,books47 ,,the ,,dance ,,of ,,death4 ,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 ,,esq4 ,f4 ,a4 ,s4 ,,and ,a ,,member ,,of ,,the ,,society ,,of ,,antiquaries ,,of ,,normandy ,,and ,,of ,,the ,,academy ,,of ,,sciences ,,etc4 ,,at ,,caen ,pallida mors aequo pulsat pede pauperum tabernas ,regumque turres4 ,,horat4 lib4 i4 od4 #d4 ,,london ,,william ,,pickering #ahcc ,c4 ,whittingham1 ,tooks ,court1 ,chancery ,lane4 ,,preface4 ,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 elucidation2 nor would the present ,essay have ever made its appearance1 but for certain reasons which are necessary to be stated4 ,the beautiful designs which have been1 perhaps too implicitly1 regarded as the invention of the justly celebrated painter1 ,hans ,holbein1 are chiefly known in this country by the inaccurate etchings of most of them by ,wenceslaus ,hollar1 the copper-plates of which having formerly become the property of ,mr4 ,edwards1 of ,pall ,mall1 were published by him1 accompanied by a very hasty and imperfect dissertation2 which1 with fewer faults1 and considerable enlargement1 is here again submitted to public attention4 ,it is appended to a set of fac-similes of the above-mentioned elegant designs1 and which1 at a very liberal expense that has been incurred by the proprietor and publisher of this volume1 have been executed with consummate skill and fidelity by ,messrs4 ,bonner and ,byfield1 two of our best artists in the line of wood engraving4 ,they may very justly be regarded as scarcely distinguishable from their fine originals4 ,the remarks in the course of this ,essay on a supposed ,german poet1 under the name of ,macaber1 and the discussion relating to ,holbein's connection with the ,dance of ,death1 may perhaps be found interesting to the critical reader only2 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 exhibited4 ,in the latest and best edition of some new designs for a ,dance of ,death1 by ,salomon ,van ,rusting1 published by ,john ,george ,meintel at ,nuremberg1 #agcf1 #hvo4 there is an elaborate preface by him1 with a greater portion of verbosity than information4 ,he has placed undue confidence in his predecessor1 ,paul ,christian ,hilscher1 whose work1 printed at ,dresden in #agje1 had probably misled the truly learned ,fabricius in what he has said concerning ,macaber in his valuable work1 the ,bibliotheca mediae et infimae aetatis4 ,meintel confesses his inability to point out the origin or the inventor of the subject4 ,the last and completest work on the ,dance1 or ,dances of ,death1 is that of the ingenious ,m4 ,peignot1 so well and deservedly known by his numerous and useful books on bibliography4 ,to this gentleman the present ,essay has been occasionally indebted4 ,he will1 probably1 at some future opportunity1 remove the whimsical misnomer in his engraving of ,death and the ,ideot4 ,the usual title1 ,the ,dance of ,death1 which accompanies most of the printed works1 is not altogether appropriate4 ,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 character2 but where the subject consists of several figures1 yet still with occasional exception1 they are rather to be regarded as elegant emblems of human mortality in the premature intrusion of an unwelcome and inexorable visitor4 ,it must not be supposed that the republication of this singular work is intended to excite the lugubrious sensations of sanctified devotees1 or of terrified sinners2 for1 awful and impressive as must ever be the contemplation of our mortality in the mind of the philosopher and practiser of true religion1 the mere sight of a skeleton cannot1 as to them1 excite any alarming sensation whatever4 ,it is chiefly addressed to the ardent admirers of ancient art and pictorial invention2 but nevertheless with a hope that it may excite a portion of that general attention to the labours of past ages1 which reflects so much credit on the times in which we live4 ,the widely scattered materials relating to the subject of the ,dance of ,death1 and the difficulty of reconciling much discordant information1 must apologize for a few repetitions in the course of this ,essay1 the regular progress of which has been too often interrupted by the manner in which matter of importance is so obscurely and defectively recorded2 instances of which are1 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 ,lyons2 the uncertainty as to locality in some complimentary lines to ,holbein by his friend ,borbonius1 and the want of more particulars in the account by ,nieuhoff of ,holbein's painting at ,whitehall4 ,the designs for the ,dance of ,death1 published at ,lyons in #aech1 and hitherto regarded as the invention of ,holbein1 are1 in the course of this ,dissertation1 referred to under the appellation of the ,lyons wood-cuts2 and with respect to the term ,macaber1 which has been so mistakenly used as the name of a real author1 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 ages4 ,f4 ,d4 ,,contents4 ,page ,,chapter ,i4 ,personification of ,death1 and other modes of representing it among the ,ancients4--,same subject during the ,middle ,ages4-- ,erroneous notions respecting ,death4--,monumental absurdities4--,allegorical pageant of the ,dance of ,death represented in early times by living persons in churches and cemeteries4--,some of these dances described4--,not unknown to the ,ancients4--,introduction of the infernal1 or dance of ,macaber #a ,,chapter ,,ii4 ,places where the ,dance of ,death was sculptured or depicted4-- ,usually accompanied by verses describing the several characters4--,other metrical compositions on the ,dance #ag ,,chapter ,,iii4 ,macaber not a ,german or any other poet1 but a nonentity4-- ,corruption and confusion respecting this word4--,etymological errors concerning it4--,how connected with the ,dance4--,trois mors et trois vifs4--,orgagna's painting in the ,campo ,santo at ,pisa4--,its connection with the trois mors et trois vifs1 as well as with the ,macaber ,dance4--,saint ,macarius the real ,macaber4--,paintings of this dance in various places4--,at ,minden2 ,church-yard of the ,innocents at ,paris2 ,dijon2 ,basle2 ,klingenthal2 ,lubeck2 ,leipsic2 ,anneberg2 ,dresden2 ,erfurth2 ,nuremberg2 ,berne2 ,lucerne2 ,amiens2 ,rouen2 ,fescamp2 ,blois2 ,strasburg2 ,berlin2 ,vienna2 ,holland2 ,italy2 ,spain #bh ,,chapter ,,iv4 ,macaber ,dance in ,england4--,st4 ,paul's4--,salisbury4-- ,wortley-hall4--,hexham4--,croydon4--,to wer of ,london4--,lines in ,pierce ,plowman's ,vision supposed to refer to it #ea ,,chapter ,v4 ,list of editions of the ,macaber ,dance4--,printed ,horae that contain it4--,manuscript ,horae4--,other ,manuscripts in which it occurs4--,various articles with letter-press1 not being single prints1 but connected with it #ee ,,chapter ,,vi4 ,hans ,holbein's connection with the ,dance of ,death4--,a dance of peasants at ,basle4--,lyons edition of the ,dance of ,death1 #aech4--;,doubts as to any prior edition4--,dedication to the edition of #aech4--,mr4 ,ottley's opinion of it examined4-- ,artists supposed to have been connected with this work4-- ,holbein's name in none of the old editions4--,reperdius #gh ,,chapter ,,vii4 ,holbein's ,bible cuts4--,examination of the claim of ,hans ,lutzenberger as to the design or execution of the ,lyons engravings of the ,dance of ,death4--,other works by him #id ,,chapter ,,viii4 ,list of several editions of the ,lyons work on the ,dance of ,death with the mark of ,lutzenberger4--,copies of them on wood4--,copies on copper by anonymous artists4--,by ,wenceslaus ,hollar4--,other anonymous artists4--,nieuhoff ,picard4-- ,rusting4--,mechel4--,crozat's drawings4--,deuchar4--,imitations of some of the subjects #ajc ,,chapter ,,ix4 ,further examination of ,holbein's title4--,borbonius4-- ,biographical notice of ,holbein4--,painting of a ,dance of ,death