken Carpenter
+in the reigne of Henry the Sixt."[78] Lydgate's verses were first printed
+at the end of Tottell's edition of the translation of his Fall of Princes,
+from Boccaccio, 1554, folio, and afterwards, in Sir W. Dugdale's History
+of St. Paul's cathedral.[79] In another place Stowe records that "on the
+10th April, 1549, the cloister of St. Paul's church, called Pardon
+church-yard, with the Dance of Death, commonly called the Dance of Paul's,
+about the same cloister, costly and cunningly wrought, and the chappel in
+the midst of the same church-yard, were all begun to be pulled down."[80]
+This spoliation was made by the Protector Somerset, in order to obtain
+materials for building his palace in the Strand.[81]
+
+The single figure that remained in the Hungerford chapel at Salisbury
+cathedral, previously to its demolition, was formerly known by the title
+of "Death and the Young Man," and was, undoubtedly, a portion of the
+Macaber Dance, as there was close to it another compartment belonging to
+the same subject. In 1748, a print of these figures was published,
+accompanied with the following inscription, which differs from that in
+Lydgate. The young man says:
+
+  Alasse Dethe alasse a blesful thyng thou were
+  Yf thou woldyst spare us yn ouwre lustynesse.
+  And cum to wretches that bethe of hevy chere
+  Whene thay ye clepe to slake their dystresse
+  But owte alasse thyne own sely selfwyldnesse
+  Crewelly werneth me that seygh wayle and wepe
+  To close there then that after ye doth clepe.
+
+Death answers:
+
+  Grosless galante in all thy luste and pryde
+  Remembyr that thou schalle onys dye
+  Deth schall fro thy body thy sowle devyde
+  Thou mayst him not escape certaynly
+  To the dede bodyes cast down thyne ye
+  Beholde thayme well consydere and see
+  For such as thay ar such shalt thou be.
+
+This painting was made about the year 1460, and from the remaining
+specimen its destruction is extremely to be regretted, as, judging from
+that of the young gallant, the dresses of the time would be correctly
+exhibited.
+
+In the chapel at Wortley Hall, in Gloucestershire, there was inscribed,
+and most likely painted, "an history and Daunce of Deathe of all estatts
+and degrees." This inscribed history was the same as Lydgate's, with some
+additional characters.[82] From a manuscript note by John Stowe, in his
+copy of Leland's Itinerary, it appears that there was a Dance of Death in
+the church of Stratford upon Avon: and the conjecture that Shakespeare, in
+a passage in Measure for Measure, might have remembered it, will not,
+perhaps, be deemed very extravagant. He there alludes to Death and the
+fool, a subject always introduced into the paintings in question.[83]
+
+On the upper part of the great screen which closes the entrance to the
+choir of the church at Hexham, in Northumberland, are the painted remains
+of a Dance of Death.[84] These consist of the figures of a pope, a
+cardinal, and a king, which were copied by the ingenious John Carter, of
+well-deserved antiquarian memory.
+
+Vestiges of a Macaber Dance were not long since to be traced on the walls
+of the hall of the Archiepiscopal palace at Croydon, but so much obscured
+by time and neglect that no particular compartment could be ascertained.
+
+The tapestries that decorated the walls of palaces, and other dwelling
+places, were sometimes applied in extension of this moral subject. In the
+tower of London, the original and most ancient seat of our monarchs, there
+was some tapestry with the Macaber Dance.[85]
+
+The following lines in that admirable satire, the Vision of Pierce
+Plowman, written about the year 1350, have evidently an allusion to the
+Dance, unless they might be thought to apply rather to the celebrated
+triumph of Death by Petrarch, of which some very early paintings, and many
+engravings, still exist; or they may even refer to some of the ancient
+representations of the infernal regions that follow Death on the Pale
+horse of the Revelations, and in which is seen a grotesque intermixture of
+all classes of people.[86]
+
+  Death came driving after, and all to dust pashed
+  Kynges and Kaysers, Knightes and Popes,
+  Learned and lewde: he ne let no man stande
+  That he hitte even, he never stode after.
+  Many a lovely ladie and lemmans of knightes
+  Swouned and swelted for sorrowe of Deathes dyntes.
+
+It is probable that many cathedrals and other edifices, civil as well as
+ecclesiastical, in France, Germany, England, and probably other European
+countries, were ornamented with paintings and sculpture of this extremely
+popular subject.
+
+
+
+
+CHAPTER V.
+
+    _List of editions of the Macaber Dance.--Printed Horae that contain
+    it.--Manuscript Horae.--Other Manuscripts in which it occurs.--Various
+    articles with letter-press, not being single prints, but connected
+    with it._
+
+
+It remains only, so far as regards the Macaber Dance, to present the
+reader with a list of the several printed editions of that celebrated
+work, and which, with many corrections and additions, has been chiefly
+extracted from M. Peignot's "Recherches historiques et litteraires sur les
+Danses des Morts," Paris et Dijon, 1826, 8vo.
+
+The article that should stand at the head of this list, if any reliance
+could be had on a supposed date, is the German edition, intitled, "Der
+Dotendantz mit figuren. Clage und Antwort Schon von allen staten der
+welt," small folio. This is mentioned in Braun Notitia de libris in
+Bibliotheca Monasterii ad SS. Udalricum et Afram Augustae, vol. ii. 62. The
+learned librarian expresses his doubts as to the date, which he supposes
+may be between 1480 and 1500. He rejects a marginal note by the
+illuminator of the letters, indicating the date of 1459. Every page of
+this volume is divided into two columns, and accompanied with German
+verses, which may be either the original text, or a translation from the
+French verses in some early edition of the Macaber Dance in that language.
+It consists of twenty-two leaves, with wood-cuts of the Pope, Cardinal,
+Bishop, Abbot, &c. &c. accompanied by figures of Death.
+
+1. "La Danse Macabre imprimee par ung nomme Guy Marchand, &c. Paris,
+1485," small folio. Mons. Champollion Figeac has given a very minute
+description of this extremely rare, and perhaps unique, volume, the only
+known copy of which is in the public library of Grenoble. This account is
+to be found in Millin's Magazin Encyclopedique, 1811, vol. vi. p. 355, and
+thence by M. Peignot, in his Recherches, &c.
+
+2. "Ce present livre est appelle Miroer salutaire pour toutes gens, et de
+tous estatz, et est de grant utilite et recreation pour pleuseurs
+ensegnemens tant en Latin comme en Francoys lesquels il contient ainsi
+compose pour ceulx qui desirent acquerir leur salut: et qui le voudront
+avoir. La Danse Macabre nouvelle." At the end, "Cy finit la Danse Macabre
+hystoriee augmentee de pleuseurs nouveaux parsonnages (six) et beaux dis.
+et les trois mors et trois vif ensemble. Nouvellement ainsi composee et
+imprimee par Guyot Marchant demorant a Paris au grant hostel du college de
+Navarre en champ Gaillart lan de grace, 1486, le septieme jour de juing."
+A small folio of fifteen leaves, or thirty pages, twenty-four of which
+belong to the Danse Macabre, and six to the Trois morts et les trois vifs.
+
+On the authority of the above expression, "composee," and also on that of
+La Croix du Maine, Marchant has been made the author as well as the
+printer of the work; but M. De la Monnoye is not of that opinion, nor
+indeed is there any other metrical composition by this printer known to
+exist.
+
+3. "La Danse Macabre des femmes, &c. Paris, par Guyot Marchant, 1486, le
+septieme jour de Juillet," small folio, of fifteen leaves only. This is
+the first edition of the Macaber Dance of females; and though thirty-two
+of them are described, the Queen and Duchess only are engraved. See No. 6
+for the rest. This and the preceding edition are also particularly
+described by Messrs. Champollion Figeac and Peignot.
+
+4. "Chorea ab eximio Macabro versibus Alemanicis edita, et a Petro Desrey
+emendata. Parisiis per magistrum Guidonem Mercatorem pro Godeffrido de
+Marnef. 1490," folio. Papillon thought the cuts were in the manner of the
+French artist Jollat, but without foundation, for they are much superior
+to any work by that artist, and of considerable merit.
+
+5. "La nouvelle Danse Macabre des hommes dicte miroer salutaire de toutes
+gens et de touts etats, &c. Paris, Guyot Marchant. 1490." folio.
+
+6. "La Danse Macabre des femmes, toute hystoriee et augmentee de nouveaulx
+personnages, &c. Paris, Guyot Marchant, le 2 Mai, 1491," folio. This
+edition, the second of the Dance of females, has all the cuts with other
+additions. The list of the figures is in Peignot, but with some doubts on
+the accuracy of his description.
+
+7. An edition in the Low German dialect was printed at Lubeck, 1496,
+according to Vonder Hagen in his Deutschen Poesie, p. 459, who likewise
+mentions a Low German edition in prose, at the beginning of the 15th (he
+must mean 16th) century. He adds, that he has copied one page with cuts
+from _Kindeling's Remains_, but he does not say in what work.
+
+8. "La grant Danse Macabre des hommes et des femmes hystorice et augmentee
+de beaulx dits en Latin, &c. &c. Le tout compose en ryme Francoise et
+accompagne de figures. Lyon, le xviii jour de Fevrier, l'an 1499," folio.
+This is supposed to be the first edition that contains both the men and
+the women.
+
+9. There is a very singular work, intitled "Icy est le compost et
+kalendrier des _Bergeres_, &c. Imprime a Paris en lostel de beauregart en
+la rue Cloppin a lenseigne du roy Prestre Jhan. ou quel lieu sont a
+vendre, ou au lyon dargent en la rue Sainct Jaques." At the end, "Imprime
+a Paris par Guy Marchant maistre es ars ou lieu susdit. Le xvii iour
+daoust mil cccciiiixx.xix." This extremely rare volume is in the British
+Museum, and is mentioned by Dr. Dibdin, in vol. ii. p. 530 of his edition
+of Ames's typographical antiquities, and probably nowhere else. It is
+embellished with the same fine cuts that relate to the females in the
+edition of the Macaber Dance, Nos. 4 and 11. The work begins with the
+words "Deux jeunes Bergeres seulettes," and appears to have been composed
+for females only, differing very materially from the well-known
+"Kalendrier des Bergers," though including matter common to both.
+
+10. "Chorea ab eximio Macabro versibus Alemanicis edita et a Petro Desrey
+Trecacio quodam oratore nuper emendata. Parisiis per Magistrum Guidonem
+Mercatorem pro Godeffrido Marnef. 15 Octob. 1499," folio, with cuts.
+
+11. "La Danse Macabre, &c. Ant. Verard, no date, but about 1500," small
+folio. A vellum copy of this rare edition is described by M. Van Praet in
+his catalogue of vellum books in the royal library at Paris. A copy is in
+the Archb. Cant. library at Lambeth.
+
+12. "La Danse Macabre, &c. Ant. Verard, no date, but about 1500," folio.
+Some variations from No. 9 are pointed out by M. Van Praet. This
+magnificent volume on vellum, and bound in velvet, came from the library
+at Blois. It is a very large and thin folio, consisting of three or four
+leaves only, printed on pasteboard, with four pages or compartments on
+each leaf. The cuts are illuminated in the usual manner of Verard's books.
+In the beginning it is marked "Marolles, No. 1601." It is probably
+imperfect, the fool not being among the figures, and all the females are
+wanting, though, perhaps, not originally in this edition. It is in the
+royal library at Paris, where there is another copy of the work printed by
+Verard, with coloured prints, but differing materially from the other in
+the press-work. It is a common-sized folio, and was purchased at the sale
+of the Count Macarthy's books.[87]
+
+13. "La grant Danse Macabre des hommes et des femmes, &c. Imprimee a
+Troyes par Nicolas Le Rouge demourant en la grant rue a l'enseigne de
+Venise aupres la belle croix." No date, folio. With very clever wood-cuts,
+probably the same as in the edition of 1490; and if so, they differ much
+from the manner of Jollat, and have not his well-known mark.
+
+14. "La grant Danse Macabre des hommes et des femmes, &c. Rouen, Guillaume
+de la Mare." No date, 4to. with cuts, and in the Roman letter.
+
+15. "La grande Danse Macabre des hommes et des femmes, ou est demonstre
+tous humains de tous estats estre du bransle de la Mort. Lyon, Olivier
+Arnoulet." No date, 4to.
+
+16. "La grant Danse Macabre des hommes et des femmes, &c. Lyon, Nourry,
+1501," 4to. cuts.
+
+17. "La grant Danse Macabre des hommes et des femmes, &c. Imprime a
+Genesve, 1503," 4to. cuts.
+
+18. "La grant Danse Macabre, &c. Paris, Nicole de la Barre, 1523," 4to.
+with very indifferent cuts, and the omission of some of the characters in
+preceding editions. This has been privately reprinted, 1820, by Mr.
+Dobree, from a copy in the British Museum.
+
+19. "La grant Danse Macabre des hommes et des femmes. Troyes, Le Rouge,
+1531," folio, cuts.
+
+20. "La grand Danse Macabre des hommes et des femmes. Paris, Denys Janot.
+1533," 8vo. cuts.
+
+21. "La grand Danse Macabre des hommes et des femmes, tant en Latin qu'en
+Francoys. Paris, par Estienne Groulleau libraire jure en la rue neuve
+Nostre Dame a l'enseigne S. Jean Baptiste." No date, 16mo. cuts. The first
+edition of this size, and differing in some respects from the preceding.
+
+22. "La grand Danse Macabre des hommes et des femmes, &c. Paris, Estienne
+Groulleau, 1550," 16mo. cuts.
+
+23. "La grande Danse des Morts, &c. Rouen, Morron." No date, 8vo. cuts.
+
+24. "Les lxviii huictains ci-devant appelles la Danse Machabrey, par
+lesquels les Chrestiens de tous estats tout stimules et invites de penser
+a la mort. Paris, Jacques Varangue, 1589," 8vo. In Roman letter, without
+cuts.
+
+25. "La grande Danse Macabre des hommes et des femmes, &c. Troyes, Oudot,"
+1641, 4to. cuts. One of the bibliotheque bleue books.
+
+26. "La grande Danse Macabre des hommes et des femmes, renouvellee de
+vieux Gaulois en langage le plus poli de notre temps, &c. Troyes, Pierre
+Garnier rue du Temple." No date, but the privilege is in 1728, 4to. cuts.
+The _polished_ language is, of course, for the worse, and Macaber is
+called "des Machabees," no doubt, the editor's improvement.
+
+27. "La grande Danse _Macabre_ des hommes et des femmes, renouvellee, &c.
+Troyes, chez la veuve Oudot, et Jean Oudot fils, rue du Temple, 1729,"
+4to. cuts. Nearly the same as No. 25.
+
+These inferior editions continued, till very lately, to be occasionally
+reprinted for the use of the common people, and at the trifling expense of
+a very few sous. They are, nevertheless, of some value to those who feel
+interested in the subject, as containing tolerable copies of all the fine
+cuts in the preceding edition, No. 11.
+
+Dr. Dibdin saw in the public library at Munich a very old series of a
+Macaber Dance, that had been inserted, by way of illustration, into a
+German manuscript of the Dance of Death. Of these he has given two
+subjects in his "Bibliographical Tour," vol. iii. p. 278.
+
+But it was not only in the above volumes that the very popular subject of
+the Macaber Dance was particularly exhibited. It found its way into many
+of the beautiful service books, usually denominated Horae, or hours of the
+Virgin. These principally belong to France, and their margins are
+frequently decorated with the above Dance, with occasional variety of
+design. In most of them Death is accompanied with a single figure only,
+characters from both sexes being introduced. It would be impossible to
+furnish a complete list of them; but it is presumed that the mention of
+several, and of the printers who introduced them, will not be
+unacceptable.
+
+No. I. "Las Horas de nuestra Senora con muchos otros oficios y oraciones."
+Printed in Paris by Nicolas Higman for Simon Vostre, 1495, 8vo. It has two
+Dances of Death, the first of which is the usual Macaber Dance, with the
+following figures: "Le Pape, l'Empereur, le Cardinal, l'Archevesque, le
+Chevalier, l'Evesque, l'Escuyer, l'Abe, le Prevost, le Roy, le Patriarche,
+le Connestable, l'Astrologien, le Bourgoys, le Chanoine, le Moyne,
+l'Usurier, le Medesin, l'Amoureux, l'Advocat, le Menestrier, le Marchant,
+le Chartreux, le Sergent, le Cure, le Laboureur, le Cordelier." Then the
+women: "La Royne, la Duchesse, la Regente, la Chevaliere, l'Abbesse, la
+Femme descine, la Prieure, la Damoissele, la Bourgoise, la Cordeliere, la
+Femme daceul, la Nourice, la Theologienne, la nouvelle mariee, la Femme
+grosse, la Veufve, la Marchande, la Ballive, la Chamberiere, la
+Recommanderese, la vielle Damoise, l'Espousee, la Mignote, la Fille
+pucelle, la Garde d'accouchee, la jeune fille, la Religieuse, la Vielle,
+la Revenderesse, l'Amoureuse, la Sorciere, la Bigote, la Sote, la Bergere,
+la Femme aux Potences, la Femme de Village; to which are added, l'Enfant,
+le Clerc, l'Ermite."
+
+The second Dance of Death is very different from the preceding, and
+consists of groupes of figures. The subjects, which have never yet been
+described, are the following:
+
+1. Death sitting on a coffin in a church-yard. "Discite vos choream cuncti
+qui cernitis istam."
+
+2. Death with Adam and Eve in Paradise. He draws Adam towards him. "Quid
+tum prosit honor glorie divitie."
+
+3. Death helping Cain to slay Abel. "Esto meorum qui pulvis eris et
+vermibus esca."
+
+4. Death holding by the garment a cardinal, followed by several persons.
+"In gelida putrens quando jacebis humo."
+
+5. Death mounted on a bull strikes three persons with his dart. "Vado mori
+dives auro vel copia rerum."
+
+6. Death seizing a man sitting at a table with a purse in his hand, and
+accompanied by two other persons. "Nullum respectum dat michi, vado mori."
+
+7. An armed knight killing an unarmed man, Death assisting. "Fortium
+virorum est magis mortem contemnere vitam odisse."
+
+8. Death with a rod in his hand, standing upon a groupe of dead persons.
+"Stultum est timere quod vitari non potest."
+
+9. Death with a scythe, having mowed down several persons lying on the
+ground. "Est commune mori mors nulli parcit honori."
+
+10. A soldier introducing a woman to another man, who holds a scythe in
+his hand. Death stands behind. "Mors fera mors nequam mors nulli parcit et
+equam."
+
+11. Death strikes with his dart a prostrate female, who is attended by two
+others. "Hec tua vita brevis: que te delectat ubique."
+
+12. A man falling from a tower into the water. Death strikes him at the
+same time with his dart. "Est velut aura levis te mors expectat ubique."
+
+13. A man strangling another, Death assisting. "Vita quid est hominis nisi
+res vallata ruinis."
+
+14. A man at the gallows, Death standing by. "Est caro nostra cinis modo
+principium modo finis."
+
+15. A man about to be beheaded, Death assisting. "Quid sublime genus quid
+opes quid gloria prestant."
+
+16. A king attended by several persons is struck by Death with his dart.
+"Quid mihi nunc aderant hec mihi nunc abeunt."
+
+17. Two soldiers armed with battle-axes. Death pierces one of them with
+his dart. "Ortus cuncta suos: repetunt matremque requirunt."
+
+18. Death strikes with his dart a woman lying in bed. "Et redit in nihilum
+quod fuit ante nihil."
+
+19. Death aims his dart at a sleeping child in a cradle, two other figures
+attending. "A, a, a, vado mori, nil valet ipsa juventus."
+
+20. A man on the ground in a fit, Death seizes him. Others attending.
+"Mors scita sed dubia nec fugienda venit."
+
+21. Death leads a man, followed by others. "Non sum securus hodie vel cras
+moriturus."
+
+22. Death interrupts a man and woman at their meal. "Intus sive foris est
+plurima causa timoris."
+
+23. Death demolishes a group of minstrels, from one of whom he has taken a
+lute. "Viximus gaudentes, nunc morimur tristes et flentes."
+
+24. Death leads a hermit, followed by other persons. "Forte dies hec est
+ultima, vado mori."
+
+This Dance is also found in the Horae printed by Godar, Vostre, and Gilles
+Hardouyn, but with occasional variations, as to size and other matters, in
+the different blocks which they respectively used. The same designs have
+also been adopted, and in a very singular style of engraving, in a work
+printed by Antony Verard, that will be noticed elsewhere.
+
+Some of the cuts, for they are not all by the same artist, in this very
+rare and beautiful volume, and not found in others printed by or for Simon
+Vostre, may be very justly compared, in point of the delicacy of design
+and engraving, though on wood, with the celebrated pax of Maso Finiguerra
+at Florence, accurately copied in Mr. Ottley's history of engraving. They
+are accompanied with this unappropriated mark [monogram].
+
+No. II. "Ordinarium beate Marie Virginis ad usum Cisterciensem impressum
+est caracteribus optimis una cum expensis honesti viri Symonis Vostre
+commorantis Parisiis in vico novo Dive Marie in intersignio Sancti Joannis
+Evangeliste, 1497," 12mo. This beautiful book is on vellum, with the same
+Danse Macabre as in the preceding, but the other cuts are different.
+
+No. III. "Hore presentes ad usum Sarum impresse fuerunt Parisiis per
+Philippum Pigouchet Anno Salutis MCCCCXCVIII die vero xvi Maii pro Symone
+Vostre librario commorante, &c." 8vo. as above.
+
+Another beautiful volume on vellum, with the same Danse Macabre. He
+printed a similar volume of the same date, for the use of Rome, also on
+vellum.
+
+A volume of prayers, in 8vo. mentioned by M. Peignot, p. 145, after M.
+Raymond, but the title is not given. It is supposed to be anterior to
+1500, and seems to contain the same personages in its Danse Macabre, as in
+the preceding volumes printed by Simon Vostre.
+
+No. IV. "Heures a l'usage de Soissons." Printed by Simon Vostre, on
+vellum, 1502, 8vo. With the same Danse Macabre.
+
+No. V. "Heures a l'usage de Rheims, nouvellement imprimees avec belles
+histoires, pour Simon Vostre," 1502, 8vo. This is mentioned by M. Peignot,
+on the authority of Papillon. It was reprinted 1513, 8vo. and has the same
+cuts as above.
+
+No. VI. "Heures a l'usage de Rome. Printed for Simon Vostre by Phil.
+Pigouchet," 1502, large 8vo. on vellum. With the same Danse Macabre. This
+truly magnificent volume, superior to all the preceding by the same
+printer in beauty of type and marginal decoration, differs from them in
+having stanzas at the bottom of each page of the Dance, but which apply
+to the figure at the top only. They are here given.
+
+  POPE.
+
+  Vous qui vivez certainement
+  Quoy qu'il tarde ainsi danserez
+  Mais quand Dieu le scet seulement
+  Avisez comme vous ferez
+
+  Dam Pape vous commencerez
+  Comme le plus digne Seigneur
+  En ce point honorire serez
+  Au grant maistre est deu l'honneur.
+
+
+  KING.
+
+  Mais maintenant toute haultesse
+  Laisserez vous nestes pas seul
+  Peu aurez de votre richesse
+  Le plus riche n'a qung linseul
+
+  Venez noble Roy couronne
+  Renomme de force et prouesse
+  Jadis fustez environne
+  De grans pompes de grant noblesse.
+
+
+  ARCHBISHOP.
+
+  Que vous tirez la teste arriere
+  Archevesque tirez vous pres,
+  Avez vous peur qu'on ne vous fiere
+  Ne doubtez vous viendres apres
+
+  N'est pas tousjours la mort empres
+  Tout homme suyvant coste a coste
+  Rendre comment debtez et pres
+  Une foys fault coustera loste.
+
+
+  SQUIRE.
+
+  Il n'est rien que ne preigne cours
+  Dansez et pensez de suyr
+  Vous ne povez avoir secours
+  Il n'est qui mort puisse fuyr
+
+  Avencez vous gent escuyer
+  Qui scavez de danser les tours
+  Lance porties et escuz hyer
+  Aujourdhuy finerez voz jours.
+
+
+  ASTROLOGER.
+
+  Maistre pour vostre regarder
+  En hault ne pour vostre clergie
+  Ne pouvez la mort retarder
+  Ci ne vault rien astrologie
+
+  Toute la genealogie
+  D'Adam qui fust le premier homme
+  Mort prent se dit theologie
+  Tous fault mourir pour une pomme.
+
+
+  MERCHANT.
+
+  Vecy vostre dernier marche
+  Il convient que par cy passez
+  De tout soing serez despechie
+  Tel convoiste qui a assez
+
+  Marchant regardes par deca
+  Plusieurs pays avez cerchie
+  A pied a cheval de pieca
+  Vous n'en serez plus empeschie.
+
+
+  MONK.
+
+  Ha maistre par la passeres
+  N'est ja besoing de vous defendre
+  Plus homme nespouvanteres
+  Apres Moyne sans plus attendre
+
+  Ou pensez vous cy fault entendre
+  Tantost aurez la bouche close
+  Homme n'est fors que vent et cendre
+  Vie donc est moult peu de chose.
+
+
+  LOVER.
+
+  Trop lavez ayme cest foleur
+  Et a mourir peu regarde
+  Tantost vous changerez couleur
+  Beaulte n'est que ymage farde
+
+  Gentil amoureux gent et frique
+  Qui vous cuidez de grant valeur
+  Vous estez pris la mort vous pique
+  Ce monde lairez a douleur.
+
+
+  CURATE.
+
+  Passez cure sans long songier
+  Je sans questes habandonne
+  Le vif le mort soulier menger
+  Mais vous serez aux vers donne
+
+  Vous fustes jadis ordonne
+  Miroir dautruy et exemplaire
+  De voz faitz serez guerdonne
+  A toute peine est deu salaire.
+
+
+  CHILD.
+
+  Sur tout du jour de la naissance
+  Convient chascun a mort offrir
+  Fol est qui n'en a congnoissance
+  Qui plus vit plus a assouffrir
+
+  Petit enfant naguerez ne
+  Au monde aures peu de plaisance
+  A la danse sera mene
+  Comme autre car mort a puissance.
+
+
+  QUEEN.
+
+  Noble Royne de beau corsage
+  Gente et joyeuse a ladvenant
+  Jay de par le grant maistre charge
+  De vous enmener maintenant
+
+  Et comme bien chose advenant
+  Ceste danse commenseres
+  Faictes devoir au remenant
+  Vous qui vivez ainsi feres.
+
+
+  LADY.
+
+  C'est bien chasse quand on pourchasse
+  Chose a son ame meritoire
+  Car au derrain mort tout enchasse
+  Ceste vie est moult transitoire
+
+  Gentille femme de chevalier
+  Que tant aymes deduit et chasse
+  Les engins vous fault habiller
+  Et suyvre le train de ma trasse.
+
+
+  PRIORESS.
+
+  Se vous avez sans fiction
+  Tout vostre temps servi a Dieu
+  Du cueur en sa religion
+  La quelle vous avez vestue
+
+  Celuy qui tous biens retribue
+  Vous recompenserer loyalment
+  A son vouloir en temps et lieu
+  Bien fait requiert bon payment.
+
+
+  FRANCISCAN NUN.
+
+  Se vos prieres sont bien dignes
+  Elles vous vauldront devant Dieu
+  Rien ne vallent soupirs ne signes
+  Bone operacion tient lieu
+
+  Femme de grande devocion
+  Cloez voz heures et matines
+  Et cessez contemplacion
+  Car jamais nyres a matines.
+
+
+  CHAMBER-MAID.
+
+  Dictez jeune femme a la cruche
+  Renommee bonne chambriere
+  Respondez au moins quant on huche
+  Sans tenir si rude maniere
+
+  Vous nirez plus a la riviere
+  Baver au four na la fenestre
+  Cest cy vostre journee derniere
+  Ausy tost meurt servant que maistre.
+
+
+  WIDOW.
+
+  Cest belle chose de tenir
+  Lestat ou on est appellee
+  Et soy tousjours bien maintenir
+  Vertus est tout par tout louee.
+
+  Femme vesve venez avant
+  Et vous avancez de venir
+  Vous veez les aultres davant
+  Il convient une fois finir.
+
+
+  LYING-IN NURSE.
+
+  Venez ca garde dacouchees
+  Dresse aves maintz bainz perdus
+  Et ses cortines attachees
+  Ou estoient beaux boucques pendus
+
+  Biens y ont estez despendus
+  Tant de motz ditz que cest ung songe
+  Qui seront cher vendus
+  En la fin tout mal vient en ronge.
+
+
+  SHEPHERDESS.
+
+  Aux camps ni rez plus soir ne matin
+  Veiller brebis ne garder bestes
+  Rien ne sera de vous demain
+  Apres les veilles sont les festes
+
+  Pas ne vous oublieray derriere
+  Venez apres moy sa la main
+  Entendez plaisante bergiere
+  Ou marcande cy main a main.
+
+
+  OLD WOMAN.
+
+  Et vous madame la gourree
+  Vendu avez maintz surplis
+  Donc de largent est fourree
+  Et en sont voz coffres remplis
+
+  Apres tous souhaitz acomplis
+  Convient tout laisser et ballier
+  Selon la robe on fait le plis
+  A tel potaige tel cuiller.
+
+
+  WITCH.
+
+  Est condannee comme meurtriere
+  A mourir ne vivra plus gaire
+  Je la maine en son cimitiere
+  Cest belle chose de bien faire
+
+  Oyez oyez on vous fait scavoir
+  Que ceste vielle sorciere
+  A fait mourir et decepvoir
+  Plusieurs gens en mainte maniere.
+
+In the cut of the adoration of the shepherds their names are introduced as
+follows: Gobin le gay; le beau Roger; Aloris; Ysauber; Alison, and
+Mahault. The same cut is in two or three other Horae mentioned in this
+list.
+
+No. VII. "Heures a l'usaige de Rouan. Simon Vostre, 1508, 8vo." With the
+same Danse Macabre.
+
+No. VIII. "Horae ad usum Romanum. Thielman Kerver," 1508, 8vo. Vellum. With
+the same Danse Macabre.
+
+No. IX. "Hore christofere virginis Marie secundum usum Romanum ad longum
+absque aliquo recursu, &c." Parisiis. Simon Vostre, 1508, 8vo. M. Peignot
+has given a very minute description of this volume with a list of the
+different persons in the Danse Macabre.
+
+No. X. "Heures a l'usage de ... Ant. Verard," 1509, 8vo. with the same
+Danse Macabre.
+
+No. XI. "Heures a l'usaige d'Angers. Simon Vostre," 1510, 8vo. With the
+same Danse Macabre. Particularly described by M. Peignot.
+
+No. XII. "Heures a l'usaige de Rome. Guil. Godar," 1510, large 8vo. vellum
+illuminated. A magnificent book. It contains the Danse Macabre as in No.
+I. But it is remarkable for a third Dance of Death on the margins at
+bottom, consisting of small compartments with a single figure, but
+unaccompanied in the usual manner by Death, who, in various shapes and
+attitudes, is occasionally introduced. The characters are the following,
+without the arrangement commonly observed, and here given in the order in
+which they occur. 1. La Prieuse. 2. La Garde dacouche. 3. L'Abesse. 4. Le
+Promoteur. 5. Le Conestable. 6. Le Moine, without a label. 7. La Vielle
+Demoiselle. 8. La Baillive. 9. La Duchesse. 10. Le Sergent. 11. La
+Nourrice. 12. La femme du Chevallier. 13. La Damoiselle. 14. Le Maistre
+descole. 15. La Femme du village. 16. La Rescomanderese. 17. La
+Revenderese. 18. Le Laboureur. 19. La Bourgoise. 20. L'Usurier. 21. Le
+Pelerin. 22. Le Berger. 23. La Religieuse. 24. L'Home d'armes. 25. La
+Sorciere. 26. Le Petit enfant. 27. Le Clerc. 28. Le Patriarche. 29. Le
+Cardinal. 30. L'Empereur. 31. Le Roy. 32. La Marchande. 33. Le Cure. 34.
+La Theologienne. 35. La Jeune fille. 36. Le Sot. 37. Le Hallebardier. 38.
+La Pucelle vierge. 39. L'Hermite. 40. L'Escuier. 41. La Chamberiere. 42.
+La Femme de lescuier. 43. La Cordeliere. 44. La Femme veuve. 45. Le
+Chartreux. 46. La Royne. 47. La Regente. 48. La Bergere. 49. L'Advocat.
+50. L'Espousee. 51. La Femme amoureuse. 52. La Nouvelle Mariee. 53. Le
+Medecin. Wherever the figure of Death is introduced, he is accompanied
+with the motto "Amort, amort."
+
+No. XIII. "Hore ad usum Romanum. Thielman Kerver," 1511, 8vo. Vellum, with
+the Danse Macabre.
+
+No. XIV. "Heures a l'usage de Langres. Simon Vostre," 1512, 8vo. In the
+possession of Mons. G. M. Raymond, who has described it in Millin's
+"Magazin Encyclopedique," 1814, tom. iii. p. 13. Mentioned also by M.
+Peignot.
+
+No. XV. "Heures a l'usage de Paris. Simon Vostre," 1515, 8vo. With the
+Danse Macabre, and the other mentioned in No. I.
+
+No. XVI. "Heures de Nostre Dame a l'usage de Troyes." Th. Englard, pour G.
+Goderet, vers 1520. Vellum. Described by M. Peignot.
+
+No. XVII. "Hore ad usum Romanum. Thielman Kerver," 1526, 8vo. Vellum. A
+beautiful volume. Prefixed to the Danse Macabre are two prints of the
+Trois morts et trois vifs.
+
+In all the above Horae the Macaber Dance is represented nearly alike in
+design, the variations being chiefly in the attitudes of the figures,
+which are cut on different blocks, except in a few instances where the
+printers have borrowed the latter from each other. Thus Vostre uses
+Verard's, and Pigouchet Godar's. The number of the subjects also varies,
+Vostre and Kerver having more than Verard, Godar, and Pigouchet.
+
+Exceptions to the above manner of representing the Macaber Dance, occur in
+two Horae of singular rarity, and which are therefore worthy of particular
+notice.
+
+No. XVIII. "Officium beatae Mariae Virginis ad usum Romane ecclesie.
+Impressum Lugduni expensis Bonini de Boninis Dalmatini," die xx martij,
+1499, 12mo. On vellum. Here the designs are very different, and three of
+the subjects are placed at the bottom of the page. They consist of the
+following personages, there being no females among them. It was reprinted
+by the same printer in 1521.
+
+  Papa                Astrologus
+  Imperator           Cives
+  Cardinales.         Canonicus.
+
+  Archiepiscopus      Scutifer
+  Eques               Abbas
+  Episcopus.          Pretor.
+
+  Rex                 Monachus
+  Patriarche          Usurarius
+  Capitanus.          Medicus.
+
+  Plebanus            Mercator
+  Laborator           Certosinus
+  Frater Minor.       Nuncius.
+
+  Amans               Puer
+  Advocatus           Sacristanus
+  Joculator.          Heremita.
+
+No. XIX. "Hore beate Marie Virginis ad usum insignis ac preclare ecclesie
+Sarum cum figuris passionis mysterium representantibus recenter additis.
+Impresse Parisiis per Johannem Bignon pro honesto viro Richardo Fakes,
+London, librario, et ibidem commorante cymeterie Sancti Pauli sub signo A.
+B. C." 1521. A ledger-like 12mo. This Macaber Dance is unfortunately
+imperfect in the only copy of the book that has occurred. The figures that
+remain are those of the Pope, King, Cardinal, Patriarch, Judge,
+Archbishop, Knight, Mayor, and Earl.
+
+Under each subject are Lydgate's verses, with some slight variation; and
+it is therefore very probable that we have here a copy, as to many of the
+figures, of the Dance that was painted at St. Paul's in compartments like
+the other Macaber Dance, and not as the group in Dugdale, which has been
+copied from a wood-cut at the end of Lydgate's "Fall of Prynces." As all
+the before-mentioned Horae were printed at Paris, with one exception only,
+and many of them at a very early period, it is equally probable that they
+may be copies of the Dance at the Innocents, unless a preference in that
+respect should be given to the figures in the French editions of the Danse
+Macabre.
+
+Manuscript Horae, or books of prayers, which contain the Macaber Dance are
+in the next place deserving of our attention. These are extremely rare,
+and two only have occurred on the present occasion.
+
+1. A manuscript prayer book of the fifteenth century is very briefly
+described by M. Peignot,[88] which he states to be the only one that has
+come to his knowledge.
+
+2. An exquisitely beautiful volume, in large 8vo. bound in brass and
+velvet. It is a Latin Horae, elegantly written in Roman type at the
+beginning of the 16th century. It has a profusion of paintings, every page
+being decorated with a variety of subjects. These consist of stories from
+scripture, sports, games, trades, grotesques, &c. &c. the several
+employments of the months, which have also the signs of the zodiac, are
+worth describing, there being two sets for each month.
+
+  January.   1. A man sitting at table, a servant bringing
+                in a dish of viands. The white tablecloth
+                is beautifully diapered. 2. Boys
+                playing at the game called Hockey.
+
+  February.  1. A man warming himself by a fire, a
+                domestic bringing in faggots. 2. Men
+                and women at table, two women cooking
+                additional food in the same apartment.
+
+  March.     1. A man pruning trees. 2. A priest confirming
+                a group of people.
+
+  April.     1. A man hawking. 2. A procession of
+                pilgrims.
+
+  May.       1. A gentleman and lady on the same horse.
+                2. Two pairs of lovers: one of the men
+                plays on a flute, the other holds a
+                hawk on his fist.
+
+  June.      1. A woman shearing sheep. 2. A bridal
+                procession.
+
+  July.      1. A man with a scythe about to reap. He
+                drinks from his leathern bottle. 2. Boys
+                and girls at the sport called Threading
+                the needle.
+
+  August.    1. A man reaping with a sickle. 2. Blind
+                man's buff.
+
+  September. 1. A man sowing. 2. The games of hot
+                cockles and ...
+
+  October.   1. Making wine. 2. Several men repairing
+                casks, the master of the vineyard
+                directing.
+
+  November.  1. A man threshing acorns to feed his hogs.
+                2. Tennis.
+
+  December.  1. Singeing a hog. 2. Boys pelting each
+                other with snow balls.
+
+The side margins have the following Danse Macabre, consisting as usual of
+two figures only. Papa, Imperator, Cardinalis, Rex, Archiepiscopus,
+Comestabilis, Patriarcha, Eques auratus, Episcopus, Scutarius, Abbas,
+Prepositus, Astrologus, Mercator, Cordiger, Satelles, Usurarius,
+Advocatus, Mimus, Infans, Heremita.
+
+The margins at bottom contain a great variety of emblems of mortality.
+Among these are the following:
+
+1. A man presents a mirror to a lady, in which her face is reflected as a
+death's head.
+
+2. Death shoots an arrow at a man and woman.
+
+3. A man endeavouring to escape from Death is caught by him.
+
+4. Death transfixes a prostrate warrior with a spear.
+
+5. Two very grotesque Deaths, the one with a scythe, the other with a
+spade.
+
+6. A group of five Deaths, four dancing a round, the other drumming.
+
+7. Death on a bull, holding a dart in his hand.
+
+8. Death in a cemetery running away with a coffin and pick-axe.
+
+9. Death digging a grave for two shrouded bodies on the ground.
+
+10. Death seizing a fool.
+
+11. Death seizing the master of a family.
+
+12. Death seizing Caillette, a celebrated fool mentioned by Rabelais, Des
+Periers, &c. He is represented in the French translation of the Ship of
+Fools.
+
+13. Death seizing a beggar.
+
+14. Death seizing a man playing at tennis.
+
+15. Death striking the miller going to his mill.
+
+16. Death seizing Ragot, a famous beggar in the reign of Louis XII. He is
+mentioned by Rabelais.
+
+This precious volume is in the present writer's possession.
+
+Other manuscripts connected with the Macaber Dance are the following:
+
+1. No. 1849, a Colbert MS. in the King of France's library, appears to
+have been written towards the end of the fifteenth century, and is
+splendidly illuminated on vellum with figures of men and women led by
+Death, the designs not much differing from those in Verard's printed copy.
+
+2. Another manuscript in the same library, formerly No. 543 in that of
+Saint Victor, is at the end of a small volume of miscellanies written on
+paper about the year 1520; the text resembles that of the immediately
+preceding article, and occasionally varies from the printed editions. It
+has no illuminations. These are the only manuscript Macaber Dances in the
+royal library at Paris.
+
+3. A manuscript of the Dance of Death, in German, is in the library of
+Munich. See Dr. Dibdin's bibliographical Tour, vol. iii. 278; and Vonder
+Hagen's history of German poetry. Berlin, 1812, 8vo. p. 459. The date of
+1450 is given to this manuscript on the authority of Docen in his
+Miscellanies, vol. ii. p. 148, and new Literary Advertizer for 1806, No.
+22, p. 348. Vonder Hagen also states that Docen has printed it in his
+Miscellanies, p. 349-52, and 412-16.
+
+4. A manuscript in the Vatican, No. 314. See Vonder Hagen, ubi supra, who
+refers to Adelung, vol. ii. p. 317-18, where the beginning and other
+extracts are given.
+
+5. In the Duke de la Valliere's catal. No. 2801, is "La Danse Macabre par
+personnages, in 4to. Sur papier du xv siecle, contenant 12 feuillets."
+
+In the course of this enquiry no manuscript, decorated with a regular
+series of a Dance of Death, has been discovered.
+
+The Abbe Rive left, in manuscript, a bibliography of all the editions of
+the Macaber Dance, which is at present, with other manuscripts by the
+Abbe, in the hands of M. Achard, a bookseller at Marseilles. See Peignot,
+Diction. de Bibliologie, iii. 284.
+
+The following articles, accompanied by letter-press, and distinguishable
+from single prints, appear to relate to the Macaber Dance.
+
+1. The Dance and song of Death is among books licensed to John
+Awdeley.[89]
+
+2. "The roll of the Daunce of Death, with pictures and verses upon the
+same," was entered on the Stationers' books, 5th Jan. 1597, by Thomas
+Purfort, sen. and jun. The price was 6_d._ This, as well as that licensed
+to Awdeley, was in all probability the Dance at St. Paul's.
+
+3. "Der Todten Tantz au Hertzog Georgens zu Sachsen schloss zu Dresden
+befindlich." _i. e._ "Here is found the Dance of Death on the Saxon palace
+of Duke George at Dresden." It consists of twenty-seven characters, as
+follow: 1. Death leading the way; in his right hand he holds a drinking
+glass or cup, and in his left a trumpet which he is blowing. 2. Pope. 3.
+Cardinal. 4. Abbot. 5. Bishop. 6. Canon. 7. Priest. 8. Monk. 9. Death
+beating a drum with bones. 10. Emperor. 11. King. 12. Duke. 13. Nobleman.
+14. Knight. 15. Gentleman. 16. Judge. 17. Notary. 18. Soldier. 19.
+Peasant. 20. Beggar. 21. Abbess. 22. Duchess. 23. Old woman. 24. Old man.
+25. Child. 26. Old beggar. 27. Death with a scythe. This is a single print
+in the Chronicle of Dresden, by Antony Wecken, Dresden, 1680, folio,
+already mentioned in p. 44.
+
+4. In the catalogue of the library of R. Smith, which was sold by auction
+in 1682, is this article "Dance of Death, in the cloyster of Paul's, with
+figures, very old." It was sold for six shillings to Mr. Mearne.
+
+5. A sort of Macaber Dance, in a Swiss almanack, consisting of eight
+subjects, and intitled "Ein Stuck aus dem Todten tantz," or, "a piece of a
+Dance of Death:" engraved on wood by Zimmerman with great spirit, after
+some very excellent designs. They are accompanied with dialogues between
+Death and the respective characters. 1. The Postilion on horseback. Death
+in a huge pair of jack-boots, seizes him by the arm with a view to unhorse
+him. 2. The Tinker. Death, with a skillet on his head, plunders the
+tinker's basket. 3. The Hussar on horseback, accompanied by Death, also
+mounted, and, like his comrade, wearing an enormous hat with a feather. 4.
+The Physician. Death habited as a modern beau, with chapeau-bras, brings
+his urinal to the Doctor for inspection. 5. The fraudulent Innkeeper in
+the act of adulterating a cask of liquor is seized and throttled by a very
+grotesque Death in the habit of an alewife, with a vessel at her back. 6.
+The Ploughman, holding his implements of husbandry, is seized by Death,
+who sits on a plough and carries a scythe in his left hand. 7. The
+Grave-digger, is pulled by Death into the grave which he has just
+completed. 8. The lame Messenger, led by Death. The size of the print 11
+by 6-1/2 inches.
+
+6. Papillon states that Le Blond, an artist, then living at Orleans,
+engraved the Macaber Dance on wood for the Dominotiers, or venders of
+coloured prints for the common people, and that the sheets, when put
+together, form a square of three feet, and have verses underneath each
+figure.[90]
+
+
+
+
+CHAPTER VI.
+
+    _Hans Holbein's connexion with the Dance of Death.--A dance of
+    peasants at Basle.--Lyons edition of the Dance of Death, 1538.--Doubts
+    as to any prior edition.--Dedication to the edition of 1538.--Mr.
+    Ottley's opinion of it examined.--Artists supposed to have been
+    connected with this work.--Holbein's name in none of the old
+    editions.--Reperdius._
+
+
+The name of Holbein has been so strongly interwoven with the Dance of
+Death that the latter is seldom mentioned without bringing to recollection
+that extraordinary artist.
+
+It would be a great waste of time and words to dwell specifically on the
+numerous errors of such writers as Papillon, Fournier, and several others,
+who have inadvertently connected Holbein with the Macaber Dance, or to
+correct those of travellers who have spoken of the subject as it appeared
+in any shape in the city of Basle. The opinions of those who have either
+supposed or stated that Holbein even retouched or repaired the old
+painting at Basle, are entitled to no credit whatever, unaccompanied as
+they are by necessary proofs. The names of the artists who were employed
+on that painting have been already adverted to, and are sufficiently
+detailed in the volumes of Merian and Peignot; and it is therefore
+unnecessary to repeat them.
+
+Evidence, but of a very slight and unsatisfactory nature, has been adduced
+that Holbein painted some kind of a Death's Dance on the walls of a house
+at Basle. Whether this was only a copy of the old Macaber subject, or
+some other of his own invention, cannot now be ascertained. Bishop Burnet,
+in his letters from Switzerland,[91] states that "there is a _Dance_ which
+he painted on the walls of a house where he used to drink; yet so worn out
+that very little is now to be seen, except _shapes and postures_, but
+these shew the exquisiteness of the hand." It is much to be regretted that
+this painting was not in a state to have enabled the bishop to have been
+more particular in his description. He then mentions the older Dance,
+which he places "along the side of the convent of the Augustinians
+(meaning the Dominicans), now the French church, so worn out some time ago
+that they ordered the best painter they had to lay new colour on it, but
+this is so ill done, that one had rather see the dark shadow of Holbein's
+pencil than this coarse work." Here he speaks obscurely, and adopts the
+error that Holbein had some hand in it.
+
+Keysler, a man of considerable learning and ingenuity, and the author of a
+very excellent book of travels, mentions the old painting at Basle, and
+adds, that "Holbein had also drawn and painted a Death's Dance, and had
+likewise painted, as it were, a _duplicate_ of this piece on another
+house, but which time has entirely obliterated."[92] We are here again
+left entirely in the dark as to the first mentioned painting, and its
+difference from the other. Charles Patin, an earlier authority than the
+two preceding travellers, and who was at Basle in 1671, informs us that
+strangers behold, with a considerable degree of pleasure, the walls of a
+house at the corner of a little street in the above town, which are
+covered from top to bottom with paintings by Holbein, that would have done
+honour to the commands of a great prince, whilst they are, in fact,
+nothing more than the painter's reward to the master of a tavern for some
+meals that he had obtained.[93] In the list of Holbein's works, in his
+edition of Erasmus's Moriae encomion, he likewise mentions the painting on
+a house in the Eisengassen, or Iron-street, near the Rhine bridge, and for
+which he is said to have received forty florins,[94] perhaps the same as
+that mentioned in his travels.
+
+This painting was still remaining in the year 1730, when Mr. Breval saw
+it, and described it as a _dance of boors_, but in his opinion unworthy,
+as well as the Dance of Death in that city, of Holbein's hand.[95] These
+accounts of the paintings on houses are very obscure and contradictory,
+and the only way to reconcile them is by concluding that Holbein might
+have decorated the walls of some houses with a Dance of Death, and of
+others with a dance of peasants.[96] The latter subject would indeed be
+very much to the taste of an inn-keeper, and the nature of his occupation.
+Some of the writers on engraving have manifested their usual inaccuracy on
+the subject of Holbein's Dance of Peasants. Joubert says it has been
+engraved, but that it is "a peu pres introuvable."[97] Huber likewise
+makes them extremely rare, and adds, without the slightest authority, that
+Holbein engraved them.[98] There is, however, no doubt that his beautiful
+pencil was employed on this subject in various ways, of which the
+following specimens are worthy of being recorded. 1. In a set of initial
+letters frequently used in books printed at Basle and elsewhere. 2. In an
+edition of Plutarch's works, printed by Cratander at Basle, 1530, folio,
+and afterwards introduced into Polydore Vergil's "Anglicae historiae libri
+viginti sex," printed at Basle, 1540, in folio, where, on p. 3 at bottom,
+the subject is very elegantly treated. It occurs also, in other books
+printed in the same city. 3. In an edition of the "Nugae" of Nicolas
+Borbonius, Basle, 1540, 12mo. at p. 17, there is a dance of peasants
+replete with humour: and, 4. A vignette in the first page of an edition of
+Apicius, printed at Basle, 1541, 4to. without the printer's name.