at ,whitehall by him #ach ,,chapter ,x4 ,other ,dances of ,death #adf ,,chapter ,,xi4 ,dances of ,death1 with such text only as describes the subjects #afj ,,chapter ,,xii4 ,books in which the subject is occasionally introduced #afh ,,chapter ,,xiii4 ,books of emblems and fables4--,frontispieces and title-pages in some degree connected with the ,dance of ,death #agi ,,chapter ,,xiv4 ,single prints connected with the ,dance of ,death #ahh ,,chapter ,,xv4 ,initial or capital ,letters with the ,dance of ,death #bac ,,chapter ,,xvi4 ,paintings4--,drawings4--,miscellaneous #bba ,,chapter ,,xvii4 ,trois vifs et trois morts4--,negro figure of ,death4--,danse aux ,aveugles #bbh ,,chapter ,,xviii4 ,errors of various writers who have introduced the subject of the ,dance of ,death #bcc ,,errata4 ,page #g1 line #be1 for ,boistuan read ,boistuau4 #g1 444 #bf1 for ,prodigeuses read ,prodigieuses4 #bh1 444 #ad1 read in ,holland1 c4 #cb1 444 #bc1 for ,lamorensi read ,zamorensi4 #ha1 444 #d1 for fex read sex4 #hh1 444 #aj1 after difficulty add 8 #hi1 444 #ba1 after works add #ahj1 444 #bc1 for ,typotia read ,typotii4 #aig1 444 #h1 for ,stradamus read ,stradanus4 ,,the ,dance of ,death4 ,,chapter ,i4 ,personification of ,death1 and other modes of representing it among the ,ancients4--,same subject during the ,middle ,ages4--,erroneous notions respecting ,death4--,monumental absurdities4--,allegorical pageant of the ,dance of ,death represented in early times by living persons in churches and cemeteries4--,some of these dances described4--,not unknown to the ,ancients4--,introduction of the infernal1 or dance of ,macaber4 ,the manner in which the poets and artists of antiquity have symbolized or personified ,death1 has excited considerable discussion2 and the various opinions of ,lessing1 ,herder1 ,klotz1 and other controversialists have only tended to demonstrate that the ancients adopted many different modes to accomplish this purpose4 ,some writers have maintained that they exclusively represented ,death as a mere skeleton2 whilst others have contended that this figure1 so frequently to be found upon gems and sepulchral monuments1 was never intended to personify the extinction of human life1 but only as a simple and abstract representation4 ,they insist that the ancients adopted a more elegant and allegorical method for this purpose2 that they represented human mortality by various symbols of destruction1 as birds devouring lizards and serpents1 or pecking fruits and flowers2 by goats browsing on vines2 cocks fighting1 or even by a ,medusa's or ,gorgon's head4 ,the ,romans seem to have adopted ,homer's#a definition of ,death as the eldest brother of ,sleep2 and1 accordingly1 on several of their monumental and other sculptures we find two winged genii as the representatives of the above personages1 and sometimes a genius bearing a sepulchral vase on his shoulder1 and with a torch reversed in one of his hands4 ,it is very well known that the ancients often symbolized the human soul by the figure of a butterfly1 an idea that is extremely obvious and appropriate1 as well as elegant4 ,in a very interesting sepulchral monument1 engraved in p4 #g of ,spon's ,miscellanea ,eruditae ,antiquitatis1 a prostrate corpse is seen1 and over it a butterfly that has just escaped from the mouth of the deceased1 or as ,homer expresses it1 from the teeth's inclosure4#b ,the above excellent antiquary has added the following very curious sepulchral inscription that was found in ,spain1 ,,haeredibvs ,,meis ,,mando ,,etiam ,,cinere ,,vtmeo ,,volitet ,,ebrivs ,,papilio ,,ossa ,,ipsa ,,tegant ,,mea1 c4 ,rejecting this heathen symbol altogether1 the painters and engravers of the middle ages have substituted a small human figure escaping from the mouths of dying persons1 as it were1 breathing out their souls4 ,we have1 however1 the authority of ,herodotus1 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 body1 placed on a coffin1 exclaiming at the same time1 ,behold this image of what yourselves will be2 eat and drink therefore1 and be happy4#c ,montfaucon has referred to an ancient manuscript to prove that this sentiment was conveyed in a ,lacedaemonian proverb1#d and it occurs also in the beautiful poem of ,coppa1 ascribed to ,virgil1 in which he is supposed to invite ,maecenas to a rural banquet4 ,it concludes with these lines3-- ,pone merum et talos2 pereat qui crastina curat1 ,mors aurem vellens1 vivite ait1 venio4 ,the phrase of pulling the ear is admonitory1 that organ being regarded by the ancients as the seat of memory4 ,it was customary also1 and for the same reason1 to take an oath by laying hold of the ear4 ,it is impossible on this occasion to forget the passage in ,isaiah xxii4 #ac1 afterwards used by ,saint ,paul1 on the beautiful parable in ,luke xii4 ,plutarch also1 in his banquet of the wise men1 has remarked that the ,egyptians exhibited a skeleton at their feasts to remind the parties of the brevity of human life2 the same custom1 as adopted by the ,romans1 is exemplified in ,petronius's description of the feast of ,trimalchio1 where a jointed puppet1 as a skeleton1 is brought in by a boy1 and this practice is also noticed by ,silius ,italicus3 444 ,a,egyptia tellus ,claudit odorato post funus stantia ,saxo ,corpora1 et a mensis exsanguem haud separat umbram4#e ,some have imagined that these skeletons were intended to represent the larvae and lemures1 the good and evil shadows of the dead1 that occasionally made their appearance on earth4 ,the larvae1 or lares1 were of a beneficent nature1 friendly to man2 in other words1 the good demon of ,socrates4 ,the lemures1 spirits of mischief and wickedness4 ,the larva in ,petronius was designed to admonish only1 not to terrify2 and this is proved from ,seneca3 ,nemo tam puer est ut ,cerberum timeat et tenebras1 et larvarum habitum nudis ossibus cohaerentium4#f ,there is1 however1 some confusion even among the ancients themselves1 as to the respective qualities of the larvae and lemures4 ,apuleius1 in his noble and interesting defence against those who accused him of practising magic1 tells them1 ,tertium mendacium vestrum fuit1 macilentam vel omnino evisceratam formam diri cadaveris fabricatam prorsus horribilem et larvalem2 and afterwards1 when producing the image of his peculiar ,deity1 which he usually carried about him1 he exclaims1 ,en vobis quem scelestus ille sceletum nominabat6 ,hiccine est sceletus8 ,haeccine est larva8 ,hoccine est quod appellitabatis ,daemonium4#g ,it is among ,christian writers and artists that the personification of ,death as a skeleton is intended to convey terrific ideas1 conformably to the system that ,death is the punishment for original sin4 ,the circumstances that lead to ,death1 and not our actual dissolution1 are alone of a terrific nature2 for ,death is1 in fact1 the end and cure of all the previous sufferings and horrors with which it is so frequently accompanied4 ,in the dark ages of monkish bigotry and superstition1 the deluded people1 seduced into a belief that the fear of ,death was acceptable to the great and beneficent author of their existence1 appear to have derived one of their principal gratifications in contemplating this necessary termination of humanity1 yet amidst ideas and impressions of the most horrible and disgusting nature3 hence the frequent allusions to it1 in all possible ways1 among their preachers1 and the personification of it in their books of religious offices1 as well as in the paintings and sculptures of their ecclesiastical and other edifices4 ,they seemed to have entirely banished from their recollection the consolatory doctrines of the ,gospel1 which contribute so essentially to dissipate the terrors of ,death1 and which enable the more enlightened ,christian to abide that event with the most perfect tranquillity of mind4 ,there are1 indeed1 some exceptions to this remark1 for we may still trace the imbecility of former ages on too many of our sepulchral monuments1 which are occasionally tricked out with the silly appendages of ,death's heads1 bones1 and other useless remains of mortality1 equally repulsive to the imagination and to the elegance of art4 ,if it be necessary on any occasion to personify ,death1 this were surely better accomplished by means of some graceful and impressive figure of the ,angel of ,death1 for whom we have the authority of ,scripture2 and such might become an established representative4 ,the skulls and bones of modern1 and the entire skeletons of former times1 especially during the middle ages1 had1 probably1 derived their origin from the vast quantities of sanctified human relics that were continually before the eyes1 or otherwise in the recollection of the early ,christians4 ,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 ,death1 which it has1 in part1 derived from the grotesque1 and often ludicrous attitudes of the figures that composed it1 and especially from the active and sarcastical mockery of the ruthless tyrant upon its victims1 which may be1 in a great measure1 attributed to the whims and notions of the artists who were employed to represent the subject4 ,it is very well known to have been the practice in very early times to profane the temples of the ,deity with indecorous dancing1 and ludicrous processions1 either within or near them1 in imitation1 probably1 of similar proceedings in ,pagan times4 ,strabo mentions a custom of this nature among the ,celtiberians1#h and it obtained also among several of the northern nations before their conversion to ,christianity4 ,a ,roman council1 under ,pope ,eugenius ,,ii4 in the #ith century1 has thus noticed it3 ,ut sacerdotes admoneant viros ac mulieres1 qui festis diebus ad ecclesiam occurrunt1 ne ballando et turpia verba decantando choros teneant1 ac ducunt1 similitudinem ,paganorum peragendo4 ,canciani mentions an ancient bequest of money for a dance in honour of the ,virgin4#i ,these riotous and irreverent tripudists and caperers appear to have possessed themselves of the church-yards to exhibit their dancing fooleries1 till this profanation of consecrated ground was punished1 as monkish histories inform us1 with divine vengeance4 ,the well-known ,nuremberg ,chronicle#aj has recorded1 that in the time of the ,emperor ,henry the ,second1 whilst a priest was saying mass on ,christmas ,eve1 in the church of ,saint ,magnus1 in the diocese of ,magdeburg1 a company of eighteen men and ten women amused themselves with dancing and singing in the church-yard1 to the hindrance of the priest in his duty4 ,notwithstanding his admonition1 they refused to desist1 and even derided the words he addressed to them4 ,the priest being greatly provoked at their conduct1 prayed to ,god and ,saint ,magnus that they might remain dancing and singing for a whole year without intermission1 and so it happened2 neither dew nor rain falling upon them4 ,hunger and fatigue were set at defiance1 nor were their shoes or garments in the least worn away4 ,at the end of the year they were released from their situation by ,herebert1 the archbishop of the diocese in which the event took place1 and obtained forgiveness before the altar of the church2 but not before the daughter of a priest and two others had perished2 the rest1 after sleeping for the space of three whole nights1 died soon afterwards4 ,ubert1 one of the party1 left this story behind him1 which is elsewhere recorded1 with some variation and additional matter4 ,the dance is called ,st4 ,vitus's1 and the girl is made the daughter of a churchwarden1 who having taken her by the arm1 it came off1 but she continued dancing4 ,by the continual motion of the dancers they buried themselves in the earth to their waists4 ,many princes and others went to behold this strange spectacle1 till the bishops of ,cologne and ,hildesheim1 and some other devout priests1 by their prayers1 obtained the deliverance of the culprits2 four of the party1 however1 died immediately1 some slept three days and three nights1 some three years1 and others had trembling in their limbs during the whole of their lives4 ,the ,nuremberg ,chronicle1 crowded as it is with wood-cut embellishments by the hand of ,wolgemut1 the master of ,albert ,durer1 has not omitted to exhibit the representations of the above unhappy persons1 equally correct1 no doubt1 as the story itself1 though the same warranty cannot be offered for a similar representation1 in ,gottfried's ,chronicle and that copious repertory of monstrosities1 ,boistuau and ,belleforest's ,histoires ,prodigieuses4 ,the ,nuremberg ,chronicle#aa has yet another relation on this subject of some persons who continued dancing and singing on a bridge whilst the eucharist was passing over it4 ,the bridge gave way in the middle1 and from one end of it #bjj persons were precipitated into the river ,moselle1 the other end remaining so as to permit the priest and his host to pass uninjured4 ,in that extremely curious work1 the ,manuel de ,peche1 usually ascribed to ,bishop ,grosthead1 the pious author1 after much declamation against the vices of the times1 has this passage3-- ,karoles ne lutes ne deit nul fere1 ,en seint eglise ki me voil crere2 ,kas en cimetere karoler1 ,utrage est grant u lutter4#ab ,he then relates the story in the ,nuremberg ,chronicle1 for which he quotes the book of ,saint ,clement4 ,grosthead's work was translated about the year #acjj into ,english verse by ,robert ,mannyng1 commonly called ,robert de ,brunne1 a ,gilbertine canon4 ,his translation often differs from his original1 with much amplification and occasional illustrations by himself4 ,as the account of the ,nuremberg story varies so materially1 and as the scene is laid in ,england1 it has been thought worth inserting4 ,karolles wrastelynges or somour games1 ,whosoever haunteth any swyche shames1 ,yn cherche other yn cherche yerd1 ,of sacrilage he may be aferd2 ,or entyrludes or syngynge1 ,or tabure bete or other pypynge2 ,all swyche thyng forboden es1 ,whyle the prest stondeth at messe2 ,but for to leve in cherche for to daunce1 ,y shall you telle a full grete chaunce1 ,and y trow the most that fel1 ,ys sothe as y you telle4 ,and fyl thys chaunce yn thys londe1 ,yn ,ingland as y undyrstonde1 ,yn a kynges tyme that hyght ,edward1 ,fyl this chaunce that was so hard4 ,hyt was upon crystemesse nyzt ,that twelve folys a karolle dyzt1 ,yn ,wodehed1 as hyt were yn cuntek1#ac ,they come to a toune men calle ,cowek3#ad ,the cherche of the toune that they to come1 ,ys of ,seynt ,magne that suffred martyrdome1 ,of ,seynt ,bukcestre hyt ys also1 ,seynt ,magnes suster1 that they come to2 ,here names of all thus fonde y wryte1 ,and as y wote now shal ye wyte ,here lodesman#ae that made hem glew1#af ,thus ys wryte he hyzte#ag ,gerlew2 ,twey maydens were yn here coveyne1 ,mayden ,merswynde#ah and ,wybessyne2 ,all these came thedyr for that enchesone1 doghtyr ,of the prestes of the toune4 ,the prest hyzt ,robert as y can ame1 ,azone hyzt hys sone by name1 ,hys doghter that there men wulde have1 ,thus ys wryte that she hyzt ,ave4 ,echone consented to o wyl1 ,who shuld go ,ave out to tyl1 ,they graunted echone out to sende1 ,bothe ,wybessyne and ,merswynde3 ,these women zede and tolled#ai her oute1 ,wyth hem to karolle the cherche aboute1 ,benne ordeyned here karollyng1 ,gerlew endyted what they shuld syng4 ,thys ys the karolle that they sunge1 ,as telleth the ,latyn tunge1 ,equitabat ,bevo per sylvam frondosam1 ,ducebat secum ,merwyndam formosam1 ,quid stamus cur non imus4 ,by the levede#bj wode rode ,bevolyne1 ,wyth hym he ledde feyre ,merwyne1 ,why stonde we why go we noght3 ,thys ys the karolle that ,grysly wroght1 ,thys