+
+After all, there seems to be a fatality of ambiguity in the account of the
+Basle paintings ascribed to Holbein; and that of the Dance of Death has
+not only been placed by several writers on the walls, inside and outside,
+of houses, but likewise in the fish-market; on the walls of the
+church-yard of St. Peter; and even in the cathedral itself of Basle; and,
+therefore, amidst this chaos of description, it is absolutely impossible
+to arrive at any conclusion that can be deemed in any degree satisfactory.
+
+We are now to enter upon the investigation of a work which has been
+somewhat erroneously denominated a "Dance of Death," by most of the
+writers who have mentioned it. Such a title, however, is not to be found
+in any of its numerous editions. It is certainly not a dance, but rather,
+with slight exception, a series of admirable groups of persons of various
+characters, among whom Death is appropriately introduced as an emblem of
+man's mortality. It is of equal celebrity with the Macaber Dance, but in
+design and execution of considerable superiority, and with which the name
+of Hans Holbein has been so intimately connected, and that great painter
+so generally considered as its inventor, that even to doubt his claim to
+it will seem quite heretical to those who may have founded their opinion
+on internal evidence with respect to his style of composition.
+
+In the year 1538 there appeared a work with the following title, "Les
+simulachres et historiees faces de la mort, autant elegamment
+pourtraictes, que artificiellement imaginees." A Lyon Soubz lescu de
+Coloigne, 4to. and at the end, "Excudebant Lugduni Melchior et Gaspar
+Trechsel fratres, 1538." It has forty-one cuts, most exquisitely designed
+and engraved on wood, in a manner which several modern artists only of
+England and Germany have been competent to rival. As to the designs of
+these truly elegant prints, no one who is at all skilled in the knowledge
+of Holbein's style and manner of grouping his figures, would hesitate
+immediately to ascribe them to that artist. Some persons have imagined
+that they had actually discovered the portrait of Holbein in the subject
+of the nun and her lover; but the painter, whoever he may have been, is
+more likely to be represented in the last cut as one of the supporters of
+the escutcheon of Death. In these designs, which are wholly different from
+the dull and oftentimes disgusting Macaber Dance, which is confined, with
+little exception, to two figures only, we have the most interesting
+assemblage of characters, among whom the skeletonized Death, with all the
+animation of a living person, forms the most important personage;
+sometimes amusingly ludicrous, occasionally mischievous, but always busy
+and characteristically occupied.
+
+Doubts have arisen whether the above can be regarded as the first edition
+of these justly celebrated engravings in the form of a volume accompanied
+with text. In the "Notices sur les graveurs," Besancon, 1807, 8vo. a work
+ascribed to M. Malpe,[99] it is stated to have been originally published
+at Basle in 1530; and in M. Jansen's "Essai sur l'origine de la gravure,"
+&c. Paris, 1808, 8vo. a work replete with plagiarisms, and the most
+glaring mistakes, the same assertion is repeated. This writer adds, but
+unsupported by any authority, that soon afterwards another edition
+appeared with Flemish verses. Both these authors, following their blind
+leader Papillon, have not ventured to state that they ever saw this
+supposed edition of 1530, and it may indeed be asked, who has? Or in what
+catalogue of any library is it recorded? Malpe acknowledges that the
+earliest edition he had seen was that of 1538. M. Fuseli, in his edition
+of Pilkington's Dictionary of Painters, has appended a note to the article
+for Hans Holbein, where, alluding perhaps to the former edition of the
+present dissertation, he remarks, that "Holbein's title to the Dance of
+Death would not have been called in question, had the ingenious author of
+the dissertation on that subject been acquainted with the German edition."
+This gentleman seems, however, to have inadvertently forgotten a former
+opinion which he had given in one of his lectures, where he says, "The
+scrupulous precision, the high finish, and the Titianesque colour of Hans
+Holbein would make the least part of his excellence, if his right to that
+series of emblematic groups known under the name of Holbein's Dance of
+Death had not, of late, been too successfully disputed." M. Fuseli would
+have rendered some service to this question by favouring us with an
+explicit account of the above German edition, if he really intended by it
+a complete work; but it is most likely that he adverted to some separate
+impressions of the cuts with printed inscriptions on them, but which are
+only the titles of the respective characters or subjects. To such
+impressions M. Malpe has certainly referred, adding that they have, at
+top, passages from the Bible in German, and verses at bottom in the same
+language. Jansen follows him as to the verses at bottom only. Now, on
+forty-one of these separate impressions, in the collection of the accurate
+and laborious author of the best work on the origin and early history of
+engraving that has ever appeared, and on several others in the present
+writer's possession, neither texts of scripture, nor verses at bottom, are
+to be found, and nothing more than the above-mentioned German titles of
+the characters. M. Huber, in his "Manuel des curieux et des amateurs de
+l'art," vol. i. p. 155, after inaccurately stating that Holbein _engraved_
+these cuts, proceeds to observe, that in order to form a proper judgment
+of their merit, it is necessary to see the earliest impressions, printed
+on one side only of the paper; and refers to twenty-one of them in the
+cabinet of M. Otto, of Leipsig, but without stating any letter-press as
+belonging to them, or regarding them as a part of any German edition of
+the work.
+
+In the public library of Basle there are proof impressions, on four
+leaves, of all the cuts which had appeared in the edition of 1538, except
+that of the astrologer. Over each is the name of the subject printed in
+German, and without any verses or letter-press whatever at bottom.
+
+It is here necessary to mention that the first known edition in which
+these cuts were used, namely, that of 1538, was accompanied with French
+verses, descriptive of the subjects. In an edition that soon afterwards
+appeared, these French verses were translated into Latin by George
+AEmylius, a _German_ divine; and in another edition, published at Basle, in
+1554, the Latin verses were continued. In both these cases, had there been
+any former _German verses_, would they not have been retained in
+preference?
+
+There is a passage, however, in Gesner's Pandectae, a supplemental volume
+of great rarity to his well-known Bibliotheca, that slightly adverts to a
+German edition of this work, and at the same time connects Holbein's name
+with it. It is as follows: "Imagines mortis expressae ab optimo pictore
+Johanne Holbein cum epigrammatibus Geo. AEmylii, excusae Francofurti et
+Lugduni apud Frellonios, quorum editio plures habet picturas. Vidi etiam
+cum metris Gallicis et _Germanicis si bene memini_."[100] But Gesner
+writes from imperfect recollection only, and specifies no edition in
+German. It is most probable that he refers to an early copy of the cuts on
+a larger scale with a good deal of text in German, and printed and perhaps
+engraved by Jobst Denecker, at Augsburg, 1544, small folio.
+
+The forty-one separate impressions of the cuts in the collection of Mr.
+Ottley, as well as those in the present writer's possession, are printed
+on one side of the paper only, another argument that they were not
+intended to be used in any book; and although they are extremely clear and
+distinct, many of them that were afterwards used in the various editions
+of the book are not less brilliant in appearance. It is well known to
+those who are conversant with engravings on wood, that the earliest
+impressions are not always the best; a great deal depending on the care
+and skill with which they were taken from the blocks, and not a little on
+the quality of the paper. As they were most likely engraved at Basle by an
+excellent artist, of whom more will be said hereafter, and at the instance
+of the Lyons booksellers or publishers, it is very probable that a few
+impressions would be taken off with German titles only for the use of the
+people of Basle, or other persons using the German language. Proofs might
+also be wanted for the accommodation of amateurs or other curious persons,
+and therefore it would be only necessary to print the names or titles of
+the subjects. This conjecture derives additional support from the
+well-known literary intercourse between the cities of Lyons and Basle, and
+from their small distance from each other. On the whole, therefore, the
+Lyons edition of 1538 may be safely regarded as the earliest, until some
+other shall make its appearance with a well ascertained prior date, either
+in German or any other language.
+
+In the edition of 1538 there is a dedication, not in any of the others,
+and of very considerable importance. It is a pious, quaint, and jingling
+address to Jeanne de Touszele, Abbess of the convent of St. Peter, at
+Lyons, in which the author, whose name is obscurely stated to be Ouzele,
+compliments the good lady as the pattern of true religion, from her
+intimate acquaintance with the nature of Death, rushing, as it were, into
+his hands, by her entrance into the sepulchre of a cloister. He enlarges
+on the various modes of representing the mortality of human nature, and
+contends that the image of Death has nothing terrific in the eyes of the
+Christian. He maintains that there is no better method of depicting
+mortality than by a dead person, especially by those images which so
+frequently occur on sepulchral monuments. Adverting then to the figures in
+the present work he _regrets the death of him who has here conceived
+[imagine] such elegant designs, greatly exceeding all other patterns of
+the kind, in like manner as the paintings of Apelles and Zeuxis have
+surpassed those of modern times_. He observes that these funereal
+histories, accompanied by their grave descriptions in rhyme, induce the
+admiring spectators to behold the dead as alive, and the living as dead;
+which leads him to believe that Death, apprehensive lest this admirable
+_painter_ should exhibit him so lively that he would no longer be feared
+as Death, and that he should thereby become immortal himself, had hastened
+his days to an end, and thus prevented him from completing many other
+figures, which _he_ had already _designed_, especially that of the carman
+crushed and wounded beneath his demolished waggon, the wheels and horses
+of which are so frightfully overthrown that as much horror is excited in
+beholding their downfall, as pleasure in contemplating the lickerishness
+of one of the Deaths, who is clandestinely sucking with a reed the wine in
+a bursting cask.[101] That in these imperfect subjects no one had dared to
+put the finishing hand, on account of the boldness of their outline,
+shadow, and perspective, _delineated_ in so graceful a manner, that by its
+contemplation one might indulge either in a joyful sorrow, or a melancholy
+pleasure. "Let antiquaries then," says he, "and lovers of ancient imagery
+discover any thing comparable to these figures of Death, in which we
+behold the Empress of all living souls from the creation, trampling over
+Caesars, Emperors, and Kings, and with her scythe mowing down the
+tyrannical heroes of the earth." He concludes with admonishing the Abbess
+to take in good part this his sad but salutary present, and to persuade
+her devout nuns not only to keep it in their cells and dormitories, but in
+the cabinet of their memory, therein pursuing the counsel of St. Jerom,
+&c.
+
+The singularity of this curious and interesting dedication is deserving of
+the utmost attention. It seems very strongly, if not decisively, to point
+out the edition to which it is prefixed, as the first; and what is of
+still more importance, to deprive Holbein of any claim to the _invention_
+of the work. It most certainly uses such terms of art as can scarcely be
+mistaken as conveying any other sense than that of _originality in
+design_. There cannot be words of plainer import than those which describe
+the painter, as he is expressly called, _delineating_ the subjects, and
+leaving several of them unfinished: and whoever the artist might have
+been, it clearly appears that he was not living in 1538. Now it is well
+known that Holbein's death did not take place before the year 1554, during
+the plague which ravaged London at that time. If then the expressions used
+in this dedication signify any thing, it may surely be asked what becomes
+of any claim on the part of Holbein to the designs of the work in
+question, or does it not _at least_ remain in a situation of doubt and
+difficulty?
+
+It is, however, with no small hesitation that the author of the present
+dissertation still ventures to dispute, and even to deny, the title of
+Holbein to the invention of this Dance of Death, in opposition to his
+excellent and valuable friend Mr. Ottley, whose opinion in matters of
+taste, as well as on the styles of the different masters in the old
+schools of painting and engraving may be justly pronounced to be almost
+oracular. This gentleman has thus expressed himself: "It cannot be denied
+that were there nothing to oppose to this passage, it would seem to
+constitute very strong evidence that Holbein, who did not die until the
+year 1554, was not the author of the designs in question; but I am firmly
+persuaded that it refers in reality, not to the designer, but to the
+artist who had been employed, under his direction, to engrave the designs
+in wood, and whose name, there appears reason to believe, was Hans
+Lutzenberger.[102] Holbein, I am of opinion, had, shortly before the year
+1538, sold the forty-one blocks which had been some time previously
+executed, to the booksellers of Lyons, and had at the same time given him
+a promise of others which he had lately designed, as a continuation of the
+series, and were then in the hands of the wood-engraver. The
+wood-engraver, I suppose, died before he had completed his task, and the
+correspondent of the bookseller, who had probably deferred his publication
+in expectation of the new blocks, wrote from Basle to Lyons to inform his
+friend of the disappointment occasioned by the artist's death. It is
+probable that this information was not given very circumstantially, as to
+the real cause of the delay, and that the person who wrote the dedication
+of the book might have believed the designer and engraver to be one and
+the same person: it is still more probable that he thought the distinction
+of little consequence to his reader, and willingly omitted to go into
+details which would have rendered his quaint moralizing in the above
+passage less admissible. Besides, the additional cuts there spoken of
+(eight cuts of the Dance of Death and four of boys) were afterwards
+finished (doubtless by another wood-engraver, who had been brought up
+under the eye of Holbein), and are not apparently inferior, whether in
+respect of design or execution to the others. In short, these designs have
+always been ascribed to Holbein, and designedly ranked amongst his finest
+works."[103]
+
+Mr. Ottley having admitted that the edition of the Dance of Death, printed
+in quarto, at Lyons, 1538, is the earliest with which we are at present
+acquainted, proceeds to state his belief that the cuts had been previously
+and _certainly_ used at Basle. He then alludes to the supposed German
+edition, about the year 1530, but acknowledges that he had not been able
+to meet with or hear of any person who had seen it. He next introduces to
+his reader's notice, and afterwards describes at large, a set of forty-one
+impressions, being the complete series of the edition of 1538, except one,
+and taken off with the greatest clearness and brilliancy of effect, on one
+side of the paper only, each cut having over it its title printed in the
+German language, with moveable type. He thinks it possible that they may
+originally have had German verses underneath, and texts of Scripture
+above, in addition to the titles; a fact, he adds, not now to be
+ascertained, as the margins are clipped on the sides and at bottom. He
+says, it is greatly to be regretted that the blocks were never taken off
+with due diligence and good printing ink, after they got into the hands of
+the Lyons booksellers, and then introduces into his page two fac-similes
+of these cuts so admirably copied as to be almost undistinguishable from
+the originals.[104] One may, indeed, regret with Mr. Ottley the _general
+carelessness_ of the old printers in their mode of taking off impressions
+from blocks of wood when introducing them into their books, and which is
+so very unequally practised that, as already observed, the impressions are
+often clearer and more distinct in later than in preceding editions. The
+works of the old designers and engravers would, in many cases, have been
+much more highly appreciated, if they had had the same justice done to
+them by the printers as the editorial taste and judgment of Mr. Ottley,
+combined with the skill of the workmen, have obtained in the decoration of
+his own book. With respect to the impressions of the cuts in question,
+when the blocks were in the hands of the Lyons booksellers, the fact is,
+that in some of their editions they are occasionally as fine as those
+separately printed off; and at the moment of making this remark, an
+edition, published in 1547, at Lyons, is before the writer, in which many
+of the prints are uncommonly clear and even brilliant, a circumstance
+owing, in a great degree, to the nature of the paper on which they are
+impressed.
+
+It were almost to be wished that this perplexing evidence against
+Holbein's title to the invention of the work before us had never existed,
+and that he had consequently been left in the quiet possession of what so
+well accords with his exquisite pencil and extraordinary talents. True it
+is, that the person to whom we owe this stubborn testimony, has manifested
+a much more intimate acquaintance with the mode of conveying his pious
+ejaculations to the Lady Abbess in the quaintest language that could
+possibly have been chosen, than with the art of giving an accurate account
+of the prints in question. Yet it seems scarcely possible that he should
+have used the word _imagined_, which undoubtedly expresses originality of
+invention, and not the mere act of copying, if he had referred to an
+engraver on wood, whom he would not have dignified with the appellation of
+a painter on whom he was bestowing the highest possible eulogium. There
+would also have been much less occasion for the author's hyperbolical
+fears on the part of Death in the case of an engraver, than in that of a
+painter. He has stated that the rainbow subject, meaning probably that of
+the Last Judgment, was left unfinished; but it appears among the
+engravings in his edition. He must, therefore, have referred to a
+painting, with which likewise the expression "bold shadows and
+perspective," seem better to accord than with a slight engraving on wood.
+He had also seen the subject of the waggon with the wine casks in its
+unfinished state, and in this case we may almost with certainty pronounce
+it to have been a painting, as the cut of it does not appear in the first
+edition, furnishing, at the same time, an argument against Holbein's
+claim; nor may it be unimportant to add that the dedicator, a religious
+person, and probably a man of some eminence, was much more likely to have
+been acquainted with the painter than with the engraver. The dedicator
+also stamps the work as originating at Lyons; and Frellon, its printer, in
+a complaint against a Venetian bookseller, who pirated his edition,
+emphatically describes it as exclusively belonging to France.
+
+Again, it is improbable that the dedicator, whoever he was, should have
+preferred complimenting the engraver of the cuts, who, with all his
+consummate skill, must, in point of rank and genius, be placed below the
+painter or designer; and it is at the same time remarkable that the name
+of Holbein is not adverted to in any of the early and genuine editions of
+the work, published at Lyons, or any other place, whilst his designs for
+the Bible have there been so pointedly noticed by his friend the poet
+Borbonius.
+
+It would be of some importance, if it could be shown, that the engraver
+was dead in or before the year 1538, for that circumstance would
+contribute to strengthen Mr. Ottley's opinion: but should it be found that
+he did not die in or before 1538, it would follow, of course, that the
+painter was the person adverted to in the dedication, and who consequently
+could not be Holbein. It becomes necessary, therefore, to endeavour at
+least to discover some other artist competent to the invention of the
+beautiful designs in question; and whether the attempt be successful or
+otherwise, it may, perhaps, be not altogether misplaced or unprofitable.
+
+It must be recollected that Francis the First, on returning from his
+captivity at Pavia, imported with him a great many Italian and other
+artists, among whom were Lionardo da Vinci, Rosso, Primaticcio, &c. He is
+also known to have visited Lyons, a royal city at that time eminent in art
+of every kind, and especially in those of printing and engraving on wood;
+as the many beautiful volumes published at that place, and embellished
+with the most elegant decorations in the graphic art, will at this moment
+sufficiently testify. In an edition of the "Nugae" of Nicolas Borbonius,
+the friend of Holbein, printed at Lyons, 1538, 8vo. are the following
+lines:
+
+  _De Hanso Ulbio, et Georgio Reperdio, pictoribus._
+
+  Videre qui vult Parrhasium cum Zeuxide,
+      Accersat a Britannia
+  Hansum Ulbium, et Georgium _Reperdium_.
+      _Lugduno_ ab urbe Galliae.
+
+In these verses Reperdius is opposed to Holbein for the excellence of his
+art, in like manner as Parrhasius had been considered as the rival of
+Zeuxis.
+
+After such an eulogium it is greatly to be regretted that notwithstanding
+a very diligent enquiry has been made concerning an artist, who, by the
+poet's comparative view of him, is placed on the same footing with
+Holbein, and probably of the same school of painting, no particulars of
+his life or works have been discovered. It is clear from Borbonius's lines
+that he was then living at Lyons, and it is extremely probable that he
+might have begun the work in question, and have died before he could
+complete it, and that the Lyons publishers might afterwards have employed
+Holbein to finish what was left undone, as well as to make designs for
+additional subjects which appeared in the subsequent editions. Thus would
+Holbein be so connected with the work as to obtain in future such notice
+as would constitute him by general report the real inventor of it. If then
+there be any validity in what is here stated concerning Reperdius, the
+difficulty and obscurity in the preface to the Lyons edition of the Dance
+of Death in 1538 will be removed, and Holbein remain in possession of a
+share at least in the composition of that inestimable work. The mark or
+monogram [monogram: HL] on one of the cuts cannot possibly belong to
+Holbein, but may possibly be that of the engraver, of whom more
+hereafter.
+
+
+
+
+CHAPTER VII.
+
+    _Holbein's Bible cuts.--Examination of the claim of Hans Lutzenberger
+    as to the design or execution of the Lyons engravings of the Dance of
+    Death.--Other works by him._
+
+
+At this time the celebrated designs for the illustration of the Old
+Testament, usually denominated Holbein's Bible, made their appearance,
+with the following title, "Historiarum veteris instrumenti icones ad vivum
+expressae. Una cum brevi, sed quoad fieri potuit, dilucida earundem
+expositione. Lugduni, sub scuto Coloniensi MDXXXVIII." 4to. They were
+several times republished with varied titles, and two additional cuts.
+Prefixed are some highly complimentary Latin verses by Holbein's friend
+Nicholas Bourbon, better known by his Latinized name of Borbonius, who
+again introduces Parrhasius and Zeuxis in Elysium, and in conversation
+with Apelles, who laments that they had all been excelled by Holbein.
+
+These lines by Borbonius do not appear, among others addressed by him to
+Holbein, in the first edition of his "Nugae" in 1533, or indeed in any of
+the subsequent editions; but it is certain that Borbonius was at Lyons in
+1538, and might then have been called on by the publishers of the designs,
+with whom he was intimately connected, for the commendatory verses.
+
+The booksellers Frellon of Lyons, by some means with which we are not now
+acquainted, or indeed ever likely to be, became possessed of the copyright
+to these designs for the Old Testament. It is very clear that they had
+previously been in possession of those for the Dance of Death, and,
+finding the first four of them equally adapted to a Bible, they
+accordingly, and for the purpose of saving expense, made use of them in
+this Bible, though with different descriptions, having, in all
+probability, employed the same engraver on wood as in the Dance of Death,
+a task to which he had already demonstrated himself to be fully competent.
+Now, if the Frellons had regarded Holbein as the designer of the
+"Simulachres et historiees faces de la Mort," would they not rather have
+introduced into that work the complimentary lines of Borbonius on _some_
+painting by Holbein of a Dance of Death, and which will be hereafter more
+particularly adverted to, instead of inserting the very interesting and
+decisive dedication that has so emphatically referred to the then deceased
+painter of the above admirable composition?
+
+Nor is it by any means a matter of certainty that Holbein was the designer
+of _all_ the wood engravings belonging to the Bible in question. Whoever
+may take the pains to examine these biblical subjects with a strict and
+critical eye, will not only discover a very great difference in the style
+and drawing of them, but likewise a striking resemblance, in that respect,
+of several of them to those in the Dance of Death, as well as in the
+manner of engraving. The rest are in a bolder and broader style, in a
+careless but effective manner, corresponding altogether with such designs
+as are well ascertained to be Holbein's, and of which it would be
+impossible to produce a single one, that in point of delicacy of outline,
+or composition, accords with those in the Dance;[105] and the judgment of
+those who are best acquainted with the works of Holbein is appealed to on
+this occasion. It is, besides, extremely probable that the anonymous
+painter or designer of the Dance might have been employed also by the
+Frellons to execute a set of subjects for the Bible previously to his
+Death, and that Holbein was afterwards engaged to complete the work.
+
+A comparison of the 8th subject in the "Simulachres, &c." with that in the
+Bible for Esther I. II. where the canopy ornamented with fleurs-de-lis is
+the same in both, will contribute to strengthen the above conjecture, as
+will both the cuts to demonstrate their Gallic origin. It is most certain
+that the king sitting at table in the Simulachres is intended for Francis
+I. which, if any one should doubt, let him look upon the miniature of that
+king, copied at p. 214 in Clarke's "Repertorium bibliographicum," from a
+drawing in a French MS. belonging to M. Beckford, or at a wood-cut in fo.
+xcxix b. of "L'histoire de Primaleon de Grece." Paris, 1550, folio, where
+the art in the latter will be found to resemble very much that in the
+"Simulachres." The portraits also of Francis by Thomas De Leu, Boissevin,
+and particularly that in the portraits of illustrious men edited by Beza
+at Geneva, may be mentioned for the like purpose.
+
+The admission in the course of the preceding remarks that Holbein might
+have been employed in some of the additional cuts that appeared in the
+editions of the Lyons Dance of Death which followed that of 1538, may seem
+at variance with what has been advanced with respect to the Bible cuts
+ascribed to him. It is, however, by no means a matter of necessity that an
+artist with Holbein's talents should have been resorted to for the purpose
+of designing the additional cuts to the Lyons work. There were, during the
+middle of the 16th century, several artists equally competent to the
+undertaking, both as to invention and execution, as is demonstrable, among
+numerous other instances, from the spurious, but beautiful, Italian copy
+of the original cuts; from the scarcely distinguishable copies of the
+Lyons Bible cuts in an edition put forth by John Stelsius at Antwerp,
+1561, and from the works of several artists, both designers and
+wood-engravers, in the books published by the French, Flemish, and Italian
+booksellers at that period. An interesting catalogue raisonne might be
+constructed, though with some difficulty, of such articles as were
+decorated with most exquisite and interesting embellishments. The above
+century was much richer in this respect than any one that succeeded it,
+displaying specimens of art that have only been rivalled, perhaps never
+outdone, by the very skilful engravers on wood of modern times.
+
+Our attention will, in the next place, be required to the excellent
+_engraver_ of the Dance of Death, the thirty-sixth cut of which represents
+the Duchess sitting up in bed, and accompanied with two figures of Death,
+one of which plays on a violin, whilst the other drags away the
+bed-clothes. On the base of one of the bed-posts is the mark or monogram
+[monogram: HL] which has, among other artists, been inconsiderately
+ascribed to Holbein. That it was intended to express the name of the
+designer cannot be supported by evidence of any kind. We must then seek
+for its meaning as belonging to the engraver, and whose name was, in all
+probability, Hans Leuczellberger or Lutzenberger, sometimes called Franck.
+M. de Mechel, the celebrated printseller and engraver at Basle, addressed
+a letter to M. de Murr, in which he states that on a proof sheet of an
+alphabet in the library in that city, containing several small figures of
+a Dance of Death, he had found the above name. M. Brulliot remarks that he
+had seen some of the letters of this alphabet, but had not perceived on
+them either the name of Lutzenberger, or the mark [monogram: HL];[106] but
+M. de Mechel has not said that the _mark_ was on the proof sheet, or on
+the letters themselves, but only the name of Lutzenberger, adding that the
+[monogram: HL] on the cut of the Duchess will throw some light on the
+matter, and that Holbein, although this monogram has been usually ascribed
+to him, never expressed his name by it, but used for that purpose an
+[monogram: H] joined to a [monogram: B]; in which latter assertion M. de
+Mechel was by no means correct.
+
+On another alphabet of a Dance of Peasants, in the possession of the
+writer of these pages, and undoubtedly by the same artists, M. de Mechel,
+to whom it was shown when in England, has written in pencil, the following
+memorandum: "[monogram: HL] grave par Hans (John) Lutzenberger, graveur en
+patrons a Basle, vivant la au commencement du 16me siecle;" but he has
+inadvertently transferred the remark to the wrong alphabet, though both
+were undoubtedly the work of the same artist, as well as a third alphabet,
+equally beautiful, of groups of children.
+
+The late Pietro Zani, whose intimate experience in whatever relates to
+the art of engraving, together with the vast number of prints that had
+passed under his observation, must entitle his opinions to the highest
+consideration, has stated, in more places than one in his "Enciclopedia
+Metodica," that Holbein had no concern with the cuts of the Lyons Dance of
+Death, the engraving of which he decidedly ascribes to Hans Lutzenberger;
+and, without any reference to the inscription on the proof of one of the
+alphabets in the library at Basle before-mentioned, which he had probably
+neither seen nor heard of, mentions the copy of one of the alphabets which
+he had seen at Dresden, and at once consigns it to Lutzenberger. He
+promises to resume the subject at large in some future part of his immense
+work, which, if existing, has not yet made its appearance.
+
+As the prints by this fine engraver are very few in number, and extremely
+rare, the following list of them may not be unacceptable.
+
+1. An oblong wood engraving, in length 11 inches by 3-1/2. It represents,
+on one side, Christ requiring the attention of a group of eight persons,
+consisting of a monk, a peasant with a flail, a female, &c. to a lighted
+taper on a candelabrum placed in the middle of the print; on the other
+side, a group of thirteen or fourteen persons, preceded by one who is
+looking into a pit in which is the word PLATO. Over his head is inscribed
+ARISTOTELES; he is followed by a pope, a bishop, monks, &c. &c.
+
+2. Another oblong wood engraving, 6-1/2 inches by 2-1/2, in two
+compartments, divided by a pillar. In one, the Judgment of Solomon; in the
+other, Christ and the woman taken in adultery; he writes something on the
+ground with his finger. It has the date 1539.
+
+3. Another, size as No. 2. An emperor is sitting in a court of justice
+with several spectators attending some trial. This is doubtful.
+
+4. Another oblong print, 10-1/2 inches by 3, and in two compartments. 1.
+David prostrate before the Deity in the clouds, accompanied by Manasses
+and a youth, over whom is inscribed OFFEN SVNDER. 2. A pope on a throne
+delivering some book, perhaps letters of indulgence, to a kneeling monk.
+This very beautiful print has been called "The Traffic of Indulgences,"
+and is minutely and correctly described by Jansen.[107]
+
+5. A print, 12 inches by 6, representing a combat in a wood between
+several naked persons and a troop of peasants armed with instruments of
+husbandry. Below on the left, the letters [monogram: H =N=]. Annexed are
+two tablets, one of which is inscribed HANS LEVCZELLBVRGER FVRMSCHNIDER;
+on the other is an alphabet. Jansen has also mentioned this print.[108]
+Brulliot describes a copy of it in the cabinet of prints belonging to the
+King of Bavaria, in which, besides the name, is the date MDXXII.[109]
+
+6. A print of a dagger or knife case, in length 9 inches. At top, a figure
+inscribed VENVS has a lighted torch in one hand and a horn in the other;
+she is accompanied by Cupid. In the middle two boys are playing, and at
+bottom three others standing, one with a helmet.
+
+7. A copy of Albert Durer's decollation of John the Baptist, with the mark
+[monogram: H L] reversed, is mentioned by Zani as certainly belonging to
+this artist.[110] In the index of names, he says, he finds his name thus
+written HANNS LVTZELBVRGER FORMSCHNIDER GENANT (chiamato) FRANCK, and
+calls him the true prince of engravers on wood.
+
+8. An alphabet with a Dance of Death, the subjects of which, with a few
+exceptions, are the same as those in the other Dance; the designs,
+however, occasionally vary. In delicacy of drawing, in strength of
+character and in skill as to engraving they may be justly pronounced
+superior to every thing of the kind, and their excellence will probably
+remain a long time unrivalled. The figures are so small as almost to
+require the aid of lenses, the size of each letter being only an inch
+square. Zani had seen and admired this alphabet at Dresden.[111]
+
+9. Another alphabet by the same artists. It is a Dance of Peasants,
+intermixed with other subjects, some of which are not of the most delicate
+nature. They are smaller than the letters in the preceding article, and
+are probably connected in point of design with the Dance of Peasants that
+Holbein is said to have painted at Basle.
+
+10. Another alphabet, also by the same artists. This is in all respects
+equal in beauty and merit to the others, and exhibits groups of boys in
+the most amusing and playful attitudes and employments. The size of the
+letters is little more than half an inch square. These children much
+resemble those which Holbein probably added to the later editions of the
+Lyons engravings.[112]
+
+The proofs of the above alphabets, may have been deposited by Lutzenberger
+in the public library of his native city. Whether they were cut on wood or
+on metal may admit of a doubt; but there is reason to believe that the old
+printers and type-cutters occasionally used blocks of metal instead of
+wood for their figured initial letters, and the term _formschneider_
+equally applies to those who engraved in relief on either of those
+materials. Nothing can exceed the beauty and spirit of the design in these
+alphabets, nor the extreme delicacy and accurate minuteness of the
+engraving.
+
+The letters in these respective alphabets were intended for the use of
+printers, and especially those of Basle, as Cratander, Bebelius, and
+Isingrin. Copies and imitations of them are to be found in many books
+printed at Zurich, Strasburg, Vienna, Augsburg, Frankfort, &c. and a few
+even in books printed at London by Waley, Purslowe, Marsh, and Nicholson,
+particularly in a quarto edition of Coverdale's Bible, if printed in the
+latter city; and one of them, a capital A, is in an edition of Stowe's
+Survey of London, 1618, 4to.
+
+There is an unfortunate ambiguity connected with the marks that are found
+on ancient engravings in wood, and it has been a very great error on the
+part of all the writers who treat on such engravings, in referring the
+marks that accompany them to the block-cutters, or as the Germans properly
+denominate them the _formschneiders_, whilst, perhaps, the greatest part
+of them really belong to the designers, as is undoubtedly the case with
+respect to Albert Durer, Hans Schaufelin, Jost Amman, Tobias Stimmer, &c.
+It may be laid down as a rule that there is no certainty as to the marks
+of engravers, except where they are accompanied with some implement of
+their art, especially a graving tool. Where the designer of the subject
+put his mark on the drawing which he made on, or for, the block, the
+engraver would, of course, copy it. Sometimes the marks of both designer
+and engraver are found on prints, and in these cases the ambiguity is
+consequently removed.
+
+
+
+
+CHAPTER VIII.
+
+    _List of several editions of the Lyons work on the Dance of Death,
+    with the mark of Lutzenberger.--Copies of them on wood.--Copies on
+    copper by anonymous artists.--By Wenceslaus Hollar.--Other anonymous
+    artists.--Nieuhoff Picard.--Rusting.--Mechel.--Crozat's
+    drawings.--Deuchar.--Imitations of some of the subjects._
+
+
+I.
+
+"Les Simulachres et historiees faces de la Mort, autant elegamment
+pourtraictes, que artificiellement imaginees. A Lyon, Soubz l'escu de
+Coloigne, MDXXXVIII." At the end "Excudebant Lugduni Melchior et Gaspar
+Trechsel fratres, 1538," 4to. On this title-page is a cut of a
+triple-headed figure crowned with wings, on a pedestal, over which a book
+with [Greek: GNOTHI SEAUTON]. Below, two serpents and two globes, with
+"usus me genuit." This has, 1. A dedication to Madame Jehanne de Touszele.
+2. Diverses tables de mort, non painctes, mais extraictes de l'escripture
+saincte, colorees par Docteurs Ecclesiastiques, et umbragees par
+philosophes. 3. Over each print, passages from scripture, allusive to the
+subject, in Latin, and at bottom the substance of them in four French
+verses. 4. Figures de la mort moralement descriptes et depeinctes selon
+l'authorite de l'scripture, et des Sainctz Peres. 5. Les diverses mors des
+bons, et des maulvais du viel, et nouveau testament. 6. Des sepultures des
+justes. 7. Memorables authoritez, et sentences des philosophes, et
+orateurs Payens pour conformer les vivans a non craindre la mort. 7. De la
+necessite de la mort qui ne laisse riens estre par durable." With
+forty-one cuts. This may be safely regarded as the first edition of the
+work. There is nothing in the title page that indicates any preceding one.
+
+II. "Les Simulachres et historiees faces de la mort, contenant la Medecine
+de l'ame, utile et necessaire non seulement aux malades mais a tous qui
+sont en bonne disposition corporelle. D'avantage, la forme et maniere de
+consoler les malades. Sermon de sainct Cecile Cyprian, intitule de
+Mortalite. Sermon de S. Jan Chrysostome, pour nous exhorter a patience:
+traictant aussi de la consommation de ce siecle, et du second advenement
+de Jesus Christ, de la joye eternelle des justes, de la peine et damnation
+des mauvais, et autres choses necessaires a un chascun chrestien, pour
+bien vivre et bien mourir. A Lyon, a l'escu de Coloigne, chez Jan et
+Francois Frellon freres," 1542, 12mo. With forty-one cuts. Then a moral
+epistle to the reader, in French. The descriptions of the cuts in Latin
+and French as before, and the pieces expressed in the title page.
+
+III. "Imagines Mortis. His accesserunt, Epigrammata, e Gallico idiomate a
+Georgio AEmylio in Latinum translata. Ad haec, Medicina animae, tam iis qui
+firma, quam qui adversa corporis valetudine praediti sunt, maxime
+necessaria. Ratio consolandi ob morbi gravitatem periculose decumbentes.
+Quae his addita sunt, sequens pagina commonstrabit. Lugduni, sub scuto
+Coloniensi, 1545." With the device of the crab and the butterfly. At the
+end, "Lugduni Excudebant Joannes et Franciscus Frellonii fratres," 1545,
+12mo. The whole of the text is in Latin, and translated, except the
+scriptural passages, from the French, by George AEmylius, as he also states
+in some verses at the beginning; but several of the mottoes at bottom are
+different and enlarged. It has forty-two cuts, the additional one,
+probably not by the former artist, being that of the beggar sitting on the
+ground before an arched gate: extremely fine, particularly the beggar's
+head. This subject has no connection with the Dance of Death, and is
+placed in another part of the volume, though in subsequent editions
+incorporated with the other prints. The "Medicina animae" is very different
+from the French one. There is some reason for supposing that the Frellons
+had already printed an edition with AEmylius's text in 1542. This person
+was an eminent German divine of Mansfelt, and the author of many pious
+works. In the present edition the first cut of the creation exhibits a
+crack in the block from the top to the bottom, but it had been in that
+state in 1543, as appears from an impression of it in Holbein's Bible of
+that date. It is found so in all the subsequent editions of the present
+work, with the exception of those in Italian of 1549 and in the Bible of
+1549, in which the crack appears to have been closed, probably by
+cramping; but the block again separated afterwards.
+
+This edition is of some importance with respect to the question as to the
+priority of the publication of the work in France or Germany, or, in other
+words, whether at Lyons or Basle. It is accompanied by some lines
+addressed to the reader, which begin in the following manner:
+
+  Accipe jucundo praesentia carmina vultu,
+    Seu Germane legis, sive ea Galle legis:
+  In quibus extremae qualis sit mortis imago
+    Reddidit imparibus Musa Latina modis
+  _Gallia quae dederat lepidis epigrammata verbis
+    Teutona convertens est imitata manus._
+  Da veniam nobis doctissime Galle, videbis
+    Versibus appositis reddita si qua parum.
+
+Now, had the work been originally published in the German language,
+AEmylius, himself a German, would, as already observed, scarcely have
+preferred a French text for his Latin version. This circumstance furnishes
+likewise, an argument against the supposed existence of German verses at
+the bottom of the early impressions of the cuts already mentioned.
+
+A copy of this edition, now in the library of the British Museum, was
+presented to Prince Edward by Dr. William Bill, accompanied with a Latin
+dedication, dated from Cambridge, 19 July, 1546, wherein he recommends the
+prince's attention to the figures in the book, in order to remind him that
+all must die to obtain immortality; and enlarges on the necessity of
+living well. He concludes with a wish that the Lord will long and happily
+preserve his life, and that he may finally reign to all eternity with his
+_most Christian father_. Bill was appointed one of the King's chaplains in
+ordinary, 1551, and was made the first Dean of Westminster in the reign of
+Elizabeth.
+
+IV. "Imagines Mortis. Duodecim imaginibus praeter priores, totidemque
+inscriptionibus praeter epigrammata e Gallicis a Georgio AEmylio in Latinum
+versa, cumulatae. Quae his addita sunt, sequens pagina commonstrabit.
+Lugduni sub scuto Coloniensi, 1547." With the device of the crab and
+butterfly. At the end, "Excudebat Joannes Frellonius, 1547," 12mo. This
+edition has twelve more cuts than those of 1538 and 1542, and eleven more
+than that of 1545, being, the soldier, the gamblers, the drunkards, the
+fool, the robber, the blind man, the wine carrier, and four of boys. In
+all fifty-three. Five of the additional cuts have a single line only in
+the frames, whilst the others have a double one. All are nearly equal in
+merit to those which first appeared in 1538.
+
+V. "Icones Mortis, Duodecim imaginibus praeter priores, totidemque
+inscriptionibus, praeter epigrammata e Gallicis a Georgio AEmylio in Latinum
+versa, cumulatae. Quae his addita sunt, sequens pagina commonstrabit,
+Lugduni sub scuto Coloniensi, 1547." 12mo. At the end, Excudebat Johannes
+Frellonius, 1547. This edition contains fifty-three cuts, and is precisely
+similar to the one described immediately before, except that it is
+entitled _Icones_, instead of _Imagines_ Mortis.
+
+VI. "Les Images de la Mort. Auxquelles sont adjoustees douze figures.
+Davantage, la medecine de l'ame, la consolation des malades, un sermon de
+mortalite, par Sainct Cyprian, un sermon de patience, par Sainct Jehan
+Chrysostome. A Lyon. A l'escu de Cologne, chez Jehan Frellon, 1547." With
+the device of the crab and butterfly. At the end, "Imprime a Lyon a l'escu
+de Coloigne, par Jehan Frellon, 1547. 12mo." The verses at bottom of the
+cuts the same as in the edition of 1538, with similar ones for the
+additional. In all, fifty-three cuts.
+
+VII. "Simolachri historie, e figure de la morte. La medicina de l'anima.
+Il modo, e la via di consolar gl'infermi. Un sermone di San Cipriano, de
+la mortalita. Due orationi, l'un a Dio, e l'altra a Christo. Un sermone di
+S. Giovan. Chrisostomo, che ci essorta a patienza. Aiuntovi di nuovo molte
+figure mai piu stampate. In Lyone appresso Giovan Frellone MDXLIX." 12mo.
+With the device of the crab and butterfly. At the end, the same device on
+a larger scale in a circle. Fifty-three cuts. The scriptural passages are
+in Latin. To this edition Frellon has prefixed a preface, in which he
+complains of a pirated copy of the work in Italian by a printer at Venice,
+which will be more particularly noticed hereafter. He maintains that the
+cuts in this spurious edition are far less beautiful than the _French_
+ones, and this passage goes very far in aid of the argument that they are
+not of German origin. Frellon, by way of revenge, and to save the trouble
+of making a new translation of the articles that compose the volume, makes
+use of that of his Italian competitor.
+
+VIII. "Icones Mortis. Duodecim Imaginibus praeter priores, totidemque
+inscriptionibus, praeter epigrammata e Gallicis a Georgio AEmylio in Latinum
+versa, cumulatae. Quae his addita sunt, sequens pagina commonstrabit.
+Basileae, 1554. 12mo." With fifty-three cuts. It would not be very easy to
+account for the absence of the name of the Basle printer.
+
+IX. "Les Images de la Mort, auxquelles sont adjoustees dix sept figures.
+Davantage, la medecine de l'ame. La consolation des malades. Un sermon de
+mortalite, par Saint Cyprian. Un sermon de patience, par Saint Jehan
+Chrysostome. A Lyon, par Jehan Frellon, 1562." With the device of the crab
+and butterfly. At the end, "A Lyon, par Symphorien Barbier," 12mo. This
+edition has five additional cuts, viz. 1. A group of boys, as a triumphal
+procession, with military trophies. 2. The bride; the husband plays on a
+lute, whilst Death leads the wife in tears. 3. The bridegroom led by Death
+blowing a trumpet. Both these subjects are appropriately described in the
+verses below. 4. A group of boy warriors, one on horseback with a
+standard. 5. Another group of boys with drums, horns, and trumpets. These
+additional cuts are designed and engraved in the same masterly style as
+the others, but it is now impossible to ascertain the artists who have
+executed them. From the decorations to several books published at Lyons it
+is very clear that there were persons in that city capable of the task.
+Holbein had been dead eight years, after a long residence in London.
+
+Du Verdier, in his Bibliotheque Francoise, mentions this edition, and adds
+that it was translated from the French into Latin, Italian, Spanish,
+German, and English;[113] a statement that stands greatly in need of
+confirmation as to the last three languages, but this writer, on too many
+occasions, deserves but small compliment for his accuracy.
+
+X. "Imagines Mortis: item epigrammata e Gall. a G. AEmilio in Latinum
+versa. Lugdun. Frellonius, 1574." 12mo.[114]
+
+XI. In 1654 a Dutch work appeared with the following title, "De Doodt
+vermaskert met swerelts ydelheyt afghedaen door G. V. Wolsschaten,
+verciert met de constighe Belden vanden maerden Schilder Hans Holbein.
+_i. e._ Death masked, with the world's vanity, by G. V. Wolsschaten,
+ornamented with the ingenious images of the famous painter Hans Holbein.
+T'Antwerpen, by Petrus Bellerus." This is on an engraved frontispiece of
+tablet, over which are spread a man's head and the skin of two arms
+supported by two Deaths blowing trumpets. Below, a spade, a pilgrim's
+staff, a scepter, and a crosier, with a label, on which is "sceptra
+ligonibus aequat." Then follows another title-page, with the same words,
+and the addition of Geeraerdt Van Wolsschaten's designation, "Prevost van
+sijne conincklijcke Majesteyts Munten des Heertoogdoms van Brabant, &c.
+MDCLIV." 12mo. The author of the text, which is mixed up with poetry and
+historical matter, was prefect of the mint in the Duchy of Brabant.[115]
+This edition contains eighteen cuts, among which the following subjects
+are from the original blocks. 1. Three boys. 2. The married couple. 3. The
+pedlar. 4. The shipwreck. 5. The beggar. 6. The corrupt judge. 7. The
+astrologer. 8. The old man. 9. The physician. 10. The priest with the
+eucharist. 11. The monk. 12. The abbess. 13. The abbot. 14. The duke. Four
+others, viz. the child, the emperor, the countess, and the pope, are
+copies, and very badly engraved. The blocks of the originals appear to
+have fallen into the hands of an artist, who probably resided at Antwerp,
+and several of them have his mark, [monogram: SA], concerning which more
+will be said under one of the ensuing articles. As many engravings on wood
+by this person appeared in the middle of the sixteenth century, it is
+probable that he had already used these original blocks in some edition of
+the Dance of Death that does not seem to have been recorded. There are
+evident marks of retouching in these cuts, but when they first appeared
+cannot now be ascertained. The mark might have been placed on them, either
+to denote ownership, according to the usual practice at that time, or to
+indicate that they had been repaired by that particular artist.
+
+All these editions, except that of 1574, have been seen and carefully
+examined on the present occasion: the supposed one of 1530 has not been
+included in this list, and remains to be seen and accurately described, if
+existing, by competent witnesses.
+
+Papillon, in his Traite de la gravure en bois, has given an elaborate,
+but, as usual with him, a very faulty description of these engravings. He
+enlarges on the beauty of the last cut with the allegorical coat of arms,
+and particularly on that of the gentleman whose right hand he states to be
+placed on its side, whilst it certainly is extended, and touches with the
+back of it the mantle on which the helmet and shield of arms are placed.
+He errs likewise in making the female look towards a sort of dog's head,
+according to him, under the mantle and right hand of her husband, which,
+he adds, might be taken for the pummell of his sword, and that she fondles
+this head with her right hand, &c. not one word of which is correct. He
+says that a good impression of this print would be well worth a Louis d'or
+to an amateur. He appears to have been in possession of the block
+belonging to the subject of the lovers preceded by Death with a drum; but
+it had been spoiled by the stroke of a plane.
+
+
+COPIES OF THE ABOVE DESIGNS, AND ENGRAVED ALSO ON WOOD.
+
+I. At the head of these, in point of merit, must be placed the Italian
+spurious edition mentioned in No. VII. of the preceding list. It is
+entitled "Simolachri historie, e figure de la morte, ove si contiene la
+medicina de l'anima utile e necessaria, non solo a gli ammalati, ma tutte
+i sani. Et appresso, il modo, e la via di consolar gl'infermi. Un sermone
+di S. Cipriano, de la mortalita. Due orationi, l'una a Dio, e l'altra a
+Christo da dire appresso l'ammalato oppresso da grave infermita. Un
+sermone di S. Giovan Chrisostomo, che ci essorta a patienza; e che tratta
+de la consumatione del secolo presente, e del secondo avenimento di Jesu
+Christo, de la eterna felicita de giusti, de la pena e dannatione de rei;
+et altre cose necessarie a ciascun Christiano, per ben vivere, e ben
+morire. Con gratia e privilegio de l'illustriss. Senato Vinitiano, per
+anni dieci. Appresso Vincenzo Vaugris al segno d'Erasmo, MDXLV." 12mo.
+With a device of the brazen serpent, repeated at the end. It has all the
+cuts in the genuine edition of the same date, except that of the beggar at
+the gate. It contains a very moral dedication to Signor Antonio Calergi by
+the publisher Vaugris or Valgrisi; in which, with unjustifiable
+confidence, he enlarges on the great beauty of the work, the cuts in which
+are, in his estimation, not merely equal, but far superior to those in the
+French edition in design and engraving. They certainly approach the
+nearest to the fine originals of all the imitations, but will be found on
+comparison to be inferior. The mark [monogram: HL] on the cut of the
+duchess sitting up in bed, with the two Deaths, one of whom is fiddling,
+whilst the other pulls at the clothes, is retained, but this could not be
+with a view to pass these engravings as originals, after what is stated in
+the dedication. An artist's eye will easily perceive the difference in
+spirit and decision of drawing. In the ensuing year 1546, Valgrisi
+republished this book in Latin, but without the dedication, and there are
+impressions of them on single sheets, one of which has at the bottom, "In
+Venetia, MDLXVIII. Fra. Valerio Faenzi Inquis. Apreso Luca Bertelli." So
+that they required a license from the Inquisition.
+
+II. In the absence of any other Italian editions of the "Simolachri," it
+is necessary to mention that twenty-four of the last-mentioned cuts were
+introduced in a work of extreme rarity, and which has escaped the notice
+of bibliographers, intitled "Discorsi Morali dell' eccell. Sig. Fabio
+Glissenti contra il dispiacer del morire. Detto Athanatophilia Venetia,
+1609." 4to. These twenty-four were probably all that then remained; and
+five others of subjects belonging also to the "Simolachri," are inserted
+in this work, but very badly imitated, and two of them reversed. In the
+subject of the Pope there is in the original a brace of grotesque devils,
+one of which is completely erased in Glissenti, and a plug inserted where
+the other had been scooped out. A similar rasure of a devil occurs in the
+subject of the two rich men in conversation, the demon blowing with a
+bellows into his ear, whilst a poor beggar in vain touches him to be
+heard. Besides these cuts, Glissenti's work is ornamented with a great
+number of others, connected in some way or other with the subject of
+Death, which the author discusses in almost every possible variety of
+manner. He appears to have been a physician, and an exceedingly pious man.
+His portrait is prefixed to every division of the work, which consists of
+five dialogues.
+
+III. In an anonymous work, intitled "Tromba sonora per richiamar i morti
+viventi dalla tomba della colpa alla vita della gratia. In Venetia, 1670."
+8vo. Of which there had already been three editions; there are six of the
+prints from the originals, as in the "Simolachri," &c. No. I. and a few
+others, the same as the additional ones to Glissenti's work.
+
+In another volume, intitled "Il non plus ultra di tutte le scienze
+ricchezze honori, e diletti del mondo, &c. In Venetia, 1677." 24mo. There
+are twenty-five of the cuts as in the Simolachri, and several others from
+those added to Glissenti.
+
+IV. A set of cuts which do not seem to have belonged to any work. They are
+very close copies of the originals. On the subject of the Duchess in bed,
+the letter [monogram: S] appears on the base of one of the pillars or
+posts, instead of the original [monogram: HL], and it is also seen on the
+cut of the soldier pierced by the lance of Death. Two have the date 1546.
+In that of the monk, whom, in the original, Death seizes by the cowl or
+hood, the artist has made a whimsical alteration, by converting the hood
+into a fool's cap with bells and asses' ears, and the monk's wallet into a
+fool's bauble. It is probable that he was of the reformed religion.
+
+V. "Imagines Mortis, his accesserunt epigrammata e Gallico idiomate a
+Georgio AEmylio in Latinum translata, &c. Coloniae apud haeredes Arnoldi
+Birckmanni, anno 1555. 12mo." With fifty-three cuts. This may be regarded
+as a surreptitious edition of No. IV. of the originals by [monogram: HL]
+p. 106. The cuts are by the artist mentioned in No. IX. of those
+originals, whose mark is [monogram: SA] which is here found on five of
+them. They are all reversed, except the nobleman; and although not devoid
+of merit, they are not only very inferior to the fine originals, but also
+to the Italian copies in No. I. The first two subjects are newly designed;
+the two Devils in that of the Pope are omitted, and there are several
+variations, always for the worse, in many of the others, of which a
+tasteless example is found in that of Death and the soldier, where the
+thigh bone, as the very appropriate weapon of Death, is here converted
+into the common-place dart. The mark [monogram: HL] in the original cut of
+the Duchess in bed, is here omitted, without the substitution of any
+other. This edition was republished by the same persons, without any
+variation, successively in 1557, 1566, 1567, and 1573.[116]
+
+Papillon, in his "Traite sur la gravure en bois,"[117] when noticing the
+above-mentioned mark, has, amidst the innumerable errors that abound in
+his otherwise curious work, been led into a mistake of an exceedingly
+ludicrous nature, by converting the owner of the mark into a cardinal. He
+had found it on the cuts to an edition of Faerno's fables, printed at
+Antwerp, 1567, which is dedicated to Cardinal Borromeo by Silvio
+Antoniano, professor of Belles Lettres at Rome, afterwards secretary to
+Pope Pius IV. and at length himself a Cardinal. He was the editor of
+Faerno's work. Another of Papillon's blunders is equally curious and
+absurd. He had seen an edition of the Emblems of Sambucus, with cuts,
+bearing the mark [monogram: SA] in which there is a fine portrait of the
+author with his favourite dog, and under the latter the word BOMBO, which
+Papillon gravely states to be the name of the engraver; and finding the
+same word on another of the emblems which has also the dog, he concludes
+that all the cuts which have not the [monogram: SA] were engraved by the
+same BOMBO. Had Papillon, a good artist in his time, but an ignorant man,
+been able to comprehend the verses belonging to that particular emblem, he
+would have seen that the above word was merely the name of the dog, as
+Sambucus himself has declared, whilst paying a laudable tribute to the
+attachment of the faithful companion of his travels. Brulliot, in his
+article on the mark [monogram: SA][118] has mentioned Papillon's ascription
+of it to Silvio Antoniano, but without correcting the blunder, as he ought
+to have done. This monogram appears on five of the cuts to the present
+edition of the "Imagines Mortis;" but M. De Murr and his follower Janssen,
+are not warranted in supposing the rest of them to have been engraved by a
+different artist.
+
+It will perhaps not be deemed an unimportant digression to introduce a few
+remarks concerning the owner of the above monogram. It is by no means
+clear whether he was a designer or an engraver, or even both. There is a
+chiaroscuro print of a group of saints, engraved by Peter Kints, an
+obscure artist, with the name of Antony Sallaerts at length, and the mark.
+Here he appears as a designer. M. Malpe, the Besancon author of "Notices
+sur les graveurs," speaks of Sallaerts as an excellent painter, born at
+Brussels about 1576, which date cannot possibly apply to the artist in
+question; but at the same time, he adds, that he is said to have engraved
+on wood the cuts in a little catechism printed at Antwerp that have the
+monogram [monogram: SA]. These are certainly very beautiful, in accordance
+with many others with the same mark, and very superior in design to those
+which have it in the "Imagines Mortis." M. Malpe has also an article for
+Antony Silvyus or Silvius, born at Antwerp about 1525, and he mentions
+several books with engravings and the mark in question, which he gives to
+the same person. M. Brulliot expresses a doubt as to this artist; but it
+is very certain there was a family of that name, and surnamed, or at least
+sometimes called, Bosche or Bush, which indeed is more likely to have been
+the real Flemish name Latinized into Silvius. Foppens[119] has mentioned
+an Antony Silvius, a schoolmaster at Antwerp, in 1565, and several other
+members of this family. Two belonging to it were engravers, and another a
+writing master.
+
+Whether the artist in question was a Sallaerts or a Silvius, it is certain
+that Plantin, the celebrated printer, employed him to decorate several of
+his volumes, and it is to be regretted that an unsuccessful search has
+been made for him in Plantin's account books, that were not long since
+preserved, with many articles belonging to him, in his house at Antwerp.
+His mark also appears in several books printed in England during the reign
+of Elizabeth, and particularly on a beautiful set of initial letters, some
+of which contain the story of Cupid and Psyche, from the supposed designs
+by Raphael, and other subjects from Ovid's Metamorphoses: these have been
+counterfeited, and perhaps in England. The initial [monogram: G], in this
+alphabet, with the subject of Leda and the swan, was inadvertently
+prefixed to the sacred name at the beginning of St. Paul's Epistle to the
+Hebrews in the Bishop's Bible, printed by Rd. Jugge in 1572, and in one of
+his Common Prayer Books. An elegant portrait of Edward VI. with the mark
+[monogram: SA] is likewise on Jugge's edition of the New Testament, 1552,
+4to. and there is reason to believe that Jugge employed this artist, as
+the same monogram appears on a cut of his device of the pelican.
+
+VI. In the German volume, the title of which is already given in the first
+article of the engravings from the Basle painting,[120] there are
+twenty-nine subjects belonging to the present work; the rest relating to
+the Basle dance, except two or three that are not in either of them. These
+have fallen into the hands of a modern bookseller, but there can be no
+doubt that there were other editions which contained the whole set. The
+most of them have the letters [monogram: G. S.] with the graving tool, and
+one has the date 1576. The name of this artist is unknown; but M. Bartsch
+has mentioned several other engravings by him, omitting, however, the
+present, which, it is to be observed, sometimes vary in design from the
+originals.
+
+VII. "Imagines Mortis illustratae epigrammatis Georgii AEmylii theol.
+doctoris. Fraxineus AEmylio Suo. Criminis ut poenam mortem mors sustulit
+una: sic te immortalem mortis imago facit." With a cut of Death and the
+old man. This is the middle part only of a work, intitled "Libellus
+Davidis Chytraei de morte et vita aeterna. Editio postrema; cui additae sunt
+imagines mortis, illustrata Epigrammatis D. Georgio AEmylio, Witebergae.
+Impressus a Matthaeo Welack, anno MDXC." 12mo. The cuts, fifty-three in
+number, are, on the whole, tolerably faithful, but coarsely engraved. In
+the subject of the Pope the two Devils are omitted, and, in that of the
+Counsellor, the Demon blowing with a bellows into his ear is also wanting.
+Some have the mark [monogram: cross], and one that of [monogram: W] with a
+knife or graving tool.
+
+VIII. "Todtentanz durch alle stendt der menschen, &c. furgebildet mit
+figuren. S. Gallen, 1581." 4to. See Janssen, Essai sur l'origine de la
+gravure, i. 122, who seems to make them copies of the originals.
+
+IX. The last article in this list of the old copies, though prior in date
+to some of the preceding, is placed here as differing materially from them
+with respect to size. It is a small folio, with the following title,
+"Todtentantz,
+
+  Das menschlichs leben anders nicht
+    Dann nur ain lauff zum Tod
+  Und Got ain nach seim glauben richt
+    Dess findstu klaren tschaid
+  O Mensch hicrinn mit andacht lisz
+    Und fassz zu hertzen das
+  So wirdsttu Ewigs hayls gewisz
+    Kanst sterben dester bas.
+
+  MDXLIIII.
+
+  Desine longaevos exposcere sedulus annos
+    Inque bonis multos annumerare dies
+  Atque hodie, fatale velit si rumpere filum
+    Atropos, impavido pectore disce mori."
+
+At the end, "Gedruckt inn der kaiserlichen Reychstatt Augspurg durch Jobst
+Denecker Formschneyder." This edition is not only valuable for its extreme
+rarity, but for the very accurate and spirited manner in which the fine
+original cuts are copied. It contains all the subjects that were then
+published, but not arranged as those had been. It has the addition of one
+singular print, intitled "Der Eebrecher," _i. e._ the Adulterer,
+representing a man discovering the adulterer in bed with his wife, and
+plunging his sword through both of them, Death guiding his hands. On the
+opposite page to each engraving there is a dialogue between Death and the
+party, and at bottom a Latin hexameter. The subject of the Pleader has the
+unknown mark [monogram], and on that of the Duchess in bed, there is the
+date 1542. From the above colophon we are to infer that Dennecker, or as
+he is sometimes, and perhaps more properly, called De Necker or De Negher,
+was the engraver, as he is known to have executed many other engravings on
+wood, especially for Hans Schaufelin, with whom he was connected. He was
+also employed in the celebrated triumph of Maximilian, and in a collection
+of saints, to whom the family of that emperor was related.
+
+X. "Emblems of Mortality, representing, in upwards of fifty cuts, Death
+seizing all ranks and degrees of people, &c. Printed for T. Hodgson, in
+George's Court, St. John's Lane, Clerkenwell, 1789. 12mo." With an
+historical essay on the subject, and translations of the Latin verses in
+the Imagines Mortis, by John Sidney Hawkins, esq. The cuts were engraved
+by the brother of the celebrated Bewick, of Newcastle-upon-Tyne, and a
+pupil of Hodgson, who was an engraver on wood of some merit at that time.
+They are but indifferently executed, but would have been better had the
+artist been more liberally encouraged by the master, who was the publisher
+on his own account, Mr. Hawkins very kindly furnishing the letter-press.
+They are faithful copies of all the originals, except the first, which,
+containing a figure of the Deity habited as a Pope, was scrupulously
+exchanged for another design. A frontispiece is added, representing Death
+leading up all classes of men and women.
+
+XI. "The Dance of Death of the celebrated Hans Holbein, in a series of
+fifty-two engravings on wood by Mr. Bewick, with letter-press
+illustrations.
+
+                  What's yet in this
+  That bears the name of life? Yet in this life
+  Lie hid more thousand Deaths: yet Death we fear,
+  That makes these odds all even.
+                                  SHAKSPEARE.
+
+London. William Charlton Wright." 12mo. With a frontispiece, partly copied
+from that in the preceding article, a common-place life of Holbein, and an
+introduction pillaged verbatim from an edition with Hollar's cuts,
+published by Mr. Edwards. The cuts, with two or three exceptions, are
+imitated from the originals, but all the human figures are ridiculously
+modernised. The text to the subjects is partly descriptions in prose, and
+partly Mr. Hawkins's verses, and the cuts, if Bewick's, very inferior to
+those in his other works.
+
+XII. "Emblems of Mortality, representing Death seizing all ranks and
+degrees of people. Imitated in a series of wood cuts from a painting in
+the cemetery of the Dominican church at Basil in Switzerland, with
+appropriate texts of scripture, and a poetical apostrophe to each, freely
+translated from the Latin and French. London. Printed for Whittingham and
+Arliss, juvenile library, Paternoster-row." 12mo. The frontispiece and the
+rest of the cuts, with two exceptions, from the same blocks as those used
+for the last-mentioned edition. The preface, with very slight variation,
+is abridged from that by Mr. Hawkins in No. VIII. and the descriptive
+verses altogether the same as those in that edition. Both the last
+articles seem intended for popular and juvenile use. It will be
+immediately perceived that the title page is erroneous in confounding the
+Basle Dance of Death with that in the volume itself.
+
+XIII. The last in this list is "Hans Holbein's Todtentanz in 53 getreu
+nach den holtz schnitten lithographirten Blattern. Herausgegeben von J.
+Schlotthauer, K. Professor. Mit erklaerendem Texte. Munschen, 1832. Auf
+kosten des Herausgebers," 12mo. or, "Hans Holbein's Dance of Death in
+fifty-three lithographic leaves, faithfully taken from wood engravings.
+Published by J. Schlotthauer, royal professor, with explanatory text.
+Munich, 1832. At the cost of the editors." This work is executed in so
+beautiful and accurate a manner that it might easily be mistaken for the
+wood originals.
+
+The professor has substituted German verses, communicated by a friend,
+instead of the former Latin ones. He states that the subject will be taken
+up by Professor Massman, of Munich, whose work will satisfy all enquiries
+relating to it. Massman, however, has added to this volume a sort of
+explanatory appendix, in which some of the editions are mentioned. He
+thinks it possible that the cholera may excite the same attention to this
+work as the plague had formerly excited to the old Macaber Dance at Basle,
+and concludes with a promise to treat the subject more at large at some
+future time.
+
+
+COPIES OF THE SAME DESIGNS, ENGRAVED IN COPPER.
+
+I. "Todten Dantz durch alle stande und Beschlecht der Menschen, &c."
+_i. e._ "Death's Dance through all ranks and conditions of men." This
+title is on a frontispiece representing a gate of rustic architecture, at
+the top of which are two boy angels with emblems of mortality between
+them, and underneath are the three Fates. At the bottom, Adam and Eve with
+the tree of knowledge, each holding the apple presented by the serpent.
+Between them is a circular table, on which are eight sculls of a Pope,
+Emperor, Cardinal, &c. with appropriate mottoes in Latin. On the outer
+edge of the table STATVTVM EST OMNIBVS HOMINIBVS SEMEL MORI POST HOC AVTEM
+IVDICIVM. In the centre the letters MVS, the terminating syllable of each
+motto. Before the gate are two pedestals, inscribed MEMENTO MORI and
+MEMORARE NOVISSIMA, on which stand figures of Death supporting two
+pyramids or obelisks surmounted with sculls and a cross, and inscribed
+ITER AD VITAM. Below, "Eberh. Kieser excudit." This frontispiece is a copy
+of a large print engraved on wood long before. Without date, in quarto.
+
+The work consists of sixty prints within borders of flowers, &c. in the
+execution of which two different and anonymous artists have been employed.
+At the top of each print is the name of the subject, accompanied with a
+passage from scripture, and at the bottom three couplets of German verses.
+Most of the subjects are copied from the completest editions of the Lyons
+cuts, with occasional slight variations. They are not placed in the same
+order, and all are reversed, except Nos. 57 and 60. No. 12 is not
+reversed, but very much altered, a sort of duplicate of the Miser. No. 50,
+the Jew, and No. 51, the Jewess, are entirely new. The latter is sitting
+at a table, on which is a heap of money, and Death appears to be giving
+effective directions to a demon to strangle her. No. 52 is also new. A
+castle within a hedge. Death enters one of the windows by a ladder, whilst
+a woman looks out of another.[121] The subject is from Jeremiah, ch. ix.
+v. 21. "Death is come up into our windows, &c." In the subject of the
+Pope, the two Devils are omitted. Two military groups of boys, newly
+designed, are added. The following are copies from Aldegrever, Nos. 1, 2,
+3, 4, 6, 11, and 12. At the beginning and end of the book there are moral
+poems in the German language.
+
+II. Another edition of the same cuts. The title-page of the copy here
+described is unfortunately lost. It has a dedication in Latin to three
+patricians of Frankfort on the Maine by Daniel Meisner a Commenthaw, Boh.
+Poet. L. C. dated, according to the Roman capitals, in a passage from
+Psalm 46, in the year 1623. This is followed by the Latin epigram, or
+address to the reader, by Geo. AEmylius, whose translations of the original
+French couplets are also given, as well as the originals themselves. These
+are printed on pages opposite to the subjects, but they are often very
+carelessly transposed. At the end the date 1623 is twice repeated by means
+of the Roman capitals in two verses from Psalms 78 and 63, the one German,
+the other Latin. 12mo.
+
+III. "Icones Mortis sexaginta imaginibus totidemque inscriptionibus
+insignitae, versibus quoque Latinis et novis Germanicis illustratae.
+Vorbildungen desz Todtes. In sechtzig figuren durch alle Stande und
+Geschlechte, derselbigen nichtige Sterblichkeit furzuweisen, aus gebruckt,
+und mit so viel ubors schriffren, auch Lateinischen und neuen Teutschen
+Verszlein erklaret. Durch Johann Vogel. Bey Paulus Fursten Kunsthandlern
+zu finden." On the back of this printed title is an engraving of a hand
+issuing from the clouds and holding a pair of scales, in one of which is a
+scull, in the other a Papal tiara, sceptre, &c. weighing down the scull.
+On the beam of the scales an hour glass and an open book with Arabic
+numerals. In the distance, at bottom, is seen a traveller reposing in a
+shed. Above is a label, inscribed "Metas et tempora libro," and below,
+"Ich Wage ziel und zeitten ab." Then follows a neatly engraved and regular
+title-page. At top, a winged scull surmounted with an hour-glass, and
+crossed with a spade and scythe. At bottom, three figures of Death sitting
+on the ground; one of them plays on a hautboy, or trumpet, another on a
+bagpipe, and the third has a drum behind him. The middle exhibits a
+circular Dance of Death leading by the hand persons of all ranks from the
+Emperor downwards. In the centre of this circle "Toden Tantz zu finden bey
+Paulus Furst Kunst handlern," and quite at the bottom of the page, "G.
+Stra. in. A. Khol fecit." Next comes an exhortation on Death to the reader
+in Latin verse, followed by several poems in German and Latin, those in
+German signed G. P. H. Immediately afterwards, and before the first cut of
+the work is another elegantly engraved frontispiece representing an arched
+gate of stone surmounted with three sculls of a Pope, a Cardinal, and a
+King, between a vase of flowers on the right, and a pot of incense, a cock
+standing near it, on the left. On the keystone of the gate are two tilting
+lances in saltier, to which a shield and helmet are suspended. Through the
+arch is seen a chamber, in which there seems to be a bier, and near it a
+cross. On the left of the gate is a niche with a scull and bones in it.
+Below are two large figures of Death. That on the left has a wreath of
+flowers round its head, and is beating a bell with a bone. Under him is an
+owl, and on the side of his left knee a scythe. The other Death has a cap
+and feather, in his right hand an hour-glass, the left pointing to the
+opposite figure. On the ground between them, a bow, a quiver of arrows and
+a dart. On the left inner side of the gate a pot with holy water is
+suspended to a ring, the sprinkler being a bone. Further on, within the
+gate, is a flat stone, on which are several sculls and bones, a snake
+biting one of the sculls. On the right hand corner at bottom is the letter
+[monogram: A], perhaps the mark of the unknown engraver. The explanations
+on the pages opposite to each print are in German and Latin verses, the
+latter by AEmylius, with occasional variations. This edition has the sixty
+prints in the two preceding Nos. some of them having been retouched; and
+the cut of the King at table, No. 9, is by a different engraver from the
+artist of the same No. in the preceding 4to. edition, No. I. The present
+edition has also an additional engraving at the end, representing a gate,
+within which are seen several sculls and bones, other sculls in a niche,
+and in the distance a cemetery with coffins and crosses. Over the gate a
+scull on each side, and on the outer edge of the arch is the inscription,
+"Quis Rex, quis subditus hic est?" At bottom,
+
+  Hie sage wer es sagen kan     | Here let tell who may:
+  Wer konig sey? wer unterthan. | Or, which be the king? which the subject?
+                         Paulus Furst Excu.
+
+The whole of the print in a border of sculls, bones, snakes, toads, and a
+lizard. Opposite to it the date 1647 is to be gathered from the Roman
+capitals in two scriptural quotations, the one in Latin, the other in
+German, ending with this colophon, "Gedrucht zu Nuremberg durch Christoff
+Lochner. In Verlegung Paul Fursten Kunsthandlern allda." 12mo.
+
+IV. A set of engravings, 8 inches by 8, of which the subject of the
+Pedlar, only has occurred on the present occasion. Instead of the
+trump-marine, which one of the Deaths plays on in the original cut, this
+artist has substituted a violin, and added a landscape in the back-ground.
+Below are these verses:
+
+  LA MORT.
+
+  Sus? cesse ton traficq, car il fault a ceste heure
+  Que tu sente l'effort de mon dard assere.
+  Tu as assez vescu, il est temps que tu meure,
+  Mon coup inevitable est pour toy prepare.
+
+
+  LE MARCHANT.
+
+  Et de grace pardon, arreste ta cholere.
+  Je suis pauvre marchant appaise ta rigueur.
+  Permete qu'encore un temps je vive en ceste terre:
+  Et puis tu recevras l'offrande de mon coeur.
+
+V. A set of thirty etchings by Wenceslaus Hollar, within elegant frames or
+borders designed by Diepenbecke, of which there are three varieties. The
+first of these has at the top a coffin with tapers, at bottom, Death lying
+prostrate. The sides have figures of time and eternity. At bottom, _Ab.
+Diepenbecke inv. W. Hollar fecit_. The second has at top a Death's head
+crowned with the Papal tiara; at bottom, a Death's head with cross-bones
+on a tablet, accompanied by a saw, a globe, armour, a gun, a drum, &c. On
+the sides are Hercules and Minerva. At bottom, _Ab. Diepenbecke inv. W.
+Hollar fecit, 1651_. The third has at top a Death's head, an hour-glass
+winged between two boys; at bottom, a Death's head and cross-bones on a
+tablet between two boys holding hour-glasses. On the sides, Democritus and
+Heraclitus with fools' caps. This border has no inscription below. As
+these etchings are not numbered, the original arrangement of them cannot
+be ascertained. The names of Diepenbecke and Hollar are at the bottom of
+several of the borders, &c. On the subject of the Queen is the mark
+[monogram: UH] and on three others that of [monogram: WH]. This is the
+first and most desirable state of the work, the borders having afterwards
+fallen into the hands of Petau and Van Morle, two foreign printsellers,
+whose impressions are very inferior. It has not been ascertained what
+became of these elegant additions, but the work afterwards appeared
+without them, and with the additional mark [monogram: HB] _i._ on every
+print, and intended for Holbein invenit. It is very certain that Hollar
+himself did not place this mark on the prints; he has never introduced it
+in any of his copies from Holbein, always expressing that painter's name
+in these several ways: [monogram: HH], [monogram: HHolbein] _inv._
+[monogram: HHolbein] _pinxit_, H. HOLBEIN inv. H. HOLBEIN inventor. On one
+of his portraits from the Arundel collection he has placed "[monogram:
+HHolbein] _incidit in lignum_." No copy, however, of this portrait has
+occurred in wood, and, if this be only a conjecture on the part of the
+engraver, the distance of time between the respective artists is an
+objection to its validity, though it is possible that Holbein might have
+engraved on wood, because there are prints which have all the appearance
+of belonging to him, that have his usual mark, accompanied by an engraving
+tool. There is no text to these etchings, except the Latin scriptural
+passages under each, that occur in the original editions in that language.
+As a sort of frontispiece to the work, Hollar has transferred the last cut
+of the allegorical shield of arms, supported by a lady and gentleman, to
+the beginning, with the appropriate title of MORTALIVM NOBILITAS. The
+other subjects are, 1. Adam and Eve in Paradise. 2. Their expulsion from
+Paradise. 3. Adam digging, Eve spinning. 4. The Pope. 5. The Emperor. 6.
+The Empress. 7. The Queen. 8. The Cardinal. 9. The Duke. 10. The Bishop.
+11. The Nobleman. 12. The Abbot. 13. The Abbess. 14. The Friar. 15. The
+Nun. 16. The Preacher. 17. The Physician. 18. The Soldier, or Warrior. 19.
+The Advocate. 20. The Married Couple. 21. The Duchess. 22. The Merchant.
+23. The Pedlar. 24. The Miser. 25. The Waggoner with wine casks. 26. The
+Gamesters. 27. The Old Man. 28. The Old Woman. 29. The Infant. Of these,
+Nos. 1, 5, 6, 8, 9, 13, 14, 23, 27, and 28, correspond with the Lyons
+wood-cuts, except that in No. 1 a stag is omitted, and there are some
+variations; in No. 6, the windows of the palace are altered; in No. 13, a
+window is added to the house next to the nunnery; and in No. 9, a figure
+is introduced, and the ducal palace much altered; in No. 23, a sword is
+omitted. They are all reverses, except No. 5. The rest of the subjects are
+reversed, with one exception, from the copies by [monogram: SA] in the
+spurious edition first printed at Cologne in 1555, with occasional very
+slight variations. Hollar's copies from the original cuts are in a small
+degree less both in width and depth. In the subject of Death and the
+Soldier he has not shown his judgment in making use of the spurious
+edition rather than the far more elegant and interesting original,[122]
+and it is remarkable that this is the only print belonging to the spurious
+ones that is not reversed.
+
+It is very probable that Hollar executed this work at Antwerp, where, at
+the time of its date, he might have found Diepenbecke and engaged him to
+make designs for the borders which are etched on separate plates, thus
+supplying passe-par-touts that might be used at discretion. Many sets
+appear without the borders, which seem to have strayed, and perhaps to
+have been afterwards lost or destroyed. As Rubens is recorded to have
+admired the beauty of the original cuts, so it is to be supposed that
+Diepenbecke, his pupil, would entertain the same opinion of them, and that
+he might have suggested to Hollar the making etchings of them, undertaking
+himself to furnish appropriate borders. But how shall we account for the
+introduction of so many of the spurious and inferior designs, if he had
+the means of using the originals? Many books were formerly excessively
+rare, which, from peculiar circumstances, not necessary to be here
+detailed, but well known to bibliographers and collectors, have since
+become comparatively common. Hollar might not have had an opportunity of
+meeting with a perfect copy of the original cuts, or he might, in some way
+or other, have been impeded in the use of them, when executing his work,
+and thus have been driven to the necessity of pursuing it by means of the
+spurious edition. These, however, are but conjectures, and it remains for
+every one to adopt his own opinion.
+
+The copper-plates of the above thirty etchings appear to have fallen into
+the hands of an English noble family, from which the late Mr. James
+Edwards, a bookseller of well merited celebrity, obtained them, and about
+the year 1794 caused many impressions to be taken off after they had been
+_rebitten_ with great care, so as to prevent that injury, with respect to
+outline, which usually takes place where etchings or engravings upon
+copper are _retouched_. Previously to this event good impressions must
+have been extremely rare, at least on the continent, as they are not found
+in the very rich collections of Winckler or Brandes, nor are they
+mentioned by the foreign writers on engraving. To Mr. Edwards's
+publication of Hollar's prints there was prefixed a short dissertation on
+the Dance of Death, which is here again submitted to public attention in a
+considerably enlarged form, and corrected from the errors and
+imperfections into which its author had been misled by preceding writers
+on the subject, and by the paucity of the materials which he was then able
+to obtain. This edition was reprinted verbatim, and with the same
+etchings, in 1816, for J. Coxhead, in Holywell Street, Strand, but without
+any mention of the former, and accompanied with the addition of a brief
+memoir of Holbein.
+
+It is most likely that Hollar, having discovered the error which he had
+committed in copying the spurious engravings before-mentioned, and
+subsequently procured a set of genuine impressions, resolved to make
+another set of etchings from the original work, four only of which he
+appears to have executed, his death probably taking place before they
+could be completed. These are, 1. The Pope crowning the Emperor, with
+"Moriatur sacerdos magnus." 2. The rich man disregarding the beggar, with
+"Qui obturat aurem suam ad clamorem pauperis, &c." and the four Latin
+lines, "Consulitis, dites, &c." at bottom, as in the original. It is
+beautifully and most faithfully copied, with [monogram: HHolbein] _inv.
+Hollar fecit_. 3. The Ploughman, with "In sudore vultus, &c." 4. The
+Robber, with "Domine vim patior."
+
+In Dugdale's History of St. Paul's, and also in the Monasticon, there is a
+single etching by Hollar of Death leading all ranks of people. It is only
+an improved copy of an old wood-cut in Lydgate's works, already mentioned
+in p. 52, and which is altogether imaginary, not being taken from any real
+series of the Dance.
+
+VI. "Varii e veri ritratte della morte disegnati in immagini, ed espressi
+in Essempii al peccatore duro di cuore, dal padre Gio. Battista Marmi
+della compagnia de Giesu." Venetia, 1669, 8vo. It has several engravings,
+among which are the following, after the original designs. 1. Queen. 2.
+Nobleman. 3. Merchant. 4. Gamblers. 5. Physician. 6. Miser. The last five
+being close copies from the same subjects, in the Basle edit. 1769, No. V.
+of the copies in wood.
+
+VII. "Theatrum mortis humanae tripartitum. I. Pars. Saltum Mortis. II.
+Pars. Varia genera Mortis. III. Pars. Paenas Damnatorum continens, cum
+figuris aeneis illustratum." Then the same repeated in German, with the
+addition "Durch Joannem Weichardum Valvasor. Lib. Bar. cum facultate
+superiorum, et speciali privilegio Sac. Caes. Majest. Gedrucht zu Laybach,
+und zu finden ben Johann Baptista Mayr, in Saltzburg. Anno 1682. 4to."
+Prefixed is an engraved frontispiece representing a ruined arch, under
+which is a coffin, and before it the King of Terrors between two other
+figures of Death mounted respectively on an elephant and camel. In the
+foreground, Adam and Eve, tied to the forbidden tree of knowledge, between
+several other Deaths variously employed. Two men digging graves, &c.
+Underneath, "[monogram: W.] inven. [monogram: W.] excud. Jo. Koch del.
+And. Trost sculp. Wagenpurgi in Carniola." It is the first part only with
+which we are concerned. The artist, with very little exception, has
+followed and reversed the spurious wood-cuts of 1555, by [monogram: SA].
+To the groups of boys he has added a Death leading them on.
+
+VIII. "De Doodt vermaskert met des werelts ydelheyt afghedaen door
+Geeraerdt Van Wolschaten." This is another edition of No. IX. of the
+original wood-cuts, here engraved on _copper_. The text is the same as
+that of 1654, with the addition of seven leaves, including a cut of Death
+leading all ranks of men. In that of the Pedler the artist has introduced
+some figures in the distance of the original _soldier_. Among other
+variations the costume of the time of William III. is sometimes very
+ludicrously adopted, especially in the frontispiece, where the author is
+represented writing at a desk, and near him two figures of a man in a full
+bottom wig, and a woman with a mask and a perpendicular cap in several
+stories, usually called a _Fontange_, both having skeleton faces. At
+bottom, the mark [monogram: L B.f.]. This edition was printed at Antwerp
+by Jan Baptist Jacobs, without date, but the privilege has that of 1698.
+12mo.
+
+IX. "Imagines Mortis, or the Dead Dance of Hans Holbeyn, painter of King
+Henry the VIII." This title is on a copper-plate within a border, and
+accompanied with nineteen etchings on copper, by Nieuhoff Piccard, a
+person who will be more particularly adverted to hereafter. They consist
+of, 1. The emblem of Mortality. 2. The temptation. 3. The expulsion from
+Paradise. 4. Adam digging, Eve spinning. 5. Concert of Deaths. 6. The
+Infant. 7. The new married couple. 8. The Duke. 9. The Advocate. 10. The
+Abbot. 11. The Monk. 12. The Abbess. 13. The Soldier. 14. The Merchant.
+15. The Pedler. 16. The Fool. 17. The Blind Man. 18. The Old Woman. 19.
+The Old Man. The designs, with some occasional variations, correspond with
+those in the original wood-cuts. The plates of these etchings must have
+passed into the hands of some English printsellers, as broken sets of them
+have not long since been seen, one only of which, namely, that of the
+Temptation, had these lines on it:
+
+  "All that e'er had breath
+  Must dance after Death."
+
+with the date 1720. Several were then numbered at bottom with Arabic
+numerals.
+
+X. "Schau-platz des Todes, oder Todten Tanz, von Sal. Van Rusting Med.
+Doct. in Nieder-Teutscher-Spracke nun aber in Hoch Teutscher mit nothigen
+Anmerchungen heraus gegeben von Johann Georg. Meintel Hochfurstl
+Brandenburg-Onoltzbachischen pfarrer zu Petersaurach." Nurnberg, 1736.
+8vo. Or, "The Theatre of Death, or Dance of Death, by Sol. Van Rusting,
+doctor of medicine, in Low German language, but now in High German, with
+necessary notes by John George Meintel in the service of his Serene
+Highness of Brandenburg, and parson of Petersaurach." It is said to have
+been originally published in 1707, which is very probable, as Rusting, of
+whom very little is recorded, was born about 1650. In the early part of
+his life he practised as an army surgeon. He was a great admirer and
+follower of the doctrines of Balthasar Bekker in his "Monde enchante."
+There are editions in Dutch only, 1735 and 1741. 12mo. the plates being
+copies. In the above-mentioned edition by Meintel there is an elaborate
+preface, with some account of the Dance of Death, and its editions, but
+replete with the grossest errors, into which he has been misled by
+Hilscher, and some other writers. His text is accompanied with a profusion
+of notes altogether of a pious and moral nature.
+
+Rusting's work consists of thirty neat engravings, of which the following
+are copied from the Lyons wood-cuts. 1. The King, much varied. 2. The
+Astrologer. 3. The Soldier. 4. The Monk. 5. The Old Man. 6. The Pedler.
+The rest are, on the whole, original designs, yet with occasional hints
+from the Lyons cuts; the best of them are, the Masquerade, the
+Rope-dancer, and the Skaiters. The frontispiece is in two compartments;
+the upper one, Death crowned, sitting on a throne, on each side of him a
+Death trumpeter; the lower, a fantastic Dance of seven Deaths, near a
+crowned skeleton lying on a couch.
+
+XI. "Le triomphe de la Mort." A Basle, 1780, folio. This is the first part
+of a collection of the works of Hans Holbein, engraved and published by M.
+Chretien de Mechel, a celebrated artist, and formerly a printseller in the
+above city. It has a dedication to George III. followed by explanations in
+French of the subjects, in number 46, and in the following order; No. 1. A
+Frontispiece, representing a tablet of stone, on one side of which Holbein
+appears behind a curtain, which is drawn aside by Death in order to
+exhibit to him the grand spectacle of the scenes of human life which he is
+intended to paint; this is further designated by a heap of the attributes
+of greatness, dignities, wealth, arts, and sciences, intermixed with
+Deaths' heads, all of which are trampled under foot by Death himself. At
+bottom, Lucan's line, "Mors sceptra ligonibus aequat." The tablet is
+surmounted by a medallion of Holbein, supported by two genii, one of whom
+decorates the portrait with flowers, whilst another lets loose a
+butterfly, and a third is employed in blowing bubbles. On the tablet
+itself is a second title, "Le triomphe de la mort, grave d'apres les
+dessins originaux de Jean Holbein par Chr{n}. de Mechel, graveur a Basle,
+MDCCLXXX." This frontispiece has been purposely inverted for the present
+work. The other subjects are: No. 2. The Temptation. 3. Expulsion from
+Paradise. 4. Adam digging, Eve spinning. 5. The Pope. 6. The Cardinal. 7.
+The Duke. 8. The Bishop. 9. The Canon. 10. The Monk. 11. The Abbot. 12.
+The Abbess. 13. The Preacher. 14. The Priest. 15. The Physician. 16. The
+Astrologer. 17. The Emperor. 18. The King. 19. The Empress. 20. The Queen.
+21. The Duchess. 22. The Countess. 23. The New-married Couple. 24. The
+Nun. 25. The Nobleman. 26. The Knight. 27. The Gentleman. 28. The Soldier.
+29. The Judge. 30. The Counsellor. 31. The Advocate. 32. The Merchant. 33.
+The Pedler. 34. The Shipwreck. 35. The Wine-carrier. 36. The Plowman. 37.
+The Miser. 38. The Robber. 39. The Drunkard. 40. The Gamblers. 41. The Old
+Man. 42. The Old Woman. 45. The Blind Man. 44. The Beggar. 45. The Infant.
+46. The Fool.
+
+M. Mechel has added another print on this subject, viz. the sheath of a
+dagger, a design for a chaser. It is impossible to exceed the beauty and
+skill that are manifested in this fine piece of art. The figures are, a
+king, queen, warrior, a young woman, a monk, and an infant, all of whom
+most unwillingly accompany Death in the dance. The despair of the king,
+the dejection of the queen, accompanied by her little dog, the terror of
+the soldier who hears the drum of Death, the struggling of the female, the
+reluctance of the monk, and the sorrow of the poor infant, are depicted
+with equal spirit and veracity. The original drawing is in the public
+library at Basle, and ascribed to Holbein. There is a general agreement
+between these engravings and the original wood-cuts. Twenty-three are
+reversed. In No. 13 the jaw-bone in the hand of Death is not distinct. In
+No. 16 a cross is added, and in No. 17 two heads.
+
+Mr. Coxe, in his Travels in Switzerland, has given some account of the
+drawings copied as above by M. de Mechel, in whose possession he saw them.
+He states that they were sketched with a pen, and slightly shaded with
+Indian ink. He mentions M. de Mechel's conjecture that they were once in
+the Arundel collection, and infers from thence that they were copied by
+Hollar, which, however, from what has been already stated on the subject
+of Hollar's print of the Soldier and Death, as well as from other
+variations, could not have been the case. Mr. Coxe proceeds to say that
+four of the subjects in M. de Mechel's work are not in the drawings, but
+were copied from Hollar. It were to be wished that he had specified them.
+The particulars that follow were obtained by the compiler of the present
+dissertation from M. de Mechel himself when he was in London. He had not
+been able to trace the drawings previously to their falling into the hands
+of M. de Crozat,[123] at whose sale, about 1771, they were purchased by
+Counsellor Fleischmann of Strasburg, and M. de Mechel having very
+emphatically expressed his admiration of them whilst they were in the
+possession of M. Fleischmann, that gentleman very generously offered them
+as a present to him. M. de Mechel, however, declined the offer, but
+requested they might be deposited in the public library at Basle, among
+other precious remains of Holbein's art. This arrangement, however, did
+not take place, and it happened in the mean time that two nephews of
+Prince Gallitzin, minister from Russia to the court of Vienna, having
+occasion to visit M. Fleischmann, then much advanced in years, and his
+memory much impaired, prevailed on him to concede the drawings to their
+uncle, who, on learning from M. de Mechel what had originally passed
+between himself and M. Fleischmann, sent the drawings to him, with
+permission to engrave and publish them, which was accordingly done, after
+they had been detained two years for that purpose. They afterwards passed
+into the Emperor of Russia's collection of fine arts at Petersburg.
+
+It were greatly to be wished that some person qualified like Mr. Ottley,
+if such a one can be found, would take the trouble to enter on a critical
+examination of these drawings in their present state, with a view to
+ascertain, as nearly as possible, whether they carry indisputable marks of
+Holbein's art and manner of execution, or whether, as may well be
+suspected, they are nothing more than copies, either by himself or some
+other person, from the original wood engravings.
+
+M. de Mechel had begun this work in 1771, when he had engraved the first
+four subjects, including a frontispiece totally different from that in the
+volume here described. There are likewise variations in the other three.
+He was extremely solicitous that these should be cancelled.
+
+XII. David Deuchar, sometimes called the Scottish Worlidge, who has etched
+many prints after Ostade and the Dutch masters, published a set of
+etchings by himself, with the following printed title: "The Dances of
+Death through the various stages of human life, wherein the capriciousness
+of that tyrant is exhibited in forty-six copper-plates, done from the
+original designs, which were cut in wood and afterwards painted by John
+Holbein in the town house at Basle, to which is prefixed descriptions of
+each plate in French and English, with the scripture text from which the
+designs were taken. Edinburgh, MDCCLXXXVIII." Before this most inaccurate
+title are two engraved leaves, on one of which is Deuchar's portrait, in a
+medallion, supported by Adam and Eve holding the forbidden fruit. Over the
+medallion, the three Fates, the whole within an arch before a pediment. On
+each side, a plain column, supporting a pyramid, &c. On the other leaf a
+copy of the engraved title to M. de Mechel's work with the substitution of
+Deuchar's name. After the printed title is a portrait, as may be supposed,
+of Holbein, within a border containing six ovals of various subjects, and
+a short preface or account of that artist, but accompanied with some very
+inaccurate statements. The subjects are inclosed, like Hollar's, within
+four different borders, separately engraved, three of them borrowed, with
+a slight variation in one, from Diepenbeke, the fourth being probably
+Deuchar's invention. The etchings of the Dance of Death are forty-six in
+number, accompanied with De Mechel's description and English translation.
+At the end is the emblematical print of mortality, but not described, with
+the dagger sheath, copied from De Mechel. Thirty of these etchings are
+immediately copied from Hollar, No. X. having the distance altered. The
+rest are taken from the spurious wood copies of the originals by
+[monogram: SA] with variation in No. XVIII.; and in No. XXXIX. and XLIII.
+Deuchar has introduced winged hour-glasses. These etchings are very
+inferior to those by Hollar. The head of Eve in No. III. resembles that of
+a periwigged Frenchman of the time of Louis XIV. but many of the subjects
+are very superior to others, and intitled to much commendation.
+
+XIII. The last in this list is "Der Todtentanz ein gedicht von Ludwig
+Bechstein mit 48 kupfern in treuen Conturen nach H. Holbein. Leipzig.
+1831," 12mo.; or, "Death's Dance, a poem by Ludwig Bechstein, with
+forty-eight engravings in faithful outlines from H. Holbein." These very
+elegant etchings are by Frenzel, inspector of the gallery of engravings
+of the King of Saxony at Dresden. The poem, which is an epic one, relates
+entirely to the power of Death over mankind.
+
+It is necessary to mention that the artist who made the designs for the
+Lyons Dance of Death is not altogether original with respect to a few of
+them. Thus, in the subject of Adam digging and Eve spinning, he has partly
+copied an ancient wood engraving that occurs in some of the Horae printed
+by Francis Regnault at Paris. In the subject of the Queen, and on that of
+the Duke and Duchess, he has made some use of those of Death and the Fool,
+and Death and the Hermit, in the old Dance at Basle. On the other hand, he
+has been imitated, 1. in "La Periere Theatre des bons engins. 1561." 24mo.
+where the rich man bribing the judge is introduced at fo. 66. 2. The
+figure of the Swiss gentleman in "Recueil de la diversite des habits."
+Paris, 1567. 12mo. is copied from the last print in the Lyons book. 3.
+From the same print the Death's head has been introduced in an old wood
+engraving, that will be more particularly described hereafter. 4.
+Brebiette, in a small etching on copper, has copied the Lyons plowman. 5.
+Mr. Dance, in his painting of Garrick, has evidently made use of the
+gentleman who lifts up his sword against Death. The copies of the portrait
+of Francis I. have been already noticed.
+
+
+
+
+CHAPTER IX.
+
+    _Further examination of Holbein's title.--Borbonius.--Biographical
+    notice of Holbein.--Painting of a Dance of Death at Whitehall by him._
+
+
+It may be necessary in the next place to make some further enquiry
+respecting the connection that Holbein is supposed to have had _at any
+time_ with the subject of the Dance of Death.
+
+The numerous errors that have been fallen into in making Holbein a
+participator in any manner whatever with the old Basle Macaber Dance, have
+been already noticed, and are indeed not worth the trouble of refuting. It
+is wholly improbable that he would interfere with so rude a piece of art;
+nor has his name been recorded among the artists who are known to have
+retouched or repaired it. The Macaber Dance at Basle, or any where else,
+is, therefore, with respect to Holbein, to be altogether laid aside; and
+if the argument before deduced from the important dedication to the
+edition of the justly celebrated wood-cuts published at Lyons in 1538 be
+of any value, his claim to their invention, at least to those in the first
+edition, must also be rejected.[124] There is indeed but very slight
+evidence, and none contemporary, that he painted any Dance of Death at
+Basle. The indefinite statements of Bishop Burnet and M. Patin, together
+with those of the numerous and careless travellers who have followed
+blind leaders, and too often copied each other without the means or
+inclination of obtaining correct information, are deserving of very little
+attention. The circumstance of Holbein's having painted a Dance of
+Peasants somewhere in the above city, in conjunction with the usual
+mistake of ascribing to him the old Macaber Dance, seems to have
+occasioned the above erroneous statements as to a Dance of Death by his
+pencil. It is hardly possible that Zuinger, almost a contemporary, when
+describing the Dance of Peasants and other paintings by Holbein at Basle
+would have omitted the mention of any Dance of Death:[125] but even
+admitting the former existence of such a painting, it would not constitute
+him the inventor of the designs in the Lyons work. He might have imitated
+or copied those designs, or the wood-cuts themselves, or perhaps have
+painted subjects that were different from either.
+
+We are now to take into consideration some very clear and important
+evidence that Holbein actually _did paint a Dance of Death_. This is to be
+found in the _Nugae_ of Borbonius in the following verses:
+
+  _De morte picta a Hanso pictore nobili._
+
+  Dum mortis Hansus pictor imaginum exprimit,
+  Tanta arte mortem retulit, ut mors vivere
+  Videatur ipsa: et ipse se immortalibus
+  Parem Diis fecerit, operis hujus gloria.[126]
+
+It has been already demonstrated that these lines could not refer to the
+old painting of the Macaber Dance at the Dominican convent, whilst, from
+the important dedication to the edition of the wood-cuts first published
+at Lyons in 1538, it is next to impossible that that work could then have
+been in Borbonius's contemplation. It appears from several places in his
+Nugae that he was in England in 1535, at which time Holbein drew his
+portrait in such a manner as to excite his gratitude and admiration in
+another copy of verses.[127] This was probably the chalk drawing still
+preserved in the fine collection of portraits of the eminent persons in
+the court of Henry VIII. formerly at Kensington, and thence removed to
+Buckingham House, and which has been copied in an elegant wood-cut, that
+first appeared in the edition of the Paidagogeion of Borbonius, Lyons,
+1536, and afterward in two editions of his Nugae. It is inscribed NIC.
+BORBONIVS VANDOP. ANNO AETATIS XXXII. 1535. He returned to Lyons in 1536,
+and it is known that he was there in 1538, when he probably wrote the
+complimentary lines in Holbein's Biblical designs a short time before
+their publication, either out of friendship to the painter, or at the
+instance of the Lyons publisher with whom he was certainly connected.
+
+Now if Borbonius, during his residence at Lyons, had been assured that the
+designs in the wood-cuts of the Dance of Death were the production of
+Holbein, would not his before-mentioned lines on that subject have been
+likewise introduced into the Lyons edition of it, or at least into some
+subsequent editions, in none of which is any mention whatever made of
+Holbein, although the work was continued even after the death of that
+artist? The application, therefore, of Borbonius's lines must be sought
+for elsewhere; but it is greatly to be regretted that he has not adverted
+to the place where the painting, as he seems to call it, was made.
+
+Very soon after the calamitous fire at Whitehall in 1697, which consumed
+nearly the whole of that palace, a person calling himself T. Nieuhoff
+Piccard, probably belonging to the household of William the Third, and a
+man who appears to have been an amateur artist, made the etchings in the
+article IX. already described in p. 130. Copies of them were presented to
+some of his friends, with manuscript dedications to them. Three of these
+copies have been seen by the author of this Dissertation, and as the
+dedications differ from each other, and are of very considerable
+importance on the present occasion, the following extracts from them are
+here translated and transcribed:
+
+    "TO MYNHEER HEYMANS.