songe sung they yn chercheyerd1 ,of foly were they nothyng aferd4 ,the party continued dancing and carolling all the matins time1 and till the mass began2 when the priest1 hearing the noise1 came out to the church porch1 and desired them to leave off dancing1 and come into the church to hear the service2 but they paid him no regard whatever1 and continued their dance4 ,the priest1 now extremely incensed1 prayed to ,god in favour of ,st4 ,magnes1 the patron of the church3 ,that swych a venjeaunce were on hem sent1 ,are they out of that stede#ba were went1 ,that myzt ever ryzt so wende1 ,unto that tyme twelvemonth ende4 ,yn the ,latyne that y fonde thore1 ,he seyth not twelvemonth but evermore4 ,the priest had no sooner finished his prayer1 than the hands of the dancers were so locked together that none could separate them for a twelvemonth3 ,the preste yede#bb yn whan thys was done1 ,and comaunded hys sone ,azone1 ,that shuld go swythe after ,ave1 ,oute of that karolle algate to have2 ,but al to late that wurde was sayde1 ,for on hem alle was the venjeaunce leyd4 ,azonde wende weyl for to spede ,unto the karolle asswythe he yede2 ,hys syster by the arme he hente1 ,and the arme fro the body wente2 ,men wundred alle that there wore1 ,and merveyle nowe ye here more2 ,for seythen he had the arme yn hand1 ,the body yode furth karoland1 ,and nother body ne the arme ,bled never blode colde ne warme2 ,but was as drye with al the haunche1 ,as of a stok were ryve a braunche4 ,azone carries his sister's arm to the priest his father1 and tells him the consequences of his rash curse4 ,the priest1 after much lamentation1 buries the arm4 ,the next morning it rises out of the grave2 he buries it again1 and again it rises4 ,he buries it a third time1 when it is cast out of the grave with considerable violence4 ,he then carries it into the church that all might behold it4 ,in the meantime the party continued dancing and singing1 without taking any food or sleeping1 only a lepy wynke2 nor were they in the least affected by the weather4 ,their hair and nails ceased to grow1 and their garments were neither soiled nor discoloured2 but ,sunge that songge that the wo wrozt1 ,why stond we1 why go we nozt4 ,to see this curious and woful sight1 the emperor travels from ,rome1 and orders his carpenters and other artificers to inclose them in a building2 but this could not be done1 for what was set up one day fell down on the next1 and no covering could be made to protect the sinners till the time of mercy that ,christ had appointed arrived2 when1 at the expiration of the twelvemonth1 and in the very same hour in which the priest had pronounced his curse upon them1 they were separated1 and in the twynklyng of an eye ran into the church and fell down in a swoon on the pavement1 where they lay three days before they were restored4 ,on their recovery they tell the priest that he will not long survive3 ,for to thy long home sone shalt thou wende1 ,all they ryse that yche tyde1 ,but ,ave she lay dede besyde4 ,her father dies soon afterwards4 ,the emperor causes ,ave's arm to be put into a vessel and suspended in the church as an example to the spectators4 ,the rest of the party1 although separated1 travelled about1 but always dancing2 and as they had been inseparable before1 they were now not permitted to remain together4 ,four of them went hopping to ,rome1 their clothes undergoing no change1 and their hair and nails not continuing to grow3 ,bruning the ,bysshope of ,seynt ,tolous1 ,wrote thys tale so merveylous2 ,setthe was hys name of more renoun1 ,men called him the ,pope ,leon2 ,thys at the courte of ,rome they wyte1 ,and yn the kronykeles hyt ys write2 ,yn many stedys#bc beyounde the see1 ,more than ys yn thys cuntre3 ,tharfor men seye an weyl ys trowed1 ,the nere the cherche the further fro ,god4 ,so fare men here by thys tale1 ,some holde it but a trotevale1#bd ,yn other stedys hyt ys ful dere1 ,and for grete merveyle they wyl hyt here4 ,in the ,french copies the story is said to have been taken from the itinerary of ,st4 ,clement4 ,the name of the girl who lost her arm is ,marcent1 and her brother's ,john4#be ,previously to entering upon the immediate subject of this ,essay1 it may be permitted to observe1 that a sort of ,death's dance was not unknown to the ancients4 ,it was the revelry of departed souls in ,elysium1 as may be collected from the end of the fourth ode of ,anacreon4 ,among the ,romans this practice is exemplified in the following lines of ,tibullus4 ,sed me1 quod facilis tenero sum semper ,amori1 ,ipsa ,venus campos ducit in ,elysios4 ,hic choreae cantusque vigent 444#bf ,and ,virgil has likewise alluded to it3 ,pars pedibus plaudunt choreas et carmina dicunt4#bg ,in the year #ahaj several fragments of sculptured sarcophagi were accidentally discovered near ,cuma1 on one of which were represented three dancing skeletons1#bh indicating1 as it is ingeniously supposed1 that the passage from death to another state of existence has nothing in it that is sorrowful1 or capable of exciting fear4 ,they seem to throw some light on the above lines from ,virgil and ,tibullus4 ,at a meeting of the ,archaeological ,society at ,rome1 in ,december1 #ahca1 ,m4 ,kestner exhibited a ,roman lamp on which were three dancing skeletons1 and such are said to occur in one of the paintings at ,pompeii4 ,in the ,grand ,duke of ,tuscany's museum at ,florence there is an ancient gem1 that1 from its singularity and connexion with the present subject1 is well deserving of notice4 ,it represents an old man1 probably a shepherd1 clothed in a hairy garment4 ,he sits upon a stone1 his right foot resting on a globe1 and is piping on a double flute1 whilst a skeleton dances grotesquely before him4 ,it might be a matter of some difficulty to explain the recondite meaning of this singular subject4#bi ,notwithstanding the interdiction in several councils against the practice of dancing in churches and church-yards1 it was found impossible to abolish it altogether2 and it therefore became necessary that something of a similar1 but more decorous1 nature should be substituted1 which1 whilst it afforded recreation and amusement1 might1 at the same time1 convey with it a moral and religious sensation4 ,it is1 therefore1 extremely probable1 that1 in furtherance of this intention1 the clergy contrived and introduced the ,dance or ,pageant of ,death1 or1 as it was sometimes called1 the ,dance of ,macaber1 for reasons that will hereafter appear4 ,mr4 ,warton states1 that in many churches of ,france there was an ancient show1 or mimickry1 in which all ranks of life were personated by the ecclesiastics1 who danced together1 and disappeared one after another4#cj ,again1 speaking of ,lydgate's poem on this subject1 he says1 these verses1 founded on a sort of spiritual masquerade antiently celebrated in churches1 c4#ca ,m4 ,barante1 in his ,history of the ,dukes of ,burgundy1 adverting to the entertainments that took place at ,paris when ,philip le ,bon visited that city in #adbd1 observes1 that these were not solely made for the nobility1 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 ,innocents1 the ,english being particularly gratified with this exhibition1 which included all ranks and conditions of men1 ,death being1 morally1 the principal character4#cb ,another ,french historian1 ,m4 de ,villeneuve ,bargemont1 informs us that the ,duke of ,bedford celebrated his victory at ,verneuil by a festival in the centre of the ,french capital4 ,the rest of what this writer has recorded on the subject before us will be best given in his own words1 ,nous voulons parler de cette fameuse procession qu'on vit defiler dans les rues de ,paris1 sous le nom de danse ,macabree ou infernale1 epouvantable divertissement1 auquel presidoit un squelette ceint du diademe royal1 