+
+    "Sir,--The costly palace of Whitehall, erected by Cardinal Wolsey, and
+    the residence of King Henry VIII. contains, among other performances
+    of art, a _Dance of Death_, painted by Holbein in its galleries,
+    which, through an unfortunate conflagration, has been reduced to
+    ashes; and even the little work which he has engraved with his own
+    hand, and which I have copied as near as possible, is so scarce, that
+    it is known only to a few lovers of art. And since the court has
+    thought proper, in consideration of your singular deserts, to cause a
+    dwelling to be built for you at Whitehall, I imagined it would not be
+    disagreeable to you to be made acquainted with the former decorations
+    of that palace. It will not appear strange that the artist should have
+    chosen the above subject for ornamenting the _royal_ walls, if we
+    consider that the founder of the Greek monarchy directed that he
+    should be daily reminded of the admonition, 'Remember, Philip, that
+    thou art a man.' In like manner did Holbein with his pencil give
+    tongues to these walls to impress not only the king and his court, but
+    every one who viewed them with the same reflection."
+
+He then proceeds to describe each of the subjects, and concludes with some
+moral observations.
+
+In another copy of these etchings the dedication is to
+
+    "The high, noble, and wellborn Lord William Benting, Lord of Rhoon,
+    Pendreght, &c."
+
+    "Sir,--In the course of my constant love and pursuit of works of art,
+    it has been my good fortune to meet with that scarce little work of
+    Hans Holbein neatly engraved on wood, and which he himself had painted
+    as large as life in fresco on the walls of Whitehall. In the copy
+    which I presume to lay before you, as being born in the same palace, I
+    have followed the original as nearly as possible, and considering the
+    partiality which every one has for the place of his birth, a
+    description of what is remarkable and curious therein and now no
+    longer existing on account of its destruction by a fatal fire, must
+    needs prove acceptable, as no other remains whatever have been left of
+    that once so famous court of King Henry VIII. built by Cardinal
+    Wolsey, than your own dwelling."
+
+He then repeats the story of Philip of Macedon, and the account of the
+subjects of his etchings.
+
+At the end of this dedication there is a fragment of another, the
+beginning of which is lost. The following passages only in it are worthy
+of notice. "The residence of King William." "I flatter myself with a
+familiar acquaintance with Death, since I have already lived long enough
+to seem to be buried alive, &c." In other respects, the same, in
+substance, as the preceding.
+
+It is almost needless to advert to M. Nieuhoff Piccard's mistake in
+asserting that Holbein made the engravings which he copied; but it would
+have been of some importance if, instead of his pious ejaculations, he had
+described all the subjects that Holbein painted on the walls of the
+galleries at Whitehall. He must have used some edition of the wood-cuts
+posterior to that of 1545, which did not contain the subjects of the
+German soldier, the fool, and the blind man, all of which he has
+introduced. It is possible, however, that he has given us all the subjects
+that were then remaining, the rest having become decayed or obliterated
+from dampness and neglect, and even those which then existed would soon
+afterwards perish when the remains of the old palace were removed. His
+copies are by no means faithful, and seem to be rather the production of
+an amateur than of a regular artist. For his greater convenience, he
+appears to have preferred using the wood engravings instead of the
+paintings; and it is greatly to be regretted that we have no better or
+further account of them, especially of the time at which they were
+executed. The lives of Holbein that we possess are uniformly defective in
+chronological arrangement. There seems to be a doubt whether the Earl of
+Arundel recommended him to visit England; but certain it is that in the
+year 1526 he came to London with a letter of that date addressed by
+Erasmus to Sir Thomas More, accompanied with his portrait, with which More
+was so well satisfied that he retained him at his house at Chelsea upwards
+of two years, until Henry VIII. from admiration of his works, appointed
+him his painter, with apartments at Whitehall. In 1529 he visited Basle,
+but returned to England in 1530. In 1535 he drew the portrait of his
+friend Nicholas Bourbon or Borbonius at London, probably the
+before-mentioned crayon drawing at Buckingham House, or some duplicate of
+it. In 1538 he painted the portrait of Sir Richard Southwell, a privy
+counsellor to Henry VIII. which was afterwards in the gallery of the Grand
+Duke of Tuscany.[128] About this time the magistrates of the city of Basle
+settled an annuity on him, but conditionally that he should return in two
+years to his native place and family, with which terms he certainly did
+not comply, preferring to remain in England. In the last-mentioned year he
+was sent by the king into Burgundy to paint the portrait of the Duchess of
+Milan, and in 1539 to Germany to paint that of Anne of Cleves. In some
+household accounts of Henry VIII. there are payments to him in 1538, 1539,
+1540, and 1541, on account of his salary, which appears to have been
+thirty pounds per annum.[129] From this time little more is recorded of
+him till 1553, when he painted Queen Mary's portrait, and shortly
+afterwards died of the plague in London in 1554.
+
+In the absence of positive evidence it may surely be allowed to substitute
+probable conjecture; and as it cannot be clearly proved that Holbein
+painted a Dance of Death at Basle, may not the before-mentioned verses of
+Borbonius refer to his painting at Whitehall, and which the poet must
+himself have seen? It is no objection that Borbonius remained a year only
+in England, when his portrait was painted by his friend Holbein in 1535,
+or that the verses did not make their appearance till 1538, for they seem
+rather to fix the date of the painting, if really belonging to it, between
+those years; and it is not unreasonable to suppose that Borbonius would
+hold some intercourse with the painter, even after leaving England, as is
+indeed apparent from other compliments bestowed on him in his Nugae, the
+contents of which are by no means chronologically arranged, and many of
+the poems known to have been written long before their publication. The
+lines in question might have been written any where, and at any time, and
+this may be very safely stated until the real time in which the Whitehall
+painting was made shall be ascertained.
+
+In one of Vanderdort's manuscript catalogues of the pictures and rarities
+transported from St. James's to Whitehall, and placed there in the newly
+erected cabinet room of Charles I. and in which several works by Holbein
+are mentioned, there is the following article: "A little piece where Death
+with a green garland about his head, stretching both his arms to apprehend
+a Pilate in the habit of one of the spiritual Prince Electors of Germany.
+Copied by Isaac Oliver from Holbein."[130] There cannot be a doubt that
+this refers to the subject of the Elector, as painted by Holbein in the
+Dance of Death at Whitehall, proving at the same time the identity of the
+painting with the wood-cuts, whatever may be the inference.
+
+Sandrart, after noticing a remarkable portrait of Henry VIII. at
+Whitehall, states, that "there yet remains in that palace _another work_
+by Holbein that constitutes him the Apelles of the time."[131] This is
+certainly very like an allusion to a Dance of Death.
+
+It is by no means improbable that Mathew Prior may have alluded to
+Holbein's painting at Whitehall, as it is not likely that he would be
+acquainted with any other.
+
+  Our term of life depends not on our deed,
+  Before our birth our funeral was decreed,
+  Nor aw'd by foresight, nor misled by chance,
+  Imperious death directs the ebon lance,
+  Peoples great Henry's tombs, and leads up Holbein's Dance.
+                                _Ode to the Memory of George Villiers._
+
+
+
+
+CHAPTER X.
+
+    _Other Dances of Death._
+
+
+Having thus disposed of the two most ancient and important works on the
+subject in question, others of a similar nature, but with designs
+altogether different, and introduced into various books, remain to be
+noticed, and such are the following:
+
+I. "Les loups ravissans fait et compose par maistre Robert Gobin prestre,
+maistre es ars licencie en decret, doyen de crestiente de Laigny sur Marne
+au dyocese de Paris, advocat en court d'eglise. Imprime pour Anthoine
+Verard a Paris, 4to." without date, but about 1500. This is a very bitter
+satire, in the form of a dream, against the clergy in general, but more
+particularly against Popes John XXII. and Boniface VIII. A wolf, in a
+lecture to his children, instructs them in every kind of vice and
+wickedness, but is opposed, and his doctrines refuted, by an allegorical
+personage called Holy Doctrine. In a second vision Death appears to the
+author, accompanied by Fate, War, Famine, and Mortality. All classes of
+society are formed into a Dance, as the author chooses to call it, and the
+work is accompanied with twenty-one very singular engravings on wood,
+executed in a style perhaps nowhere else to be met with. The designs are
+the same as those in the second Dance of the Horae, printed by Higman for
+Vostre, No. I. page 61.
+
+II. "A booke of Christian prayers, collected out of the ancient writers,
+&c." Printed by J. Day, 1569. 4to. Afterwards in 1578, 1581, 1590, and
+1609. It is more frequently mentioned under the title of "Queen
+Elizabeth's prayer-book," a most unsuitable title, when it is recollected
+how sharply this haughty dame rebuked the Dean of Christchurch for
+presenting a common prayer to her which had been purposely ornamented with
+cuts by him.[132] This book was most probably compiled by the celebrated
+John Fox, and is accompanied with elegant borders in the margins of every
+leaf cut in wood by an unknown artist whose mark is [monogram: CI], though
+they have been most unwarrantably ascribed to Holbein, and even to Agnes
+Frey, the wife of Albert Durer, who is not known with any certainty to
+have practised the art of engraving. At the end is a Dance of Death
+different from every other of the kind, and of singular interest, as
+exhibiting the costume of its time with respect to all ranks and
+conditions of life, male and female.
+
+These are the characters. "The Emperor, the King, the Duke, the Marques,
+the Baron, the Vicount, the Archbishop, the Bishop, the Doctor, the
+Preacher, the Lord, the Knight, the Esquire, the Gentleman, the Judge, the
+Justice, the Serjeant at law, the Attorney, the Mayor, the Shirife, the
+Bailife, the Constable, the Physitian, the Astronomer, the Herauld, the
+Sergeant at arms, the Trumpetter, the Pursevant, the Dromme, the Fife, the
+Captaine, the Souldier, the Marchant, the Citizen, the Printers (in two
+compartments), the Rich Man, the Aged Man, the Artificer, the Husbandman,
+the Musicians (in two compartments), the Shepheard, the Foole, the Beggar,
+the Roge, of Youth, of Infancie." Then the females. "The Empresse, the
+Queene, the Princes, the Duchesse, the Countesse, the Vicountesse, the
+Baronnesse, the Lady, the Judge's Wife, the Lawyer's Wife, the
+Gentlewoman, the Alderman's Wife, the Marchantes Wife, the Citizen's Wife,
+the Rich Man's Wife, the Young Woman, the Mayde, the Damosell, the
+Farmar's Wife, the Husbandman's Wife, the Countriwoman, the Nurse, the
+Shepheard's Wife, the Aged Woman, the Creeple, the Poore Woman, the
+Infant, the (female) Foole." All these are designed in a masterly manner,
+and delicately engraved. The figures of the Deaths occasionally abound in
+much humour, and always with appropriate characters. The names of the
+unknown artists were worthy of being recorded.
+
+III. "Icones mortis, sexaginta imaginibus totidemque inscriptionibus
+insignitae versibus quoque Latinis et novis Germanicis illustratae.
+Norimbergae Christ. Lockner, 1648, 8vo."[133]
+
+IV. "Rudolph Meyers S: Todten dantz ergantz et und heraus gegeben durch
+Conrad Meyern Maalern in Zurich, im jahr 1650." On an engraved title page,
+representing an angel blowing a trumpet, with a motto from the Apocalypse.
+Death or Time holds a lettered label with the above inscription or title.
+In the back ground groups of small figures allusive to the last judgment.
+Then follows a printed title "Sterbenspiegel das ist sonnenklare
+vorstellung menschlicher nichtigkeit durch alle Stand und Geschlechter:
+vermitlest 60 dienstlicher kupferblatteren lehrreicher uberschrifften und
+beweglicher zu vier stimmen auszgesetzter Todtengesangen, vor disem
+angefangen durch Rudolffen Meyern S. von Zurich, &c. Jetzaber zu erwekung
+nohtwendiger Todsbetrachtung verachtung irdischer eytelkeit; und beliebung
+seliger ewigkeit zuend gebracht und verlegt durch Conrad Meyern Maalern in
+Zurich und daselbsten bey ihme zufinden. Getruckt zu Zuerich bey Johann
+Jacob Bodmer, MDCL." 4to. that is: The Mirror of Death--that is--a
+brilliant representation of human nothingness in all ranks and conditions,
+by means of 60 appropriate Copperplates, spiritual superscriptions, and
+moving songs of Death, arranged for four voices, formerly commenced by
+Rudolph Meyer of Zurich, &c. but now brought to an end and completed, for
+the awaking of a necessary consideration of death, a contempt of earthly
+vanity, and a love of blissful eternity, by _Conrad_ Meyer of Zurich, of
+whom they are to be had. Printed at Zurich, by John Jacob Bodmer, MDCL.
+
+The subjects are the following:--1. The Creation. 2. The Fall. 3.
+Expulsion from Paradise. 4. Punishment of Man. 5. Triumph of Death. 6. An
+allegorical frontispiece relating to the class of the Clergy. 6. The Pope.
+7. The Cardinal. 8. The Bishop. 9. The Abbot. 10. The Abbess. 11. The
+Priest. 12. The Monk. 13. The Hermit. 14. The Preacher. 15. An allegorical
+frontispiece to the class of Rulers and Governors. 15. The Emperor. 16.
+The Empress. 17. The King. 18. The Queen. 19. The Prince Elector. 20. The
+Earl and Countess. 21. The Knight. 22. The Nobleman. 23. The Judge. 24.
+The Steward, Widow, and Orphan. 25. The Captain. 26. An allegorical
+frontispiece to the Lower Classes. 26. The Physician. 27. The Astrologer.
+28. The Merchant. 29. The Painter and his kindred: among these the old man
+is Dietrich Meyern; the painter resembles the portrait of Conrad Meyern in
+Sandrart, and the man at the table is probably Rudolph Meyern. 30. The
+Handcraftsman. 31. The Architect. 32. The Innkeeper. 33. The Cook. 34. The
+Ploughman. 35. The Man and Maid Servant. 36. The old Man. 37. The old
+Woman. 38. The Lovers. 39. The Child. 40. The Soldier. 41. The Pedler. 42.
+The Highwayman. 43. The Quack Doctor. 44. The Blind Man. 45. The Beggar.
+46. The Jew. 47. The Usurer. 48. The Gamesters. 49. The Drunkards. 50. The
+Gluttons. 51. The Fool. 52. The Certainty of Death. 53. The Uncertainty
+of Death. 54. The Last Judgment. 55. Christ's Victory. 56. Salvation. 57.
+True and False Religion.
+
+The text consists chiefly of Death's apostrophe to his victims, with their
+remonstrances, verses under each subject, and various other matters. At
+the end are pious songs and psalms set to music. This work was jointly
+executed by two excellent artists, Rodolph and Conrad Meyer or Meyern,
+natives of Zurich. The designs are chiefly by Rodolph, and the etchings by
+Conrad, consisting of sixty very masterly compositions. The grouping of
+the figures is admirable, and the versatile representations of Death most
+skilfully characterized. Many of the subjects are greatly indebted to the
+Lyons wood engravings.
+
+In 1657 and 1759 there appeared other editions of the latter, with this
+title, "Die menschliche Sterblichkeit under dem titel Todten Tanz in LXI
+original-kupfern, von Rudolf und Conrad Meyern beruhmten kunstmahlern in
+Zurich abermal herausgegeben, nebst neven, dazu dienenden, moralischen
+versen und veber schriften." That is, "Human mortality, under the title of
+the Dance of Death, in 61 original copper prints of Rudolf and Conrad
+Meyern, renowned painters at Zurich, to which are added appropriate moral
+verses and inscriptions." Hamburg and Leipsig, 1759, 4to. The prolegomena
+are entirely different from those in the other edition, and an elaborate
+preface is added, giving an account of several editions of the Dance of
+Death. Instead of the Captain, No. 25, the Ensign is substituted, and the
+Cook is newly designed. Some of the numbers of the subjects are misplaced.
+The etchings have been retouched, and on many the date of 1637 is seen,
+which had no where occurred in the first edition here described.
+
+In 1704 copies of 52 of these etchings were published at Augsburg, under
+the title of "Tripudium mortis per victoriam super carnem universae orbis
+terrae erectum. Ab A. C. Redelio S. C. M. T. P." on a label held by Death
+as before. Then the German title "Erbaulicher Sterb-Spiegel dast ist
+sonnen-klahre vorstellung menschlicher nichtigkeit durch alle stande und
+geschlechter: vermittelst schoner kupffern, lehr-reicher bey-schrifften
+und hertz-beweglich angehangter Todten-lieder ehmahls herauss gegeben
+durch Rudolph und Conrad Meyern mahlern in Zurch Anjetzo aber mit
+Lateinischen unterschrifften der kupffer vermehret und aussgezieret von
+dem Welt-beruhmten Poeten Augustino Casimiro Redelio, Belg. Mech. Sac.
+Caes. Majest. L. P. Augsburg zu finden bey Johann Philipp Steudner.
+Druckts, Abraham Gugger. 1704." 4to. That is, "An edifying mirror of
+mortality, representing the nullity of man through all stations and
+generations, by means of beautiful engravings in copper, instructive
+inscriptions, and heart-moving lays of Death, as an appendix to the work
+formerly edited by Rudolph and Conrad Meyern of Zurich, but now published
+with Latin inscriptions, and engravings augmented and renewed by the
+worldly renowned poet Augustin Casimir Redel, &c."
+
+In this edition the Pope and all the other religious characters are
+omitted, probably by design. The etchings are very inferior to the fine
+originals, and without the name of the artist. The dresses are frequently
+modernised in the fashion of the time, and other variations are
+occasionally introduced.
+
+V. "Den Algemeynen dooden Spiegel van Pater Abraham a Sancta Clara,"
+_i. e._ The universal mirror of Death of Father Abraham a Sancta Clara. On
+a frontispiece engraved on copper, with a medallion of the author, and
+various allegorical figures. Then the printed title, "Den Algemeynen
+Dooden spiegel ofte de capelle der Dooden waer in alle Menschen sich al
+lacchende oft al weenende op recht konnen beschouwen verciert mer aerdige
+historien, Siu-rycke gedichten ende sedenleer-ende Beeldt-schetsen op
+gestelt door den eerweerdigen Pater Abraham a Sancta Clara Difinitor der
+Provincie van het order der ongeschoende Augustynen ende Predickant van
+syne Keyserlycke Majesteyt Leopoldus. Getrouwelyck overgeset vyt het
+hoogh-duyts in onse Nederduytsche Taele. Tot Brussel, by de Wed. G. Jacobs
+tegen de Baert-brugge in de Druckerye, 1730." 12mo. _i. e._ "The universal
+mirror of Death taken from the chapel of the dead; in which all men may
+see themselves properly, whether laughing or weeping, ornamented with
+pretty stories, spirited poems, and instructive prints, arranged by Father
+Abraham a Sancta Clara, of the Augustinian order, and preacher to his
+Imperial Majesty Leopold, and faithfully translated out of High Dutch into
+our Netherlandish language."
+
+The work consists of sixty-seven engravings on wood within borders, and of
+very indifferent execution in all respects; the text a mixture of prose
+and poetry of a religious nature, allusive to the subjects, which are not
+uniformly a dance of Death. The best among them are the Painter, p. 45;
+the Drunkard, p. 75; the dancing Couple, Death playing the Flageolet, p.
+103; the Fowler, p. 113; the hen-pecked Husband, p. 139; the Courtezan, p.
+147; the Musician, p. 193; the Gamester, p. 221; and the blind Beggar, p.
+289.
+
+VI. "Geistliche Todts-Gedanchen bey allerhand semahlden und Tchildereyn in
+vabildung Interschiedlichen geschlechts, alters, standes, und wurdend
+perschnen sich des Todes zucrinneren ans dessen lehrdie tugende zuueben und
+die Tundzu meyden Erstlich in kupfer entworffen nachmaler durch sittliche
+erdrtherung und aberlegung unter Todten-farben in vorschem gebracht,
+dardurch zumheyl der seelen im gemuth des geneighten lesers ein lebendige
+forcht und embsige vorsorg des Todes zu erwecken. Cum permissu superiorum.
+Passau Gedrucht bey Frederich Gabriel Mangold, hochfurst, hof
+buchdruckern, 1753. Lintz, verlegts Frantz Anton Ilger, Burgerl,
+Buchhandlern allda." Folio. In English, "The Spiritual Dance of Death in
+all kinds of pictures and representations, whereby persons of every age,
+sex, rank, and dignity, may be reminded of Death, from which lesson they
+may exercise themselves in virtue, and avoid sin. First put upon copper,
+and afterwards, through moral considerations and investigations brought to
+light in Death's own colours, thereby for the good of the souls of the
+well inclined readers to awaken in them a lively fear and diligent
+anticipation of Death."
+
+The subjects are: 1. The Creation. 2. Temptation. 3. Expulsion. 4.
+Punishment. 5. A charnel house, with various figures of Death, three in
+the back-ground dancing. 6. The Pope. 7. Cardinal. 8. Bishop. 9. Abbot.
+10. Canon. 11. Preacher. 12. Chaplain. 13. Monk. 14. Abbess. 15. Nun. 16.
+Emperor. 17. Empress. 18. King. 19. Queen. 20. Prince. 21. Princess. 22.
+Earl. 23. Countess. 24. Knight. 25. Nobleman. 26. Judge. 27. Counsellor.
+28. Advocate. 29. Physician. 30. Astrologer. 31. Rich man. 32. Merchant.
+33. Shipwreck. 34. Lovers. 35. Child. 36. Old man. 37. Old woman. 38.
+Carrier. 39. Pedler. 40. Ploughman. 41. Soldier. 42. Gamesters. 43.
+Drunkards. 44. Murderer. 45. Fool. 46. Blind man. 47. Beggar. 48. Hermit.
+49. Corruption. 50. Last Judgment. 51. Allegory of Death's Arms, &c.
+
+The designs and some of the engravings are by M. Rentz, for the most part
+original, with occasional hints from the Lyons wood-cuts.
+
+Another edition with some variation was printed at Hamburg, 1759, folio.
+
+VII. In the Lavenburg Calendar for 1792, are 12 designs by Chodowiecki for
+a Dance of Death. These are: 1. The Pope. 2. The King. 3. The Queen. 4.
+The General. 5. The Genealogist. 6. The Physician. 7. The Mother. 8. The
+Centinel. 9. The Fish Woman. 10. The Beggar. 11. The fille de joye and
+bawd. 12. The Infant.
+
+VIII. A Dance of Death in one of the Berne Almanacks, consisting of the 16
+following subjects. 1. Death fantastically dressed as a beau, seizes the
+city maiden. 2. Death wearing a Kevenhuller hat, takes the housemaid's
+broom from her. 3. Death seizes a terrified washerwoman. 4. He takes some
+of the apple-woman's fruit out of her basket. 5. The cellar maid or
+tapster standing at the door of an alehouse is summoned by death to
+accompany him. 6. He lays violent hands upon an abusive strumpet. 7. In
+the habit of an old woman he lays hold of a midwife with a newly born
+infant in her hands. 8. With a shroud thrown over his shoulder he summons
+the female mourner. 9. In the character of a young man with a chapeau bras
+he brings a urinal for the physician's inspection. 10. The life-guardsman
+is accompanied by Death also on horseback and wearing an enormous military
+hat. 11. Death with a skillet on his head plunders the tinker's basket.
+12. Death in a pair of jack-boots leads the postilion. 13. The lame beggar
+led by Death. 14. Death standing in a grave pulls the grave digger towards
+him by the leg. 15. Death seated on a plough with a scythe in his left
+hand, seizes the farmer, who carries several implements of husbandry on
+his shoulders. 16. The fraudulent inn-keeper in the act of adulterating
+his liquor in the cask, is throttled by Death who carries an ale vessel at
+his back. These figures are cut on wood in a free and masterly manner, by
+Zimmerman, an artist much employed in the decoration of these calendars.
+The prints are accompanied with dialogues between Death and the respective
+parties.
+
+IX. "Freund Heins Erscheinungen in Holbeins manier von J. R. Schellenberg
+Winterthur, bey Heinrich Steiner und Comp. 1785, 8vo." That is--"Friend
+Heins appearance in the manner of Holbein, by J. R. Schellenberg." The
+preface states that from the poverty of the German language in synonymous
+expressions for the allegorical or ideal Death, the author has ventured to
+coin the jocose appellation of Friend Hein, which will be understood from
+its resemblance to Hain or Hayn, a word signifying a grove. The sagacity
+of the German reader will perhaps discover the analogy. The subjects are
+24 in number, as follow:
+
+1. Love interrupted. The lovers are caught by Death in a net, and in no
+very decent attitude.
+
+2. Suicide. A man shoots himself with a pistol, and falls into the arms of
+Death.
+
+3. Death in the character of a beau visits a lady at her toilet.
+
+4. The Aeronaut. The balloon takes fire, and the aeronaut is precipitated.
+
+5. Death's visit to the school. He enters at a door inscribed SILENTIUM,
+and puts the scholars to flight.
+
+6. Bad distribution of alms.
+
+7. Expectation deluded. Death disguised as a fine lady lays hands upon a
+beau, who seems to have expected a very different sort of visitor.
+
+8. Unwelcome officiousness. Death feeding an infant with poison, the nurse
+wringing her hands in despair.
+
+9. The dissolution of the monastery. The Abbot followed by his monks
+receives the fatal summons in a letter delivered to him by Death.
+
+10. The company of a friend. An aged man near a grave wrings his hands.
+Death behind directs his attention to heaven.
+
+11. The lottery gambler. Death presents him with the unlucky ticket.
+
+12. The woman of Vienna and the woman of Rome. Death seizes one, and
+points to the other.
+
+13. The Usurer. Death shuts him into his money chest.
+
+14. The Glutton. Death seizes him at table, and forcibly pours wine down
+his throat.
+
+15. The Rope-dancer. Death mounted on an ass, and fantastically
+apparelled, enters the circle of spectators, and seizes the performer by
+one of his legs.
+
+16. The lodge of secrecy (freemasonry). Death introduces a novice
+blindfold to the lodge.
+
+17. The recruiting Officer. Death enlists some country fellows, a fiddler
+preceding.
+
+18. Berthold Swartz. Death ignites the contents of the mortar, and blows
+up the monk. In the usual representations of this story the Devil is
+always placed near the monk.
+
+19. The Duel. A man strikes with a sword at Death, who is lifting up the
+valves of a window.
+
+20. The plunder of the falling-trap. Death demolishes a student by
+throwing a bookcase filled with books upon him.
+
+21. Silence surrendered. Death appears to a schoolmistress. The children
+terrified, escape.
+
+22. The privilege of the strong. Death lays violent hands on a lady, whom
+her male companions in vain endeavour to protect.
+
+23. The apothecary. Death enters his shop, and directs his attention to
+the poor patients who are coming in.
+
+24. The Conclusion. Two anatomists joining hands are both embraced by
+Death.
+
+The best of these subjects are Nos. 4, 13, 14, 15, and 18. The text is a
+mixture of prose and verse.
+
+X. "The English Dance of Death, from the designs of Thomas Rowlandson,
+with metrical illustrations by the author of Doctor Syntax." 2 vols. 8vo.
+1815-1816. Ackermann.
+
+In seventy-two coloured engravings. Among these the most prominent and
+appropriate are, the last Chase; the Recruit; the Catchpole; the
+Death-blow; the Dramshop; the Skaiters; the Duel; the Kitchen; the
+Toastmaster; the Gallant's downfall; and the fall of four in hand. The
+rest are comparatively feeble and irrelevant, and many of the subjects
+ill-chosen, and devoid of that humour which might have been expected from
+the pencil of Rowlandson, whose grotesque predominates as usual in the
+groups.
+
+XI. "Death's Doings, consisting of numerous original compositions in prose
+and verse, the friendly contributions of various writers, principally
+intended as illustrations of 24 plates designed and etched by R. Dagley,
+author of "Select gems from the antique," &c." 1826. 8vo.
+
+From the intrinsic value and well deserved success of this work, a new
+edition was almost immediately called for, which received many important
+additions from the modest and ingenious author. Among these a new
+frontispiece, from the design of Adrian Van Venne, the celebrated Dutch
+poet and painter, is particularly to be noticed. This edition is likewise
+enriched with numerous elegant contributions, both in prose and verse,
+from some of the best writers of the age.
+
+XII. A modern French Dance of Death, under the title of "Voyage pour
+l'Eternite, service general des omnibus acceleres, depart a tout heure et
+de tous les point du globe." Par J. Grandville. No date, but about 1830. A
+series of nine lithographic engravings, including the frontispiece. Oblong
+4to. These are the subjects:
+
+1. Frontispiece. Death conducting passengers in his omnibus to the
+cemetery of Pere la Chaise.
+
+2. "C'est ici le dernier relai." Death as a postilion gives notice to a
+traveller incumbered with his baggage, &c.
+
+3. "Vais-je bien? ... vous avancez horriblement." Death enters a
+watchmaker's shop, and shews his hour-glass to the master and his
+apprentice.
+
+4. "Monsieur le Baron, on vous demande.--Dites que je n'y suis pas." Death
+having entered the apartment, the valet communicates his summons to his
+gouty master lying on a couch.
+
+5. "Soyez tranquille, j'ai un garcon qui ne se trompe jamais." The
+apothecary addresses these words to some cautious patients whilst he fills
+a vessel which they have brought to his shop. Death, as an apprentice in
+another room, pounds medicines in a mortar.
+
+6. "Voila, Messieurs, un plat de mon metier." A feast. Death as a waiter
+enters with a plate of poisonous fruit.
+
+7. "Voulez vous monter chez moi, mon petit Monsieur, vous n'en serez pas
+fache, allez." Death, tricked out as a fille de joye with a mask, entices
+a youth introduced by a companion.
+
+8. "--Pour une consultation, Docteur, j'en suis j'vous suis ..." Death in
+the character of an undertaker, his hearse behind, invites an old man to
+follow him.
+
+9. "Oui, Madame, ce sera bien la promenade la plus delicieuse! une voiture
+dans le dernier gout! un cheval qui fend l'air, et le meilleur groom de
+France." Death, habited as a beau, conducts a lady followed by her maid to
+a carriage in waiting.
+
+XIII. The British Dance of Death, exemplified by a series of engravings
+from drawings by Van Assen, with explanatory and moral essays. Printed by
+and for George Smeeton, Royal Arcade, Pall Mall. 8vo. no date. With a
+frontispiece designed by Geo. Cruikshank, representing a crowned sitting
+Death, holding a scythe in one hand, and with the other leaning on a
+globe. This is circular in the middle. Over it two small compartments of
+Death striking an infant in the cradle, and a sick man. At bottom, two
+others of Death demolishing a glutton and a drunkard. A short preface
+states that the work is on the plan of "the celebrated designs of
+Holbein," meaning of course the Lyons work, but to which it has not the
+smallest resemblance, and refers to Lord Orford for the mention of the
+Basle dance, which, as having two or sometimes three figures only, it
+does resemble. It then states that the late Mr. Van Assen had no intention
+of publishing these designs, which now appear in compliance with the
+wishes of many of his friends to possess them. They are very neatly
+engraved, and tinted in imitation of the original drawings, but are wholly
+destitute of that humour which might have been expected from the pencil of
+the ingenious inventor, and which he has manifested on many other
+occasions. The subjects are the following: 1. The Infant. 2. Juvenile
+piety. 3. The Student. 4. The Sempstress. 5. The musical Student. 6. The
+Dancer. 7. The female Student. 8. The Lovers. 9. The industrious Wife. 10.
+The Warrior. 11. The Pugilists. 12. The Glutton. 13. The Drunkard. 14. The
+Watchman. 15. The Fishwoman. 16. The Physician. 17. The Miser. 18. Old
+Age. Death with his dart is standing near all these figures, but does not
+seem to be noticed by any of them.
+
+XIV. A Dance of Death in Danish rimes is mentioned in Nyerup's "Bidragh
+til den Danske digtakunst historie." 1800. 12mo.
+
+XV. John Nixon Coleraine, an amateur, and secretary to the original Beef
+Stake Club, etched a dance of Death for ladies' fans. He died only a few
+years ago. Published by Mr. Fores, of Piccadilly, who had the
+copper-plates, but of which no impressions are now remaining.
+
+
+
+
+CHAPTER XI.
+
+    _Dances of Death, with such text only as describes the subjects._
+
+
+I. Six small circles on a single sheet, engraved on copper by Israel Van
+Meckenen. 1. Christ sitting on his cross. 2. Three skulls on a table. 3.
+Death and the Pope. 4. Death riding on a lion, and the Patriarch. 5. Death
+and the Standard-bearer. 6. Death and the Lady. At top "memento mori," at
+bottom "Israhel V. M."
+
+II. A Dance of Death, engraved on copper, by Henry Aldegrever. 1. Creation
+of Eve. 2. Adam and Eve eating the forbidden fruit. 3. Expulsion from
+Paradise. 4. Adam digging, Eve spinning. 5. Death and the Pope. 6. Death
+and the Cardinal. 7. Death and the Bishop. 8. Death and the Abbot. All
+these have the date 1541, and with some variations follow the Lyons
+woodcuts. They have scriptural texts in Latin. 12mo. The whole were
+afterwards copied in a work by Kieser, already described, p. 121.
+
+III. A Dance of Death, consisting of eight subjects, engraved on copper by
+an unknown artist, whose mark is [monogram: AC]. 1. Death beating a drum,
+precedes a lady and gentleman accompanied by a little dog. 2. Death
+playing on a stickado, precedes a lady and gentleman dancing back to back,
+below an hour-glass. 3. Death, with an hour-glass in his right hand, lays
+his left on the shoulder of a gentleman taking hold of a lady with his
+right hand, and carrying a hawk with his left. 4. Death crowned with a
+garland, and holding an hour-glass in his left hand, stands between a lady
+and gentleman joining hands. 5. Death, with a fool's cap and hood, a
+dagger of lath, and a bladder, holds up an hour-glass with his right hand;
+with his left he seizes the hand of a terrified lady accompanied by a
+gentleman, who endeavours to thrust away the unwelcome companion. 6.
+Another couple led by Death. 7. Death with a cap and feathers holds an
+hour-glass in his right hand, and with his left seizes a lady, whom a
+gentleman endeavours to draw away from him. All have the date 1562. 12mo.
+Size, three inches by two. They are described also in Bartsch, Peintre
+Graveur, ix. 482, and have been sometimes erroneously ascribed to
+Aldegrever.
+
+[Illustration]
+
+IV. A Dance of Death, extremely well executed on wood, the designs of
+which have been taken from a set of initial letters, that will hereafter
+be particularly described. They are upright, and measure two inches by one
+and a half. Each subject is accompanied with two German verses.
+
+V. On the back of the title page to "Die kleyn furstlich Chronica,"
+Strasb. 1544, 4to. are three subjects that appear to be part of a series.
+1. Death and the Pope, who has a book and triple crosier. Death kneels to
+him whilst he plays on a tabor and drum. 2. Death and the King. Death
+blows a trumpet. 3. Death shoots an arrow at a warrior armed with sword
+and battle-axe. All these figures are accompanied with German verses, and
+are neatly engraved on wood.
+
+VI. A series of single figures, etched with great spirit by Giovanni Maria
+Mitelli. They are not accompanied by Death, but hold dialogues with him in
+Italian stanzas. The characters are, 1. The Astrologer. 2. The Doctor of
+universal science. 3. The Hunter. 4. The Mathematician. 5. The Idolater.
+They are not mentioned in Bartsch, nor in any other list of the works of
+engravers. It is possible that there are more of them.
+
+VII. The five Deaths, etched by Della Bella. 1. A terrific figure of Death
+on a galloping horse. In his left hand a trumpet, to which a flag,
+agitated by the wind, is attached. In the back ground, several human
+skeletons, variously employed. 2. Death carrying off an infant in his
+arms. In the back-ground, the church-yard of the Innocents at Paris. 3.
+Death walking away with a young child on his back. In the distance,
+another view of the above cemetery. 4. Death carrying off a female on his
+shoulders, with her head downwards, followed at a distance by another
+Death holding a corpse in his arms. 5. Death dragging a reluctant old man
+towards a grave, in which another Death, with an hour-glass in his hand,
+awaits him. All these are extremely fine, and executed in the artist's
+best time. There is a sixth of the series, representing Death throwing a
+young man into a well, but it is very inferior to the others. It was begun
+by Della Bella a short time before his death, and finished by his pupil
+Galestruzzi, about 1664. Della Bella likewise etched a long print of the
+triumph of Death.
+
+VIII. A single anonymous French engraving on copper, 14-1/2 by 6-1/2,
+containing three subjects. 1. Death and the soldier. 2. Death standing
+with a pruning knife in his right hand, and a winged hour-glass in his
+left. Under him are three prostrate females, one plays on a violin; the
+next, who represents Pride, holds a peacock in one hand and a mirror in
+the other; the third has a flower in her left hand. 3. Death and the lady.
+He holds an hour-glass and dart, and she a flower in her right hand. Under
+each subject are French verses. This may perhaps be one only of a set.
+
+IX. A German Dance of Death, in eight oblong engravings on copper, 11 by
+8-1/2, consisting of eight sheets and twenty-five subjects, as follow. 1.
+A fantastic figure of a Death, with a cap and feathers, in the attitude of
+dancing and playing on a flute. He is followed by another dancing skeleton
+carrying a coffin on his shoulder. 2. Pope. 3. Emperor. 4 Empress. 5.
+Cardinal. 6. King. 7. Bishop. 8. Duke or General. 9. Abbot. 10. Knight.
+11. Carthusian. 12. Burgomaster. 13. Canon. 14. Nobleman. 15. Physician.
+16. Usurer. 17. Chaplain. 18. Bailiff or Steward. 19. Churchwarden. 20.
+Merchant. 21. Hermit. 22. Peasant. 23. Young Man. 24. Maiden. 25. Child.
+This is a complete set of the prints, representing the Lubeck painting,
+already described in p. 43. In the translation of the inscriptions, as
+given by Dr. Nugent, two more characters are added at the end, viz. the
+Dancing Master and the Fencing Master. On the spectator's left hand of No.
+1. of these engravings, is a column containing the following inscription
+in German, in English as follows: "Silence, fool-hardy one, whoever thou
+art, who, with needless words, profanest this holy place. This is no
+chapel for talking, but thy sure place is in Death's Dance. Silence then,
+silence, and let the painting on these silent walls commune with thee, and
+convince thee that man is and will be earth:" and on Nos. 4 and 5, the
+words "Zu finden in Lubeck by Christian Gotfried Donatius."
+
+X. The following entry is in the Stationers' books:
+
+  28 b.                  v{o} Januarij [1597.]
+  Tho. Purfoote, sen.} Entered their c. Mr. Dix and Wm. M. The
+  Tho. Purfoote, jun.}   roll of the Daunce of Death, with pictures
+                     }   and verses upon the same           VI_d_.
+
+XI. In the catalogue of the library of R. Smith, secretary of the Poultry
+Compter, which was sold by auction in 1682, is this article "Dance of
+Death in the cloyster of Paul's, with figures, very old." Probably a
+single sheet.
+
+XII. "The Dance of Death;" a single sheet, engraved on copper, with the
+following figures. In the middle, Death leading the king; the beggar hand
+in hand with the king; Death leading the old man, followed by a child; the
+fool; the wise man, as an astrologer, led by Death. On the spectator's
+left hand, Death bringing a man before a judge; with the motto, "The
+greatest judge that sits in honour's seat, must come to grave, where't
+boots not to intreate." A man and woman in a brothel, Death behind; with
+the motto, "Leave, wanton youth, thou must no longer stay; if once I call
+all mortals must obey." On the opposite side, the Miser and Death; the
+motto, "Come, worldling, come, gold hath no power to save, leave it thou
+shalt, and dance with me to grave." Death and the Prisoner; the motto,
+"Prisoner arise, ile ease thy fetterd feet, and now betake thee to thy
+winding sheet." In the middle of the print sits a minstrel on a stool
+formed of bones placed on a coffin with a pick-axe and spade. He plays on
+a tabor and pipe; with this motto, "Sickness, despaire, sword, famine,
+sudden death, all these do serve as minstrells unto Death; the beggar,
+king, fool, and profound, courtier and clown all dance this round." Under
+the above figures is a poem of sixty-six lines on the power of Death,
+beginning thus:
+
+  Yea, Adam's brood and earthly wights which breath now on the earth,
+  Come dance this dance, and mark the song of this most mighty Death.
+  Full well my power is known and seen in all the world about,
+  When I do strike of force do yeeld both noble, wise, and stout, &c.
+
+Printed cullored and sould by R. Walton at the Globe and Compasses at the
+West end of St. Paules church turning down towards Ludgate.
+
+XIII. A large anonymous German engraving on copper, in folio. In the
+middle is a circular Dance of Death, with nine females, from the Empress
+to the Fool. In the four corners, two persons kneeling before a crucifix;
+saints in heaven; the temptation; and the infernal regions. At top, a
+frame with these verses:
+
+  Vulneris en nostri certam solamque medelam
+  En data divina praemia larga manu.
+  Der Todt Christi Zunicht hat gmacht
+  Den Todt und Sleben wider bracht.
+
+At bottom in a similar frame:
+
+  Per unius peccatum Mors intravit in mundum.
+  Den Todt und ewig hellisch pein
+  Hat veruhr sagt die Sund allein.
+
+This is within a broad frame, containing a Dance of Death, in twelve
+ovals. The names of the characters are in German: 1. The Pope. 2. Emperor.
+3. King. 4. Cardinal. 5. Bishop. 6. Duke. 7. Earl. 8. Gentleman. 9.
+Citizen. 10. Peasant. 11. Soldier and Beggar. 12. Fool and Child. Under
+each subject is an appropriate inscription in Latin and German. In the
+middle at top, a Death's head and bones, an hour-glass and a dial. In the
+middle at bottom, a lamp burning on a Death's head, and a pot of holy
+water with an aspergillum. On the sides, in the middle, funereal
+implements.
+
+XIV. Heineken, in his "Dictionnaire des Graveurs," iii. 77, mentions a
+Dance of Death engraved about 1740 by Maurice Bodenehr of Friburg, but
+without any further notice.
+
+XV. Another very large print, 2 feet by 1-1/2, in mezzotinto, the subject
+as in No. 10. but the figures varied, and much better drawn. At bottom,
+"Joh. El. Ridinger excud. Aug. Vindel."
+
+XVI. Newton's Dances of Death. Published July 12, 1796, by Wm. Holland,
+No. 50, Oxford Street, consisting of the following grotesque subjects
+engraved on copper. The size 6 inches by 5. 1. Auctioneer. 2. Lawyer. 3.
+Old Maid on Death's back. 4. Gamblers. 5. Scolding Wife. 6. Apple-woman.
+7. Blind Beggar. 8. Distressed Poet and Bailiff. 9. Undertaker. 10.
+Sleeping Lady. 11. Old Woman and her Cats. 12. Gouty Parson feeding on a
+tythe pig. 12. Same subject differently treated. 13. Sailor and
+Sweetheart. 14. Physician, Gravedigger, and Death dancing a round. 15.
+Market-man. 16. Doctor, sick Patient, and Nurse. 17. Watchman. 18.
+Gravedigger putting a corpse into the grave. 19. Old maid reading, Death
+extinguishes the candle. 20. Gravedigger making a grave. 21. Old Woman.
+22. Barber. 23. Lady and Death reflected in the mirror. 24. Waiter. 25.
+Amorous Old Man and Young Woman. 26. Jew Old Clothes-man. 27. Miser. 28.
+Female Gin-drinker.
+
+XVII. The Dance of Death modernised. Published July 13, 1800, and designed
+by G. M. Woodward, Berners' Street, Oxford Street. Contains the following
+caricatures. Size 5 by 4-1/2.
+
+1. King. "Return the diadem and I'll follow you."
+
+2. Cardinal. "Zounds, take care of my great toe, or I shall never rise
+higher than a cardinal."
+
+3. Bishop. "I cannot go, I am a bishop."
+
+4. Old Man. "My good friend, I am too old, I assure you."
+
+5. Dancing-master. "I never practised such an Allemande as this since I
+have been a dancing-master."
+
+6. Alderman. "If you detain me in this way my venison will be quite cold."
+
+7. Methodist Preacher. "If you wo'nt take I, I'll never mention you or the
+Devil in my sarmons as long as I lives."
+
+8. Parson. "I can't leave my company till I've finish'd my pipe and
+bottle."
+
+9. Schoolmaster. "I am only a poor schoolmaster, and sets good examples in
+the willage."
+
+10. Miser. "Spare my money, and I'll go contented."
+
+11. Politician. "Stay till I have finished the newspaper, for I am told
+there is great intelligence from the continent."
+
+12. Press-gang Sailor. "Why d-- me I'm one of your apprentices."
+
+13. Beggar. "This is the universal dance from a king to a beggar."
+
+14. Jockey. "I assure you I am engaged at Newmarket."
+
+15. Undertaker. "A pretty dance this for an undertaker."
+
+16. Gouty Man. "Buzaglo's exercise was nothing to this."
+
+17. Poet. "I am but a poor poet, and always praised the ode to your honour
+written by the late King of Prussia."
+
+18. Physician. "Here's fine encouragement for the faculty."
+
+19. Lawyer. "The law is always exempt by the statutes."
+
+20. Old Maid. "Let me but stay till I am married, and I'll ask no longer
+time."
+
+21. Fine Lady. "Don't be so boisterous, you filthy wretch. I am a woman of
+fashion."
+
+22. Empress. "Fellow, I am an empress."
+
+23. Young Lady. "Indeed, Sir, I am too young."
+
+24. Old Bawd. "You may call me old bawd, if you please, but I am sure I
+have always been a friend to your worship."
+
+XVIII. Bonaparte's Dance of Death. Invented, drawn, and etched by Richard
+Newton, 7 by 5.
+
+1. Stabb'd at Malta. 2. Drown'd at Alexandria. 3. Strangled at Cairo. 4.
+Shot by a Tripoline gentleman. 5. Devoured by wild beasts in the desert.
+6. Alive in Paris.
+
+
+
+
+CHAPTER XII.
+
+    _Books in which the subject is occasionally introduced._
+
+
+To offer any thing in the shape of a perfect list of these, would be to
+attempt an impossibility, and therefore such only as have come under the
+author's immediate inspection are here presented to the curious reader.
+The same remark will apply to the list of single prints that follows.
+
+There is a very singular book, printed, as supposed, about 1460, at
+Bamberg, by Albert Pfister. It is in German, and a sort of moral allegory
+in the shape of complaints against Death, with his answers to these
+accusations. It is very particularly described from the only known perfect
+copy in the royal library at Paris, by M. Camus, in vol. ii. of "Memoires
+de l'institut. national des sciences et arts: litterature et beaux arts,"
+p. 6 et seq. It contains five engravings on wood, the first of which
+represents Death seated on a throne. Before him stands a man with an
+infant to complain that Death has taken the mother, who is seen wrapped in
+a shroud upon a tomb. The second cut represents Death also on a throne
+with the same person as before, making his complaint, accompanied by
+several other persons at the feet of Death, sorrowfully deposing the
+attributes of their respective conditions, and at the head of them a Pope
+kneeling with one knee on the ground. The third cut has two figures of
+Death, one of which, on foot, mows down several boys and girls; the other
+is on horseback, and pursues some cavaliers, against whom he shoots his
+arrows. The fourth cut is in two compartments, the upper representing, as
+before, a man complaining to Death seated on a throne with a crown on his
+head. Below, on the spectator's left hand, is a convent whence several
+monks are issuing towards a garden encircled with hurdles, in which is a
+tree laden with fruit by the side of a river; a woman is seen crowning a
+child with a chaplet, near whom stands another female in conversation with
+a young man. M. Camus, in the course of his description of this cut, has
+fallen into a very ludicrous error. He mistakes the very plain and obvious
+gate of the garden, for a board, on which, he says, _several characters
+are engraved which may be meant to signify the arts and sciences, none of
+which are competent to protection against the attacks of Death_. These
+supposed characters, however, are nothing more than the flowered hinges,
+ring or knocker, and lock of the door, which stands ajar. The fifth cut is
+described as follows, and probably with greater accuracy than in M. Camus,
+by Dr. Dibdin, from a single leaf of this very curious work in the
+Bibliotheca Spenceriana, vol. i. p. 104, accompanied with a copy of part
+of it only. "Above the figures there seen sits the Almighty upon a throne,
+with an attendant angel on each side. He is putting the forefinger of his
+left hand into the centre of his right, and upon each of the hands is an
+eye, denoting, I presume, the omniscience of the Deity." The fac-simile
+cut partly corresponds with M. Camus's description of Death, and the
+complainant before Christ seated on a throne in a heaven interspersed with
+stars. The above fourth cut among these is on a single leaf in the
+possession of the author, which had Dr. Dibdin seen, he would not have
+introduced M. Camus's erroneous account of it, who has also referred to
+Heineken's Idee, &c. p. 276, where it certainly is not in the French
+edition of 1771. 8vo.
+
+In the celebrated Nuremberg Chronicle, printed in that city, 1493, large
+folio, there is at fo. cclxiiii. a fine wood-cut of three Deaths dancing
+hand in hand, another playing to them on a haut-boy. Below is a skeleton
+rising from a grave. It is inscribed IMAGO MORTIS.
+
+In the "Stultifera navis" of Sebastian Brant, originally printed in German
+at Basle and Nuremberg, 1494, are several prints, finely cut on wood, in
+which Death is introduced. In an edition printed at Basle, 1572, 12mo.
+with elegant wood engravings, after the designs of Christopher Maurer, and
+which differ very materially from those in the early editions, there is a
+cut of great merit to the verses that have for their title, "Qui alios
+judicat." It represents a man on his death bed; and as the poet's
+intention is to condemn the folly of those who, judging falsely or
+uncharitably of others, forget that they must die themselves, Death is
+introduced as pulling a stool from under a fool, who sits by the bed-side
+of the dying man. In the original cut the fool is tumbling into the jaws
+of hell, which, as usual, is represented by a monstrous dragon.
+
+In the "Calendrier des Bergers," Paris, 1500, folio, at sign. g. 6, is a
+terrific figure of Death on the pale horse; and at sign. g. 5. Death in a
+cemetery, with crosses and monuments; in his left hand the lid of a coffin
+in which his left foot is placed. These cuts are not in the English
+translation.
+
+"Ortulus Rosarum," circa 1500, 12mo. A wood-cut of Death bearing a coffin
+on his shoulder, leads a group consisting of a pope, a cardinal, &c.
+
+In the dialogue "Of lyfe and death," at the end of "the dialoges of
+creatures moralysed," probably printed abroad without date or printer's
+name soon after 1500, are two engravings in wood, one representing Death
+appearing to a man with a falcon on his fist, the other Death with his
+spade leading an emperor, a king, and a duke. The latter is not found in
+the Latin editions of this work, and has probably formed a part of some
+very old Dance of Death.
+
+In an edition of "Boetius de consolatione," Strasburg, 1501, folio, is a
+figure of Death on a lean horse throwing his dart at a group of warriors.
+
+In the "Freidanck," Strasburg, 1508, 4to, near the end is a wood-cut of a
+garden, in which two men and two women are feasting at a table. They are
+interrupted by the unexpected appearance of Death, who forcibly seizes one
+of the party, whilst the rest make their escape.
+
+In the "Mortilogus" of Conrad Reitter, Prior of Nordlingen, printed at
+Augsbourg by Erhard Oglin and Geo. Nadler, 1508, 4to. there is a wood-cut
+of Death in a church-yard, holding a spade with one hand and with the
+other showing his hour-glass to a young soldier; and another of Death
+shooting an arrow at a flying man.
+
+In "Heures a l'usaige de Sens," printed at Paris by Jean de Brie, 1512,
+8vo. the month of December in the calendar is figured by Death pulling an
+old man towards a grave; a subject which is, perhaps, nowhere else to be
+found as a representation of that month. It is certainly appropriate, as
+being at once the symbol of the termination of the year and of man's life.
+
+In the "Chevalier de la Tour," printed by Guillaume Eustace, Paris, 1514,
+folio, there is an allegorical cut, very finely engraved on wood, at fo.
+xxii. nearly filling the page. The subject is the expulsion of Adam and
+Eve from Paradise, the gate of which exhibits a regular entrance, with
+round towers and portcullis. Behind this gate is seen the forbidden tree,
+at the bottom of which is the Devil, seemingly rejoicing at the expulsion,
+with an apple in his hand. Near the gate stands the angel with his sword,
+and a cross on his head. Between him and the parties expelled is a
+picturesque figure of Death with a scythe ready for action.
+
+"Horae ad usum Romanum," printed for Geoffrey Tory of Tours, 1525. Before
+the Vigiliae Mortuorum is a wood-cut of a winged Death holding a clock in
+one hand; with the other he strikes to the ground and tramples on several
+men and women. Near him is a tree with a crow uttering CRAS CRAS. In
+another edition, dated 1527, is a different cut of a crowned figure of
+Death mounted on a black mule and holding a scythe and hour-glass. He is
+trampling on several dead bodies, and is preceded by another Death, armed
+also with a scythe, whilst a third behind strikes the mule, who stops to
+devour one of the prostrate figures. Above is a crow.
+
+In a beautiful Officium Virg. printed at Venice, 1525, 12mo. is a vignette
+of Death aiming an arrow at a group consisting of a pope, cardinal, &c.
+Another Death is behind, on the spectator's left.
+
+In "Heures de Notre Dame mises en reyne, &c." par Pierre Gringoire, 1527,
+8vo. there is a cut at fo. lx. before the vigilles de la mort, of a king
+lying on a bier in a chapel with tapers burning, several mourners
+attending, and on the ground a pot of holy water. A hideous figure of
+Death holding a scythe in one hand and a horn in the other, tramples on
+the body of the deceased monarch.
+
+In a folio missal for the use of Salisbury, printed at Paris by Francis
+Regnault, 1531, there is a singular cut prefixed to the Officium
+Mortuorum, representing two Deaths seizing a body that has the horrible
+appearance of having been some time in its grave.
+
+In a Flemish metrical translation of Pope Innocent III.'s work, "De
+vilitate conditionis humanae," Ghend, 1543, 12mo. there is a wood-cut of
+Death emerging from hell, armed with a dart and a three-pronged fork,
+with which he attacks a party taking their repast at a table.
+
+In the cuts to the Old Testament, beautifully engraved on wood by Solomon
+or le petit Bernard, Lyons, 1553, 12mo. Death is introduced in the vision
+of Ezekiel, ch. xxxvii. In this work the expulsion from Paradise is
+imitated from the same subject in the Lyons wood-cuts.
+
+In "Hawes's History of Graund Amoure and la bel Pucell, called the Pastime
+of Pleasure," printed by R. Tottel, 1555, 4to. are two prints; the first
+exhibits a female seated on a throne, in contemplation of several men and
+animals, some of whom are lying dead at her feet; behind the throne Death
+is seen armed with a dart, which he seems to have been just making use of:
+there is no allusion to it in the text, and it must have been intended for
+some other work. The second print has two figures of Death and a young
+man, whom he threatens with a sort of mace in his right hand, whilst he
+holds a pickaxe with his left.
+
+"Imagines elegantissimae quae multum lucis ad intelligendos doctrinae
+Christianae locos adferre possunt, collectae a Johann Cogelero verbi divini
+ministro, Stetini." Viteberg, 1560, 12mo. It contains a wood-print, finely
+executed, of the following subject. In the front Death, armed with a
+hunting-spear, pushes a naked figure into the mouth of hell, in which are
+seen a pope and two monks. Behind this group, Moses, with a pair of bulls'
+horns, and attended by two Jews, holds the tables of the law. In the
+distance the temptation, and the brazen serpent.
+
+A German translation of the well known block book, the "Ars Moriendi," was
+printed at Dilingen, 1569, 12mo. with several additional engravings on
+wood. It is perhaps the last publication of the work. On the title-page is
+an oval cut, representing a winged boy sleeping on a scull, and Death
+shooting an arrow at him. The first cut exhibits a sort of Death's dance,
+in eight small compartments. 1. A woman in bed just delivered of a child,
+with which Death is running away. 2. A man sitting at a table, Death
+seizes him behind, and pulls him over the bench on which he is sitting. 3.
+Death drowning a man in a river. 4. Flames of fire issue from a house,
+Death tramples on a man endeavouring to escape. 5. Two men fighting, one
+of whom pierces the other with his sword. The wounded man is seized by
+Death, the other by the Devil. 6. A man on horseback is seized by Death
+also mounted behind. 7. Death holds his hour-glass to a man on his
+death-bed. 8. Death leading an aged man to the grave. At the end of this
+curious volume is a singular cut, intitled "Symbolum M. Joannis Stotzinger
+Presbyteri Dilingensis." It exhibits a young man sitting at a table, on
+which is a violin, music books, and an hour-glass. On the table is written
+RESPICE FINEM. Near him his guardian angel holding a label, inscribed
+ANGELVS ASTAT. Behind them Death about to strike the young man with his
+dart, and over him MORS MINATVR. At the end of the table Conscience as a
+female, whom a serpent bites, with the label CONSCIENTIA MORDET, and near
+her the Devil, with the label DIABOLVS ACCVSAT. Above is the Deity looking
+down, and the motto DEVS VIDET.
+
+"Il Cavallero Determinado," Antwerp, 1591, 4to. A translation from the
+French romance of Olivier de la Marche, with etchings by Vander Borcht.
+The last print represents Death, armed with a coffin lid as a shield,
+attacking a knight on horseback. In several of the other prints Death is
+represented under the name of Atropos, as president in tournaments. In
+other editions the cuts are on wood by the artist with the mark [monogram:
+A].
+
+In the margins of some of the Horae, printed by Thielman Kerver, there are
+several grotesque figures of Death, independently of the usual Dance.
+
+In many of the Bibles that have prints to the Revelations, that of Death
+on the pale horse is to be noticed.
+
+In Petrarch's work "de remediis utriusque fortunae," both in the German and
+Latin editions, there are several cuts that relate materially to the
+subject. It may be as well to mention that this work has been improperly
+ascribed to Petrarch.
+
+In many of the old editions of Petrarch's works which contain the
+triumphs, that of Death is usually accompanied with some terrific print of
+Death in a car drawn by oxen, trampling upon all conditions of men from
+the pope to the beggar.
+
+"Guilleville, Pelerin de la vie humaine." The pilgrim is conducted by
+Abstinence into a refectory, where he sees many figures of Death in the
+act of feeding several persons sitting at table. These are good people
+long deceased, who during their lives have been bountiful to their
+fellow-creatures. At the end, the pilgrim is struck by Death with two
+darts whilst on his bed.
+
+Death kicking at a man, his wife, and child. From some book printed at
+Strasburg in the 16th century.
+
+Death, as an ecclesiastic, sitting on the ground and writing in a book.
+Another Death holding an inscribed paper in one hand, seizes with the
+other a man pointing to a similar paper. The Deity in a cloud looking on.
+From the same book.
+
+"Mors," a Latin comedy, by William Drury, a professor of poetry and
+rhetoric in the English college at Douay. It was acted in the refectory of
+the college and elsewhere, and with considerable applause, which it very
+well deserved. There is as much, and sometimes more, wit and humour in it
+than are found in many English farces. It was printed at Douay, 1628,
+12mo. with two other Latin plays, but not of equal interest.
+
+A moral and poetical Drama, in eleven scenes, intitled, "Youth's Tragedy,
+by T. S." 1671 and 1707, 4to. in which the interlocutors are, Youth, the
+Devil, Wisdom, Time, Death, and the Soul. It is miserable stuff.
+
+"La Historia della Morte," Trevigi, 1674, 4to. four leaves only. It is a
+poem in octave stanzas. The author, wandering in a wood, is overwhelmed
+with tears in reflecting on the approach of Death and his omnipotent
+dominion over mankind. He is suddenly accosted by the king of terrors, who
+is thus described:
+
+  Un ombra mi coperse prestamente
+  Che mi fece tremar in cotal sorte
+  Ell'era magra, e longa in sua figura,
+  Che chi la vede perde gioco, e festa,
+  Dente d'acciaio haveva in bocca oscura,
+  Corna di ferro due sopra la testa
+  Ella mi fe tremar dalla paura, &c.
+
+The work consists of a long dialogue between the parties. The author
+enquires of Death if he was born of father and mother. Death answers that
+he was created, by Jesus Christ, "che e signor giocondo," with the other
+angels; that after Adam's sin he was called _Death_. The author tells him
+that he seems rather to be a malignant spirit, and presses for some
+further information. He is referred to the Bible, and the account of
+David's destroying angel:
+
+  Quando Roma per me fu tribulata
+  Gregorio videmi con suo occhio honesto
+  Con una spada ch'era insanguinata
+  Al castel de Sant Angelo chiamato
+  Da l'hora in qua cosi fu appellato.
+
+This corresponds with the usual story, that during a plague Gregory saw an
+angel hovering over the castle, who, on the Pope's looking up to him,
+immediately sheathed his flaming sword. More questions are then propounded
+by Death, particularly as to the use of his horns and teeth, and the
+curiosity of the author is most condescendingly gratified.
+
+Bishop Warburton and Mr. Malone have referred to old Moralities, in which
+the fool escaping from the pursuit of Death is introduced. Ritson has
+denied the existence of any such farces, and he is perhaps right with
+respect to printed ones; but vestiges of such a drama were observed
+several years ago at the fair of Bristol by the present writer. See the
+notes to Measure for Measure, Act iii. sc. 1, and to Pericles, Act iii.
+sc. 2.
+
+In "Musart Adolescens Academicus sub institutione Salomonis," Duaci, 1633,
+12mo. is an engraving on copper of a modern Bacchus astride upon a wine
+cask drawn by two tigers. In one hand he holds a thyrsus composed of
+grapes and vine leaves, and in the other a cup or vase, from which a
+serpent springs, to indicate poison. Behind this Bacchus Death is seated,
+armed with his scythe and lying in wait for him. The motto, "Vesani
+calices quid non fecere," a parody on the line, "Fecundi calices quem non
+fecere disertum?" Horat. lib. i. epist. v. 1. 19.
+
+In "Christopher Van Sichem's Bibels' Tresoor," 1646, 4to. there is a
+wood-cut of Death assisting Adam to dig the ground, partly copied from the
+subject of "the Curse," in the work printed at Lyons.
+
+In "De Chertablon, maniere de se bien preparer a la mort, &c." Anvers,
+1700, 4to. there is an allegorical print in which a man is led by his
+guardian angel to the dwelling of Faith, Hope, and Charity, but is
+violently seized by Death, who points to his last habitation, in the shape
+of a sepulchral monument.
+
+In Luyken's "Onwaardige wereld," Amst. 1710, 12mo. are three allegorical
+engravings relating to this subject.
+
+In a very singular book, intitled "Confusio disposita rosis
+rhetorico-poeticis fragrans, sive quatuor lusus satyrico morales, &c.
+authore Josepho Melchiore Francisco a Glarus, dicto Tschudi de Greplang."
+Augsburg, 1725, 12mo. are the following subjects. 1. The world as Spring,
+represented by a fine lady in a flower-garden, Death and the Devil behind
+her. 2. Death and the Devil lying in wait for the miser. 3. Death and the
+Devil hewing down the barren fig-tree. 4. A group of dancers at a ball
+interrupted by Death. 5. Death striking a lady in bed attended by her
+waiting maid. 6. Death gives the coup-de-grace to a drunken fellow who had
+fallen down stairs. 7. Death mounted on a skeleton-horse dashes among a
+group of rich men counting their gold, &c. 8. A rich man refused entrance
+into heaven. He has been brought to the gate in a sedan chair, carried by
+a couple of Deaths in full-bottom periwigs.
+
+In Luyken's "Vonken der lief de Jezus," Amst. 1727, 12mo. are several
+engravings relating to the subject. In one of them Death pours a draught
+into the mouth of a sick man in bed.
+
+In Moncrief's "March of Intellect," 1830, 18mo. scene a workhouse, Death
+brings in a bowl of soup, a label on the ground, inscribed "Death in the
+pot." An engraving in wood after Cruikshank.
+
+In Jan Huygen's "Beginselen van Gods koninryk," Amst. 1738, 12mo. with
+engravings by Luyken, a dying man attended by his physician and friends;
+Death at the head of the bed eagerly lying in wait for him.
+
+In one of the livraisons of "Goethe's Balladen und Romanzen," 1831, in
+folio, with beautiful marginal decorations, there is a Dance of Death in a
+church-yard, accompanied with a description, of which an English
+translation is inserted in the "Literary Gazette" for 1832, p. 731, under
+the title of "The Skeleton Dance," with a reference to another indifferent
+version in the "Souvenir."
+
+The well-known subjects of Death and the old man with the bundle of
+sticks, &c. and Cupid and Death in many editions of AEsopian fables.
+
+
+
+
+CHAPTER XIII.
+
+    _Books of emblems and fables.--Frontispieces and title-pages, in some
+    degree connected with the Dance of Death._
+
+
+EMBLEMS AND FABLES.
+
+It is very seldom that in this numerous and amusing class of books a
+subject relating to Death, either moral or of a ludicrous nature does not
+occur. It may be sufficient to notice a few of them.
+
+"La Morosophie de Guillaume de la Perriere," 1553, 12mo.
+
+"Emblemes ou devises Chretiennes," par Georgette de Montenaye, 1571, 4to.
+
+"Le Imprese del S. Gab. Symeoni." Lyons, 1574, 4to.
+
+"Enchiridion artis pingendi, fingendi et sculpendi. Auth. Justo Ammanno,
+Tig." Francof. 1578, 4to. This is one of Jost Amman's emblematical books
+in wood, and contains at the end a figure of Death about to cut off two
+lovers with his scythe, Cupid hovering over them.
+
+"Apologi creaturarum." Plantin, 1590, 4to. with elegant etchings by Marc
+Gerard. It has one subject only of Death summoning a youth with a hawk on
+his fist to a church-yard in the back-ground.
+
+Reusner's "aureolorum emblematum liber singularis," Argentorati, 1591,
+12mo. A print of Death taking away a lady who has been stung by a serpent;
+designed and engraved by Tobias Stimmer.
+
+"De Bry Proscenium vitae humanae," Francof. 1592 and 1627, 4to. This
+collection has two subjects: 1. Death and the Young Man. 2. Death and the
+Virgin.
+
+"Jani Jacobi Boissardi Emblematum liber, a Theodoro de Bry sculpta."
+Francof. 1593. Contains one print, intitled "Sola virtus est funeris
+expers." The three Fates, one of whom holds a tablet with SIC VISVM
+SVPERIS. Death attending with his hour-glass. Below, crowns, sceptres, and
+various emblems of human vanity. On the spectator's left, a figure of
+Virtue standing, with sword and shield.
+
+"De Bry Emblemata." Francof. 1593, 4to. The last emblem has Death striking
+an old man, who still clings to the world, represented as a globe.
+
+"Rolandini variar. imaginum, lib. iii." Panormi, 1595, 12mo.
+
+"Alciati Emblemata," one of the earliest books of its kind, and a
+favourite that has passed through a great many editions.
+
+"Typotii symbola divina et humana Pontificum Imperatorum, Regum, &c."
+Francofurti, 1601, folio.
+
+"Friderich's Emblems," 1617, 8vo. Several engravings on the subject.
+
+"Das erneurte Stamm-und Stechbuchlein." By Fabian Athyr. Nuremberg, 1654.
+Small obl. 4to.
+
+"Mannichii Emblemata." Nuremberg, 1624, 4to.
+
+"Minne Beelden toe-ghepast de Lievende Jonckheyt," Amst. 1635, 12mo. The
+cuts on the subject are extremely grotesque and singular.
+
+"Sciographia Cosmica." A description of the principal towns and cities in
+the world, with views engraved by Paul Furst, and appropriate emblems. By
+Daniel Meisner: in eight parts. Nuremberg, 1637. Oblong 4to. In the print
+of the town of Freyburg, Death stands near an old man, and holds a clock
+in one hand. In that of the city of Toledo Death accompanies a female who
+has a mirror in her hand.
+
+In the same work, at vol. A. 4, is a figure of Death trampling on Envy,
+with the motto, "Der Todt mach dem Neyd ein ende." At A. 39, Death
+intercepting a traveller, the motto, "Vitam morti obviam procedit." At A.
+74, Death standing near a city, the motto, "Tros Tyriusve mihi nullo
+discrimine habetur." At C. 9, a man and woman in the chains of matrimony,
+which Death dissolves by striking the chain with a bone, the motto,
+"Conjugii vinculum firmissimum est." At C. 30, Death about to mow down a
+philosopher holding a clock, the motto, "Omnis dies, omnis hora, quam
+nihil sumus ostendit." At E. 32, Death standing in the middle of a
+parterre of flowers, holding in one hand a branch of laurel, in the other
+a palm branch, the motto, "Ante mortem nullus beatus est." At E. 35, Death
+shooting with a cross-bow at a miser before his chest of money, the motto,
+"Nec divitiis nec auro." At E. 44, Death seizes a young man writing the
+words, "sic visum superis" on a tablet, the motto, "Viva virtus est
+funeris expers." At G. 32, Death pursues a king and a peasant, all on
+horseback, the motto, "Mors sceptra ligonibus aequat." At G. 66, a woman
+looking in a mirror sees Death, who stands behind her reflected, the
+motto, "Tota vita sapientis est meditatio mortis." At H. 66, a company of
+drunkards. Death strikes one of them behind when drinking, the motto,
+"Malus inter poculo mos est." At H. 80, Death cuts down a genealogical
+tree, with a young man and woman, the motto, "Juventus proponit, mors
+disponit."
+
+"Conrad Buno Driestandige Sinnbilder," 1643. Oblong 4to.
+
+"Amoris divini et humani antipathia." Antw. 1670. 12mo.
+
+"Typotii Symbola varia diversorum principum sacrosanctae ecclesiae et sacri
+Imperii Romani." Arnheim, 1679. 12mo.
+
+In Sluiter's "Somer en winter leven," Amst. 1687, 12mo. is a figure of
+Death knocking at the door of a house and alarming the inhabitants with
+his unexpected visit. The designer most probably had in his recollection
+Horace's "Mors aequo pede pulsat pauperum tabernas regumque turres."
+
+"Euterpe soboles hoc est emblemata varia, &c." with stanzas in Latin and
+German to each print. No date. Oblong 4to. The engravings by Peter Rollo.
+Republished at Paris, with this title, "Le Centre de l'amour, &c." A Paris
+chez Cupidon. Same form, and without date. This edition has several
+additional cuts.
+
+"Rollenhagii nucleus Emblematum." The cuts by Crispin de Passe.
+
+In Herman Krul's "Eerlyche tytkorting, &c." a Dutch book of emblems, 4to.
+n. d. there are some subjects in which Death is allegorically introduced,
+and sometimes in a very ludicrous manner.
+
+Death enters the study of a seated philosopher, from whose mouth and
+breast proceed rays of light, and presents him with an hour-glass. Below a
+grave, over which hangs one foot of the philosopher. A. Venne invent. Obl.
+5-1/2 by 4-1/2.
+
+"Catz's Emblems," in a variety of forms and editions, containing several
+prints relating to the subject.
+
+"Oth. Vaenii Emblemata Horatiana." Several editions, with the same prints.
+
+"Le Centre de l'Amour decouvert soubs divers emblesmes galans et
+facetieux. A Paris chez Cupidon." Obl. 4to. without date. One print only
+of a man sitting in a chair seized by Death, whilst admiring a female,
+who, not liking the intrusion, is making her escape. The book contains
+several very singular subjects, accompanied by Latin and German subjects.
+It occurs also under the title of "Euterpae soboles hoc est emblemata
+varia eleganti jocorum mistura, &c."
+
+"Fables nouvelles par M. de la Motte." 4to. edition. Amsterd. 1727, 12mo.
+
+"Apophthegmata Symbolica, &c." per A. C. Redelium Belgam. Augspurg, 1700.
+Oblong 4to. Death and the soldier; Death interrupting a feast; Death and
+the miser; Death and the old man; Death drawing the curtain of life, &c.
+&c.
+
+"Choice emblems, divine and moral." 1732. 12mo.
+
+
+FRONTISPIECES AND TITLE PAGES TO BOOKS.
+
+"Arent Bosman." This is the title to an old Dutch legend of a man who had
+a vision of hell, which is related much in the manner of those of Tundale
+and others. It was printed at Antwerp in 1504, 4to. The frontispiece has a
+figure of Death in pursuit of a terrified young man, and may probably
+belong to some other work.
+
+On a portion of the finely engraved wood frontispiece to "Joh. de Bromyard
+Summa predicantium." Nuremberg, 1518, folio. Death with scythe and
+hour-glass stands on an urn, supported by four persons, and terrifies
+several others who are taking flight and stumbling over each other.
+
+"Schawspiel Menchliches Lebens." Frankfort, 1596, 4to. Another edition in
+Latin, intitled, "Theatrum vitae humanae," by J. Boissard, the engravings by
+De Bry. At the top of the elegant title or frontispiece to this work is an
+oblong oval of a marriage, interrupted by Death, who seizes the
+bridegroom. At bottom a similar oval of Death digging the grave of an old
+man who is looking into it. On one side of the page, Death striking an
+infant in its cradle; on the other, a merchant about to ship his goods is
+intercepted by Death.
+
+On the title-page to a German jeu d'esprit, in ridicule of some anonymous
+pedant, there is a wood-cut of Death mounted backwards on an ass, and near
+him a fool hammering a block of some kind on an anvil. The title of this
+satirical morsel is "Res Mira. Asinus sex linguarum jucundissimis
+anagrammatismis et epigrammatibus oneratus, tractionibus, depositionibus,
+et fustuariis probe dedolatus, hero suo remissus, ac instar prodromi
+praemissus, donec meliora sequantur, Asininitates aboleantur, virique boni
+restituantur: ubi etiam ostenditur ab asino salso intentata vitia non esse
+vitia. Ob variam ejus jucunditatem, suavitatem et versuum leporem recusus,
+anno 1625." The address to the reader is dated from Giessen, 19th June,
+1606, and the object of the satire disguised under the name of Jonas
+Melidaeus.
+
+"Les Consolations de l'ame fidelle contre les frayeurs de la mort, par
+Charles Drelincourt." Amsterdam, 1660. 8vo.
+
+"Deugden Spoor De Vijfte Der-Eeringe Aen de Medicijas met sampt Monsieur
+Joncker Doctor Koe-Beest ende alle sijne Complicen." Death introduces an
+old man to a physician who is inspecting a urinal. 12mo.
+
+Death leading an old man with a crutch, near a charnel-house, inscribed
+MEMENTO MORI. At top these verses:
+
+  Il faut sans diferer me suivre
+    Tu dois etre pret a partir
+  Dieu ne t'a fait si longtemps vivre
+    Que pour l'aprendre a bien mourir.
+
+A Amsterdam chez Henri Desbordes. Another print, with the same design. "Se
+vendent a Londres par Daniel Du Chemin." On a spade, the monogram
+[monogram: HF] 8vo.
+
+"Reflexions sur les grands hommes." In the foreground various pranks of
+Death. In the distance, a church-yard with a regular dance, in a circle,
+of men, women, and Deaths, two of the latter sitting on a monument and
+playing on a violin and violoncello. Engraved by A. D. Putter. 12mo.
+
+"La Dance Macabre, or Death's Duell," by W. C. _i. e._ Colman. Printed by
+Wm. Stansby, no date, 12mo. It has an elegantly engraved frontispiece by
+T. Cecill, with eight compartments, exhibiting Death with the pope, the
+emperor, the priest, the nobles, the painter, the priest, and the peasant.
+The poem, in six line stanzas, is of considerable merit, and entirely
+moral on the subject of Death, but it is not the Macaber Dance of Lydgate.
+At the end, the author apologizes for the title of his book, which, he
+says, was injuriously conferred by Roger Muchill upon a sermon of Dr.
+Donne's, and adds a satirical epistle against "Muchill that never did
+good." There certainly was a sermon by Donne, published by Muchill or
+Michel, with the title of "Death's Duell."
+
+There appears to have been another edition of this book, the title-page
+only of which is preserved among Bagford's collections among the Harl.
+MSS. No. 5930. It has the same printed title, with the initials W. C. and
+the name of W. Stansby. It is also without date. This frontispiece is on a
+curtain held by two winged boys. At the top, a figure of Death, at bottom
+another of Time kneeling on a globe. In the right-hand corner, which is
+torn, there seems to have been a hand coupe with a bracelet as a crest; in
+the left, a coat of arms with a cross boutonne arg. and sable, and four
+mullets, arg. and sable. On each side, four oval compartments, with the
+following subjects. 1. A pope, a cardinal, and four bishops. 2. Several
+monks and friars. 3. Several magistrates. 4. A schoolmaster reading to his
+pupils. 5. An emperor, a king, a queen, a duke, a duchess, and a male
+attendant. 6. A group of noblemen or gentlemen. 7. A painter painting a
+figure of Death, in the back ground a woman who seems to be purchasing
+articles of dress. 8. Two men with spades, one of them digging. This very
+beautiful print is engraved by T. Cecil. On the top of each of the above
+compartments, Death holds a string with both his hands.
+
+"Theatrum omnium miserarum." A theatre filled with a vast number of
+people. In the centre, an obelisk on a pedestal, behind which is a small
+stage with persons sitting. In the foreground, Death holding a cord, with
+which three naked figures are bound, and another Death with a naked figure
+in a net. Between these figures symbols of the world, the flesh, and the
+Devil. 4to.
+
+"Les Consolations de l'Ame fidelle contre les frayeurs de la mort." Death
+holds his scythe over a group of persons, consisting of an old man and a
+child near a grave, who are followed by a king, queen, and a shepherd,
+with various pious inscriptions. 8vo.
+
+"La maniere de se bien preparer a la mort, par M. de Chertablon." Anvers,
+1700, 4to.
+
+In an engraved frontispiece, a figure of Time or Death trampling upon a
+heap of articles expressive of worldly pomp and grandeur, strikes one end
+of his scythe against the door of a building, on which is inscribed
+"STATVTVM EST OMNIBVS HOMINIBVS. SEMEL MORI. Hebr. ix."
+
+At the bottom, within a frame ornamented with emblems of mortality, a
+sarcophagus with the skeleton of a man raised from it. Two Deaths are
+standing near, one of whom blows a trumpet, the other points upward with
+one hand, and holds a scythe in the other. On one side of the sarcophagus
+are several females weeping; on the other, a philosopher sitting, who
+addresses a group of sovereigns, &c. who are looking at the skeleton.
+
+"Palingenii Zodiacus Vitae." Rotterdam, 1722. 12mo. Death seizes a sitting
+figure crowned with laurel, perhaps intended for Virtue, who clings to a
+bust of Minerva, &c.
+
+Death leading a bishop holding his crosier. He is preceded by another
+Death as a bellman with bell and lanthorn. Above, emblems of mortality
+over a label, inscribed "A Vision." 12mo.
+
+Scene, a church-yard. Death holding an hour-glass in one hand levels his
+dart at a young man in the habit of an ecclesiastic, with a mask in his
+hand. "Worlidge inv. Boitard sculp." The book unknown. 8vo.
+
+Three figures of Death uncovering a circular mirror, with a group of
+persons dying, &c. At bottom, INGREDIMVR. CVNCTI. DIVES. CVM. PAUPERE.
+MIXTVS. J. Sturt sculp.
+
+Death touching a globe, on which is inscribed VANITY, appears to a man in
+bed. "Hayman inv. C. Grignion sc." 8vo.
+
+To a little French work, intitled "Spectriana," Paris, 1817, 24mo. there
+is a frontispiece on copper representing the subject of one of the
+stories. A figure of Death incumbered with chains beckons to an armed man
+to follow him into a cave.
+
+
+
+
+CHAPTER XIV.
+
+    _Single prints connected with the Dance of Death._
+
+
+1500-1600.
+
+(N. B. The right and left hands are those of the spectator. The prints on
+_wood_ are so specified.)
+
+An ancient engraving, in the manner of Israel Van Meckenen. Death is
+playing at chess with a king, who is alarmed at an impending check-mate. A
+pope, cardinal, bishop, and other persons are looking on. Above are three
+labels. Bartsch x. 55. No. 32.
+
+Albert Durer's knight preceded by Death, and followed by a demon, a
+well-known and beautiful engraving.
+
+A very scarce and curious engraving, representing the interior of a
+brothel. At the feet of a bed a man is sitting by a woman almost naked,
+who puts her hand into his purse, and clandestinely delivers the money she
+takes from it to a fellow standing behind one of the curtains. On the
+opposite side is a grinning fool making significant signs with his fingers
+to a figure of Death peeping in at a window. This singular print has the
+mark L upon it, and is something in the manner of Lucas Van Leyden, but is
+not mentioned in Bartsch's catalogue of his prints. Upright 7-1/2 by
+5-1/2.
+
+A small etching, very delicately executed, and ascribed to Lucas Van
+Leyden, whose manner it certainly resembles. At a table on the left a
+family of old and young persons are assembled. They are startled by the
+appearance of a hideous figure of Death with a long beard and his head
+covered. Near him is a young female, crowned with a chaplet of flowers,
+holding in her hand a scull, Death's head, and hour-glass, and which the
+father of the family turns round to contemplate. Above is an angel or
+genius shooting an arrow at the family, and as it were at random. At top
+on the right is the letter L, and the date 1523. See Bartsch, vol. vii. p.
+435. Oblong, 5-1/2 by 4.
+
+A small upright print of Death with a spade on his shoulder, and leading
+an armed soldier. The mark L below on a tablet. Not mentioned by Bartsch.
+
+A small circular engraving, of several persons feasting and dancing. Death
+lies in wait behind a sort of canopy. Probably a brothel scene, as part of
+the story of the prodigal son. The mark is L. Not noticed by Bartsch.
+
+A reverse of this engraving, marked S.
+
+An engraving on wood of Death presenting an hour-glass, surmounted by a
+dial, to a soldier who holds with both his hands a long battle-axe. The
+parties seem to be conversing. With Albert Durer's mark, and the date
+1510. It has several German verses. See Bartsch, vii. 145, No. 132.
+
+A wood print of Death in a tree pointing with his right hand to a crow on
+his left, with which he holds an hour-glass. At the foot of the tree an
+old German soldier holding a sword pointed to the ground. On his left,
+another soldier with a long pike. A female sitting by the side of a large
+river with a lap-dog. The mark of Urs Graaf [monogram: VG] and the date
+1524 on the tree. Upright, 8 by 4-1/2.
+
+Death as a buffoon, with cap, bauble, and hour-glass, leading a lady. The
+motto, OMNEM IN HOMINE VENVSTATEM MORS ABOLET. With the mark and date
+[monogram] 1541. Bartsch, viii. 174.
+
+An engraving of Adam and Eve near the tree of life, which is singularly
+represented by Death entwined with a serpent. Adam holds in one hand a
+flaming sword, and with the other receives the apple from Eve, who has
+taken it from the serpent's mouth. At top is a tablet with the mark and
+date [monogram] 1543. A copy from Barthol. Beham. Bartsch, viii. 116.
+
+Death seizing a naked female. A small upright engraving. The motto, OMNEM
+IN HOMINE VENVSTATEM MORS ABOLET. With the mark and date [monogram] 1546.
+Bartsch, viii. 175.
+
+A small upright engraving, representing Death with three naked women, one
+of whom he holds by the hair of her head. A lascivious print. The mark
+[monogram] on a label at bottom. Bartsch, viii. 176, who calls the women
+sorceresses.
+
+A small upright engraving of Death holding an hour-glass and dial to a
+soldier with a halberd. At top, the mark and date [monogram] 1532.
+Bartsch, viii. 276.
+
+An upright engraving of Death seizing a soldier, who struggles to escape
+from him. Below, an hour-glass. In a corner at top, the mark [monogram].
+
+An upright engraving of Death trampling upon a vanquished soldier, who
+endeavours to parry with his sword a blow that with one hand his adversary
+aims at him, whilst with the other he breaks the soldier's spear. In a
+corner at top, the mark [monogram]. A truly terrific print, engraved also
+by [monogram: AC]. Bartsch, viii. 277.
+
+A naked female seized by a naked man in a very indecent manner. Death who
+is behind seizes the man whose left hand is placed on a little boy taking
+money out of a bag. The motto, HO: MORS VLTIMA LINEA RERVM, with the mark
+and date [monogram] 1529. See Bartsch, viii. 176.
+
+Near the end of an English Primer, printed at Paris, 1538, 4to. is a small
+print of Death leading a pope, engraved with great spirit on wood, but it
+has certainly not formed part of a series of a Dance of Death.
+
+An upright engraving of a pair of lovers interrupted by Death with scythe
+and hour-glass, with the mark and date [monogram: HM] 1550. Not in
+Bartsch.
+
+A small wood print of a gentleman conducting a lady, whose train is held
+up by Death with one hand, whilst he holds up an hour-glass with the
+other. In a corner below, the supposed mark of Jost de Negher, [monogram].
+Upright, 2 by 1-3/4.
+
+A German anonymous wood print of the prodigal son at a brothel, a female
+fool attending. Death unexpectedly appears and takes him by the hand,
+whilst another female is caressing him. Oblong, 4-1/2 by 4.
+
+An upright engraving on wood, 14 by 11, of a naked female on a couch.
+Death with a spade and hour-glass approaches her. With her left hand she
+holds one corner of a counterpane, Death seizing the other, and trampling
+upon it. Under the counterpane, and at the foot of the couch is a dead and
+naked man grasping a sword in one hand. There is no indication of the
+artist of this singular print.
+
+An upright wood engraving, 14-1/2 by 11, of a whole-length naked female
+turning her head to a mirror, which she holds behind her with both hands.
+Death, unnoticed, with an hour-glass, enters the apartment; before him a
+wheel. On the left at bottom a blank tablet, and near the woman's left
+foot a large wing.
+
+An engraving on wood by David Hopfer of Death and the Devil surprizing a
+worldly dame, who admires herself in a mirror. Oblong, 8 inches by 5-1/2.
+
+An upright engraving of a lady holding in one hand a bunch of roses and in
+the other a glove. Death behind with his hour-glass; the motto, OMNEM IN
+HOMINE VENVSTATEM MORS ABOLET. and the mark F. B. Bartsch, ix. 464.
+
+A wood print of Death seizing a child. On the left, at top, is a blank
+tablet. Upright, 2-1/2 by 2.
+
+A small oblong anonymous engraving of a naked female asleep on a couch. A
+winged Death places an hour-glass on her shoulder. A lascivious print.
+
+An ancient anonymous wood print: scene, a forest. Death habited as a
+woodman, with a hatchet at his girdle and a scythe, shoots his arrows into
+a youth with a large plume of feathers, a female and a man lying prostrate
+on the ground; near them are two dead infants with amputated arms; the
+whole group at the foot of a tree. In the back-ground, a stag wounded by
+an arrow, probably by the young man. 4to. size.
+
+A small wood-cut of Death seizing a child. Anonymous, in the manner of A.
+Durer. 2-1/4 by 1-7/8.
+
+A very old oblong wood-cut, which appears to have been part of a Dutch or
+Flemish Macaber Dance. The subjects are, Death and the Pope, with "Die
+doot seyt," "die paens seyt," &c. and the Cardinal with "Die doot seyt,"
+and "Die Cardinael seyt." There have been verses under each character.
+9-1/2 by 6-1/2.
+
+A small wood print of a tree, in which are four men, one of whom falls
+from the tree into a grave at the foot of it. Death, as a woodman, cuts
+down the tree with a hatchet. In the back-ground, another man fallen into
+a grave.
+
+A figure of Death as a naked old man with a long beard. He leans on a
+pedestal, on which are placed a scull and an hour-glass, and with his left
+hand draws towards him a draped female, who holds a globe in her left
+hand. At the bottom of the print, MORS OMNIA MVTAT, with the unknown
+monogram [monogram: BAD]. Upright, 5 inches by 2-3/4. It is a very rare
+print on copper, not mentioned by Bartsch.
+
+A small anonymous wood print of Death playing on a vielle, or beggar's
+lyre.
+
+An ancient anonymous copper engraving of Death standing on a bier, and
+laying hands upon a youth over whom are the words, "Ach got min sal ich,"
+and over Death, "hie her by mich." Both inscriptions on labels. Bartsch,
+x. p. 54, No. 30.
+
+An allegorical engraving on copper by Cuerenhert, after Martin Heemskirk,
+1550. A naked man bestrides a large sack of money, on which a figure or
+statue of Hope is standing. Death with one hand levels his dart at the
+terrified man, and holds a circle in the other. The money is falling from
+the sack, and appears to have demolished the hour-glass of Death. Upright,
+11 inches by 8. At bottom, these lines:
+
+  Maer als hemdie eininghe doot comt voer ogen
+  Dan vint hii hem doer uedele hope bedrogen.
+
+There is a smaller copy of it.
+
+A circular engraving, two inches diameter, of a pair of lovers in a
+garden. The lady is playing on a harp, her companion's lute is on the
+ground. They are accompanied by a fool, and Death behind is standing with
+a dart in his hand ready for aim at the youthful couple.
+
+A very large engraving on wood tinted in chiaroscuro. It represents a sort
+of triumphal arch at the top of which is a Death's head, above, an
+hour-glass between two arm bones, that support a stone; evidently borrowed
+from the last cut of the arms of Death in the Lyons wood-cuts. Underneath,
+the three Fates between obelisks crowned with Deaths' heads and crosses,
+with the words [Greek: MNEMONEUE APOPSYCHEIN] and ITER AD VITAM. In the
+middle, a circle with eight compartments, in which are skeleton heads of a
+pope, an emperor, &c. with mottoes. In the extremity of the circle, the
+words "Post hoc autem judicium statutum est omnibus hominibus semel mori."
+The above obelisks are supported by whole length figures of Death, near
+which are shields with BONIS BONA and MALIS MALA. On the pedestals that
+support the figures of Death are shields inscribed MEMENTO MORI and
+MEMORARE NOVISSIMA. Underneath the circle, a sort of table monument with
+Death's head brackets, and on its plinth a sceptre, cardinal's cross,
+abbot's crozier, a vessel with money, and two books. Between the brackets,
+in capitals:
+
+  TRIA SUNT VERE
+  QVAE ME FACIVNT
+      FLERE.
+
+And underneath in italics:
+
+  Primum quidem durum, quia scio me moriturum.
+  Secundum vero plango, quia moriar, et nescio quando.
+  Tertium autem flebo, quia nescio ubi manebo.
+
+In a corner at bottom, "Ill. D. Petro Caballo J. C. Poutrem Relig. D.
+Steph. ordinisq. milit. Ser. M. D. Hetr: Auditori mon: Joh. Fortuna
+Fortunius Inven. Seni..... MDLXXXVIII." It is a very fine print, engraved
+with considerable spirit.
+
+
+1600-1700.
+
+A very beautiful engraving by John Wierix, of a large party feasting and
+dancing, with music, in a garden. Death suddenly enters, and strikes a
+young female supported by her partner. At bottom, "Medio, lusu, risuque
+rapimur aeternum cruciandi." Oblong, 6-1/2 by 4-1/2.
+
+Its companion--Death, crowned with serpents, drags away a falling female,
+round whom he has affixed his chain, which is in vain held back by one of
+the party who supplicates for mercy. At bottom these lines:
+
+  Divitibus mors dura venit, redimita corona
+  Anguifera, et risus ultimo luctus habet.
+
+On the top of the print, "O mors quam amara est memoria tua homini pacem
+habenti in substantiis suis, etc." Eccl. cap. xli.
+
+An allegorical print by one of the Wierxes, after H. Van Balen. The Virgin
+Mary and a man are kneeling before and imploring Christ, who is about to
+strike a bell suspended to the branch of a tree, the root of which Death
+cuts with an axe, whilst the Devil assists in pulling at it with a rope.
+Upright, 4-1/2 by 3-1/2.
+
+Time holding a mirror to two lovers, Death behind waiting for them. At
+bottom, "Luxuries predulce malum cui tempus, &c." Engraved by Jerom Wierx.
+Oblong, 12 by 8.
+
+An allegorical engraving by Jerom Wierx, after Martin De Vos, with four
+moral stanzas at bottom, beginning "Gratia magna Dei caelo demittitur
+alto." A figure of Faith directs the attention of a man, accompanied with
+two infants, to a variety of worldly vanities scattered in a sun-beam. On
+the right, a miser counting his gold is seized and stricken by Death. At
+top, four lines of Latin and Dutch. Oblong, 13 by 10.
+
+A rare etching, by Rembrant, of a youthful couple surprized by Death.
+Date, 1639. Upright, 4-1/4 by 3.
+
+Rembrant's "Hour of Death." An old man sitting in a tent is visited by a
+young female. He points to a figure of Death with spade and hour-glass.
+Upright, 5-1/4 by 3-1/2.
+
+An engraving by De Bry. In the middle, an oblong oval, representing a
+marriage, Death attending. On the sides, grotesques of apes, goats, &c. At
+bottom, S. P. and these lines:
+
+  Ordo licet reliquos sit praestantissimus inter
+  Conjugium, heu nimium saepe doloris habet.
+
+Oblong, 5-1/2 by 2-1/4.
+
+Its companion--Death digging a grave for an old man, who looks into it.
+Psal. 49 and 90.
+
+An engraving by Crispin de Pas of Death standing behind an old man, who
+endeavours, by means of his money spread out upon a table, to entice a
+young female, who takes refuge in the arms of her young lover. At bottom,
+the following dialogue.
+
+  SENEX.
+
+  Nil aurei? nil te coronati juvant?
+    Argenteis referto bulga nil movet?
+
+
+  MORS.
+
+  Varios quid at Senex amores expetis:
+    Tumulum tuae finemque vitae respice.
+
+
+  JUVENIS.
+
+  Quid aureorum me beabit copia.
+    Amore si privata sim dulcissimo.
+
+Its companion--Death with his hour-glass stands behind an old woman, who
+offers money to a youth turning in disdain to his young mistress. At
+bottom, these lines:
+
+  JUVENIS.
+
+  Facie esse quid mihi gratius posset tua
+    Ipsius haud Corinthi gaza divitis.
+
+
+  VETULA.
+
+  Formam quid ah miselle nudam respicis
+    Cum plus beare possit auri copia.
+
+
+  MORS.
+
+  At tu juventa quid torquere frustra anus
+    Quin jam sepulchri instantis es potius memor.
+
+Both oblong, 6 by 4.
+
+An engraving by Bosse of a queen reposing on a tent bed, Death peeps in
+through the curtains, another Death stands at the corner of the bed,
+whilst a female with a shield, inscribed PIETAS, levels a dart at the
+queen. Underneath, these verses:
+
+  Grand Dieu je suis donc le victime
+      Qu'une vengeance legitime
+      Doit immoler a tes autels
+  Je n'ay point de repos qui n'augmente ma peine
+  Et les tristes objets d'une face inhumaine
+      Me sont autant de coups mortels.
+
+Oblong, 4-1/2 by 3.
+
+An engraving by John Sadeler, after Stradanus, of an old couple, with
+their children and grandchildren, in the kitchen of a farm-house. Death
+enters, fantastically crowned with flowers and an hour-glass, and with a
+bagpipe in his left hand. Round his right arm and body is a chain with a
+hook at the extremity. He offers his right hand to the old woman, who on
+her knees is imploring him for a little more delay. In the back-ground, a
+man conducted to prison; beggars receiving alms, &c. At bottom, these
+lines:
+
+  "Pauperibus mors grata venit; redimita corona
+  Florifera, et luctus ultima risus habet."
+
+On the top of the print, "O mors bonum est judicium tuum homini indigenti,
+et qui minoratur viribus defecto aetate, &c." Eccl. cap. xli. Oblong, 11 by
+8-1/2.
+
+An exceedingly clever etching by Tiepolo of a group of various persons, to
+whom Death, sitting on the ground and habited grotesquely as an old woman,
+is reading a lecture. Oblong, 7 by 5-1/2.
+
+A small circle, engraved by Le Blond, of Death appearing to the
+astrologer, copied from the same subject in the Lyons wood-cuts.
+
+A print, painted and engraved by John Lyvijus of two card players
+quarrelling. Death seizes and strikes at them with a bone. Below,
+
+  Rixas atque odia satagit dispergere serpens,
+  Antiquus, cuncta at jurgia morte cadunt.
+
+Oblong, 10 by 7-1/2.
+
+An engraving by Langlois. Death with a basket at his shoulder, on which
+sits an owl, and holding with one hand a lantern, seizes the dice of a
+gambler sitting at a table with his winnings spread before him. At top,
+these verses:
+
+  Alarme O le pipeur, chassez, chassez le moy,
+  Je ne veux pas jouer a la raffle avec toy.
+
+  LA MORT.
+
+  A la raffle je joue avec toutes personnes
+  Toutes pieces je prends, tant meschantes que bonnes.
+
+At bottom, a dialogue between the gambler and Death, in verse, beginning
+"J'ay ramene ma chance il n'y a plus remede." Upright, 10 by 7-1/2.
+
+A print by De Gheyn, but wanting his name, of an elegantly attired lady,
+with a feather on her head, and a fan mirror in her hand. She is
+accompanied by Death handsomely attired, with a similar feather, and
+holding an hour-glass. At bottom,
+
+  Qui genio indulges, media inter gaudia morti
+  Non dubiae certum sis memor esse locum.
+
+Upright, 8 by 5-1/2.
+
+Hollar's etching in Dugdale's Monasticon and his history of St. Paul's,
+from the old wood-cut in Lydgate's Dance of Macaber, already described,
+and an outline copy in Mr. Edwards's publication of Hollar's Dance of
+Death.
+
+Death and two Misers, 11-3/4 by 10. Engraved by Michael Pregel, 1616. At
+bottom, six Latin lines, beginning "Si mihi divitiae sint omnes totius
+orbis."
+
+An oblong allegorical print, 14 by 10-1/2. Death and Time at war with man
+and animals. In the foreground, Death levels three arrows at a numerous
+group of mortals of all ranks and conditions, who endeavour, in every
+possible way, to repel his attack. In the back-ground, he shoots a single
+arrow at various animals. It is a very rare and beautiful engraving by
+Bolsverd, after Vinck-boons, dated 1610. At bottom, six lines in Latin, by
+J. Semmius, beginning "Cernis ut imperio succumbant omnia Mortis."
+
+An oblong print, 18-1/2 by 13, intitled, "Alle mans vrees," _i. e._ "Every
+man's terror," and engraved by Cornelius Van Dalen, after Adrian Van
+Venne. It exhibits Death armed with a spade, and overturning and putting
+to flight a variety of persons. At bottom, four stanzas of Dutch verses,
+beginning "Dits de vrees van alle man."