tenant un sceptre dans ses mains decharnees et assis sur un trone resplendissant d'or et de pierreries4 ,ce spectacle repoussant1 melange odieux de deuil et de joie1 inconnu jusqu'alors1 et qui ne s'est jamais renouvelle1 n'eut guere pour temoins que des soldats etrangers1 ou quelques malheureux echappes a tous les fleaux reunis1 et qui avoient vu descendre tous leurs parens1 tous leurs amis1 dans ces sepulchres qu'on depouilloit alors de leurs ossemens4#cc ,a third ,french writer has also treated the ,dance of ,death as a spectacle exhibited in like manner to the people of ,paris4#cd ,m4 ,peignot1 to whom the reader is obliged for these historical notices in his ingenious researches on the present subject1 very plausibly conceives that their authors have entirely mistaken the sense of an old chronicle or journal under ,charles ,,vi4 and ,,vii4 which he quotes in the following words4--,item4 ,l'an #adbd fut faite la ,danse ,maratre 7pour ,macabre7 aux ,innocens1 et fut comencee environ le moys d',aoust et achevee au karesme suivant4 ,en l'an #adbi le cordelier ,richard preschant aux ,innocens estoit monte sur ung hault eschaffaut qui estoit pres de toise et demie de hault1 le dos tourne vers les charniers encontre la charounerie1 a l'endroit de la danse ,macabre4 ,he observes1 that the ,dance of ,death at the ,innocents1 having been commenced in ,august and finished at the ensuing ,lent1 could not possibly be represented by living persons1 but was only a painting1 the large dimensions of which required six months to complete it2 and that a single ,death must1 in the other case1 have danced with every individual belonging to the scene4#ce ,he might have added1 that such a proceeding would have been totally at variance with the florid1 but most inaccurate1 description by ,m4 ,bargemont4 ,the reader will1 therefore1 most probably feel inclined to adopt the opinion of ,m4 ,peignot1 that the ,dance of ,death was not performed by living persons between #adbd and #adbi4 ,but although ,m4 ,peignot may have triumphantly demonstrated that this subject was not exhibited by living persons at the above place and period1 it by no means follows that it was not so represented at some other time1 and on some other spot4 ,accordingly1 in the archives of the cathedral of ,besancon1 there is preserved an article respecting a delivery made to one of the officers of ,saint ,john the ,evangelist of four measures of wine1 to be given to those persons who performed the ,dance of ,death after mass was concluded4 ,this is the article itself1 ,sexcallus seneschallus solvat ,d4 ,joanni ,caleti matriculario ,s4 ,joannis quatuor simasias vini per dictum matricularium exhibitas illis qui choream ,machabeorum fecerunt #aj ,julii1 #adec1 nuper lapsa hora misse in ecclesia ,s4 ,joannis ,evangeliste propter capitulum provinciale fratrum ,minorum4#cf ,this document then will set the matter completely at rest4 ,at what time the personified exhibition of this pageant commenced1 or when it was discontinued cannot now be correctly ascertained4 ,if1 from a moral spectacle1 it became a licentious ceremony1 as is by no means improbable1 in imitation of electing a boy-bishop1 of the feast of fools1 or other similar absurdities1 its termination may be looked for in the authority of some ecclesiastical council at present not easily to be traced4 ,,chapter ,,ii4 ,places where the ,dance of ,death was sculptured or depicted4--,usually accompanied by verses describing the several characters4--,other ,metrical ,compositions on the ,dance4 ,the subject immediately before us was very often represented1 not only on the walls1 but in the windows of many churches1 in the cloisters of monasteries1 and even on bridges1 especially in ,germany and ,switzerland4 ,it was sometimes painted on church screens1 and occasionally sculptured on them1 as well as upon the fronts of domestic dwellings4 ,it occurs in many of the manuscript and illuminated service books of the middle ages1 and frequent allusions to it are found in other manuscripts1 but very rarely in a perfect state1 as to the number of subjects4 ,most of the representations of the ,dance of ,death were accompanied by descriptive or moral verses in different languages4 ,those which were added to the paintings of this subject in ,germany appear to have differed very materially1 and it is not now possible to ascertain which among them is the oldest4 ,those in the ,basle painting are inserted in the editions published and engraved by ,mathew ,merian1 but they had already occurred in the ,decennalia humanae peregrinationis of ,gaspar ,landismann in #aehd4 ,some ,latin verses were published by ,melchior ,goldasti at the end of his edition of the ,speculum omnium statuum1 a celebrated moral work by ,roderic1 ,bishop of ,zamora1 #afac1 #dto4 ,he most probably copied them from one of the early editions of the ,danse ,macabre1 but without any comment whatever1 the above title page professing that they are added on account of the similarity of the subject4 ,a ,provencal poet1 called ,marcabres or ,marcabrus1 has been placed among the versifiers1 but none of his works bear the least similitude to the subject2 and1 moreover1 the language itself is an objection4 ,the ,english metrical translation will be noticed hereafter4 ,whether any of the paintings were accompanied by descriptive verses that might be considered as anterior to those ascribed to the supposed ,macaber1 cannot now be ascertained4 ,there are likewise some ,latin verses in imitation of those above-mentioned1 which1 as well as the author of them1 do not seem to have been noticed by any biographical or poetical writer4 ,they occur at the end of a ,latin play1 intitled ,susanna1 ,antverp4 apud ,michaelem ,hillenium1 ,,mdxxxiii4 ,as the volume is extremely rare1 and the verses intimately connected with the present subject1 it has been thought worth while to reprint them4 ,after an elegy on the vanity and shortness of human life1 and a ,sapphic ode on the remembrance of ,death1 they follow under this title1 ,plausus luctificae mortis ad modum dialogi extemporaliter ab ,eusebio ,candido lusus4 ,ad quem quique mortales invitantur omnes1 cujuscujus sint conditionis3 quibusque singulis ,mors ipsa respondet4 ,luctificae mortis plausum bene cernite cuncti4 ,dum res laeta1 mori et viventes discite1 namque ,omnes ex aequo tandem huc properare necessum4 ,hic inducitur adolescens quaerens1 et mors vel philosophus respondens4 ,vita quid est hominis8 ,fumus super aream missus4 ,vita quid est hominis8 ,via mortis1 dura laborum ,colluvies1 vita est hominis via longa doloris ,perpetui4 ,vita quid est hominis8 cruciatus et error1 ,vita quid est hominis8 vestitus gramine multo1 ,floribus et variis campus1 quem parva pruina ,expoliat1 sic vitam hominum mors impia tollit4 ,quamlibet illa alacris1 vegeta1 aut opulenta ne felix1 ,icta cadit modica crede aegritudine mortis4 ,et quamvis superes auro vel murice ,croesum1 ,longaevum aut annis vivendo ,nestora vincas1 ,omnia mors aequat1 vitae meta ultima mors est4 ,,imperator4 ,quid fers8 ,induperator ego1 et moderamina rerum ,gesto manu1 domuit mors impia sceptra potentum4 ,,rex ,,rhomanus4 ,quid fers8 en ego ,rhomulidum rex4 ,mors manet omnes4 ,,papa4 ,en ego ,pontificum primus1 signansque resignans4 ,et coelos oraque locos4 ,mors te manet ergo4 ,,cardinalis4 ,cardineo fulgens ego honore1 et ,episcopus ecce ,mors manet ecce omnes1 ,phrygeus quos pileus ornat4 ,,episcopus4 ,insula splendidior vestit mea1 tempora latum ,possideo imperium1 multi mea jura tremiscunt4 ,me dicant fraudis docti1 producere lites4 ,experti1 aucupium docti nummorum1 et averni ,causidici1 rixatores1 rabulaeque forenses4 ,hos ego respicio1 nihil attendens animarum1 ,ecclesiae mihi commissae populive salutem ,sed satis est duros loculo infarcisse labores ,agricolum1 et magnis placuisse heroibus orbis4 ,non tamen effugies mortis mala spicula durae4 ,,ecclesiae ,,praelatus4 ,ecclesiae praelatus ego multis venerandus ,muneribus sacris1 proventibus officiorum4 ,comptior est vestis1 popina frequentior aede ,sacra1 et psalmorum cantus mihi rarior ipso ,talorum crepitu1 ,veneris quoque voce sonora4 ,morte cades1 annos speras ubi vivere plures4 ,,canonicus4 ,en ego melotam gesto4 ,mors saeva propinquat4 ,,pastor4 ,en parochus quoque pastor ego1 mihi dulce falernum ,notius aede sacra3 scortum mihi charius ipsa ,est animae cura populi4 ,mors te manet ergo4 ,,abbas4 ,en abbas venio1 ,veneris quoque ventris amicus4 ,coenobii rara est mihi cura1 frequentior aula ,magnorum heroum4 ,chorea saltabis eadem4 ,,prior4 ,en prior1 ornatus longa et splendente cuculla1 ,falce cades mortis4 ,mors aufert nomina honoris4 ,,pater ,,vestalium4 ,nympharum pater ecce ego sum ventrosior1 offis ,pinguibus emacerans corpus4 ,mors te manet ipsa4 ,,vestalis ,,nympha4 ,en monialis ego1 ,vestae servire parata4 ,non te ,vesta potest mortis subducere castris4 ,,legatus4 ,legatus venio culparum vincla resolvemus ,omnia pro auro1 abiens coelum vendo1 infera claudo ,et quicquid patres sanxerunt1 munere solvo ,juribus a mortis non te legatio solvet4 ,,dominus ,,doctor4 ,quid fers8 ,ecce sophus1 divina humanaque jura ,calleo1 et a populo doctor ,rabbique salutor1 ,te manet expectans mors ultima linea rerum4 ,,medicus4 ,en ego sum medicus1 vitam producere gnarus1 ,venis lustratis morborum nomina dico1 ,non poteris durae mortis vitare sagittas4 ,,astronomus4 ,en ego stellarum motus et sydera novi1 ,et fati genus omne scio praedicere coeli4 ,non potis es mortis durae praescire sagittas4 ,,curtisanus4 ,en me ,rhoma potens multis suffarsit onustum ,muneribus sacris1 proventibus1 officiisque ,non potes his mortis fugiens evadere tela4 ,,advocatus4 ,causarum patronus ego1 producere doctus ,lites1 et loculos lingua vacuare loquaci ,non te lingua loquax mortis subducet ab ictu4 ,,judex4 ,justitiae judex quia sum1 sub plebe salutor4 ,vertice me nudo populus veneratur adorans4 ,auri sacra fames pervertere saepe coegit ,justitiam4 ,mors te manet aequans omnia falce4 ,,praetor4 ,praetor ego populi1 me praetor nemo quid audet4 ,accensor causis1 per me stant omnia1 namque ,et dono et adimo vitam1 cum rebus honorem4 ,munere conspecto1 quod iniquum est jure triumphat ,emitto corvos1 censura damno columbas4 ,hinc metuendus ero superis ereboque profundo4 ,te manet expectans ,erebus ,plutoque cruentus4 ,,consul4 ,polleo consiliis1 ,consul dicorque salutor4 ,munere conspecto1 quid iniquum est consulo rectum ,quod rectum est flecto1 nihil est quod nesciat auri ,sacra fames1 hinc ditor et undique fio opulentus ,sed eris aeternum miser et mors impia tollet4 ,,causidicus4 ,causidicus ego sum1 causas narrare peritus1 ,accior in causas1 sed spes ubi fulserit auri ,ad fraudes docta solers utor bene lingua4 ,muto1 commuto1 jura inflecto atque reflecto4 ,et nihil est quod non astu pervincere possim4 ,mors aequa expectat properans te fulmine diro4 ,nec poteris astu mortis praevertere tela4 ,,scabinus4 ,ecce ,scabinus ego1 scabo bursas1 prorogo causas4 ,senatorque vocor1 vulgus me poplite curvo1 ,muneribusque datis veneratur1 fronte retecta4 ,nil mortem meditor loculos quando impleo nummis ,et dito haeredes nummis1 vi1 fraude receptis1 ,justitiam nummis1 pro sanguine1 munere1 vendo4 ,quod rectum est curvo1 quod curvum est munere rectum ,efficio1 per me prorsus stant omnia jura4 ,non poteris durae mortis transire sagittas4 ,,ludimagister4 ,en ego pervigili cura externoque labore4 ,excolui juvenum ingenia1 et praecepta ,minervae ,tradens consenui1 cathedraeque piget sine fructu4 ,quid dabitur fructus1 tanti quae dona laboris8 ,omnia mors aequans1 vitae ultima meta laboris4 ,,miles ,,auratus4 ,miles ego auratus1 fulgenti murice et auro ,splendidus in populo4 ,mors te manet omnia perdens4 ,,miles ,,armatus4 ,miles ego armatus1 qui bella ferocia gessi4 ,nullius occursum expavi1 quam durus et audax4 ,ergo immunis ero4 ,mors te intrepida ipsa necabit4 ,,mercator4 ,en ego mercator dives1 maria omnia lustro ,et terras1 ut res crescant4 ,mors te metet ipsa4 ,,fuckardus4 ,en ego fuckardus1 loculos gesto aeris onustos1 ,omnia per mundum coemens1 vendo atque revendo4 ,heroes me solicitant1 atque aera requirunt4 ,haud est me lato quisquam modo ditior orbe4 ,mortis ego jura et frameas nihil ergo tremisco ,morte cades1 mors te rebus spoliabit opimis4 ,,quaestor4 ,quaestor ego1 loculos suffersi arcasque capaces ,est mihi praenitidis fundata pecunia villis4 ,hac dives redimam durae discrimina mortis ,te mors praeripiet nullo exorabilis auro4 ,,nauclerus4 ,en ego nauclerus spaciosa per aequora vectus1 ,non timui maris aut venti discrimina mille4 ,cymba tamen mortis capiet te quaeque vorantis4 ,,agricola4 ,agricola en ego sum1 praeduro saepe labore1 ,et vigili exhaustus cura1 sudore perenni1 ,victum praetenuem quaerens1 sine fraude doloque ,omnia pertentans1 miseram ut traducere possim ,vitam1 nec mundo me est infelicior alter4 ,mors tamen eduri fiet tibi meta laboris4 ,,orator4 ,heroum interpres venio1 fraudisque peritus1 ,bellorum strepitus compono1 et bella reduco1 ,meque petunt reges1 populus miratur adorans4 ,nulla abiget fraudi lingueve peritia mortem4 ,,princeps ,,belli4 ,fulmen ego belli1 reges et regna subegi1 ,victor ego ex omni praeduro quamlibet ecce ,marte fui1 vitae hinc timeo discrimina nulla4 ,te mors confodiet cauda ,trigonis aquosi1 ,atque eris exanimis moriens uno ictu homo bulla4 ,,dives4 ,sum rerum felix1 foecunda est prolis et uxor1 ,plena domus1 laetum pecus1 et cellaria plena ,nil igitur metuo4 ,quid ais8 ,mors te impia tollet4 ,,pauper4 ,iro ego pauperior1 ,codroque tenuior omni1 ,despicior cunctis1 nemo est qui sublevet heu heu4 ,hinc parcet veniens mors3 nam nihil auferet a me1 ,non sic evades1 ditem cum paupere tollit4 ,,foenerator4 ,ut loculi intument auro1 vi1 fraude1 doloque1 ,foenore nunc quaestum facio1 furtoque rapinaque1 ,ut proles ditem1 passim dicarque beatus1 ,per fas perque nefas corradens omnia quaero4 ,mors veniens furtim praedabitur1 omnia tollens4 ,,adolescens4 ,sum juvenis1 forma spectabilis1 indole gaudens ,maturusque aevi1 nullus praestantior alter1 ,moribus egregiis populo laudatus ab omni4 ,pallida1 difformis mors auferet omnia raptim4 ,,puella4 ,ecce puellarum pulcherrima1 mortis iniquae ,spicula nil meditor1 juvenilibus et fruor annis1 ,meque proci expectant compti1 facieque venusti4 ,stulta1 quid in vana spe jactas8 ,mors metet omnes ,difformes1 pulchrosque simul cum paupere dices4 ,,nuncius4 ,nuncius ecce ego sum1 qui nuncia perfero pernix ,sed retrospectans post terga1 papae audio quidnam8 ,me tuba terrificans mortis vocat4 ,heu moriendum est4 ,,peroratio4 ,mortales igitur memores modo vivite laeti ,instar venturi furis1 discrimine nullo ,cunctos rapturi passim ditesque inopesque4 ,stultus et insipiens vita qui sperat in ista1 ,instar quae fumi perit et cito desinit esse4 ,fac igitur tota virtuti incumbito mente1 ,quae nescit mortem1 sed scandit ad ardua coeli4 ,quo nos a fatis ducat rex ,juppiter1 ,amen4 ,plaudite nunc1 animum cuncti retinete faventes4 ,,finis4 ,antwerpiae apud ,michaelem ,hillenium ,m4,d4,,xxxiiii4 ,mense ,maio4 ,a very early allusion to the ,dance of ,death occurs in a ,latin poem1 that seems to have been composed in the twelfth century by our celebrated countryman ,walter de ,mapes1 as it is found among other pieces that carry with them strong marks of his authorship4 ,it is intitled ,lamentacio et deploracio pro ,morte et consilium de vivente ,deo4#cg ,in its construction there is a striking resemblance to the common metrical stanzas that accompany the ,macaber ,dance4 ,many characters1 commencing with that of the ,pope1 are introduced1 all of whom bewail the uncontrolable