+
+A large allegorical oblong engraving, 18-1/2 by 13, by Peter Nolpe, after
+Peter Potter. On the left, a figure of religion, an angel hovering over
+her with a crown and palm branch. She points to several figures bearing
+crosses, and ascending a steep hill to heaven. On the right, the Devil
+blowing into the ear of a female, representing worldly vanity. In the
+middle, Death beating a drum to a man and woman dancing. In the
+back-ground, several groups of people variously employed, and a city in
+flames.
+
+An anonymous Venetian engraving of Death striking a lady sitting at a
+table covered with various fruits, a lute, &c. She falls into the arms of
+her lover or protector. Oblong, 9-1/2 by 7.
+
+A print, after Martin Heemskirk, of Charon ferrying over souls. On the
+right, a winged Death supporting an emperor about to enter the fatal boat.
+Below, four lines, beginning "Sed terris debentur opes, quas linquere
+fato."
+
+An oblong engraving, 14 by 12, after John Cossiers. On the right, Death
+entering at a door, seizes a young man. In the middle, a music-master
+teaching a lady the lute, Death near them holding a violin and music-book.
+On the left, in another apartment, Death in a dancing attitude, with a
+double bagpipe, leads an aged man with a rosary in his left hand, and
+leaning on a staff with his right. At bottom, three stanzas of French
+verses, beginning "La Mort qui n'a point d'oreilles."
+
+A very small wood print, that seems to have belonged to some English book,
+about 1600. It represents Death behind a female, who sees his reflected
+image in a mirror which she holds, instead of her own. 1-1/2 by 1-1/2.
+
+The Devil's Ruff shop, into which a young gallant introduces his mistress,
+whose ruff one of the Devils is stiffening with a poking-stick. Death,
+with a ruff on his neck, waits at the door, near which is a coffin. This
+very curious satirical print, after Martin De Vos, is covered with
+inscriptions in French and Dutch. Oblong, 11-1/2 by 8.
+
+A small anonymous engraving of two Deaths hand in hand; the one holds a
+flower, the other two serpents; a man and woman also hand in hand; the
+latter holds a flower in her hand; they are preceded by a little boy on a
+cock-horse and a girl with a doll. Underneath, four lines, beginning "Quid
+sit, quid fuerit, quid tandem aliquando futurus."
+
+An anonymous engraving of a young gallant looking up to an image of Hope
+placed on a bag of money, near which plate, jewels, and money lie
+scattered on the ground. Death enters at a door, holding a circle in one
+hand and a dart with the other, in a menacing attitude. At bottom, these
+Latin lines:
+
+  Namque ubi Mors trucibus supra caput adstitit armis,
+  Hei quam tunc nullo pondere nummus erit.
+
+The same in Dutch. Upright, 8-1/2 by 6. This print was afterwards copied
+in a reduced form into a book of emblems, with the title, "Stulte hoc
+nocte repetent animam tuam," with verses in Latin, French, and German.
+
+A small anonymous wood engraving of five Deaths dancing in a circle; the
+motto, DOODEN DANS OP LESTEM, _i. e._ the last Dance of Death.
+
+A very clever etching of a winged and laurelled Death playing on the
+bagpipe and making his appearance to an old couple at table. The man puts
+off his cap and takes the visitor by the hand, as if to bid him welcome.
+Below, two Dutch lines, beginning "Maerdie hier sterven, &c." At top, on
+the left, "W. V. Valckert, in. fe. 1612." Oblong, 8-1/2 by 6-1/2.
+
+A very complicated and anonymous allegorical print, with a great variety
+of figures. In the middle, Death is striking with a sledge-hammer at a
+soul placed in a crucible over a sort of furnace. A demon with bellows is
+blowing the fire, and a female, representing the world, is adding fuel to
+it. In various parts of the print are Dutch inscriptions. Oblong, 10-1/2
+by 6.
+
+Two old misers, a man and a woman. She weighs the gold, and he enters it
+in a book. Death with an hour-glass peeps in at one window, and the Devil
+at another. On the left, stands a demon with a book and a purse of money.
+On the right, in a corner, I. V. BRVG: F. "Se vend chez Audran rue S.
+Jaques aux deux piliers d'or." An upright mezzotint, 11-1/2 by 8-1/2.
+
+Two old misers, a man and a woman. He holds a purse, and she weighs the
+money. Death behind lies in wait for them. Below, a French stanza,
+beginning "Fol en cette nuit on te redemande ton ame," and the same in
+Latin. Below, "J. Meheux sculp. A Paris chez Audran rue St. Jaques aux
+deux pilliers d'or." An upright mezzotint, 10 by 7-1/2.
+
+An oval engraving in a frame of slips of trees. Death pulling down a fruit
+tree; a hand in a cloud cutting a flower with a sickle. Motto, "Fortior
+frango, tenera meto." Upright, 6-1/2 by 4.
+
+An anonymous engraving of a lady sitting at her toilet. She starts at the
+reflected image of Death standing behind her, in her looking glass. Her
+lover stands near her in the act of drawing his sword to repel the
+unwelcome visitor. Upright, 7-1/4 by 6-1/2. To some such print or
+painting, Hamlet, holding a scull in his hand, evidently alludes in Act v.
+Sc. 1. "Now get you to my lady's chamber, and tell her let her paint an
+inch thick, to this favour she must come."
+
+A print of the tree of knowledge, the serpent holding the apple in his
+mouth. Below, several animals, as in the usual representations of
+Paradise. On one side a youth on horseback with a hawk on his fist; on the
+other, Death strikes at him with his dart. On the right, at bottom, the
+letters R. P. ex. and these verses:
+
+  Nor noble, valiant, youthfull or wise, have
+  The least exemption from the gloomy grave.
+
+Upright, 6 by 4.
+
+A large oblong engraving, on copper, 22 by 17. On the left, is an arched
+cavern, from which issue two Deaths, one of whom holds a string, the end
+of which is attached to an owl, placed as a bird decoy, on a pillar in the
+middle of the print. Under the string, three men reading. On the left,
+near a tree, is a ghastly sitting figure, whose head has been flayed. On
+the opposite side below, a musical group of three men and a woman. In the
+back-ground, several men caught in a net; near them, Death with a hound
+pursuing three persons who are about to be intercepted by a net spread
+between two trees. In the distance, a vessel with a Death's head on the
+inflated sail. On the top of the arched cavern, a group of seven persons,
+one of whom, a female, points to the interior of an urn; near them a
+flying angel holding a blank shield of arms. In the middle of the print,
+at bottom, some inscription has been erased.
+
+A print, intitled "Cursus Mundi." A woman holds, in one hand, a broken
+vessel with live coals; in the other, a lamp, at which a little boy is
+about to light a candle. Death appears on the left. At bottom, a Latin
+inscription stating that the picture was painted by William Panneels, the
+scholar of Rubens, in 1631, and that it is in the palace of Anselm
+Casimir, archbishop of Mentz. Upright, 9-1/2 by 6-1/2.
+
+A small anonymous engraving of Death sitting on a large fractured
+bass-viol, near which, on the ground, is a broken violin.
+
+An elegant small and anonymous engraving of a young soldier, whom Death
+strikes with his dart whilst he despoils him of his hat and feather. At
+bottom, six couplets of French verses, beginning "Retire toy de moy O
+monstre insatiable." Upright, 3-3/4 by 2-3/4.
+
+A small anonymous engraving of a merchant watching the embarkation of his
+goods, Death behind waiting for him. Motto from Psalm 39, "Computat et
+parcit nec quis sit noverit, haeres, &c." Upright, 3-1/4 by 1-1/2.
+
+Its companion--Death striking a child in a cradle. Job 14. "Vita brevis
+hominum variis obnoxia curis, &c." These were probably part of a series.
+
+An anonymous engraving of a man on his death-bed. On one side, the vision
+of a bishop saint in a cloud; on the other, Death has just entered the
+room to receive his victim. Oblong, 5-1/2 by 2-1/2.
+
+An anonymous engraving of a woman sitting under a tree. Sin, as a boy,
+with PECCATVM inscribed on his forehead, delivers a globe, on which a
+serpent is entwined, to Death. At bottom, "A muliere initium factum est
+peccati et per illam omnes morimur. Eccl. C. XXV."
+
+A small anonymous engraving of Death interrupting a Turkish sultan at
+table. In the back ground, another Turk contemplating a heap of sculls.
+
+A mezzotint by Gole, of Death appearing to a miser, treading on an
+hour-glass and playing on the violin. In the back-ground, a room in which
+is Death seizing a young man. The floor is covered with youthful
+instruments of recreation. This subject has been painted by Old Franks
+and Otho Vaenius. Upright, 9 by 6-1/2. Another mezzotint of the same
+subject by P. Schenck is mentioned by Peignot, p. 19. It is inscribed
+"Mortis ingrata musica."
+
+A very singular, anonymous, and unintelligible engraving of a figure that
+seems intended for a blacksmith, who holds a large hammer in his hand. On
+his right, two monks, and behind him, Death folding his arms to his
+breast. Below, writing implements, &c. Upright, 4 by 3.
+
+The triumphal car of Time drawn by genii, and accompanied by a pope,
+cardinal, emperor, king, queen, &c. At the top of the car, Death blows a
+trumpet, to which a banner is suspended, with "Je trompe tout le monde."
+In the back-ground a running fountain, with "Ainsi passe la gloire du
+monde." An anonymous upright engraving, 4 by 2-1/2.
+
+A very neat engraving by Le Blon of several European coins. In the centre,
+a room in which Death strikes at two misers, a man and a woman sitting at
+a table covered with money. On the table cloth, "Luc. 12 ca."
+
+Its companion--Death and the Miser. The design from the same subject in
+the Lyons wood-cuts. A label on the wall, with "Luc. 12." Oblong, 6-1/2 by
+3-1/2.
+
+A German anonymous print, apparently from a book of emblems, representing
+Death waiting with a scythe to cut off the following persons: 1. A lady.
+2. A gentleman. 3. An advocate. 4. A soldier: and, 5. A preacher. Each has
+an inscription. 1. Ich todt euch alle (I kill you all). 2. Ich erfrew euch
+alle (I rejoice you all). 3. Ich eruhr euch alle (I honour you all). 4.
+Ich red fur euch alle (I speak for you all). 5. Ich fecht fur euch alle (I
+fight for you all). 6. Ich bett fur euch alle (I pray for you all). With
+verses at bottom, in Latin and German. Oblong, 5-1/4 by 4.
+
+An anonymous engraving of a naked youth who with a sword strikes at the
+head of Death pursuing another youth. Oblong, 9-1/2 by 5-1/2.
+
+An upright engraving, 5-1/2 by 4, representing a young man on horseback
+holding a hawk on his fist, and surrounded by various animals. Death
+holding an hour-glass, strikes at him with his dart. Behind, the tree of
+knowledge, with the serpent and apple. At bottom, on the right, are the
+initials T. P. ex.
+
+An engraving of the Duke of Savoy, who, attended by his guards, receives
+petitions from various persons. Before him stands in a cloud the angel of
+Death, who points towards heaven. At bottom, on the left, "Delphinus
+pinxit. Brambilla del. 1676," and on the right, "Nobilis de Piene S. R. C.
+Prim. caelator f. Taur." Oblong, 10-1/2 by 7-1/2.
+
+An engraving by De Gheyn, intitled, "Vanitas, idelheit." A lady is sitting
+at a table, on which is a box of jewels and a heap of money. A hideous
+female Death strikes at her with a flaming dart, which, at the same time,
+scatters the leaves of a flower which she holds in her left hand. Upright,
+9 by 7.
+
+A very small circular wood-cut, apparently some printer's device,
+representing an old and a young man, holding up a mirror, in which is
+reflected the figure of Death standing behind them, with the motto,
+"Beholde your glory."
+
+An anonymous print of Death and the miser. Death seizes his money, which
+he conveys into a dish. Upright, 3-1/2 by 2-1/2. It is a copy from the
+same subject in the Lyons wood-cuts.
+
+
+1700-1800.
+
+An anonymous modern copy of Death and the bridegroom, copied from the
+Lyons wood-cuts, edition 1562.
+
+An etching of Death, with an hour-glass in one hand and a cane in the
+other, entering a room where a poor poet has been writing, and who would
+willingly dispense with the visit. At bottom "And when Death himself
+knocked at my door, ye bad him come again; and in so gay a tone of
+careless indifference did ye do it, that he doubted of his commission.
+There must certainly be some mistake in this matter, quoth he." The same
+in Italian. This is one of Patch's caricatures after Ghezzi. Upright,
+16-1/2 by 12.
+
+A print intitled "Time's lecture to man," with eight stanzas in verse,
+beginning "Why start you at that skeleton." It consists of three
+divisions. At top a young man starts at the appearance of time and death.
+Under the youth "Calcanda semel via lethi." At each extremity of this
+division is a figure of Death sitting on a monument. The verses, in double
+columns, are placed between two borders with compartments. That on the
+right a scull crowned with a mitre; an angel with a censer; time carrying
+off a female on his back; Death with an infant in his arms; Death on
+horseback with a flag; Death wrestling with a man. The border on the left
+has a scull with a regal crown; an angel dancing with a book; Death
+carrying off an old man; Death leading a child; Death with a naked corpse;
+Death digging a grave. At bottom "Sold by Clark and Pine, engravers, in
+Castle Yard, near Chancery Lane, T. Witham, frame-maker, in Long Lane,
+near West Smithfield, London." With a vignette of three Deaths' heads. 13
+by 9-1/2.
+
+There is a very singular ancient gem engraved in "Passeri de Gemmis
+Astriferis," tom. ii. p. 248. representing a skeleton Death standing in a
+car drawn by two animals that may be intended for lions; he holds a whip
+in his hand, and is driving over other skeletons. It is covered with
+barbarous and unintelligible words in Greek characters, and is to be
+classed among those gems which are used as amulets or for magical
+purposes. It seems to have suggested some of the designs that accompany
+the old editions of Petrarch's Triumph of Death.
+
+A folio mezzotint of J. Daniel von Menzel, an Austrian hussar. Behind him
+is a figure of Death with the hussar's hat on his head, by whom he is
+seized. There are some German verses, and below
+
+  Mon amis avec moi a la danse
+  C'est pour vous la juste recompense.
+
+The print is dated 1744.
+
+A Dutch anonymous oblong engraving on copper, 10-1/2 by 10, intitled
+"Bombario, o dood! te schendig in de nood." Death leads a large group of
+various characters. At bottom verses beginning "De Boertjes knappen al
+temaal." On each side caricatures inscribed Democritus and Heraclitus. It
+is one of the numerous caricatures on the famous South Sea or Mississippi
+bubble.
+
+An engraving, published by Darly, entitled "Macaronies drawn after the
+life." On the left a macaroni standing. On the floor dice and dice-box. On
+a table cards and two books. On the right, Death with a spade, leaning on
+a sarcophagus, inscribed "Here lies interred Dicky Daffodil, &c." Oblong,
+9 by 6.
+
+A very clever private etching by Colonel Turner, of the Guards, 1799,
+representing, in the foreground, three Deaths dancing in most grotesque
+attitudes. In the distance several groups of skeletons, some of whom are
+dancing, one of them beating a drum. Oblong, 5-1/2 by 3-1/2.
+
+A small engraving by Chodowiecki. Death appears to a medical student
+sitting at a table; underneath these lines,
+
+  De grace epargne moi, je me fais medecin,
+  Tu recevras de moi la moitie des malades.
+
+Upright, 3-1/2 by 2. This is not included in his Dance of Death.
+
+The same slightly retouched, with German verses.
+
+A small engraving, by Chodowiecki, of Death approaching a dying man
+attended by his family and a physician. Oblong, 2-1/2 by 2.
+
+A modern engraving, intitled "An emblem of a modern marriage." Death
+habited as a beau stands by a lady, who points to a monument inscribed
+"Requiescat in pace." Above a weeping Cupid with an inverted torch. At
+bottom
+
+          ... No smiles for us the Godhead wears,
+  His torch inverted and his face in tears.
+
+Drawn by M. H. from a sketch cut with a diamond on a pane of glass.
+Published according to act of parliament, June 15, 1775.
+
+A modern caricature intitled "A patch for t'other eye." Death is about to
+place a patch on the right eye of an old general, who has one already on
+the other. His hat and truncheon lie on the ground, and he is drawing his
+sword for the purpose of opposing the intention of his grim adversary,
+exclaiming at the same time, "Oh G--d d--n ye, if that's your sport, have
+at ye." Upright, 8 inches by 7.
+
+A small engraving by Chr. de Mechel, 1775, of an apothecary's shop. He
+holds up a urinal to a patient who comes to consult him, behind whom Death
+is standing and laying hands upon him. Below these verses:
+
+  Docteur, en vain tu projettes
+    De prononcer sur cette eau,
+  La mort rit de tes recettes
+    Et conduit l'homme au tombeau.
+
+Oblong, 4 by 3.
+
+An anonymous and spirited etching of Death obsequiously and with his arms
+crossed entering a room in which is a woman in bed with three infants.
+With uplifted arms she screams at the sight of the apparition. Below in a
+corner the husband, accompanied with four other children. Upright, 11 by
+10-1/2.
+
+"The lawyer's last circuit." He is attacked by four Deaths mounted on
+skeleton horses. He is placed behind one of them, and all gallop off with
+him. A road-post inscribed "Road to hell." Below, the lines from Hamlet,
+"Where be his quiddits now? his quillets, his cases, his tenures, and his
+tricks, &c." Published April 25, 1782, by R. Smith, opposite the Pantheon,
+Oxford Street. Oblong, 10 by 6-1/2.
+
+
+1800.
+
+A modern wood-cut of a drinking and smoking party. Demons of destruction
+hover over them in the characters of Poverty, Apoplexy, Madness, Dropsy,
+and Gout. In the bowl on the table is a monstrous head inscribed
+"Disease." Behind, a gigantic figure of Death with scythe and hour-glass.
+Oblong, 3-1/2 by 3.
+
+A Sketch by Samuel Ireland, after Mortimer, in imitation of a chalk
+drawing, apparently exhibiting an Englishman, a Dutchman, and a Spaniard.
+Death behind stretching his arms upon all of them. Oblong 10-1/2 by 8.
+
+A wood print intitled "Das betruhte Brautfest." Death seizes a man looking
+at a table covered with wedding-cakes, &c. From a modern Swiss almanack.
+Oblong 6-1/2 by 5-1/2.
+
+A mezzotint of a physician, who attending a sick patient in bed is
+attacked by a group of Deaths bearing standards, inscribed "Despair,"
+"l'amour," "omnia vincit amor," and "luxury." Oblong, 11 by 8-1/2.
+
+An etching from a drawing by Van Venne of Death preaching from a
+charnel-house to a group of people. His text book rests on the figure of a
+skeleton as a reading desk. It is prefixed to Mr. Dagley's "Death's
+Doings," mentioned in p. 157. Oblong, 5-1/2 by 4-1/4.
+
+Mr. Dagley, in the second edition of his "Death's Doings," p. 9, mentions
+a print of "a man draining an enormous bowl, and Death standing ready to
+confirm the title of the print, "the last drop."
+
+An etching by Dagley, after Birch, of Baxter, a famous cricketer, bowled
+out by Death. Below, his portrait at full length. Oblong, 9 by 7.
+
+"Sketches of the celebrated skeletons, originally designed on the long
+wall between Turnham-Green and Brentford." Etchings of various groups; the
+subjects, billiards, drafts, cards, dice, toss, and pitch. Oblong, 18 by
+11.
+
+"Humorous sketches of skeletons engaged in the various sciences of
+Singing, Dancing, Music, Oratory, Painting, and Sculpture." Drawn by H.
+Heathcote Russell as a companion to the skeletons copied from the long
+wall at Brentford. Published 3d June, 1830. Same size as the preceding
+print.
+
+A lithographic print of a conjurer pointing with his magic wand to a table
+on which are cups, a lanthorn, &c. In the back-ground, the Devil running
+away with a baker, and a group of three dancing Deaths. Below, birds in
+cages, cards, &c. Oblong, 8 by 6.
+
+A small modern wood-cut of Death seizing a lady at a ball. He is disguised
+as one of the party. Underneath, "Death leads the dance."--_Young--Night
+5._
+
+From "the Christian's Pocket Magazine." Oblong, 2-1/2 by 1-1/2.
+
+A design for the ballad of Leonora, by Lady Diana Beauclerc. A spectre, as
+Death, carrying off a lady on horseback, and striking her with his dart.
+Other Death-like spectres waiting for her. Oblong, 11-3/4 by 9.
+
+A small modern engraving of Death presenting a smelling bottle to a
+fainting butcher with one hand, and with the other fanning him. The motto,
+"A butcher overcome with extreme sensibility, is as strangely revived."
+
+A modern halfpenny wood-cut of several groups, among which is a man
+presenting an old woman to Death. The motto, "Death come for a wicked
+woman."
+
+An oval etching, by Harding, intitled "Death and the Doctor." Upright,
+4-1/2 by 3-1/2.
+
+A modern etching of Death striking a sleeping lady leaning on a table, on
+which little imps are dancing. At bottom, "Marks fecit." Oblong, 4 by 3.
+
+An anonymous modern wood-cut of Death seizing a usurer, over whom another
+Death is throwing a counterpane. Square, 4 by 4.
+
+An etching, intitled "the Last Drop." A fat citizen draining a punch-bowl.
+Death behind is about to strike him with his dart. Upright, 8-1/2 by
+6-1/2.
+
+In an elegant series of prints, illustrative of the poetical works of
+Goethe, there is a poem of seven stanzas, intitled "Der Todtentanz," where
+the embellishment represents a church-yard, in which several groups of
+skeletons are introduced, some of them rising, or just raised, from their
+graves; others in the attitude of dancing together or preparing for a
+dance. These prints are beautifully etched in outline in the manner of the
+drawings in the margins of Albert Durer's prayer-book in the library of
+Munich.
+
+Prefixed to a poem by Edward Quillinan, in a volume of wood-cuts used at
+the press of Lee Priory, the seat of Sir Egerton Brydges, intitled "Death
+to Doctor Quackery," there is an elegant wood-cut, representing Death
+hob-and-nobbing with the Doctor at a table.
+
+In the same volume is another wood-cut on the subject of a dance given by
+the Lord of Death in Clifton Halls. A motley group of various characters
+are dancing in a circle whilst Death plays the fiddle.
+
+In 1832 was published at Paris "La Danse des Morts, ballade dediee a
+Madame la Comtesse de Tryon Montalembert. Paroles et musique de P.
+Merruau." The subject is as follows: A girl named Lise is admonished by
+her mother not to dance on a Saturday, the day on which Satan calls the
+dead to the infernal _Sabbat_. She promises obedience, but whilst her
+mother is napping, escapes to the ball. She forgets the midnight hour,
+when a company of damned souls, led by Satan, enter the ball-room
+hand-in-hand, exclaiming "Make way for Death." All the party escape,
+except Lise, who suddenly finds herself encircled by skeletons, who
+continue dancing round her. From that time, on every Saturday at midnight,
+there is heard under ground, in the church-yard, the lamentation of a soul
+forcibly detained, and exclaiming "Girls beware of dancing Satan!" At the
+head of this ballad is a lithographic print of the terrified Lise in
+Satan's clutches, surrounded by dancing, piping, and fiddling Deaths.
+
+About the same time there appeared a silly ballad, set to music, intitled
+"the Cork Leg," accompanied by a print in which the man with the cork leg
+falling on the ground drops his leg. It is seized by Death, who stalks
+away with it in a very grotesque manner.
+
+
+
+
+CHAPTER XV.
+
+    _Initial or capital Letters with the Dance of Death._
+
+
+It is very well known that the use of initial or capital letters,
+especially with figures of any kind, is not coeval with the invention of
+printing. It was some time before they were introduced at all, a blank
+being left, or else a small letter printed for the illuminators to cover
+or fill up, as they had been accustomed to do in manuscripts; for,
+although the art of printing nearly put an end to the occupation of that
+ingenious class of artists, they continued to be employed by the early
+printers to decorate their books with elegant initials, and particularly
+to illuminate the first pages of them with beautiful borders of foliage or
+animals, for the purpose of giving them the appearance of manuscripts.
+
+It has more than once been most erroneously asserted by bibliographers and
+writers on typography, that Erhard Ratdolt, a printer at Venice, was the
+first person who made use of initial letters about the year 1477; for
+instances are not wanting of their introduction into some of the earliest
+printed books. Among the latter the most beautiful specimen of an
+ornamented capital letter is the B in the Psalter of 1457, of which Dr.
+Dibdin has given a very faithful copy in vol. I. p. 107, of the
+Bibliotheca Spenceriana. This truly elegant letter seems to have been
+regarded as the only one of its kind; but, in a fragment of an undescribed
+missal in folio, printed in the same type as the above-mentioned Psalter,
+there is an equally beautiful initial T, prefixed to the "Te igitur"
+canon of the mass. It is ornamented with flowers and foliage, and in both
+these precious volumes there are many other smaller capitals, but whether
+printed with the other type, or afterwards stamped, may admit of some
+doubt. This unique and valuable fragment is in the collection of the
+present writer.
+
+As the art of printing advanced, the initial letters assumed every
+possible variety of form, with respect to the subjects with which they
+were ornamented. Incidents from scripture and profane history, animals of
+every kind, and the most ludicrous grotesques, constitute the general
+materials; nor has the Dance of Death been forgotten. It was first
+introduced into the books printed at Basle by Bebelius and Cratander about
+the year 1530, and for one or the other of these celebrated printers an
+alphabet of initial letters was constructed, which, in elegance of design
+and delicacy of engraving, have scarcely ever been equalled, and certainly
+never exceeded. Whether they were engraved in relief on blocks of type or
+printer's metal, in the manner of wood-cutting, or executed in wood in the
+usual manner, is a matter of doubt, and likely to remain so. They may, in
+every point of view be regarded as the chef d'oeuvre of ancient block
+engraving, and to copy them successfully at this time might require the
+utmost efforts of such artists as Harvey, Jackson, and Byfield.[134]
+
+A proof set of this alphabet, in the possession of the present writer, was
+shown to M. De Mechel when he was in London, on which occasion he stated
+that he had seen in the public library of Basle another proof set on a
+single sheet, with the inscription "Hans Lutzelburger," who is elsewhere
+called _formschneider_, or block-cutter, of which he has written a
+memorandum on the leaf containing the first abovementioned set of proofs.
+M. de Mechel, with great probability, inferred that this person was either
+the designer or engraver of the alphabet as well as of the cuts to the
+"Historiees faces de la mort," on one of which, as already stated, the
+mark [monogram: HL] is placed;[135] but to whomsoever this mark may turn
+out to belong, certain it is that Holbein never made use of it.[136] These
+letters measure precisely 1 inch by 7/8 of an inch, and the subjects are
+as follow:
+
+A. A group of Deaths passing through a cemetery covered with sculls. One
+of them blows a trumpet, and another plays on a tabor and pipe.
+
+B. Two Deaths seize upon a pope, on whom a demon fastens, to prevent their
+dragging him along.
+
+C. An emperor in the clutches of two Deaths, one of whom he resists,
+whilst the other pulls off his crown.
+
+D. A king thrown to the ground and forcibly dragged away by two Deaths.
+
+E. Death and the cardinal.
+
+F. An empress sitting in a chair is attacked by two Deaths, one of whom
+lifts up her petticoat.
+
+G. A queen seized by two Deaths, one of whom plays on a fife.
+
+H. A bishop led away by Death.
+
+I. A duke with his hands clasped in despair is seized behind by Death in
+the grotesque figure of an old woman.
+
+K. Death with a furred cap and mantle, and a flail in his right hand,
+seizes a nobleman.
+
+L. Death in the habit of a priest with a vessel of holy water takes
+possession of the canon.
+
+M. Death behind a physician in his study lays his hand on a urinal which
+he is inspecting.
+
+N. One Death lays hold on a miser, whilst another carries off his money
+from a table.
+
+O. Death carries off a terrified monk.
+
+P. Combat between Death and the soldier.
+
+Q. Death very quietly leads away a nun.
+
+R. Death and the fool who strikes at him with his bauble.
+
+S. Exhibits two Deaths, one of whom is in a very licentious action with a
+female, whilst the other runs off with an hour-glass on his back.
+
+T. A minstrel with his pipe, lying prostrate on the ground, is dragged
+away by one Death, whilst another pours something from a vessel into his
+mouth.
+
+V. A man on horseback endeavouring to escape from Death is seized by him
+behind.
+
+W. Death and the hermit.
+
+X. Death and the Devil among the gamblers.
+
+Y. Death, the nurse, and the infant.
+
+Z. The last Judgment.
+
+But they were not only used at Basle by Bebelius Isingrin and Cratander,
+but also at Strasburg by Wolfgang Cephaleus, and probably by other
+printers; because in an edition of Huttichius's "Romanorum principum
+effigies," printed by Cephaleus at Strasburg in 1552, they appear in a
+very worn and much used condition. In his Greek Bible of 1526, near half
+the alphabet were used, some of them by different hands.
+
+They were separately published in a very small volume without date, each
+letter being accompanied with appropriate scriptural allusions taken from
+the Vulgate Bible.
+
+They were badly copied, and with occasional variations, for books printed
+at Strasburg by J. Schott about 1540. Same size as the originals. The same
+initials were used by Henry Stainer of Augsburg in 1530.
+
+Schott also used two other sets of a larger size, the same subjects with
+variations, and which occur likewise in books printed at Frankfort about
+1550 by Cyriacus Jacob.
+
+Christopher Froschover, of Zurich, used two alphabets with the Dance of
+Death. In Gesner's "Bibliotheca Universalis," printed by him in 1545,
+folio, he used the letters A. B. C. in indifferent copies of the originals
+with some variation. In a Vulgate Bible, printed by him in 1544, he uses
+the A and C of the same alphabet, and also the following letters, with
+different subjects, viz. F. Death blowing a trumpet in his left hand, with
+the right seizes a friar holding his beads and endeavouring to escape. O.
+Death and the Swiss soldier with his battle-axe; and, S. a queen between
+two Deaths, one of whom leads her, the other holds up her train. The
+Gesner has also a Q from the same alphabet of Death and the nun. This
+second alphabet is coarsely engraved on wood, and both are of the same
+size as the originals.
+
+In Francolin's "Rerum praeclare gestarum, intra et extra moenia civitatis
+Viennensis, pedestri et equestri praelio, terra et aqua, elapso Mense Junio
+Anni Domini MDLX. elegantissimis iconibus ad vivum illustratarum, in
+laudem et gloriam sere. poten. invictissimique principis et Domini, Domini
+Ferdinandi electi Roma: imperatoris, &c. Vienna excudebat Raphael
+Hofhalter," at fo. xxii. b. the letter D is closely copied in wood from
+the original, and appears to have been much used. This very rare work is
+extremely interesting for its large and spirited etchings of the various
+ceremonies on the above occasion, but more particularly for the
+tournaments. It is also valuable for the marks of the artists, some of
+which are quite unknown.
+
+Other copies of them on wood occur in English books, but whether the whole
+alphabet was copied would be difficult to ascertain. In a Coverdale's
+Bible, printed by James Nicolson in Southwark, the letters A. I. and T.
+occur. The subject of the A. is that of the fool and Death, from the R. of
+the originals, with the addition of the fool's bauble on the ground: the
+two other letters are like the originals. The size 2 inches by 1-1/2. The
+same letters, and no others, occur in a folio English Bible, the date of
+which has not been ascertained, it being only a fragment. The A is found
+as late as 1618 in an edition of Stowe's "Survey of London." In all these
+letters large white spots are on the back-ground, which might be taken for
+worm-holes, but are not so. The I occurs in J. Waley's "table of yeres of
+kings," 1567, 12mo.
+
+An X and a T, an inch and 1/2 square, with the same subjects as in the
+originals, and not only closely copied, but nearly as well engraved on
+wood, are in the author's collection. Their locality has not been traced.
+
+Hollar etched the first six letters of the alphabet from the initials
+described in p. 214. They are rather larger than the originals, but
+greatly inferior to them in spirit and effect.
+
+Two other alphabets, the one of peasants dancing, the other of boys
+playing, by the same artists, have been already described in p. 101, and
+were also used by the Basle and other printers.
+
+In Braunii Civitates Orbis terrarum, Par. I. No. 37, edit. 1576, there is
+an H, inch and 1/2 square. The subject, Death leading a Pope on horseback.
+It is engraved on wood with much spirit.
+
+In "Prodicion y destierro de los Moriscos de Castilla, por F. Marcos de
+Guadalajara y Xavier." Pamplona, 1614, 4to. there is an initial E cut in
+wood with the subject of the cardinal, varied from that in Lutzenberger's
+alphabet.
+
+A Greek [Greek: P] on wood, with Death leading away the pope, was used by
+Cephalaeus in a Testament.
+
+In "Fulwell's Flower of Fame," printed by W. Hoskins, 1575, 4to. is an
+initial of Death leading a king, probably belonging to some alphabet.
+
+An S rudely cut on wood with Death seizing two children was used by the
+English printers, J. Herford and T. Marshe.
+
+An A well cut on wood, representing Death striking a miser, who is
+counting his money at a table. It occurs at fo. 5 of Quad's "fasciculus
+geographicus." Cologne, 1608, small folio, printed by John Buxemacher.
+
+An R indifferently cut on wood, two inches square. The subject, Death in a
+grave pulls an old man towards him. A boy making his escape. From some
+unknown book.
+
+An S indifferently cut on wood, two inches square. Death shovelling two
+sculls, one crowned, into a grave. On the shovel the word IDEM, and below,
+the initials of the engraver or designer, I. F. From some unknown book.
+
+An H, an inch and half square, very beautifully cut on wood. The letter is
+surrounded by a group of people, over whom Death below is drawing a net.
+It is from some Dutch book of emblems, about 1640.
+
+An M cut on wood in p. 353 of a Suetonius, edited by Charles Patin, and
+printed 1675, 4to. "Basle typis Genathianis." The subject is, Death
+seizing Cupid. Size, 1-1/2 square.
+
+A W, 2-1/8 square, engraved on copper, with the initials of Michael
+Burghers. A large palm tree in the middle, Death with his scythe
+approaches a shepherd sitting on a bank and tending his flock.
+
+In the second volume of Braun and Hogenberg Civitates orbis terrarum, and
+prefixed to a complimentary letter from Remaglus Lymburgus, a physician
+and canon of Liege, there is an initial letter about an inch and a half
+square, representing a pope and an emperor playing at cards. They are
+interrupted by Death, who offers them a cup which he holds in his left
+hand whilst he points to them with his right. Other figures are
+introduced. This letter is very finely engraved on wood.
+
+In Vol. II. p. 118 (misprinted 208) of Steinwich's "Bibliothecae
+Ecclesiasticae." Colon. Agrip. 1599, folio. There is a single initial
+letter V only, which may have been part of an alphabet with a Dance of
+Death. The subject is Death and the queen. The size nearly an inch square.
+
+At fo. 1. of "F. Marco de Guadalajara y Xavier, Memorable expulsion y
+justissimo destierro de los Moriscos de Espana, Pamplona, 1613, 4to."
+there is an initial E, finely drawn and well engraved in wood. The subject
+has been taken from two cuts in the Lyons Dance of Death, viz. the
+cardinal and the emperor. From the first, the figures of the cardinal and
+Death seizing his hat; and from the other, the figures of the kneeling
+man, and of Death seizing the emperor's crown, are introduced as a
+complete group in the above initial letter. Size, 1-1/2 inch square.
+
+In p. 66 of the same work there is another letter that has probably
+belonged to a set of initials with a Dance of Death. It is an H, and
+copied from the subject of the bishop taken by Death from his flock, in
+the Lyons series. It is engraved in a different and inferior style from
+that last mentioned, yet with considerable spirit. Size, 1-1/2 inch.
+
+
+
+
+CHAPTER XVI.
+
+    _Paintings.--Drawings.--Miscellaneous._
+
+
+Rene of Anjou is said to have painted a sort of Death's Dance at Avignon,
+which was destroyed in the French revolution.
+
+In one of the wardrobe accounts of Henry VIII. a picture at Westminster is
+thus described: "Item, a table with the picture of a woman playing upon a
+lute, and an old manne holding a glasse in th' one hande and a deadde
+mannes headde in th' other hande." MS. Harl. No. 1419.
+
+A round painting in oil, by or from Hans Holbein. The subject, an old man
+making love to a young girl. Death pulling him back, hints at the
+consequences, whilst the absurdity is manifested by the presence of a
+fool, with cockscomb and bauble, on the other side. Diameter, 15 inches.
+From the striking resemblance in the features of the old lover to those of
+Erasmus, there is no doubt that Holbein intended by this group to retort
+upon his friend, who, on one of the drawings which Holbein had inserted in
+a copy of Erasmus's Praise of Folly, now in the public library at Basle,
+and which represented a fat epicure at table embracing a wench, had
+written the name of HOLBEIN, in allusion to his well-known intemperance.
+In the present writer's possession.
+
+The small painting by Isaac Oliver, from Holbein, formerly at Whitehall,
+of Death with a green garland, &c. already more particularly described at
+p. 145.
+
+A small painting in oil, by Old Franks, of a gouty old miser startled at
+the unexpected appearance of Death, who approaches him playing on a
+violin, one of his feet resting on an hour-glass. In the distance, and in
+another room, Death is seen in conversation with a sitting gentleman.
+Upright, 7-1/2 by 5-1/2.
+
+The same subject, painted in oil by Otho Vaenius, in which a guitar is
+substituted for the violin. This picture was in the collection of Richard
+Cosway, Esquire. Upright, 12 by 6, and is now belonging to the present
+writer.
+
+A Mr. Knowles, a modern artist, is said to have painted a miser counting
+his hoard, and Death putting an extinguisher over him.
+
+At p. 460 of the memoirs of that most ingenious artist, Charles Alfred
+Stothard, by his widow, mention is made of an old picture, at Nettlecombe
+Hall, Somersetshire, belonging to its owner, a clergyman, of a Dance of
+Death.
+
+Mr. Tyssen, a bookseller at Bristol, is said to possess a will of the 15th
+century, in which the testator bequeaths a painting of the Dance of Death.
+
+
+DRAWINGS.
+
+In a beautifully illuminated Psalter, supposed to have been made for
+Richard II. and preserved among the Cotton MSS. Domit. xvii. is a very
+singular painting, representing part of the choir of a cathedral, with ten
+monks sitting in their stalls, and chaunting the service. At the top of
+these stalls, and behind it, are five grotesque Deaths looking down on the
+monks. One of the Deaths has a cardinal's hat, two have baronial crowns on
+their heads, and those of the remaining two are decorated with a sort of
+imperial crowns, shaped like the papal tiara. A priest celebrates mass at
+the altar, before which another priest or monk prostrates himself. What
+the object of the painter was in the introduction of these singular
+figures of Death is difficult to comprehend.
+
+[Illustration]
+
+In the manuscript and illuminated copies of the "Romance of the Rose," the
+"Pelerin de la vie humaine" and the "Chevalier Delibere," representations
+of Death as Atropos, are introduced.
+
+A very ancient and masterly drawing of Death and the beggar, the outlines
+black on a blue ground, tinted with white and red. The figures [monogram]
+at bottom indicate its having been part of a Macaber Dance. Upright, 5-1/4
+by 4. In the author's possession.
+
+Sir Thomas Lawrence had four very small drawings by Callot that seemed to
+be part of an intended series of a Dance of Death. 1. Death and the
+bishop. 2. Death and the soldier. 3. Death and the fool. 4. Death and the
+old woman.
+
+An extremely fine drawing by Rembrandt of four Deaths, their hands joined
+in a dance, their faces outwards. One has a then fashionable female cap on
+his head, and another a cap and feather. Upright, 9-1/2 by 6-1/2. In the
+author's possession.
+
+A very singular drawing in pen and ink and bistre. In the middle, a
+sitting figure of a naked man holding a spindle, whilst an old woman,
+leaning over a tub on a bench, cuts the thread which he has drawn out.
+Near the old woman Death peeps in behind a wall. Close to the bench is a
+woman sitting on the ground mending a piece of linen, a child leaning on
+her shoulder. On the other side is a sitting female weaving, and another
+woman in an upright posture, and stretching one of her hands towards a
+shelf. Oblong, 11-1/4 by 8. In the author's possession.
+
+An anonymous drawing in pen and ink of a Death embracing a naked woman.
+His companion is mounted on the back of another naked female, and holds a
+dart in each hand. Oblong, 4 by 3-1/4. In the author's possession.
+
+A single sheet, containing four subjects, skilfully drawn with a pen and
+tinted in Indian ink. 1. An allegorical, but unknown figure sitting on a
+globe, with a sort of sceptre in his right hand. Death seizes him by his
+garment with great vigour, and endeavours to pull him from his seat. 2.
+Two men eating and drinking at a table. Death, unperceived, enters the
+room, and levels his dart at them. 3. Death seizes two naked persons very
+amorously situated. 4. Death seizes a miser counting his money. In the
+author's possession.
+
+Twenty-four very beautiful coloured drawings by a modern artist from those
+in the public library at Berne that were copied by Stettler from Kauw's
+drawings of the original painting by Nicolas Manuel Deutch. In the
+author's possession, together with lithographic copies of them that have
+been recently published at Berne.[137]
+
+A modern Indian ink drawing of a drunken party of men and women. Death
+above in a cloud levels his dart at them. Upright, 5-1/4 by 3-1/2. In the
+author's possession.
+
+A spirited drawing in Indian ink of two Deaths as pugilists with their
+bottle-holders. Oblong, 7 by 4-1/2. In the author's possession.
+
+A pen and ink tinted drawing, intitled "The Last Drop." A female seated
+before a table on which is a bottle of gin or brandy. She is drinking a
+glass of it, Death standing by and directing his dart at her. In the
+author's possession.
+
+Mr. Dagley, in the second edition of his "Death's Doings," p. 7, has
+noticed some very masterly designs chalked on a wall bordering the road
+from Turnham-Green towards Kew-Bridge. They exhibited figures of Death as
+a skeleton ludicrously occupied with gamblers, dancers, boxers, &c. all
+of the natural size. They were unfortunately swept away before any copies
+were made to perpetuate them, as they well deserved. It was stated in The
+Times newspaper that these sketches were made by a nephew of Mr. Baron
+Garrow, then living in retirement near the spot, but who afterwards
+obtained a situation in India. These drawings were made in 1819.
+
+Four very clever coloured drawings by Rowlandson, being probably a portion
+of an unfinished series of a Death's Dance. 1. The Suicide. A man seated
+near a table is in the act of discharging a pistol at his head. The sudden
+and terrific appearance of Death, who, starting from behind a curtain,
+significantly stares at him through an eye-glass. One of the candles is
+thrown down, and a wine-glass jerked out of the hand of the suicide, who,
+from a broken sword and a hat with a cockade, seems intended for some
+ruined soldier of fashion. A female servant, alarmed at the report of the
+pistol, rushes into the apartment. Below, these verses:
+
+  Death smiles, and seems his dart to hide,
+  When he beholds the suicide.
+
+2. The Good Man, Death, and the Doctor. A young clergyman reads prayers to
+the dying man; the females of his family are shedding tears. Death
+unceremoniously shoves out the physician, who puts one hand behind him, as
+expecting a fee, whilst with the other he lifts his cane to his nostrils.
+Below, these lines:
+
+  No scene so blest in Virtue's eyes,
+  As when the man of virtue dies.
+
+3. The Honey-moon. A gouty old fellow seated on a sopha with his youthful
+bride, who puts her hand through a window for a military lover to kiss it.
+A table covered with a desert, wine, &c. Death, stretching over a screen,
+pours something from a bottle into the glass which the husband holds in
+his hand. Below, these verses:
+
+  When the old fool has drunk his wine,
+  And gone to rest, I will be thine.
+
+4. The Fortune-teller. Some females enter the conjurer's study to have
+their fortunes told. Death seizes the back of his chair and oversets him.
+Below, these verses:
+
+  All fates he vow'd to him were known,
+  And yet he could not tell his own.
+
+These drawings are oblong, 9 by 5 inches. In the author's possession.
+
+
+MISCELLANEOUS.
+
+A circular carving on wood, with the mark of Hans Schaufelin [monogram:
+HS], representing Death seizing a naked female, who turns her head from
+him with a very melancholy visage. It is executed in a masterly manner.
+Diameter, 4 inches. In the author's possession.
+
+In Boxgrove church, Sussex, there is a splendid and elaborately sculptured
+monument of the Lords Delawar; and on the side which has not been engraved
+in Mr. Dallaway's history of the county, there are two figures of Death
+and a female, wholly unconnected with the other subjects on the tomb.
+These figures are 9-1/2 inches in height, and of rude design. Many persons
+will probably remember to have seen among the ballads, &c. that were
+formerly, and are still exhibited on some walls in the metropolis, a poem,
+intitled "Death and the Lady." This is usually accompanied with a
+wood-cut, resembling the above figures. It is proper to mention likewise
+on this occasion the old alliterative poem in Bishop Percy's famous
+manuscript, intitled _Death and Liffe_, the subject of which is a
+vision wherein the poet sees a contest for superiority between "our
+Lady Dame Life," and the "ugly fiend, Dame Death." See "Percy's Reliques
+of ancient English poetry," in the Essay on the Metre of Pierce Plowman's
+Vision. Whether there may have been any connexion between these respective
+subjects must be left to the decision of others. There is certainly some
+reason to suppose so.
+
+[Illustration]
+
+The sculptures at Berlin and Fescamp have been already described.
+
+Among the subjects of tapestry at the Tower of London, the most ancient
+residence of our kings, was "the Dance of Macabre." See the inventory of
+King Henry VIII.'s Guardrobe, &c. in MS. Harl. 1419, fo. 5.
+
+Two panes of glass with a portion of a Dance of Death. 1. Three Deaths,
+that appear to have been placed at the beginning of the Dance. Over them,
+in a character of the time of Henry VII. these lines:
+
+  ... ev'ry man to be contented w{t} his chaunce,
+  And when it shall please God to folowe my daunce.
+
+2. Death and the Pope. No verses. Size, upright, 8-1/2 by 7 inches. In the
+author's possession. They have probably belonged to a Macaber Dance in the
+windows of some church.
+
+
+
+
+CHAPTER XVII.
+
+    _Trois vifs et trois morts.--Negro figure of Death.--Danse aux
+    Avengles._
+
+
+The first of these subjects, as connected with the Macaber Dance, has been
+already introduced at p. 31-33; what is now added will not, it is
+presumed, be thought unworthy of notice.
+
+It is needless to repeat the descriptions that have been given by M.
+Peignot of the manuscripts in the Duke de la Valliere's catalogue. The
+following are some of the printed volumes in which representations of the
+_trois vifs et trois morts_ occur.
+
+They are to be found in all the editions of the Danse Macabre that have
+already been described, and in the following Horae and other service books
+of the catholic church.
+
+"Horae ad usum Sarum," 1495, no place, no printer. 4to. Three Deaths, three
+horsemen with hawks and hounds. The hermit, to whom the vision appeared,
+in his cell.
+
+"Heures a l'usaige de Rome." Paris. Nicolas Higman, for Guil. Eustace,
+1506, 12mo.
+
+"Horae ad usum Traject." 1513. 18mo.
+
+"Breviarium seu horarium domesticum ad usum Sarum." Paris, F. Byrckman,
+1516. Large folio. Three Deaths and three young men.
+
+"Horae ad usum Romanum." Paris. Thielman Kerver, 1522. 8vo. And again,
+1535. 4to.
+
+A Dutch "Horae." Paris. Thielman Kerver, 1522. 8vo.
+
+"Heures a l'usage de Paris." Thielman Kerver's widow, 1525. 8vo.
+
+"Missale ad usum Sarum." Paris, 1527. Folio. Three horsemen as noblemen,
+but without hawks or hounds.
+
+"Enchiridion preclare ecclesie Sarum." Paris. Thielman Kerver, 1528. 32mo.
+
+"Horae ad usum fratrum predicatorum ordinis S. Dominici." Paris. Thielman
+Kerver, 1529. 8vo.
+
+"Horae ad usum Romanum." Paris. Yolande Bonhomme, widow of T. Kerver, 1531.
+8vo.
+
+"Missale ad usum Sarum." Paris. F. Regnault, 1531. Three Deaths only;
+different from the others.
+
+"Prayer of Salisbury." Paris. Francois Regnault, 1531, 12mo.
+
+"Horae ad usum Sarum." Paris. Widow of Thielman Kerver, 1532. 12mo.
+
+"Heures a l'usage de Paris." Francois Regnault, 1535. 12mo.
+
+"Horae ad usum Romanum." Paris. Gilles Hardouyn, 1537. 18mo. The subject is
+different from all the others, and very curiously treated.
+
+"Heures a l'usage de Paris." Thielman Kerver, 1558. 12mo.
+
+"Heures a l'usage de Rome." Paris. Thielman Kerver, 1573. 12mo.
+
+"Heures a l'usage de Paris." Jacques Kerver, 1573. 12mo. And again, 1575.
+12mo.
+
+In "The Contemplation of Sinners," printed by Wynkyn de Worde. 4to.
+
+All the above articles are in the collections of the author of this
+dissertation.
+
+In an elegant MS. "Horae," in the Harl. Coll. No. 2917, 12mo. three Deaths
+appear to a pope, an emperor, and a king coming out of a church. All the
+parties are crowned.