influence of ,death4 ,this is a specimen of the work1 extracted from two manuscripts3 ,cum mortem meditor nescit mihi causa doloris1 ,nam cunctis horis mors venit ecce cito4 ,pauperis et regis communis lex moriendi1 ,dat causam flendi si bene scripta leges4 ,gustato pomo missus transit sine morte ,heu missa sorte labitur omnis homo4 ,vado mori ,papa qui jussu regna ,vado mori1 ,rex sum1 quod honor1 subegi quod gloria regum1 ,mors mihi regna tulit eccine vado ,est via mors hominis regia vado mori4 mori4 ,then follow similar stanzas1 for presul1 miles1 monachus1 legista1 jurista1 doctor1 logicus1 medicus1 cantor1 sapiens1 dives1 cultor1 burgensis1 nauta1 pincerna1 pauper4 ,in ,sanchez's collection of ,spanish poetry before the year #adjj1ch mention is made of a ,rabbi ,santo as a good poet1 who lived about #acfj4 ,he was a ,jew1 and surgeon to ,don ,pedro4 ,his real name seems to have been ,mose1 but he calls himself ,don ,santo ,judio de ,carrion4 ,this person is said to have written a moral poem1 called ,danza ,general4 ,it commences thus3 ,dise la ,muerte4 ,yo so la muerte cierta a todas criaturas1 ,que son y seran en el mundo durante3 ,demando y digo ,o ame6 porque curas ,de vida tan breve en punto passante8 c4 ,he then introduces a preacher1 who announces ,death to all persons1 and advises them to be prepared by good works to enter his ,dance1 which is calculated for all degrees of mankind4 ,primaramente llama a su danza a dos doncellas1 ,a esta mi danza trax de presente1 ,estas dos donzellas que vades fermosas3 ,ellas vinieron de muy malamente ,a oir mes canciones que son dolorosas1 ,mas non les valdran flores nin rosas1 ,nin las composturas que poner salian3 ,de mi1 si pudiesen parterra querrian1 ,mas non proveda ser1 que son mis esposas4 ,it may1 however1 be doubted whether the ,jew ,santo was the author of this ,dance of ,death1 as it is by no means improbable that it may have been a subsequent work added to the manuscript referred to by ,sanchez4 ,in #afge1 ,maitre ,jacques ,jacques1 a canon of the cathedral of ,ambrun1 published a singular work1 intitled ,le faut mourir et les excuses inutiles que l'on apporte a cette necessite4 ,le tout en vers burlesques4 ,rouen1 #afge1 #abmo4 ,it is written much in the style of ,scarron and some other similar poets of the time4 ,it commences with a humorous description given by ,death of his proceedings with various persons in every part of the globe1 which is followed by several dialogues between ,death and the following characters3 #a4 ,the ,pope4 #b4 ,a young lady betrothed4 #c4 ,a galley slave4 #d4 ,guillot1 who has lost his wife4 #e4 ,don ,diego ,dalmazere1 a ,spanish hidalgo4 #f4 ,a king4 #g4 ,the young widow of a citizen4 #h4 ,a citizen4 #i4 ,a decrepit rich man4 #aj4 ,a canon4 #aa4 ,a blind man4 #ab4 ,a poor peasant4 #ac4 ,tourmente1 a poor soldier in the hospital4 #ad4 ,a criminal in prison4 #ae4 ,a nun4 #af4 ,a physician4 #ag4 ,an apothecary4 #ah4 ,a lame beggar4 #ai4 ,a rich usurer4 #bj4 ,a merchant4 #ba4 ,a rich merchant4 ,as the book is uncommon1 the following specimen is given from the scene between ,death and the young betrothed girl3 ,,la ,,mort4 ,a vous la belle demoiselle1 ,je vous apporte une nouvelle1 ,qui certes vous surprendra fort4 ,c'est qu'il faut penser a la mort1 ,tout vistement plies bagage1 ,car il faut faire ce voyage4 ,,la ,,demoiselle4 ,qu'entends-je8 ,tout mon sens se perd1 ,helas6 vous me prener sans verd2 ,c'est tout a fait hors de raison ,mourir dedans une saison ,que je ne dois songer qu'a rire1 ,je suis contrainte de vous dire1 ,que tres injuste est vostre choix1 ,parce que mourir je ne dois1 ,n'estant qu'en ma quinzieme annee1 ,voyez quelque vielle echinee1 ,qui n'ait en bouche point de dent2 ,vous l'obligerez grandement ,de l'envoyer a l'autre monde1 ,puis qu'ici toujours elle gronde2 ,vous la prendrez tout a propos1 ,et laissez moi dans le repos1 ,moi qui suis toute poupinette1 ,dans l'embonpoint et joliette1 ,qui n'aime qu'a me rejouir1 ,de grace laissez moi jouir1 c4 ,,chapter ,,iii4 ,macaber not a ,german or any other poet1 but a nonentity4--,corruption and confusion respecting this word4--,etymological errors concerning it4--,how connected with the ,dance4--,trois mors et trois vifs4--,orgagna's painting in the ,campo ,santo at ,pisa4--,its connection with the trois mors et trois vifs1 as well as with the ,macaber dance4--,saint ,macarius the real ,macaber4--,paintings of this dance in various places4--,at ,minden2 ,church-yard of the ,innocents at ,paris2 ,dijon2 ,basle2 ,klingenthal2 ,lubeck2 ,leipsic2 ,anneberg2 ,dresden2 ,erfurth2 ,nuremberg2 ,berne2 ,lucerne2 ,amiens2 ,rouen2 ,fescamp2 ,blois2 ,strasburg2 ,berlin2 ,vienna2 ,holland2 ,italy2 ,spain4 ,the next subject for investigation is the origin of the name of ,macaber1 as connected with the ,dance of ,death1 either with respect to the verses that have usually accompanied it1 or to the paintings or representations of the ,dance itself2 and first of the verses4 ,it may1 without much hazard1 be maintained that1 notwithstanding these have been ascribed to a ,german poet called ,macaber1 there never was a ,german1 or any poet whatever bearing such a name4 ,the first mention of him appears to have been in a ,french edition of the ,danse ,macabre1 with the following title1 ,chorea ab eximio ,macabro versibus ,alemannicis edito1 et a ,petro ,desrey emendata4 ,parisiis per ,magistrum ,guidonem ,mercatorem pro ,godefrido de ,marnef4 #adij1 folio4 ,this title1 from its ambiguity1 is deserving of little consideration as a matter of authority2 for if a comma be placed after the word ,macabro1 the title is equally applicable to the author of the verses and to the painter or inventor of the ,dance4 ,as the subject had been represented in several places in ,germany1 and of course accompanied with ,german descriptions1 it is possible that ,desrey might have translated and altered some or one of these1 and1 mistaking the real meaning of the word1 have converted it into the name of an author4 ,it may be asked in what ,german biography is such a person to be found8 how it has happened that this famous ,macaber is so little known1 or whether the name really has a ,teutonic aspect8 ,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 poet1 and in a work to which it could not properly belong4#ci ,m4 ,peignot has very justly observed that the ,danse ,macabre had been very long known in ,france and elsewhere1 not as a literary work1 but as a painting2 and he further remarks that although the verses are ,german in the ,basil painting1 executed about #addj1 similar verses in ,french were placed under the dance at the ,innocents at ,paris in #adbd4dj ,at the beginning of the text in the early ,french edition of the ,danse ,macabre1 we have only the words la danse ,macabre sappelle1 but no specific mention is made of the author of the verses4 ,john ,lydgate1 in his translation of them from the ,french1 and which was most probably adopted in many places in ,england where the painting occurred1 speaks of the ,frenche ,machabrees daunce1 and the daunce of ,machabree4 ,at the end1 ,machabree the ,doctoure1 is abruptly and unconnectedly introduced at the bottom of the page4 ,it is not in the ,french printed copy1 from the text of which ,lydgate certainly varies in several respects4 ,it remains1 therefore1 to ascertain whether these words belong to ,lydgate1 or to whom else2 not that it is a matter of much importance4 ,the earliest authority that has been traced for the name of ,danse ,macabre1 belongs to the painting at the ,innocents1 and occurs in the ,,ms4 diary of ,charles ,,vii4 under the year #adbd4 ,it is also strangely called ,chorea ,machabaeorum1 in #adec1 as appears from the before cited document at ,st4 ,john's church at ,besancon4 ,even the name of one ,maccabrees1 a ,provencal