+
+At the end of Desrey's "Macabri speculum choreae mortuorum," a hermit sees
+a vision of a king, a legislator, and a vain female. They are all lectured
+by skeletons in their own likenesses.
+
+In a manuscript collection of unpublished and chiefly pious poems of John
+Awdeley, a blind poet and canon of the monastery of Haghmon, in
+Shropshire, anno 1426, there is one on the "_trois vifs et trois morts_,"
+in alliterative verses, and composed in a very grand and terrific style.
+
+
+NEGRO FIGURE OF DEATH.
+
+In some degree connected with the old painting of the Macaber Dance in the
+church-yard of the Innocents at Paris, was that of a black man over a
+vaulted roof, constructed by the celebrated N. Flamel, about the year
+1390. This is supposed to have perished with the Danse Macabre; but a copy
+of the figure has been preserved in some of the printed editions of the
+dance. It exhibits a Negro blowing a trumpet, and was certainly intended
+as a personification of Death. In one of the oldest of the above editions
+he is accompanied with these verses:
+
+  CRY DE MORT.
+
+  Tost, tost, tost, que chacun savance
+  Main a main venir a la danse
+  De Mort, danser la convient,
+  Tous et a plusieurs nen souvient.
+  Venez hommes femmes et enfans,
+  Jeunes et vieulx, petis et grans,
+  Ung tout seul nen eschapperoit,
+  Pour mille escuz si les donnoit, &c.
+
+Before the females in the dance the figure is repeated with a second "Cry
+de Mort."
+
+  Tost, tost, venez femmes danser
+  Apres les hommes incontinent,
+  Et gardez vous bien de verser,
+  Car vous danserez vrayment;
+  Mon cornet corne bien souvent
+  Apres les petis et les grans.
+  Despecte vous legierement,
+  Apres la pluye vient le beau temps.
+
+These lines are differently given in the various printed copies of the
+Danse Macabre.
+
+This figure is not to be confounded with an alabaster statue of Death that
+remained in the church-yard of the Innocents, when it was entirely
+destroyed in 1786. It had been usually regarded as the work of Germain
+Pilon, but with greater probability belonged to Francois Gentil, a
+sculptor at Troyes, about 1540. It was transported to Notre Dame, after
+being bronzed and repaired, by M. Deseine, a distinguished artist. It was
+saved from the fury of the iconoclast revolutionists by M. Le Noir, and
+deposited in the Museum which he so patriotically established in the Rue
+des petits Augustins, but it has since disappeared. It was an upright
+skeleton figure, holding in one hand a lance which pointed to a shield
+with this inscription:
+
+  Il n'est vivant, tant soit plein d'art,
+    Ne de force pour resistance,
+  Que je ne frappe de mon dart,
+    Pour bailler aux vers leur pitance.
+                  Priez Dieu pour les trespasses.
+
+It is engraved in the second volume of M. Le Noir's "Musee des monumens
+Francais," and also in his "Histoire des arts en France," No. 91.
+
+
+DANSE AUX AVEUGLES.
+
+There is a poetical work, in some degree connected with the subject of
+this dissertation, that ought not to be overlooked. It was composed by
+one Pierre Michault, of whom little more seems to be known than that he
+was in the service of Charles, Count of Charolois, son of Philip le Bon,
+Duke of Burgundy. It is intitled "La Danse aux Aveugles," and the object
+of it is to show that all men are subject to the influence of three blind
+guides, Love, Fortune, and Death, before whom several persons are
+whimsically made to dance. It is a dialogue in a dream between the Author
+and Understanding, and the respective blind guides describe themselves,
+their nature, and power over mankind, in ten-line stanzas, of which the
+following is the first of those which are pronounced by Death:
+
+  Je suis la Mort de nature ennemie,
+  Qui tous vivans finablement consomme,
+  Anichillant a tous humains la vie,
+  Reduis en terre et en cendre tout homme.
+  Je suis la mort qui dure me surnomme,
+  Pour ce qu'il fault que maine tout affin;
+  Je nay parent, amy, frere ou affin
+  Que ne face tout rediger en pouldre,
+  Et suis de Dieu ad ce commise affin,
+  Que l'on me doubte autant que tonnant fouldre.
+
+Some of the editions are ornamented with cuts, in which Death is
+occasionally introduced, and that portion of the work which exclusively
+relates to him seems to have been separately published, M. Goujet[138]
+having mentioned that he had seen a copy in vellum, containing twelve
+leaves, with an engraving to every one of the stanzas, twenty-three in
+number. More is unnecessary to be added, as M. Peignot has elaborately and
+very completely handled the subject in his interesting "Recherches sur les
+Danses des Morts." Dijon, 1826. octavo.
+
+
+
+
+CHAPTER XVIII.
+
+    _Errors of various writers who have introduced the subject of the
+    Dance of Death._
+
+
+To enumerate even a moiety of these mistakes would almost occupy a
+separate volume, but it may be as well to notice some of them which are to
+be found in works of common occurrence.
+
+TRAVELLERS.--The erroneous remarks of Bishop Burnet and Mr. Coxe have been
+already adverted to. See pp. 79, 134, and 138.
+
+Misson seems to regard the old Danse Macabre as the work of Holbein.
+
+The Rev. Robert Gray, in "Letters during the course of a tour through
+Germany and Switzerland in the year 1791 and 1792," has stated that Mechel
+has engraved _Rubens's designs_ from the Dance of Death, now perishing on
+the walls of the church-yard of the Predicant convent, where it was
+sketched in 1431.
+
+Mr. Wood, in his "View of the History of Switzerland," as quoted in the
+Monthly Review, Nov. 1799, p. 290, states, that "the Dance of Death in the
+church-yard of the Predicants has been falsely ascribed to Holbein, as it
+is proved that it was painted _long after the death of that artist, and
+not before he was born_, as the honourable Horace Walpole supposes." Here
+the corrector stands in need himself of correction, unless it be possible
+that he is not fairly quoted by the reviewer.
+
+Miss Williams, in her Swiss tour, 1798, when speaking of the Basle Dance
+of Death, says it was painted by Kleber, a _pupil of Holbein_.
+
+Those intelligent and amusing travellers, Breval, Keysler, and Blainville
+have carefully avoided the above strange mistakes.
+
+WRITERS ON PAINTING AND ENGRAVING.--Meyssens, in his article for Holbein
+in "the effigies of the Painters," mentions his "Death's Dance, in the
+town-hall of Basle, the design whereof he first neatly cut in wood and
+afterwards painted, which appeared so fine to the learned Erasmus, &c."
+English edition, 1694, p. 15.
+
+Felibien, in his "Entretiens sur les vies des Peintres," follows Meyssens
+as to the painting in the town-hall.
+
+Le Comte places the supposed painting by Holbein in the fish-market, and
+in other respects copies Meyssens. "Cabinet des Singularites, &c." tom.
+iii. p. 323, edit. 1702, 12mo.
+
+Bullart not only places the painting in the town-hall of Basle, but adds,
+that he afterwards engraved it in wood. "Acad. des Sciences et des Arts,"
+tom. ii. p. 412.
+
+Mr. Evelyn, in his "Sculptura," the only one of his works that does him no
+credit, and which is a meagre and extremely inaccurate compilation, when
+speaking of Holbein, actually runs riot in error and misconception. He
+calls him a Dane. He makes what he terms "the licentiousness of the friars
+and nuns," meaning probably Hollar's sixteen etchings after Holbein's
+satire on monks and friars and other members of the Romish church as the
+persecutors of Christ, and also the "Dance Machabre and Mortis imago," to
+have been cut in wood, and one or both of the latter to have been painted
+in the church of Basle. Mr. Evelyn's own copy of this work, with several
+additions in manuscript, is in the possession of Mr. Taylor, a retired and
+ingenious artist, of Cirencester-place. He probably intended to reprint
+it, and opposite the above-mentioned word "Dane," has inserted a query.
+
+Sandrart places the Dance of Death in the fish-market at Basle, and makes
+Holbein the painter as well as the engraver. "Acad. artis pictoriae," p.
+238, edit. 1683, folio.
+
+Baldinucci speaks of twenty prints of the Dance of Death painted by
+Holbein in the Senate-house of Basle. "Notizie de professori del disegno,
+&c." tom. iii. 313 and 319.
+
+M. Descamps inadvertently ascribes the old Dance of Death on the walls of
+the church-yard of Saint Peter to the pencil of Holbein. "Vie des Peintres
+Flamandi," &c. 1753. 8vo. Tom. i. p. 75.
+
+Papillon, in his account of the Dance of Death, abounds with inaccuracies.
+He says, that a magistrate of Basle employed him to paint a Dance of Death
+in the fish-market, near a church-yard; that the work greatly increased
+his reputation, and made much noise in the world, although it has many
+anatomical defects; that he engraved this painting on small blocks of wood
+with unparalleled beauty and delicacy. He supposes that they first
+appeared in 1530 at Basle or Zuric, and as he thinks with a title and
+German verses on each print. Now he had never seen any edition so early as
+1530, nor any of the cuts with German verses, and having probably been
+misled on this occasion, he has been the cause of misleading many
+subsequent writers, as Fournier, Huber, Strutt, &c. He adopts the error as
+to the mark [monogram: HL] on the thirty-sixth subject belonging to
+Holbein. He is entirely ignorant of the nature and character of the fool
+or idiot in No. xliii. whom he terms "un homme lascif qui a leve le devant
+de sa robbe:" and, to crown the whole, he makes the old Macaber Dance an
+_imitation_ of that ascribed to Holbein.
+
+De Murr, in tom. ii. p. 535 of his "Bibliotheque de Peinture, &c."
+servilely copies Papillon in all that he has said on the subject, with
+some additional errors of his own.
+
+The Abbe Fontenai, in the article for Holbein in his "Dictionnaire des
+Artistes," Paris, 1776, 8vo. not only makes him the painter of the old
+Macaber Dance, but places it in the town-house at Basle.
+
+Mr. Walpole, or rather Vertue, in the "Anecdotes of Painting in England,"
+corrects the error of those who give the old Macaber Dance to Holbein, but
+inadvertently makes that which is usually ascribed to him to have been
+borrowed from the other.
+
+Messrs. Huber and Rost make Holbein the engraver of the Lyons wood-cuts,
+and suppose the original drawings to be preserved in the public library at
+Basle. They probably allude to the problematical drawings that were used
+by M. de Mechel, and which are now in Russia. "Manuel des curieux et des
+amateurs de l'art." Tom. i. p. 155.
+
+In the "Notices sur les graveurs," Besancon, 1807, 8vo. a work that has,
+by some writers, been given to M. Malpe, and by others to the Abbe
+Baverel, Papillon is followed with respect to the supposed edition of
+1530, and its German verses.
+
+Mr. Janssen is more inaccurate than any of his predecessors, some of whom
+have occasionally misled him. He makes Albert Durer the inventor of the
+designs, the greater part of which, he says, are from the Dance of Death
+at Berne. He adopts the edition of 1530, and the German verses. He
+condemns the title-page of the edition of 1562 for stating an addition of
+seventeen plates, whereas, says he, there are but five; but the editor
+meant only that there were seventeen more cuts than in the original, which
+had only forty-one.
+
+MISCELLANEOUS WRITERS.--Charles Patin, a libeller of the English nation,
+has made Holbein the engraver on wood of a Dance of Death, which, he says,
+is "not much unlike that in the church-yard of the Predicants at Basle,
+painted, as some say, from the life, by Holbein." He ought to have known
+that this work was executed near a century before Holbein was born.
+"Erasmi stultitiae laus." Basileae, 1676, 8vo. at the end of the list of
+Holbein's works.
+
+Martiniere, in his Geographical Dictionary, makes Holbein the inventor of
+the Macaber Dance at Basle.
+
+Goujet, in his very useful "Bibliotheque Francoise," tom. x. p. 436, has
+erroneously stated that the Lyons engravings on wood were by the
+celebrated artist Salomon Bernard, usually called "Le petit Bernard." The
+mistake is very pardonable, as it appears that Bernard chiefly worked in
+the above city.
+
+M. Compan, in his "Dictionnaire de Danse," 1787, 12mo. under the article
+_Macabree_, very gravely asserts that the author took his work from the
+Maccabees, "qui, comme tout le monde scait danserent, et en ont fait
+epoque pour les morts." He then quotes some lines from a modern edition of
+the "Danse Macabre," where the word _Machabees_ is ignorantly substituted
+for "Machabre."
+
+M. Fournier states that Holbein painted a Dance of Death in the
+fish-market at Basle, reduced it, and engraved it. "Dissertation sur
+l'imprimerie," p. 70.
+
+Mr. Warton has converted the imaginary Machabree into _a French poet_, but
+corrects himself in his "Hist. of Engl. Poetry." He supposes the single
+cut in Lydgate to represent _all_ the figures that were in St. Paul's
+cloister. He atones for these errors in referring to Holbein's cuts in
+Cranmer's Catechism, as entirely different in style from those published
+at Lyons, _but which he thinks, are probably the work of Albert Durer_,
+and also in his conjecture that the painter Reperdius might have been
+concerned in the latter. See "Observations on the Fairy Queen of Spenser,"
+vol. ii. 116, &c. In his most elegant and instructive History of English
+Poetry he relapses into error when he states that Holbein painted a Dance
+of Death in the Augustine monastery at Basle in 1543, and that Georgius
+AEmylius published this Dance at Lyons, 1542, one year before Holbein's
+painting at Basle appeared. Hist. Engl. Poetry, vol. ii. p. 364, edit.
+Price.
+
+The Marquis de Paulmy ascribes the old Macaber Dance at Basle to Holbein,
+and adds, "le sujet et l'execution en sont aussi singuliers que
+ridicules." "Melanges tires d'une grande bibliotheque," tom. Ff. 371.
+
+M. Champollion Figeac in Millin's "Magazin encyclopedique," 1811, tom. vi.
+has an article on an edition of the "Danse Macabre anterieure a celle de
+1486." In this article he states that Holbein painted a fresco Dance of
+Death at Basle near the end of the 15th century (Holbein was not born till
+1498!); that this Dance resembled the Danse Macabre, all the characters of
+which are in Holbein's style; that it is still more like the Dance in the
+Monasticon Anglicanum in a single print; and that the English Dance
+belongs to John Porey, an author who appears, however, to be unknown to
+all biographers. We should have been obliged to M. Figeac if he had
+mentioned where he met with this John Porey, whom he again mentions, but
+in such a manner as to leave a doubt whether he means to consider him as a
+poet or a painter. Even M. Millin himself, from whom more accuracy might
+have been expected, speaks of Holbein's work as at the Dominican convent
+at Basle.
+
+The "Nouveau Dictionnaire Historique," 1789, 8vo. gives the painting on
+the walls of the cemetery of St. Peter at Basle, to Holbein, confounding
+the two works as some other French biographical dictionaries have done,
+especially one that has cited an edition of the Danse Macabre in 1486 as
+the first of Holbein's painting, though it immediately afterwards states
+that artist to have been born in 1498.
+
+In that excellent work, the "Biographie universelle," in 42 vols. 8vo.
+1811-1828, M. Ponce, under the article "Holbein," inaccurately refers to
+"the Dance of Death painted in 1543 on the walls of a cemetery at Basle,"
+at the same time properly remarking that it was not Holbein's. He refers
+to the supposed original drawings of Holbein's work at Petersburg that
+were engraved by De Mechel, and concludes his brief note with a reference
+to a dissertation of M. Raymond in Millin's "Magazin encyclopedique,"
+1814, tom. v. which is nothing more than a simple notice of two editions
+of the Danse Macabre, described in the present dissertation.
+
+And lastly--The Reviewer of the first edition of the present dissertation
+prefixed to Mr. Edwards's engravings or etchings by Wenceslaus Hollar, has
+displayed considerable ingenuity in his attempt to correct supposed
+errors, by a lavish substitution of many of his own, some of which are the
+following:
+
+That the Dance of Death is found in _carvings in wood in the choirs of
+churches_. Not a single instance can be produced.
+
+That Hollar's etchings are on _wood_.
+
+"Black letter" is _corrected_ to "Black letters."
+
+That the book would have been more _complete if Lydgate's stanzas_ had
+been quoted, in common with others in _Piers Plowman_. Now all the stanzas
+of Lydgate are given, and not a single one is to be found in Piers
+Plowman.
+
+And they most _ingeniously and scientifically_ denominate the skeleton
+figure of Death "the Gothic monster of Holbein!"
+
+       *       *       *       *       *
+
+A short time after the completion of the present Dissertation, the author
+accidentally became possessed of a recently published German life of
+Holbein, in which not a single addition of importance to what has been
+gleaned from preceding writers can possibly be found. It contains a
+general, but extremely superficial account of the works of that artist,
+including the Dance of Death, which, as a matter of course, is ascribed to
+him. As the author, a Mr. Ulrich Hegner, who is said to be a _Swiss
+gentleman and amateur_, has not conducted himself with that urbanity and
+politeness which might have been looked for from such a _character_, and
+has thought proper, in adverting to the slight Essay by the present
+writer, prefixed, at the instance of the late Mr. Edwards, to his
+publication of Hollar's etchings of the Dance of Death, to speak of it
+with a degree of contempt, which, even with all its imperfections, others
+may think it may not have deserved; the above _gentleman_ will have but
+little reason to complain should he meet with a somewhat uncourteous
+retort in the course of the following remarks on his compilation.
+
+Had Mr. Hegner written with a becoming diffidence in his opinions, his
+work might have commanded and deserved respect, though greatly abounding
+in error and false conceit. He has undertaken a task for which he has
+shown himself wholly unqualified, and with much unseemly arrogance, and
+its usual concomitant, ignorance, has assumed to himself a monopoly of
+information on the subject which he discusses. His arguments, if worthy of
+the name, are, generally speaking, of a most weak and flimsy texture. In
+support of his dogmatical opinion that the original designs for the Lyons
+Dance of Death exclusively belong to Holbein he has not adduced a single
+fact. He has not been in possession of a tenth part of the materials that
+were necessary for the proper investigation of his subject, nor does he
+appear to have even seen them. The very best judges of whatever relates to
+the history and art of engraving are quite satisfied that most of the
+persons who have written on them, with the exception of Mr. Ottley, and of
+the modest and urbane Monsieur Peignot, are liable to the charge of
+extreme inaccuracy and imperfection in their treatment of the Dance of
+Death, and the list of such writers may now be closed with the addition of
+Herr Hegner.
+
+Some of his positions are now to be stated and examined.
+
+He makes Holbein the author of a new Dance of Death in the Crozat or
+Gallitzin drawings in Indian ink which have been already described in the
+present dissertation, adding that he also _engraved_ them, and suppressing
+any mention in this place of the monogram on one of the cuts which he
+_elsewhere admits not to belong to Holbein_. Soon afterwards, and with
+very good reason, he doubts the originality of the drawings, which he says
+M. de Mechel caused to be copied by Rudolph Schellenberg, a skilful
+artist, already mentioned as the author of a Dance of Death of his own
+invention; and proceeds to state, that from these copies De Mechel
+employed some inferior persons in his service to make engravings;
+advancing all this without the accompaniment of any proof whatever, and in
+direct contradiction to De Mechel's authority of having himself engraved
+them. An apparently bitter enemy to De Mechel, whose posthumous materials,
+now in the library at Basle, he nevertheless admits to have used for his
+work, he invidiously enlarges on the discrepancies between his engravings
+and the Lyons wood-cuts, both in size and manner; and then concludes that
+they were copied from the wood-cuts, the copyist allowing himself the
+privilege of making arbitrary variations, especially in the figure of the
+Eve in the second cut, which, he says, is of the family of Boucher, who,
+in spite of Hegner's opinion, is regarded by better judges as a clever
+painter. Whether the remarks on any deviations of De Mechel's prints from
+the Crozat drawings are just or otherwise can now be decided by comparison
+only, and Hegner does not appear to have seen them, or at least does not
+tell us so. His criticisms on the merit of the engravings in De Mechel's
+work cannot be justified, for though they may occasionally be faulty, they
+are very neatly, and many will think beautifully executed.
+
+What Hegner has said respecting the alphabets of initial letters, is at
+once futile and inaccurate; but his comment on Hans Lutzenberger deserves
+the severest censure. Adverting to the inscription with the name of this
+fine artist on one of the sets of the initials, he terms him "an itinerant
+_bookseller_, who had bought the blocks and put his name on them;" and
+this after having himself referred to a print on which Lutzenberger is
+called FORMSCHNEIDER, _i. e._ woodcutter: making in this instance a clumsy
+and dishonest effort to get rid of an excellent engraver, who stands so
+recorded in opposition to his own untenable system.
+
+The very important and indelible expressions in the dedication to the
+first known edition of the Lyons wood-cuts, he very modestly terms "a play
+upon words," and endeavours to account for the death of the painter by
+supposing Holbein's absence in England would warrant the language of the
+dedication. This is indeed a most desperate argument. Frellon, the
+publisher and proprietor of the work, must have known better than to have
+permitted the dedication to accompany his edition had it been susceptible
+of so silly a construction.
+
+He again adheres to the improbable notion that _Holbein engraved_ the cuts
+to the Lyons book, and this in defiance of the mark or monogram [monogram:
+HL] which this painter never used; nor will a single print with Holbein's
+accredited name be found to bear the slightest resemblance to the style of
+the wood-cuts. Even those in Cranmer's catechism, which approach the
+nearest to them, are in a different manner. His earlier engravings on
+wood, whether in design only, or as the engraver, resemble those by Urs
+Graaf, who, as well as Holbein, decorated the frontispieces or titles to
+many of the books printed at Basle. It is not improbable that Urs Graaf
+was at that time a pupil of Holbein.
+
+Hegner next endeavours to annihilate the painting at Whitehall recorded in
+Nieuhoff's etchings and dedications, but still by arguments of an entirely
+negative kind. He lays much stress on this painting not being specifically
+mentioned by Sandrart or Van Mander, who were in England; but where does
+it appear that the latter, during his short stay in this country, had
+visited Whitehall? Even admitting that both these persons had seen that
+palace, it is most probable that the fresco painting of the Dance of
+Death, would, from length of time, dampness of the walls, and neglect,
+have been in a condition that would not warrant the exhibition of it, and
+it was, moreover, placed in a gallery which scarcely formed, at that time,
+a part of Whitehall, and which was, probably, not shown to visitors. It
+must not, however, be omitted to mention that Sandrart, in p. 239 of his
+Acad. Pict. states, though ambiguously, that "there was still remaining at
+Whitehall a work by Holbein that would constitute him the Apelles of his
+time," an expression which we may remember had been also applied to
+Holbein by his friend Borbonius in the complimentary lines on a Dance of
+Death.
+
+The Herr Hegner has thought fit to speak of Mr. T. Nieuhoff in terms of
+indecorous and unjust contempt, describing him as "an unknown and
+unimportant Dutch copper-plate engraver," and arraigning his evidence as
+being in manuscript only; as if manuscripts that have never been printed
+were of no authority. But where has Hegner discovered that Nieuhoff was a
+Dutch copper-plate engraver, by which is meant a professed artist; or even
+though he had been such, would that circumstance vitiate his testimony? In
+his dedication to Lord William Benting the expressions allusive to his
+ardent love of the arts, seem to constitute him an amateur attempter of
+etching; for what he has left us in that way is indeed of a very
+subordinate character, and unworthy of a professed artist. He appears to
+have been one of the Dutchmen who accompanied King William to England, and
+to have had apartments assigned to him at Whitehall. At the end of his
+dedication to Lord W. Benting, he calls himself an old servant of that
+person's father, and subscribes himself "your and your illustrious
+family's most obedient and humble servant."
+
+The identification of William Benting must be left to the sagacity of
+others. He could not have been the Earl of Portland created in 1689, or he
+would have been addressed accordingly. He is, moreover, described as a
+youth born at Whitehall, and then residing there, and whose dwelling
+consisted of nearly the whole of the palace that remained after the fire.
+
+Again,--We have before us a person living in the palace of Whitehall
+anterior to its destruction, testifying what he had himself seen, and
+addressing one who could not be imposed upon, as residing also in the
+palace. There seems to be no possible motive on the part of Nieuhoff for
+stating an untruth, and his most clear and unimpeachable testimony is
+opposed by Hegner's wild and weak conjectures, and chiefly by the negative
+argument that a few strangers who visited England in a hasty manner have
+not mentioned the painting in question at Whitehall, amidst those
+inaccurate and superficial accounts of England which, with little
+exception, have been given by foreign travellers. Among these Hegner has
+selected Patin and Sandrart. Before adducing the former, he would have
+done well to have looked at his very imperfect and erroneous account of
+Holbein's works, in his edition of the [Greek: MORIAS EGKOMION] of
+Erasmus; and, with respect to the latter, the stamp of inaccuracy has been
+long affixed to most of the works he has published. He has mentioned, that
+being in company with Rubens in a Dutch passage boat "the conversation
+fell upon Holbein's book of cuts, representing the Dance of Death; that
+Rubens gave them the highest encomiums, advising him, who was then a young
+man, to set the highest value upon them, informing him, at the same time,
+that he in his youth had copied them."[139] On this passage Mr. Warton has
+well remarked that if Rubens styled these prints Holbein's, in familiar
+conversation, it was but calling them by the name which the world had
+given them, and by which they were generally known; and that Sandrart has,
+in another place, confounded them with the Basle painting.[140]
+
+To conclude,--Juvenal's "hoc volo, sic jubeo, sit pro ratione voluntas,"
+may be regarded as Herr Hegner's literary motto. He has advocated the
+vague traditions of unauthenticated Dances of Death by Holbein, and has
+made a most unjustifiable attempt to deprive that truly great artist of
+the only painting on the subject which really appears to belong to him.
+Yet, if by fair and candid argument, supported by the necessary proofs,
+the usual and long standing claim on the part of Holbein can be
+substantiated, no one will thereby be more highly gratified than the
+author of this dissertation.
+
+
+
+
+ADDITIONS AND CORRECTIONS.
+
+
+P. 59. After No. 17 add "La Danse Macabre." Paris, Nicole de la Barre,
+1523, 4to. with very different cuts, and some characters omitted in former
+editions.
+
+P. 77, last line of the text. There is a German work intitled "The process
+or law-suit of Death," printed, and perhaps written, by Conrad Fyner in
+1477; but as it is not noticed in Panzer's list of German books, no
+further account of it can be given than that it is briefly mentioned by
+Joseph Heller, in a German work on the subject of engraving on wood, in
+which one cut from it is introduced, that exhibits Death conversing with a
+husbandman who holds a flail in one of his hands. It is probable that the
+book would be found to contain other figures relating to a Macaber Dance.
+
+P. 112, l. ult. There is another work by Glissenti, intitled "La Morte
+innamorata." Venet. 1608, 24mo. with a dedication to Sir Henry Wotton, the
+English ambassador at Venice, by Elisabetta Glissenti Serenella, the
+author's niece; in which, after stating that Sir Henry had seen it
+represented, she adds, that she had ventured to have it printed for the
+purpose of offering it to him as a very humble donation, &c. It is a
+moral, dramatic, and allegorical fable of five acts, in which _Man_, to
+avoid _Death_, who has fallen in love with him, retires with his family to
+the country of _Long Life_, where he takes up his abode in the house of
+_the World_, by whom and his wife _Fraud_, who is in strict friendship
+with _Fortune_, he is apparently made much of, and calculates on being
+very happy. _Death_ follows the _Man_, and being unknown in the above
+region, contrives, with the aid of _Infirmity_, the _Man's_ nurse, to make
+him fall sick. The _World_ being tired of his guest, and very desirous to
+get rid of, and plunder him of his property, under pretence of introducing
+him to _Fortune_, and consequent happiness, enters into a plot with _Time_
+to disguise _Death_, who is lodged in the same house with him, as
+_Fortune_, and thus to give him possession of the _Man_, who imagines that
+he is just about to secure _Fortune_. Each act of this piece is ornamented
+with some wood-cut that had been already introduced into the other work of
+Glissenti.
+
+P. 118, line 32. Ebert, in his "Bibliographisches Lexicon," Leipsig. 1821,
+4to. has mentioned some later editions of Denneker's engravings. See the
+article Denecker, p. 972.
+
+P. 126, l. 14. It is not impossible that Hollar may have copied a bust
+carved in wood, or some other material, by Holbein, as Albert Durer and
+other great artists are known to have practised sculpture in this manner.
+
+P. 135, l. 25. These four prints are in the author's possession.
+
+P. 137, l. ult. Other imitations of the Lyons cuts are, 1. A wood
+engraving of Adam digging and Eve spinning, by Corn. Van Sichem in the
+"Bibel's tresor," Amst. 1646, 4to. 2. The Astrologer, a small circular
+print on copper by Le Blond. 3. The Bridegroom, an anonymous modern
+engraving on wood. 4. The Miser, a small modern and anonymous print on
+copper.
+
+P. 147, l. 19. In the library at Lambeth palace, No. 1049, there is a copy
+of this book in Greek, Latin, Italian, Spanish, English, and French,
+printed by J. Day, 1569, 8vo. It was given by Archb. Tillotson, and from a
+memorandum in it supposed to have been the Queen's own copy. The cut of
+the Queen kneeling was used so late as 1652, in Benlowes' Theophila. Some
+of the cuts have the unexplained mark [monogram: CI].
+
+P. 164, Article xii. This print is a copy, with a few variations, of a
+much older one engraved on wood, and probably unique, in the very curious
+collection of single sheets and black letter ballads, belonging to George
+Daniel, Esquire, of Islington. The figures are executed in a style of
+considerable merit, and each of them is described in a stanza of four
+lines. It may probably be the same as No. 1 or No. 2, mentioned in p. 76,
+or either of Nos. x. or xi. described in p. 163.
+
+P. 226, line 12. Another drawing by Rowlandson, intitled "Death and the
+Drunkards." Five topers are sitting at a table and enjoying their punch.
+Death suddenly enters and violently seizes one of them. Another perceives
+the unwelcome and terrific intruder, whilst the rest are too intent on
+their liquor to be disturbed at the moment. It is a very spirited and
+masterly performance. 11 by 9. In the author's possession.
+
+P. 239, l. 12. There is likewise in the "Biographie Universelle" an
+article intitled "Macaber, poete Allemand" by M. Weiss, and it is to be
+regretted that a writer whose learning and research are so eminently
+conspicuous in many of the best lives in the work, should have permitted
+himself to be misled in much that he has said, by the errors of
+Champollion Figeac in the Magazin Encyclopedique. He certainly doubts the
+existence of Macaber as a writer, but inclines to M. Van Praet's Arabic
+_Magbarah_. He states, that the English version of the Macaber Dance
+belongs to John Porey, _a poet who remains unknown even to his
+countrymen_, and is inserted in the Monasticon Anglicanum. Now this
+_unknown poet_, who is likewise adopted by M. Peignot, is merely the
+person who contributed Hollar's plate in the Monasticon, already mentioned
+in p. 52, and whose coat of arms is at the top of that plate, with the
+following inscription, "Quo praesentes et posteri Mortis, ut vidimus, omni
+Ordini comunis, sint magis memores, posuit IOHANNES POREY." Mr. Weiss has
+likewise inadvertently adopted the error that Holbein painted the old
+Dance of Macaber in the convent of the Augustines at Basle.
+
+Two recently published Dances of Death have come to hand too late to have
+been noticed in their proper places.
+
+1. "Der Todtentantz. Ein Gedicht von Ludwig Bechstein, mit 48 kupfern in
+treuen Conturen nach H. Holbein. Leipzig bei Friedrich August Leo, 1831."
+8vo. These prints are executed in a faithful and elegant outline, and
+accompanied with modern German verses.
+
+2. "Hans Holbein's Todtentanz in 53 getreu nach den Holz schnitten
+lithographirten Blattern. Heraus gegeben von J. Schlotthaver k. Professor
+Mit erklaerendem Texte. Munchen, 1832, Auf Rosten des Heraus gegebers."
+12mo. The prints are most accurately and elegantly lithographed in
+imitation of wood engraving. The descriptions are in German verse, and
+accompanied with some brief prefatory matter by Dr. H. F. Massmann, which
+is said to have been amplified in one of the German journals or reviews.
+
+
+
+
+DESCRIPTION OF THE CUTS GIVEN IN THE DISSERTATION.
+
+
+I. The frontispiece is a design for the sheath of a dagger, probably made
+by Holbein for the use of a goldsmith or chaser. The original drawing is
+in the public library at Basle. See some remarks on it in p. 133.
+
+II. These circular engravings by Israel Van Meckenen are mentioned in p.
+160.
+
+III. Copy of an ancient drawing, 1454, of Death and the Beggar. See p.
+223.
+
+IV. Figures of Death and the Lady, sculptured on a monument of the
+Delawars, in Boxgrove church, Sussex. See p. 226.
+
+V. A fac-simile of one of the cuts to a very early edition, printed
+without date at Troyes by Nicolas le Rouge. It represents the story of the
+_trois morts et trois vifs_, and the vision of Saint Macarius. See pp. 33,
+34, and 59.
+
+VI. A fac-simile of another cut from the edition of a Danse Macabre,
+mentioned in No. V.
+
+
+
+
+DESCRIPTION OF THE LYONS WOOD-CUTS OF THE DANCE OF DEATH.
+
+    _The Copies have been made by MR. BONNER from the Cuts belonging to
+    the "Imagines Mortis, Lugduni sub scuto Coloniensi, 1547," 12mo. and
+    which have been usually ascribed to Holbein._
+
+
+1. THE CREATION OF ALL THINGS. The Deity is seen taking Eve from the side
+of Adam. "Formavit Dominus Deus hominem de limo terrae, &c." Gen. i.
+
+2. THE TEMPTATION. Eve has just received the forbidden fruit from the
+serpent, who, on the authority of venerable Bede, is here, as well as in
+most ancient representations of the subject, depicted with a female human
+face. She holds it up to Adam, and entices him to gather more of it from
+the tree. "Quia audisti vocem uxoris tuae, et comedisti de ligno, &c." Gen.
+iii.
+
+3. THE EXPULSION FROM PARADISE. Adam and Eve are preceded by Death, who
+plays on a vielle, or beggar's lyre, as if demonstrating his joy at the
+victory he has obtained over man. "Emisit eum Dominum Deus de Paradiso
+voluptatis, ut operaretur terram de qua sumptus est." Gen. iii.
+
+4. THE CONSEQUENCES OF THE FALL OF MAN. Adam is digging the ground,
+assisted by Death. In the distance Eve is suckling her first-born and
+holding a distaff. Whence the proverb in many languages:
+
+  When Adam delv'd and Eve span
+  Where was then the gentleman?
+
+"Maledicta terra in opere tuo, in laboribus comedes cunctis diebus vitae
+tuae, donec revertaris, &c." Gen. iii.
+
+5. A CEMETERY, in which several Deaths are assembled, most of whom are
+playing on noisy instruments of music, as a general summons to mortals to
+attend them. "Vae, vae, vae habitantibus in terra." Apoc. viii.
+
+6. THE POPE. He is crowning an Emperor, who kneels before him, two
+Cardinals attending, one of whom is ludicrously personated by Death. In
+the back-ground are bishops, &c. Death embraces the Pope with one hand,
+and with the other leans on a crutch. Two grotesque Devils are introduced
+into the cut, one of whom hovers over the Pope, the other in the air holds
+a diploma, to which several seals are appended. "Moriatur sacerdos
+magnus." Josue xx.
+
+7. THE EMPEROR. Seated on a throne, and attended by his courtiers, he
+seems to be listening to, or deciding, the complaint of a poor man who is
+kneeling before him, against his rich oppressor, whom the Emperor, holding
+the sword of justice, seems to regard with an angry countenance. Behind
+him Death lays hands upon his crown. "Dispone domui tuae, morieris, enim
+tu, et non vives." Isaiae xxxviii.
+
+8. THE KING. He is sitting at his repast before a well-covered table,
+under a canopy studded with fleurs-de-lis. Death intrudes himself as a
+cupbearer, and presents the King with probably his last draught. The
+figure of the King seems intended as a portrait of Francis I. "Sicut et
+Rex hodie est, et cras morietur; nemo enim ex regibus aliud habuit."
+Ecclesiast. x. et Sapient. vii.
+
+9. THE CARDINAL. There is some difficulty in ascertaining the real meaning
+of the designer of this subject. It has been described as the Cardinal
+receiving the bull of his appointment, or as a rich man making a purchase
+of indulgences. The latter interpretation seems warranted by the Latin
+motto. Death is twisting off the Cardinal's hat. "Vae qui justificatis
+impium pro muneribus, et justitiam justi aufertis ab eo." Isaiae v.
+
+10. THE EMPRESS. Gorgeously attired and attended by her maids of honour,
+she is intercepted in her walk by Death in the character of a shrivelled
+old woman, who points to an open grave, and seems to say, "to this you
+must come at last." "Gradientes in superbia potest Deus humiliare." Dan.
+iv.
+
+11. THE QUEEN. She has just issued from her palace, when Death
+unexpectedly appears and forcibly drags her away. Her jester, in whose
+habiliments Death has ludicrously attired himself, endeavours in vain to
+protect his mistress. A female attendant is violently screaming. Death
+holds up his hour-glass to indicate the arrival of the fatal hour.
+"Mulieres opulentae surgite, et audite vocem meam: post dies et annum, et
+vos conturbemini." Isaiae xxxii.
+
+12. THE BISHOP. Quietly resigned to his fate he is led away by Death,
+whilst the loss of the worthy Pastor is symbolically deplored by the
+flight and terror of several shepherds in the distance amidst their
+flocks. The setting sun is very judiciously introduced. "Percutiam
+pastorem, et dispergentur oves gregis." Mat. xxvi. Mar. xiv.
+
+13. THE DUKE. Attended by his courtiers, he is accosted in the street for
+charity by a poor beggar woman with her child. He disdainfully turns aside
+from her supplication, whilst Death, fantastically crowned with leaves,
+unexpectedly lays violent hands upon him. "Princeps induetur moerore, et
+quiescere faciam superbiam potentium." Ezech. viii.
+
+14. THE ABBOT. Death having despoiled him of his mitre and crosier, drags
+him away. The Abbot resists with all his might, and is about to throw his
+breviary at his adversary. "Ipse morietur, quia non habuit disciplinam,
+et in multitudine stultitiae suae decipietur."
+
+15. THE ABBESS. Death, grotesquely crowned with flags, seizes the poor
+Abbess by her scapulary. A Nun at the convent gate, with uplifted hands,
+bewails the fate of her superior. "Laudavi magis mortuos quam viventes."
+Eccles. iv.
+
+16. THE GENTLEMAN. He vainly, with uplifted sword, endeavours to liberate
+himself from the grasp of Death. The hour-glass is placed on his bier.
+"Quis est homo qui vivet, et non videbit mortem, eruet animam suam de manu
+inferi?"
+
+17. THE CANON. Death holds up his hour-glass to him as he is entering a
+cathedral. They are followed by a noble person with a hawk on his fist,
+his buffoon or jester, and a little boy. "Ecce appropinquat hora." Mat.
+xxvi.
+
+18. THE JUDGE. He is deciding a cause between a rich and a poor man. From
+the former he is about to receive a bribe. Death behind him snatches his
+staff of office from one of his hands. "Disperdam judicem de medio ejus."
+Amos ii.
+
+19. THE ADVOCATE. The rich client is putting a fee into the hands of the
+dishonest lawyer, to which Death also contributes, but reminds him at the
+same time that his glass is run out. To this admonition he seems to pay
+little regard, fully occupied in counting the money. Behind this group is
+the poor suitor, wringing his hands, and lamenting that his poverty
+disables him from coping with his wealthy adversary. "Callidus vidit
+malum, et abscondit se: innocens pertransiit, et afflictus est damno."
+Prover. xxii.
+
+20. THE MAGISTRATE. A Demon is blowing corruption into the ear of a
+magistrate, who has turned his back on a poor man, whilst he is in close
+conversation with another person, to whose story he seems emphatically
+attentive. Death at his feet with an hour-glass and spade. "Qui obturat
+aurem suam ad clamorem pauperis, et ipse clamabit, et non exaudietur."
+Prover. xxi.
+
+21. THE PREACHER. Death with a stole about his neck stands behind the
+preacher, and holds a jaw-bone over his head, typifying perhaps thereby
+that he is the best preacher of the two. "Vae qui dicitis malum bonum, et
+bonum malum: ponentes tenebras lucem, et lucem tenebras: ponentes amarum
+in dulce, et dulce in amarum." Isaiae v.
+
+22. THE PRIEST. He is carrying the viaticum, or sacrament, to some dying
+person. Attendants follow with tapers and holy water. Death strides on
+before, with bell and lanthern, to announce the coming of the priest. "Sum
+quidem et ego mortalis homo." Sap. vii.
+
+23. THE MENDICANT FRIAR. He is just entering his convent with his money
+box and wallet. Death seizes him by the cowl, and forcibly drags him away.
+"Sedentes in tenebris, et in umbra mortis, vinctos in mendicitate." Psal.
+cvi.
+
+24. THE NUN. Here is a mixture of gallantry and religion. The young lady
+has admitted her lover into her apartment. She is kneeling before an
+altar, and hesitates whether to persist in her devotions or listen to the
+amorous music of the young man, who, seated on a bed, touches a theorbo
+lute. Death extinguishes the candles on the altar, by which the designer
+of the subject probably intimates the punishment of unlawful love. "Est
+via quae videtur homini justa: novissima autem ejus deducunt hominem ad
+mortem." Prover. iv.
+
+25. THE OLD WOMAN. She is accompanied by two Deaths, one of whom, playing
+on a stickado, or wooden psalter, precedes her. She seems more attentive
+to her rosary of bones than to the music, whilst the other Death
+impatiently urges her forward with blows. "Melior est mors quam vita."
+Eccle. xxx.
+
+26. THE PHYSICIAN. He holds out his hand to receive, for inspection, a
+urinal which Death presents to him, and which contains the water of a
+decrepid old man whom he introduces, and seems to say to the physician,
+"Canst thou cure this man who is already in my power?" "Medice cura te
+ipsum." Luc. iv.
+
+27. THE ASTROLOGER. He is seen in his study, looking attentively at a
+suspended sphere. Death holds out a skull to him, and seems, in mockery,
+to say, "Here is a better subject for your contemplation." "Indica mihi si
+nosti omnia. Sciebas quod nasciturus esses, et numerum dierum tuorum
+noveras?" Job xxxviii.
+
+28. THE MISER. Death has burst into his strong room, where he is sitting
+among his chests and bags of gold, and, seated on a stool, deliberately
+collects into a large dish the money on the table which the Miser had been
+counting. In an agony of terror and despair, the poor man seems to implore
+forbearance on the part of his unwelcome visitor. "Stulte, hac nocte
+repetunt animam tuam: et quae parasti, cujus erunt?" Lucae xii.
+
+29. THE MERCHANT. After having escaped the perils of the sea, and happily
+reached the wished-for shore with his bales of merchandize; this too
+secure adventurer, whilst contemplating his riches, is surprised by Death.
+One of his companions holds up his hands in despair. "Qui congregat
+thesauros lingua mendacii, vanus et excors est, et impingetur ad laqueos
+mortis." Proverb. xxi.
+
+30. THE SHIP IN A TEMPEST. Death is vigorously employed in breaking the
+mast. The owner of the vessel is wringing his hands in despair. One man
+seems perfectly resigned to his impending fate. "Qui volunt ditescere,
+incidunt in tentationem et laqueum, et cupiditates multas, stultas ac
+noxias, quae demergunt homines in exitium et interitum." 1 ad Tim. vi.
+
+31. THE KNIGHT. After escaping the perils in his numerous combats, he is
+vanquished by Death, whom he ineffectually resists. "Subito morientur, et
+in media nocte turbabuntur populi, et auferent violentum absque manu." Job
+xxxiv.
+
+32. THE COUNT. Death, in the character of a ragged peasant, revenges
+himself against his proud oppressor by crushing him with his own armour.
+On the ground lie a helmet, crest, and flail. "Quoniam cum interierit non
+sumet secum omnia, neque cum eo descendet gloria ejus." Psal. xlviii.
+
+33. THE OLD MAN. Death leads his aged victim to the grave, beguiling him
+with the music of a dulcimer. "Spiritus meus attenuabitur, dies mei
+breviabuntur, et solum mihi superest sepulchrum." Job xvii.
+
+34. THE COUNTESS. She receives from an attendant the splendid dress and
+ornaments with which she is about to equip herself. On a chest are seen a
+mirror, a brush, and the hour-glass of Death, who, standing behind her,
+places on her neck a collar of bones. "Ducunt in bonis dies suos, et in
+puncto ad inferna descendant." Job xxi.
+
+35. THE NEW-MARRIED LADY. She is accompanied by her husband, who
+endeavours to divert her attention from Death, who is insidiously dancing
+before them and beating a tambour. "Me et te sola mors separabit." Ruth i.
+
+36. THE DUCHESS. She is sitting up, dressed, in her bed, at the foot of
+which are two Deaths, one of whom plays on a violin, the other is pulling
+the clothes from the bed. "De lectulo, super quem ascendisti, non
+descendes, sed morte morieris." 4 Reg. i.
+
+37. THE PEDLAR. Accompanied by his dog, and heavily laden, he is
+proceeding on his way, when he is intercepted by Death, who forcibly pulls
+him back. Another Death is playing on a trump-marine. "Venite ad me omnes
+qui laboratis, et onerati estis." Matth. xi.
+
+38. THE HUSBANDMAN. He is assisted by Death, who conducts the horses of
+his plough. "In sudore vultus tui vesceris pane tuo." Gen. iii.
+
+39. THE CHILD. A female cottager is preparing her family mess, when Death
+enters and carries off the youngest of her children. "Homo natus de
+muliere, brevi vivens tempore, repletur multis miseriis: qui quasi flos
+egreditur, et conteritur, et fugit velut umbra." Job xiv.
+
+40. THE SOLDIER. He is engaged in unequal combat with Death, who simply
+attacks him with a bone. On the ground lie some of his demolished
+companions. In the distance, Death is beating a drum, and leading on a
+company of soldiers to battle. "Cum fortis armatus custodit atrium suum,
+&c. Si autem fortior eo superveniens vicerit eum, universa ejus arma
+aufert, in quibus confidebat." Luc. xi.
+
+41. THE GAMESTERS. Death and the Devil are disputing the possession of one
+of the gamesters, whom both have seized. Another seems to be interceding
+with the Devil on behalf of his companion, whilst a third is scraping
+together all the money on the table. "Quid prodest homini, si universum
+mundum lucretur, animae autem suae detrimentum patiatur?" Mat. xvi.
+
+42. THE DRUNKARDS. They are assembled in a brothel, and intemperately
+feasting. Death pours liquor from a flaggon into the mouth of one of the
+party. "Ne inebriemini vino, in quo est luxuria." Ephes. v.
+
+43. THE IDEOT FOOL. He is mocking Death, by putting his finger in his
+mouth, and at the same time endeavouring to strike him with his
+bladder-bauble. Death smiling, and amused at his efforts, leads him away
+in a dancing attitude, playing at the same time on a bag-pipe. "Quasi
+agnus lasciviens, et ignorans, nescit quod ad vincula stultus trahatur."
+Prover. vii.
+
+44. THE ROBBER. Whilst he is about to plunder a poor market-woman of her
+property, Death comes behind and lays violent hands on him. "Domine vim
+patior." Isaiae xxxviii.
+
+45. THE BLIND MAN. Carefully measuring his steps, and unconscious of his
+perilous situation, he is led on by Death, who with one hand takes him by
+the cloak, both parties having hold of his staff. "Caecus caecum ducit: et
+ambo in foveam cadunt." Matt. xv.
+
+46. THE WAGGONER. His cart, loaded with wine casks, has been overturned,
+and one of his horses thrown down by two mischievous Deaths. One of them
+is carrying off a wheel, and the other is employed in wrenching off a tie
+that had secured one of the hoops of the casks. The poor affrighted
+waggoner is clasping his hands together in despair. "Corruit in curru
+suo." 1 Chron. xxii.
+
+47. THE BEGGAR. Almost naked, his hands joined together, and his head
+turned upwards as in the agonies of death, he is sitting on straw near the
+gate of some building, perhaps an hospital, into which several persons are
+entering, and some of them pointing to him as an object fit to be
+admitted. On the ground lie his crutches, and one of his legs is swathed
+with a bandage. A female is looking on him from a window of the building.
+"Miser ego homo! quis me liberabit de corpore mortis hujus?" Rom. vii.
+
+48. THE LAST JUDGMENT. Christ sitting on a rainbow, and surrounded by a
+group of angels, patriarchs, &c. rests his feet on a globe of the
+universe. Below, are several naked figures risen from their graves, and
+stretching out their hands in the act of imploring judgment and mercy.
+"Memorare novissima, et in aeternum non peccabis." Eccle. vii.
+
+49. THE ALLEGORICAL ESCUTCHEON OF DEATH. The coat or shield is fractured
+in several places. On it is a skull, and at top the crest as a helmet
+surmounted by two arm bones, the hands of which are grasping a ragged
+piece of stone, and between them is placed an hour-glass. The supporters
+are a gentleman and lady in the dresses of the times. In the description
+of this cut Papillon has committed some very absurd mistakes, already
+noticed in p. 110.
+
+
+I
+
+THE CREATION
+
+[Illustration]
+
+Formavit Dominus Deus hominem de limo terrae, &c. _Gen._ i.
+
+
+II
+
+THE TEMPTATION
+
+[Illustration]
+
+Quia audisti vocem uxoris tuae, et comedisti de ligno, &c. _Gen._ iii.
+
+
+III
+
+THE EXPULSION
+
+[Illustration]
+
+Emisit eum Dominum Deus de Paradiso voluptatis, ut operaretur terram de
+qua sumptus est. _Gen._ iii.
+
+
+IV
+
+THE CONSEQUENCES OF THE FALL
+
+[Illustration]
+
+Maledicta terra in opere tuo, in laboribus comedes cunctis diebus vitae
+tuae, donec revertaris, &c. _Gen._ iii.
+
+
+V
+
+A CEMETERY
+
+[Illustration]
+
+Vae, vae, vae habitantibus in terra. _Apoc._ viii.
+
+
+VI
+
+THE POPE
+
+[Illustration]
+
+Moriatur sacerdos magnus. _Josue_ xx.
+
+
+VII
+
+THE EMPEROR
+
+[Illustration]
+
+Dispone domui tuae, morieris, enim tu, et non vives. _Isaiae_ xxxviii.
+
+
+VIII
+
+THE KING
+
+[Illustration]
+
+Sicut et Rex hodie est, et cras morietur; nemo enim ex regibus aliud
+habuit. _Eccles._ x. _et Sapient._ vii.
+
+
+IX
+
+THE CARDINAL
+
+[Illustration]
+
+Vae qui justificatis impium pro muneribus, et justitiam justi aufertis ab
+eo. _Isaiae_ v.
+
+
+X
+
+THE EMPRESS
+
+[Illustration]
+
+Gradientes in superbia potest Deus humiliare. _Dan._ iv.
+
+
+XI
+
+THE QUEEN
+
+[Illustration]
+
+Mulieres opulentae surgite, et audite vocem meam: post dies et annum, et
+vos conturbemini. _Isaiae_ xxxii.
+
+
+XII
+
+THE BISHOP
+
+[Illustration]
+
+Percutiam pastorem, et dispergentur oves gregis. _Mat._ xxvi. _Mar._ xiv.
+
+
+XIII
+
+THE DUKE
+
+[Illustration]
+
+Princeps induetur moerore, et quiescere faciam superbiam potentium.
+_Ezech._ viii.
+
+
+XIV
+
+THE ABBOT
+
+[Illustration]
+
+Ipse morietur, quia non habuit disciplinam, et in multitudine stultitiae
+suae decipietur.
+
+
+XV
+
+THE ABBESS
+
+[Illustration]
+
+Laudavi magis mortuos quam viventes. _Eccles._ iv.
+
+
+XVI
+
+THE GENTLEMAN
+
+[Illustration]
+
+Quis est homo qui vivet, et non videbit mortem, eruet animam suam de manu
+inferi?
+
+
+XVII
+
+THE CANON
+
+[Illustration]
+
+Ecce appropinquat hora. _Mat._ xxvi.
+
+
+XVIII
+
+THE JUDGE
+
+[Illustration]
+
+Disperdam judicem de medio ejus. _Amos_ ii.
+
+
+XIX
+
+THE ADVOCATE
+
+[Illustration]
+
+Callidus vidit malum, et abscondit se: innocens pertransiit, et afflictus
+est damno. _Prover._ xxii.
+
+
+XX
+
+THE MAGISTRATE
+
+[Illustration]
+
+Qui obturat aurem suam ad clamorem pauperis, et ipse clamabit, et non
+exaudietur. _Prover._ xxi.
+
+
+XXI
+
+THE PREACHER
+
+[Illustration]
+
+Vae qui dicitis malum bonum, et bonum malum: ponentes tenebras lucem, et
+lucem tenebras: ponentes amarum in dulce, et dulce in amarum. _Isaiae_ v.
+
+
+XXII
+
+THE PRIEST
+
+[Illustration]
+
+Sum quidem et ego mortalis homo. _Sap._ vii.
+
+
+XXIII
+
+THE MENDICANT
+
+[Illustration]
+
+Sedentes in tenebris, et in umbra mortis, vinctos in mendicitate. _Psal._
+cvi.
+
+
+XXIV
+
+THE NUN
+
+[Illustration]
+
+Est via quae videtur homini justa: novissima autem ejus deducunt hominem ad
+mortem. _Prover._ iv.
+
+
+XXV
+
+THE OLD WOMAN
+
+[Illustration]
+
+Melior est mors quam vita. _Eccle._ xxx.
+
+
+XXVI
+
+THE PHYSICIAN
+
+[Illustration]
+
+Medice, cura te ipsum. _Luc._ iv.
+
+
+XXVII
+
+THE ASTROLOGER
+
+[Illustration]
+
+Indica mihi si nosti omnia. Sciebas quod nasciturus esses, et numerum
+dierum tuorum noveras? _Job_ xxxviii.
+
+
+XXVIII
+
+THE MISER
+
+[Illustration]
+
+Stulte, hac nocte repetunt animam tuam: et quae parasti, cujus erunt?
+_Lucae_ xii.
+
+
+XXIX
+
+THE MERCHANT
+
+[Illustration]
+
+Qui congregat thesauros lingua mendacii, vanus et excors est, et
+impingetur ad laqueos mortis. _Proverb._ xxi.
+
+
+XXX
+
+THE SHIP IN A TEMPEST
+
+[Illustration]
+
+Qui volunt ditescere, incidunt in tentationem et laqueum, et cupiditates
+multas, stultas, ac noxias, quae demergunt homines in exitium et interitum.
+_1 ad Tim._ vi.
+
+
+XXXI
+
+THE KNIGHT
+
+[Illustration]
+
+Subito morientur, et in media nocte turbabuntur populi, et auferent
+violentum absque manu. _Job_ xxxiv.
+
+
+XXXII
+
+THE COUNT
+
+[Illustration]
+
+Quoniam cum interierit, non sumet secum omnia, neque cum eo descendet
+gloria ejus. _Psal._ xlviii.
+
+
+XXXIII
+
+THE OLD MAN
+
+[Illustration]
+
+Spiritus meus attenuabitur, dies mei breviabuntur, et solum mihi superest
+sepulchrum. _Job_ xvii.
+
+
+XXXIV
+
+THE COUNTESS
+
+[Illustration]
+
+Ducunt in bonis dies suos, et in puncto ad inferna descendunt. _Job_ xxi.
+
+
+XXXV
+
+THE NEW-MARRIED LADY
+
+[Illustration]
+
+Me et te sola mors separabit. _Ruth_ i.
+
+
+XXXVI
+
+THE DUCHESS
+
+[Illustration]
+
+De lectulo super quem ascendisti, non descendes, sed morte morieris.
+_4 Reg._ i.
+
+
+XXXVII
+
+THE PEDLAR
+
+[Illustration]
+
+Venite ad me, omnes qui laboratis, et onerati estis. _Matth._ xi.
+
+
+XXXVIII
+
+THE HUSBANDMAN
+
+[Illustration]
+
+In sudore vultus tui vesceris pane tuo. _Gen._ iii.
+
+
+XXXIX
+
+THE CHILD
+
+[Illustration]
+
+Homo natus de muliere, brevi vivens tempore, repletur multis miseriis: qui
+quasi flos egreditur, et conteritur, et fugit velut umbra. _Job_ xiv.
+
+
+XL
+
+THE SOLDIER
+
+[Illustration]
+
+Cum fortis armatus custodit atrium suum, &c. Si autem fortior eo
+superveniens vicerit eum, universa ejus arma aufert, in quibus confidebat.
+_Luc._ xi.
+
+
+XLI
+
+THE GAMESTERS
+
+[Illustration]
+
+Quid prodest homini, si universum mundum lucretur, animae autem suae
+detrimentum patiatur? _Mat._ xvi.
+
+
+XLII
+
+THE DRUNKARDS
+
+[Illustration]
+
+Ne inebriemini vino, in quo est luxuria. _Ephes._ v.
+
+
+XLIII
+
+THE IDEOT FOOL
+
+[Illustration]
+
+Quasi agnus lasciviens, et ignorans, nescit quod ad vincula stultus
+trahatur. _Prover._ vii.
+
+
+XLIV
+
+THE ROBBER
+
+[Illustration]
+
+Domine, vim patior. _Isaiae_ xxxviii.
+
+
+XLV
+
+THE BLIND MAN
+
+[Illustration]
+
+Caecus caecum ducit: et ambo in foveam cadunt. _Matt._ xv.
+
+
+XLVI
+
+THE WAGGONER
+
+[Illustration]
+
+Corruit in curru suo. _1 Chron._ xxii.
+
+
+XLVII
+
+THE BEGGAR
+
+[Illustration]
+
+Miser ego homo! quis me liberabit de corpore mortis hujus? _Rom._ vii.
+
+
+XLVIII
+
+THE LAST JUDGMENT
+
+[Illustration]
+
+Memorare novissima, et in aeternum non peccabis. _Eccle._ vii.
+
+
+XLIX
+
+ALLEGORICAL ESCUTCHEON OF DEATH
+
+[Illustration]
+
+
+
+
+MARKS OF ENGRAVERS.
+
+
+[monogram: G S.] 41, 117
+
+[monogram: HL] 93, 97, 98, 100, 111, 113, 114, 215, 235
+
+[monogram: H =N=] 100
+
+[monogram: S.] 113
+
+[monogram: SA] 113, 114, 115, 116, 127, 130, 136, 174
+
+[monogram: W] 117
+
+[monogram: cross] 117
+
+[monogram] 118
+
+[monogram: A] 124
+
+[monogram: UH] 125
+
+[monogram: WH] 125
+
+[monogram: HB] 126
+
+[monogram: HH] 126
+
+[monogram: HHolbein] inv. 126, 129
+
+H. HOLBEIN, inv. 126.
+
+[monogram: W.] 130
+
+[monogram: L B.f.] 130
+
+[monogram: CI] 147, 248
+
+[monogram: AC] 160, 190
+
+[monogram: HF] 184
+
+[monogram: L] 189
+
+[monogram: VG] 189
+
+[monogram] 190
+
+[monogram] 190
+
+[monogram] 191
+
+[monogram: HM] 191
+
+[monogram] 191
+
+[monogram: BAD] 193
+
+[monogram: I. F.] 219
+
+[monogram] 223
+
+[monogram: HS] 226
+
+These are the marks erroneously given to Holbein,
+
+  BI.
+  Hf.
+  [monogram: HL]
+  [monogram: HL B.]
+  [monogram: HB.]
+  [monogram: HH.]
+
+And these the marks which really belong to him,
+
+  HH.
+  HANS HOLB.
+  HANS HOLBEIN.
+  [monogram: 1519 HF]
+  [monogram: HF]
+  II H.
+  HANS HOLBEN.
+  [monogram: AH 1517]
+  [monogram: H [symbol] H]
+  [monogram: H-H]
+
+
+
+
+INDEX.
+
+
+  A.
+
+  AEmylius, Geo. his verses, 84.
+
+  Alciatus, his emblems the earliest work of the kind, 180.
+
+  Aldegrever, his Dance of Death, 160.
+
+  Almanac, a Swiss one, with a Dance of Death, 76, 209.
+
+  Alphabets, several curious, 100, 214, 217.
+
+  Amman, Jost, a Dance of Death by him, 41.
+
+  Ars moriendi, some account of the last edition of it, 173.
+
+  Athyr, "Stamm-und Stechbuchlein," a rare and singular book of emblems,
+      180.
+
+
+  B.
+
+  Baldinucci, a mistake by him corrected, 235.
+
+  Basle, destruction of its celebrated painting of the Dance of Death, 39.
+    engravings of it, 41.
+
+  Beauclerc, Lady Diana, her ballad of Leonora, 210.
+
+  Bechstein, Ludwig, his edition of the Lyons' wood-cuts, 136.
+
+  Beham, Barthol., his Dance of Death, 190.
+
+  Bernard, le petit, his fine wood-cuts to the Old Testament, 173.
+
+  Berne almanac, a Dance of Death in one of them, 154.
+
+  Bock, Hans, not the painter of the Basle Dance of Death, 39.
+
+  Bodenehr, Maurice, a Dance of Death by him, 165.
+
+  "Boetius de consolatione," a figure of Death in an old edition of it,
+      171.
+
+  Bonaparte, Napoleon, a Dance of Death relating to him, 167.
+
+  Books in which a Dance of Death is occasionally introduced, 168.
+
+  Borbonius, Nicolas, his portrait, 140.
+    his verses, 92, 94, 139.
+    in England, 140.
+
+  Bosman, Arent, a singular old Dutch legend relating to him, 183.
+
+  Bosse, a curious engraving by him, 196.
+
+  Boxgrove church in Sussex, sculpture in, 226.
+
+  Brant, Sebastian, his stultifera navis, 170.
+
+  Bromiard, John De, his "Summa predicantium," a fine frontispiece to it,
+      183.
+
+  Buno, Conrad, a book of emblems by him, 181.
+
+  Burnet, Bishop, his ambiguous account of a Dance of Death at Basle, 79,
+      138.
+
+
+  C.
+
+  Calendrier des Bergers, 170.
+
+  Callot, drawings by him of a Dance of Death in the collection of Sir
+      Tho. Lawrence, 223.
+
+  Camus, M. de, a ludicrous mistake by him, 169.
+
+  Catz's emblems, 182.
+
+  Cavallero determinado, 174.
+
+  Centre de l'amour, a singular book of emblems, 182.
+
+  Chertablon, "Maniere de se bien preparer a la mort," 177.
+
+  "Chevalier de la tour," a singular print from this curious romance, 171.
+
+  Chodowiecki, his engravings relating to the Dance of Death, 153, 207,
+      208.
+
+  Chorier, his "Antiquites de Vienne," 48.
+
+  Cogeler, "Imagines elegantissimae, &c." 173.
+
+  Coleraine, I. Nixon, his Dance of Death on a fan, 159.
+
+  Colman's "Death's duell," 185.
+
+  Compan, M. his mistake about a Dance of Death, 237.
+
+  Coppa, a poem ascribed to Virgil, 3.
+
+  Cossiers, John, a curious print after him, 199.
+
+  Coverdale's Bible, with initials of a Dance of Death, 217.
+
+  Coxe's travels in Switzerland, some account in them of M. Crozat's
+      drawings, 134.
+
+  Crozat, M. De, account of some supposed drawings by Holbein in his
+      collection, 134.
+
+
+  D.
+
+  Dagger, design for the sheath of one by Holbein, 133.
+
+  Dagley's "Death's doings," 157, 210, 224.
+
+  Dance of Death, a pageant, 5.
+    Danish one, 159.
+    known to the ancients, 12.
+    one at Pompeii, 13.
+    the term sometimes improperly used, 81.
+    verses belonging to it, 17.
+    where sculptured and painted, 17.
+
+  Dance, Mr. the painter, his imitation of a subject in the Dance of Death
+      in his portrait of Mr. Garrick, 137.
+
+  Dances of Death, with such text only as describes the subject, 160.
+    anonymous, 161, 162, 163, 164.
+    at the following places,
+      Amiens, 47.
+      Anneberg, 44.
+      Avignon, 221.
+      Basle, 36.
+      Berlin, 48.
+      Berne, 45.
+      Blois, 47.
+      Croydon, 54.
+      Dijon, 35.
+      Dresden, 44.
+      Erfurth, 44.
+      Fescamp, 47.
+      Hexham, 53.
+      Holland, 49.
+      Italy, 49.
+      Klingenthal, 42.
+      Leipsic, 44.
+      Lubeck, 43.
+      Lucerne, 46.
+      Minden, 35.
+      Nuremberg, 45.
+      Paris, 14, 33, 35.
+      Rouen, 47.
+      Salisbury, 52.
+      St. Paul's, 51, 76.
+      Spain, 50.
+      Strasburg, 47.
+      Tower of London, 54.
+      Vienne, in Dauphine, 48.
+      Wortley Hall, 53.
+
+  Dancing in temples and churchyards, 5, 6.
+
+  Daniel, Mr. an unique print of a Dance of Death in his possession, 248.
+
+  Danse aux aveugles, 231.
+
+  Death and the Lady, 226.
+    how personified by the Ancients, 1.
+    not in itself terrific, 4.
+    to Dr. Quackery, 211.
+
+  De Bry, prints by him, 180, 183, 195.
+
+  Dedication to the first edition of the Lyons wood-cuts, 86.
+    mistakes in it, 87.
+
+  De Gheyn, prints by him, 198, 205.
+
+  De la Motte's fables, 183.
+
+  Della Bella, 162.
+
+  De Murr, his mistake about the Dance of Death, 235
+
+  Dennecker, or De Necker, Jobst, Dances of Death by him, 40, 42, 85, 118.
+
+  De Pas, Crispin, description of a singular engraving by him, 196.
+
+  Descamps, his mistake about the Dance of Death, 235.
+
+  Deuchar, David, the Scottish Worlidge, his etchings of the Dance of
+      Death, 135.
+
+  Deutch, Nicolas Manuel, the painter of a Dance of Death at Berne, 224.
+
+  Devil's ruff-shop, 200.
+
+  De Vos, Martin, print after him of the Devil's ruff-shop, 200.
+
+  Diepenbecke, Abraham, designer of the borders to Hollar's etchings of
+      the Dance of Death, 125.
+
+  Dialogue of life and death, in "Dialogues of creatures moralized," 170.
+
+  Dominotiers, venders of coloured prints for the common people, 77.
+
+  Drawings of the Dance of Death, 222.
+
+  Druraei Mors, an excellent Latin comedy, 175.
+
+  Dugdale, his Monasticon, 129.
+    his St. Paul's, 129.
+
+  Durer, Albert, some prints by or after him described, 188, 189.
+
+
+  E.
+
+  Ear, the seat of memory among the Ancients, 3.
+    swearing by, 3.
+
+  Edwards, Mr. the bookseller, the possessor of Hollar's etchings of the
+      Dance of Death, 128.
+
+  Elizabeth, her prayer-book with a Dance of Death, 147, 247.
+
+  Emblems and fables relating to the Dance of Death, 179.
+
+  Engravings on wood, the earliest impressions of them not always the
+      best, 85, 90.
+    commendations of them in books printed in France, Germany, and Italy,
+      97.
+
+  Errors of miscellaneous writers on the Dance of Death, 236.
+    of travellers concerning it, 233.
+    of writers on painting and engraving concerning it, 234.
+
+  Evelyn, Mr. his mistake concerning the Dance of Death, 235.
+
+
+  F.
+
+  Fables relating to the Dance of Death, 179.
+
+  Faut mourir, le, 26.
+
+  Felibien, his mistake about the Dance of Death, 235.
+
+  Figeac, Champollion, his account of a Macaber Dance, 238.
+
+  Fleischmann, Counsellor, of Strasburg, drawings of a Dance of Death in
+      his possession, 134.
+
+  Fontenai, Abbe, his mistake concerning the Dance of Death, 236.
+
+  Fool and Death in old moralities, 177.
+
+  Fournier, his mistake concerning the Dance of Death, 237.
+
+  Fox, John, "Book of Christian Prayers," compiled by him, 147.
+
+  Francis I. an importer of fine artists into France, 92.
+
+  Francolin, a rare work by him described, 217.
+
+  Freidanck, 171.
+
+  Friderich's emblems, 180.
+
+  Frontispieces connected with the Dance of Death, described, 183.
+
+  Fulbert's vision of the dispute between the soul and the body, 32.
+
+  Fuseli, Mr. his opinion concerning the Dance of Death, 83.
+
+  Fyner, Conrad, his process or law-suit of Death.
+
+
+  G.
+
+  Gallitzin, Prince, some supposed drawings by Holbein of a Dance of Death
+      in his possession, 134.
+
+  Gem, an ancient one, with a skeleton as the representative of Death, 206.
+
+  Gerard, Mark, some etchings of fables by him, 179.
+
+  Gesner's Pandectae, remarks on a passage in that work, 84.
+
+  Ghezzi, a figure of Death among his caricatures, 206.
+
+  Glarus, Franciscus a, his "Confusio disposita, &c." noticed as a very
+      singular work, 177.
+
+  Glass, painted, with a Dance of Death, 227.
+
+  Glissenti, his "Discorsi morali," 112.
+    his "Morte inamorata," 246.
+
+  Gobin le gay, a name of one of the shepherds in an old print of the
+      Adoration, 69.
+
+  Gobin, Robert, his "loups ravissans," remarkable for a Dance of Death,
+      146.
+
+  Goethe, a Dance of Death in one of his works, 178, 211.
+
+  Gole, a mezzotinto by him of Death and the Miser, 203.
+
+  Goujet, his mistake about the Dance of Death at Basle, 233.
+
+  Graaf, Urs, a print by him, and his monogram described, 189.
+
+  Grandville, "Voyage pour l'eternite," 157.
+
+  Gray, Rev. Robert, his mistake about the Dance of Death at Basle, 233.
+
+  Gringoire, Pierre, his "Heures de Notre Dame," 172.
+
+  Grosthead, story from his "Manuel de Peche," 7.
+
+  Guilleville, "Pelerin de la vie humaine," 175.
+
+
+  H.
+
+  Harding, an etching by him of "Death and the Doctor," 211.
+
+  Hawes's "Pastime of Pleasure," two prints from it described, 173.
+
+  Heemskirk, Martin, a print by him described, 193, 199.
+
+  Hegner, his life of Holbein, 240.
+
+  Heymans, Mynheer, a dedication to him, 141.
+
+  Historia della Morte, a poem so called, 176.
+
+  Holbein, a German, life of him by Hegner, 240.
+    ambiguity with respect to the paintings at Basle ascribed to him, 81.
+    dance of peasants by him, 80.
+    engravings by him with his name, 95.
+    his Bible prints, 94.
+    his connexion with the Dance of Death, 78, 138.
+    his death, in 1554, 144.
+    his name not in the early editions of the Lyons wood-cuts, 92.
+    lives of him very defective, 143.
+    more particulars relating to him, 143.
+    not the painter of the Dance of Death at Basle, 38, 43, 144.
+    paints a Dance of Death at Whitehall, 141.
+    satirical painting of Erasmus by him, 221.
+
+  Hollar, his copies of the Dance of Death, 125.
+
+  Hopfer, David, his print of Death and the Devil, 191.
+
+  Horae, manuscripts of this service book with the Macaber Dance, 60.
+    printed copies of it with the same, and some similar designs, 72.
+
+  Huber and Rust, their mistake concerning Holbein, 236.
+
+
+  I.
+
+  Jacques, Maitre, his "le faut mourir," 26.
+
+  Jansen, his mistake concerning the Dance of Death, 236.
+
+  Imitations of and from the Lyons wood-cuts, 137.
+
+  Initial letters with a Dance of Death, 213, 214, 217.
+
+  Innocent III. Pope, his work "de vilitate conditionis humanae," 172.
+
+
+  K.
+
+  Karamsin, Nicolai, his account of a Dance of Death, 44.
+
+  Kauw, his drawing of a Dance of Death, at Berne, 224.
+
+  Kerver, Thielman, his editions of "Horae," 174.
+
+  Klauber, John Hugh, a painter of a Dance of Death at Basle, 36, 42.
+
+
+  L.
+
+  Langlois, an engraving by him described, 198.
+
+  Larvae and lemures, confusion among the ancients as to their respective
+      qualities, 4.
+
+  "Last drop," an etching so intitled, 211.
+    a drawing of the same subject, 224.
+
+  Lavenberg calendar, prints by Chodowiecki in it, 153.
+
+  Lawrence, Sir Thomas, drawings by Callot of a Dance of Death in his
+      possession, 223.
+
+  "Lawyer's last circuit," a caricature print, 209.
+
+  Le Blon, a circular print by him described, 197.
+
+  Le Comte, his mistake concerning the Dance of Death, 235.
+
+  Lubeck, a Dance of Death there, 163.
+
+  Lutzenberger, Hans, the engraver of the Lyons wood-cuts of the Dance of
+      Death, 98.
+    alphabets by him, 100.
+    various prints by him, 99.
+
+  Luyken's Emblems, 177, 178.
+
+  Lydgate, his Verses to the Macaber Dance, 29, 52.
+
+  Lyons, all the editions of the wood-cuts of the Dance of Death published
+      there described, 82, 103.
+    copies of them by Hollar, 125.
+    copies of them on copper, 121.
+    copies of them on wood, 111.
+    various imitations of some of them, 137.
+
+  Lyvijus, John, a print by him of two card players, 197.
+
+
+  M.
+
+  Macaber, a word falsely applied as the name of a supposed German poet,
+      28, 34.
+    its etymology discussed, 30, 34.
+
+  Macaber Dance, 13, 28.
+    copies or engravings of it as painted at Basle, 40.
+    destruction of the painting at Basle, 39.
+    manuscripts in which it is represented, 72.
+    not painted by Holbein, 38.
+    printed books, in which it is represented, 55.
+    representations of it at the following places:--
+      Amiens, 47.
+      Anneberg, 44.
+      Basle, 36.
+      Berlin, 48.
+      Berne, 45.
+      Burgos, 50.
+      Croydon, 54.
+      Dijon, 35.
+      Dresden, 44, 76.
+      Erfurth, 44.
+      Hexham, 53.
+      Holland, 49.
+      Klingenthal, 42.
+      Lubeck, 43.
+      Lucerne, 46.
+      Minden, 35.
+      Naples, 49.
+      Rouen, 47.
+      Salisbury, 52.
+      St. Paul's, 51, 76.
+      Strasburg, 47.
+      Tower of London, 54.
+      Vienne, 48.
+      Wortley Hall, 53.
+
+  Macarius Saint, painting of a legend relating to him, by Orgagna, at the
+      Campo Santo, 32, 33.
+
+  Malpe, M., his mistake concerning the Dance of Death, 236.
+
+  Mannichius, 180.
+
+  Manuel de Peche, by Grosthead, 7.
+
+  Mapes, Walter de, an allusion by him to a Dance of Death, 24.
+    vision of a dispute between the soul and the body, ascribed to him, 33.
+
+  Marks or monograms of engravers, their uncertainty, 102.
+
+  Marmi, Gio. Battista, his "Ritratte della Morte," 129.
+
+  Mechel, Chretien de, 132, 208, 214.
+
+  Meckenen, Israel Van, a Dance of Death by him, 160.
+
+  Meisner, his "Sciographia Cosmica," 180.
+
+  Melidaeus, Jonas, a satirical work under this disguised name, intitled
+      "Res mira," 184.
+
+  Meyers, Rodolph, his Dance of Death, 148.
+
+  Meyssens, his mistake concerning the Dance of Death, 234.
+
+  Missal, an undescribed one, in the type of the psalter of 1457, 213.
+
+  Misson, the traveller, his mistake concerning the Dance of Death, 233.
+
+  Mitelli, Gio. Maria, a kind of Death's Dance, by him, 161.
+
+  Moncrief, his "March of Intellect," quoted for a print after Cruikshank,
+      178.
+
+  Montenaye, Georgette de, her emblems, 179.
+
+  "Mors," an excellent Latin comedy, by William Drury, 175.
+
+  Mortimer, a sketch by him of Death seizing several persons, 209.
+
+  Mortilogus, 171.
+
+
+  N.
+
+  Negro figure of Death, 230.
+
+  Newton's Dances of Death, 165.
+
+  Nieuhoff, Piccard, 130, 140.
+
+  Nuremberg Chronicle, a cut from it described, 170.
+    a story from it, 6.
+
+
+  O.
+
+  Old Franks, a curious painting by him, 204, 221.
+
+  Oliver, Isaac, his copy of a painting by Holbein, at Whitehall, 145, 221.
+
+  Orgagna, Andrea, his painting at the Campo Santo, 32.
+
+  Ortulus Rosarum, 170.
+
+  Otho Vaenius, a curious painting by him, 204, 222.
+
+  Ottley, Mr. his opinion in favour of Holbein as the designer of the
+      Lyons wood-cuts, 88.
+    proof impressions of the Lyons wood-cuts in his valuable collection,
+      85.
+
+
+  P.
+
+  Palingenius, his "Zodiacus Vitae," a frontispiece to this work described,
+      186.
+
+  Panneels, William, a scholar of Rubens, mention of a painting by him,
+      203.
+
+  Papillon, his ludicrous mistakes noticed, 110, 114.
+
+  Patin, Charles, a traveller, and a libeller of the English, 79, 138, 237.
+
+  Paulmy, Marquis de, his mistake concerning the Dance of Death, 238.
+
+  Paul's St., mention of the Dance of Death formerly there, 51, 163.
+
+  Peasants, a dance of, painted at Basle, by Holbein, 80.
+
+  Peignot, M. author of "Les Danses de Mort," an interesting work, preface.
+    his misconception relating to John Porey, 248.
+
+  Perriere, his "Morosophie," 179.
+
+  Petrarch, his triumph of Death, 175, 207.
+    his work "de remediis utriusque fortunae," 175.
+
+  Pfister, Albert, his "Tribunal Mortis," 168.
+
+  Piccard, Nieuhoff, 130, 140.
+
+  Piers Plowman, lines from, 54.
+
+  Porey, John, a mistake concerning him corrected, 248.
+
+  Potter, P. an allegorical engraving after him, 199.
+
+  Prints, single, relating to the Dance of Death, list of, 188.
+
+  Prior, Matthew, his lines on the Dance of Death, 145.
+
+  Psalter of 1457, a beautiful initial letter in it noticed, 213.
+    of Richard II., a manuscript in the British Museum, 222.
+
+
+  R.
+
+  Rabbi Santo, a Jewish poet, about 1360, 25.
+
+  Ratdolt, a Venetian printer, not, as usually supposed, the inventor of
+      initial or capital letters, 213.
+
+  Rembrandt, drawing of a Dance of Death by him, 223.
+    etching by him, 195.
+
+  Rene, of Anjou, painted a Dance of Death, 221.
+
+  Reperdius, Geo. an eminent painter at Lyons, 93.
+
+  Revelations, prints of the, 175.
+
+  Reusner, his emblems, 179.
+
+  Rive, Abbe, his bibliography of the Macaber Dance, 75.
+
+  Rivoire, his history of Amiens commended, 47.
+
+  Roderic, bishop of Zamora, 17, 32.
+
+  Rolandini's emblems, 180.
+
+  Rollenhagius's emblems, 182.
+
+  Roll of the Dance of Death, 1597, 163.
+
+  Rowlandson's Dance of Death, 156, 225, 248.
+
+  Rusting, Salomon Van, his Dance of Death, 131.
+
+
+  S.
+
+  [monogram: SA], some account of this monogram, 115.
+    its owner employed by Plantin, the famous printer at Antwerp, 116.
+
+  Salisbury missal, singular cut in one, 172.
+
+  Sallaerts, an artist supposed to have been employed by Plantin the
+      celebrated printer, 115, 116.
+
+  Sancta Clara, Abraham, a description of his "universal mirror of Death,"
+      151.
+
+  Sandrart, his notice of a work by Holbein at Whitehall, 145.
+
+  Schauffelin, Hans, a carving on wood by him described, 226.
+
+  Schellenberg, I. R. a Dance of Death by him, 154.
+
+  Schlotthaver, his edition of a Dance of Death, 249.
+
+  Silvius, or Sylvius, Antony, an artist at Antwerp, account of a monogram
+      supposed to belong to him, 115.
+
+  Skeleton, use made of the human by the ancients, 3.
+
+  "Spectriana," a modern French work, frontispiece to it described, 187.
+
+  Stelsius, his edition of a spurious copy of Holbein's Bible cuts, 97.
+
+  Stettler, his drawings of the Macaber Dance of Death at Berne, 224.
+
+  "Stotzinger symbolum," description of a cut so intitled, 174.
+
+  Stradanus, an engraving after him described, 197.
+
+  Susanna, a Latin play, 18.
+
+  Symeoni, "Imprese," 179.
+
+
+  T.
+
+  Tapestry at the Tower of London, 227.
+
+  "Theatrum Mortis," a work with a Dance of Death described, 129.
+
+  Tiepolo, a clever etching by him described, 197.
+
+  Title-pages connected with the Dance of Death, list of, 183.
+
+  Tory, Geoffrey, Horae printed by him described, 172.
+
+  Tower of London, tapestry formerly there of a Dance of Death, 227.
+
+  Trois mors et trois vifs, 31, 33, 228.
+
+  Turner, Col., a Dance of Death by him, 207.
+
+  Turnham Green, some account of chalk drawings of a Dance of Death on a
+      wall there, 210, 224.
+
+  Typotii symbola, 180, 182.
+
+
+  U.
+
+  Urs Graaf, his engravings noticed, 243.
+
+
+  V.
+
+  Vaenius, Otho, some of his works mentioned, 182, 204.
+
+  Valckert, a clever etching by him described, 201.
+
+  Van Assen, a Dance of Death by him, 158.
+
+  Van Leyden, Lucas, 189.
+
+  Van Meckenen, Israel, his Dance of Death in circles, 160.
+
+  Van Sichem, his prints to the Bible, 177.
+
+  Van Venne, prints after him, 157, 182, 199, 209.
+
+  Verses that accompany the Dance of Death, 17.
+
+  Von Menzel, 207.
+
+  "Voyage pour l'eternite," a modern Dance of Death, 157.
+
+
+  W.
+
+  Walpole, Mr. his mistake concerning the Dance of Death, 236.
+
+  Warton, Mr. his remarks on the Dance of Death, 237.
+
+  Weiss, Mr. author of some of the best lives in the "Biographie
+      Universelle," misled in his article "Macaber" by Champollion Figeac,
+      249.
+
+  Whitehall, fire at, 140.
+    painting of a Dance of Death there by Holbein, 141.
+
+  Wierix, John, some prints by him described, 194, 195.
+
+  Williams, Miss, her mistake concerning the Dance of Death at Basle, in
+      her Swiss tour, 233.
+
+  Wolschaten, Geeraerdt Van, a Dance of Death by him, 130.
+
+  Wood, engravings on, the first impressions of them not always the best,
+      85.
+
+  Wood, Mr. his mistake concerning the Dance of Death in his "View of
+      Switzerland," 233.
+
+
+  Y.
+
+  "Youth's Tragedy," a moral drama, 1671, 175.
+
+
+  Z.
+
+  Zani, Abbate, of opinion that Holbein had no concern in the Lyons
+      wood-cuts of the Dance of Death, 98, 101, 138.
+
+  Zuinger, his account of paintings at Basle, 139.
+
+
+
+
+C. WHITTINGHAM, TOOKS COURT, CHANCERY LANE.
+
+
+
+
+FOOTNOTES:
+
+[1] Iliad, and after him Virgil, AEn. vi. 278.
+
+[2] Iliad IX. On an ancient gem likewise in Ficoroni's Gemmae Antiquae
+Litteratae, Tab. viii. No. 1, a human scull typifies mortality, and a
+butterfly immortality.
+
+[3] Lib. ii. 78.
+
+[4] Diarium, p. 212.
+
+[5] Lib. xiii. l. 474.
+
+[6] Epist. xxiv.
+
+[7] Apolog. p. 506, 507. edit. Delph. 4to.
+
+[8] Lib. iii.
+
+[9] Leg. Antiq. iii. 84.
+
+[10] Folio clxxxvii.
+
+[11] Folio ccxvii.
+
+[12] Bibl. Reg. 20 B. xiv. and Harl. MS. 4657.
+
+[13] Contest.
+
+[14] Q. Cowick in Yorkshire?
+
+[15] Leader.
+
+[16] Glee.
+
+[17] Called.
+
+[18] A name borrowed from Merwyn, Abbess of Ramsey, temp. Reg. Edgari.
+
+[19] Took.
+
+[20] Leafy.
+
+[21] Place.
+
+[22] Went.
+
+[23] Places.
+
+[24] A falsehood.
+
+[25] Whoever may be desirous of inspecting other authorities for the
+story, may consult Vincent of Beauvais Speculum Historiale, lib. xxv. cap.
+10; Krantz Saxonia, lib. iv.; Trithemii Chron. Monast. Hirsaugensis;
+Chronicon Engelhusii ap. Leibnitz. Script. Brunsvicens. II. 1082;
+Chronicon. S. AEgidii, ap. Leibnitz. iii. 582; Cantipranus de apibus; &
+Caesarius Heisterbach. de Miraculis; in whose works several _veracious_ and
+amusing stories of other instances of divine vengeance against dancing in
+general may be found. The most entertaining of all the dancing stories is
+that of the friar and the boy, as it occurs among the popular penny
+histories, of which, in one edition at least, it is, undoubtedly, the very
+best.
+
+[26] Lib. i. Eleg. iii.
+
+[27] AEn. lib. vi. l. 44.
+
+[28] Millin. Magaz. Encycl. 1813, tom. i. p. 200.
+
+[29] Gori Mus. Florentin. tom. i. pl. 91, No. 3.
+
+[30] Hist. Engl. Poetry, vol. ii. p. 43, edit. 8vo. and Carpentier. Suppl.
+ad Ducang. v. Machabaeorum chorea.
+
+[31] Id. ii. 364.
+
+[32] Hist. des Ducs des Bourgogne, tom. v. p. 1821.
+
+[33] Hist. de Rene d'Anjou, tom. i. p. 54.
+
+[34] Dulaure. Hist. Physique, &c. de Paris, 1821, tom. ii. p. 552.
+
+[35] Recherches sur les Danses des Morts. Dijon et Paris, 1826, 8vo. p.
+xxxiv. et seq.
+
+[36] Mercure de France, Sept. 1742. Carpentier. Suppl. ad Ducang. v.
+Machabaeorum chorea.
+
+[37] Bibl. Reg. 8 B. vi. Lansd. MS. 397.
+
+[38] Madrid. 1779, 8vo. p. 179.
+
+[39] Bibl. Med. et Inf. AEtat. tom. v. p. 1.
+
+[40] Recherches sur les Danses de Mort, pp. 79 80.
+
+[41] Passim.
+
+[42] Modern edition of the Danse Macabre.
+
+[43] Journal de Charles VII.
+
+[44] Lansd. MS. No. 397--20.
+
+[45] Peignot Recherches, p. 109.
+
+[46] Melange d'une Grande Bibliotheque, tom. vii. p. 22.
+
+[47] Bibl. Instruc. No. 3109.
+
+[48] Catal. La Valliere No. 2736--22.
+
+[49] Vasari vite de Pittori, tom. i. p. 183, edit. 1568, 4to.
+
+[50] Baldinucci Disegno, ii. 65.
+
+[51] Morona Pisa Illustrata, i. 359.
+
+[52] Du Breul Antiq. de Paris, 1612, 4to. p. 834, where the verses that
+accompany the sculpture are given. See likewise Sandrart Acad. Picturae, p.
+101.
+
+[53] Peignot Recherches, xxxvii-xxxix.
+
+[54] Urtisii epitom. Hist. Basiliensis, 1522, 8vo.
+
+[55] Peignot Recherches, xxvi-xxix.
+
+[56] Travels, i. 376.
+
+[57] Travels, i. 138, edit. 4to.
+
+[58] Heinecken Dictionn. des Artistes, iii. 67, et iv. 595. He follows
+Keysler's error respecting Hans Bock.
+
+[59] Peintre graveur, ix. 398.
+
+[60] Essai sur l'Orig. de la Gravure, i. 120.
+
+[61] Heinecken Dictionn. des Artistes, i. 222.
+
+[62] Recherches, &c. p. 71.
+
+[63] Heller Geschiche der holtzchein kunst. Bamberg, 1823, 12mo. p. 126.
+
+[64] Basle Guide Book.
+
+[65] Recherches, 11 et seq.
+
+[66] More on the subject of the Lubeck Dance of Death may be found in 1.
+An anonymous work, which has on the last leaf, "Dodendantz, anno domini
+MCCCCXCVI. Lubeck." 2. "De Dodendantz fan Kaspar Scheit, na der utgave
+fan, 1558, unde de Lubecker fan, 1463." This is a poem of four sheets in
+small 8vo. without mention of the place where printed. 3. Some account of
+this painting by Ludwig Suhl. Lubeck, 1783, 4to. 4. A poem, in rhyme, with
+wood-cuts, on 34 leaves, in 8vo. It is fully described from the Helms.
+library in Brun's Beitrage zu krit. Bearb. alter handschr. p. 321 et seq.
+5. Jacob a Mellen Grundliche Nachbricht von Lubeck, 1713, 8vo. p. 84. 6.
+Schlott Lubikischers Todtentantz. 1701. 8vo. 7. Berkenmeyer, le curieux
+antiquaire, 8vo. p. 530; and, 8. Nugent's Travels, i. 102. 8vo.
+
+[67] Biblioth. Med. et inf. aetat. v. 2.
+
+[68] Travels, i. 195.
+
+[69] Recherches, xlii.
+
+[70] Pilkington's Dict. of Painters, p. 307, edit. Fuseli, who probably
+follows Fuesli's work on the Painters. Merian, Topogr. Helvetiae.
+
+[71] Peignot Recherches, xlv. xlvi.
+
+[72] Rivoire descr. de l'eglise cathedrale d'Amiens. Amiens, 1806. 8vo.
+
+[73] Recherches, xlvii.
+
+[74] Recherches, xlviii.
+
+[75] Recherches sur les antiquites de Vienne. 1659. 12mo, p. 15.
+
+[76] Dr. Cogan's Tour to the Rhine, ii. 127.
+
+[77] Travels, iii. 328, edit. 4to.
+
+[78] Survay of London, p. 615, edit. 1618, 4to.
+
+[79] In Tottel's edition these verses are accompanied with a single
+wood-cut of Death leading up all ranks of mortals. This was afterwards
+copied by Hollar, as to general design, in Dugdale's St. Paul's, and in
+the Monasticon.
+
+[80] Annales, p. 596, edit. 1631. folio. Sir Thomas More, treating of the
+remembrance of Death, has these words: "But if we not only here this word
+Death, but also let sink into our heartes, the very fantasye and depe
+imaginacion thereof, we shall parceive therby that we wer never so gretly
+moved by the beholding of the _Daunce of Death pictured in Poules_, as we
+shal fele ourself stered and altered by the feling of that imaginacion in
+our hertes. And no marvell. For those pictures expresse only y{e} lothely
+figure of our dead bony bodies, biten away y{e} flesh," &c.--Works, p. 77,
+edit. 1557, folio.
+
+[81] Heylin's Hist. of the Reformation, p. 73.
+
+[82] Cotton MS. Vesp. A. xxv. fo. 181.
+
+[83] Leland's Itin. vol. iv. part i. p. 69.--Meas. for Meas. Act iii. sc.
+1.
+
+[84] Hutchinson's Northumberland, i. 98.
+
+[85] Warton's H. E. Poetry, ii. 43, edit. 8vo.
+
+[86] And see a portion of Orgagna's painting at the Campo Santo at Pisa,
+mentioned before in p. 33.
+
+[87] From the Author's own inspection.
+
+[88] Recherches, p. 144, and see Catal. La Valliere, No. 295.
+
+[89] Herbert's typogr. antiq. p. 888.
+
+[90] Traite hist. de la gravure en bois, i. 182, 336.
+
+[91] Letters containing an account of what seemed most remarkable in
+Switzerland, Italy, &c. by G. Burnet, D. D. Rotterdam, 1686, 8vo. p. 265.
+
+[92] Travels through Germany, &c. i. 138, edit. 4to.
+
+[93] Relations historiques et curieuses de voyages en Allemagne, &c. Amst.
+1695, 12mo. p. 124.
+
+[94] See likewise Zuinger, Methodus Academica, Basle, 1577, 4to. p. 199.
+
+[95] Remarks on several parts of Europe, 1738, vol. ii. p. 72.
+
+[96] Peignot places the dance of peasants in the fish-market of Basle, as
+other writers had the Dance of Death. Recherches, p. 15.
+
+[97] Manuel de l'Amateur d'estampes, ii. 131.
+
+[98] Manuel des curieux, &c. i. 156.
+
+[99] Some give it to the Abbe Baverel.
+
+[100] Lib. ult. p. 86.
+
+[101] The dedicator has apparently in this place been guilty of a strange
+misconception. The Death is not sucking the wine from the cask, but in the
+act of untwisting the fastening to one of the hoops. Nor is the carman
+crushed beneath the wheels: on the contrary, he is represented as standing
+upright and wringing his hands in despair at what he beholds. It is true
+that this cut was not then completed, and might have undergone some
+subsequent alteration. He likewise speaks of the rainbow in the cut of the
+Last Judgment, as being at that time unfinished, which, however, is
+introduced in this first edition.
+
+[102] It would be of some importance if the date of Lutzenberger's death
+could be ascertained.
+
+[103] "An enquiry into the origin and early history of Engraving," 1816,
+4to. vol. ii. p. 759.
+
+[104] "An Enquiry," &c. ii. 762.
+
+[105] The few engravings by or after Holbein that have his name or its
+initials are to be found in his early frontispieces or vignettes to books
+printed at Basle. In 1548, two delicate wood-cuts, with his name, occur in
+Cranmer's Catechism. In the title-page to "a lytle treatise after the
+maner of an Epystle wryten by the famous clerk, Doctor Urbanus Regius,
+&c." Printed by Gwalter Lynne, 1548, 24mo, there is a cut in the same
+style of art of Christ attended by his disciples, and pointing to a
+fugitive monk, whose sheep are scattered, and some devoured by a wolf.
+Above and below are the words "John x. Ezech. xxxiiii. Mich. v. I am the
+good shepehearde. A good shepehearde geveth his lyfe for the shype. The
+hyred servaunt flyeth, because he is an hered servaunt, and careth not for
+the shepe." On the cut at bottom HANS HOLBEIN. There is a fourth cut of
+this kind in the British Museum collection with Christ brought before
+Pilate; and perhaps Holbein might have intended a series of small
+engravings for the New Testament; but all these are in a simple outline
+and very different from the cuts in the Dance of Death, or Lyons Bible. It
+might be difficult to refer to any other engravings belonging to Holbein
+after the above year.
+
+[106] Brulliot dict. de monogrammes, &c. Munich, 1817, 4to. p. 418, where
+the letter from De Mechel is given.
+
+[107] Essai sur l'origine de la gravure, &c. tom. i. p. 260.
+
+[108] Id. p. 261.
+
+[109] Dict. de monogrammes, &c. tom. i. pp. 418, 499.
+
+[110] Enciclop. metod. par ii. vol. vii. p. 16.
+
+[111] Enciclop. metod. par. i. vol. x. p. 467.
+
+[112] All the above prints are in the author's possession, except No. 7,
+and his copy of No. 5 has not the tablets with the name, &c.
+
+[113] Edit. Javigny, iv. 559.
+
+[114] This edition is given on the authority of Peignot, p. 62, but has
+not been seen by the author of this work. In the year 1547, there were
+three editions, and it is not improbable that, by the transposition of the
+two last figures, one of these might have been intended.
+
+[115] Foppen's Biblioth. Belgica, i. 363.
+
+[116] That of 1557 has a frontispiece with Death pointing to his
+hour-glass when addressing a German soldier.
+
+[117] Tom. i. p. 238, 525.
+
+[118] Dict. de Monogrammes, col. 528.
+
+[119] Biblioth. Belgica, i. 92.
+
+[120] See p. 40.
+
+[121] This is the same subject as that in the Augustan monastery described
+in p. 48.
+
+[122] See p. 34.
+
+[123] It has been stated that they were in the Arundelian collection
+whence they passed into the Netherlands, where forty-six of them became
+the property of Jan Bockhorst the painter, commonly called Long John. See
+Crozat's catalogue.
+
+[124] On the same dedication are founded the opinions of Zani, De Murr,
+Meintel, and some others.
+
+[125] Zuinger methodus apodemica. Basil, 1557. 4to. p. 199.
+
+[126] P. 427, edit. Lugd. apud Gryphium, and p. 445, edit. Basil.
+
+[127] Nugae, lib. vi. carm. 12.
+
+[128] Baldinucci notizie d'e professori del disegno, tom. iii. p. 317,
+4to. edit. where the inscription on it is given.
+
+[129] Norfolk MS. 97, now in the Brit. Museum.
+
+[130] Harl. MS. 4718.
+
+[131] Acad. Pictur. 239.
+
+[132] Strype's Annals, I. 272, where the curious dialogue that ensued on
+the occasion is preserved.
+
+[133] Catal. de la bibliotheque du Roi. II. 153.
+
+[134] These initial letters have already been mentioned in p. 101-102. The
+elegant initials in Dr. Henderson's excellent work on modern wines, and
+those in Dr. Nott's Bristol edition of Decker's Gull's horn-book, should
+not pass unnoticed on this occasion.
+
+[135] See before in p. 97.
+
+[136] Zani saw this alphabet at Dresden, and ascribes it likewise to
+Lutzenberger. See his Enciclop. Metodica, Par. I. vol. x. p. 467.
+
+[137] See before, in p. 46.
+
+[138] Biblioth. Franc. tom. x. p. 436.
+
+[139] Sandrart Acad. Pict. p. 241.
+
+[140] Obs. on Spenser, II. 117, 118, 119.
+
+
+
+
+Transcriber's Notes:
+
+Passages in italics are indicated by _italics_.
+
+Superscripted characters are indicated by {superscript}.
+
+Letters printed in reverse are indicated by =X=.
+
+Various printers' monograms are included throughout the original text.
+These are represented by [monogram] or [monogram: description] if a
+description could be provided.
+
+The original text includes Greek characters. For this text version these
+letters have been replaced with transliterations.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Dance of Death, by Francis Douce
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