poet of the #adth century1 has been injudiciously connected with the subject1 though his works are of a very different nature4 ,previously to attempting to account for the origin of the obscure and much controverted word ,macaber1 as applicable to the dance itself1 it may be necessary to advert to the opinions on that subject that have already appeared4 ,it has been disguised under the several names of ,macabre1#da ,maccabees1#db ,maratre1#dc and even ,macrobius4#dd ,sometimes it has been regarded as an epithet4 ,the learned and excellent ,m4 ,van ,praet1 the guardian of the royal library at ,paris1 has conjectured that ,macabre is derived from the ,arabic ,magbarah1 magbourah1 or magabir1 all signifying a church-yard4 ,m4 ,peignot seems to think that ,m4 ,van ,praet intended to apply the word to the ,dance itself1#de but it is impossible that the intelligent librarian was not aware that personified sculpture1 as well as the moral nature of the subject1 cannot belong to the ,mahometan religion4 ,another etymology extremely well calculated to disturb the gravity of the present subject1 is that of ,m4 ,villaret1 the ,french historian1 when adverting to the spectacle of the ,danse ,macabre1 supposed to have been given by the ,english in the church-yard of the ,innocents at ,paris4 ,relying on this circumstance1 he unceremoniously decides that the name of the dance was likewise ,english2 and that ,macabree is compounded of the words1 to make and to break4 ,the same silly etymology is referred to as in some historical dictionary concerning the city of ,paris by ,mons4 ,compan in his ,dictionaire de ,danse1 article ,macaber2 and another which is equally improbable has been hazarded by the accomplished ,marquis de ,paulmy1 who1 noticing some editions of the ,danse ,macabre in his fine library1 now in the arsenal at ,paris1 very seriously states that ,macaber is derived from two ,greek words1 which denote its meaning to be an infernal dance2#df but if the ,greek language were to be consulted on the occasion1 the signification would turn out to be very different4 ,it must not be left unnoticed that ,m4 ,de ,bure1 in his account of the edition of the ,danse ,macabre1 printed by ,marchant1 #adhf1 has stated that the verses have been attributed to ,michel ,marot2 but the book is dated before ,marot was born4#dg ,again1--,as to the connexion between the word ,macaber with the ,dance itself4 ,in the course of the thirteenth century there appeared a ,french metrical work under the name of ,li trois ,mors et li trois ,vis1 i4 e4 ,les trois ,morts et les trois ,vifs4 ,in the noble library of the ,duke de la ,valliere1 there were three apparently coeval manuscripts of it1 differing1 however1 from each other1 but furnishing the names of two authors1 ,baudouin de ,conde and ,nicolas de ,marginal4#dh ,these poems relate that three noble youths when hunting in a forest were intercepted by the like number of hideous spectres or images of ,death1 from whom they received a terrific lecture on the vanity of human grandeur4 ,a very early1 and perhaps the earliest1 allusion to this vision1 seems to occur in a painting by ,andrew ,orgagna in the ,campo ,santo at ,pisa2 and although it varies a little from the description in the above-mentioned poems1 the story is evidently the same4 ,the painter has introduced three young men on horseback with coronets on their caps1 and who are attended by several domestics whilst pursuing the amusement of hawking4 ,they arrive at the cell of ,saint ,macarius an ,egyptian ,anachorite1 who with one hand presents to them a label with this inscription1 as well as it can be made out1 ,se nostra mente fia ben morta tenendo risa qui la vista affitta la vana gloria ci sara sconfitta la superbia e sara da morte2 and with the other points to three open coffins1 in which are a skeleton and two dead bodies1 one of them a king4 ,a similar vision1 but not immediately connected with the present subject1 and hitherto unnoticed1 occurs at the end of the ,latin verses ascribed to ,macaber1 in ,goldasti's edition of the ,speculum omnium statuum a ,roderico ,zamorensi4 ,three persons appear to a hermit1 whose name is not mentioned1 in his sleep4 ,the first is described as a man in a regal habit2 the second as a civilian1 and the third as a beautiful female decorated with gold and jewels4 ,whilst these persons are vainly boasting of their respective conditions1 they are encountered by three horrible spectres in the shape of dead human bodies covered with worms1 who very severely reprove them for their arrogance4 ,this is evidently another version of the ,trois mors et trois vifs in the text1 but whether it be older or otherwise cannot easily be ascertained4 ,it is composed in alternate rhymes1 in the manner1 and probably by the author of ,philibert or ,fulbert's vision of the dispute between the soul and the body1 a work ascribed to ,s4 ,bernard1 and sometimes to ,walter de ,mapes4 ,there are translations of it both in ,french and ,english4 ,illustration ,illustration ,for the mention of ,s4 ,macarius as the hermit in this painting by ,orgagna1 we are indebted to ,vasari in his life of that artist2 and he had1 no doubt1 possessed himself of some traditionary information on the subject of it4 ,he further informs us1 that the person on horseback who is stopping his nostrils1 is intended for ,andrea ,uguzzione della fagivola4 ,above is a black and hideous figure of ,death mowing down with his scythe all ranks and conditions of men4 ,vasari adds that ,orgagna had crowded his picture with a great many inscriptions1 most of which were obliterated by time4 ,from one of them which he has preserved in his work1 as addressed to some aged cripples1 it should appear that1 as in the ,macaber ,dance1 ,death apostrophizes the several characters4#di ,baldinucci1 in his account of ,orgagna1 mentions this painting and the story of the ,three ,kings and ,saint ,macarius4#ej ,morona1 likewise1 in his ,pisa illustrata1 adopts the name of ,macarius when describing the same subject4 ,the figures in the picture are all portraits1 and their names may be seen1 but with some variation as to description1 both in ,vasari and ,morona4#ea ,now the story of ,les trois mors et les trois vifs1 was prefixed to the painting of the ,macaber ,dance in the church-yard of the ,innocents at ,paris1 and had also been sculptured over the portal of the church1 by order of the ,duke de ,berry in #adjh4eb ,it is found in numerous manuscript copies of ,horae and other service books prefixed to the burial office4 ,all the printed editions of the ,macaber ,dance contain it1 but with some variation1 the figure of ,saint ,macarius in his cell not being always introduced4 ,it occurs in many of the printed service books1 and in some of our own for the use of ,salisbury4 ,the earliest wood engraving of it is in the black book of the #ae signa ,judicii1 where two of the young men are running away to avoid the three deaths1 or skeletons1 one of whom is rising from a grave4 ,it is copied in ,bibliotheca ,spenceriana1 vol4 i4 p4 xxx4 ,from the preceding statement then there is every reason to infer that the name of ,macaber1 so frequently1 and without authority1 applied to an unknown ,german poet1 really belongs to the ,saint1 and that his name has undergone a slight and obvious corruption4 ,the word ,macabre is found only in ,french authorities1 and the ,saint's name1 which1 in the modern orthography of that language1 is ,macaire1 would1 in many ancient manuscripts1 be written ,macabre instead of ,macaure1 the letter b being substituted for that of u from the caprice1 ignorance1 or carelessness of the transcribers4 ,as no ,german copy of the verses describing the painting can1 with any degree of certainty1 be regarded as the original1 we must substitute the ,latin text1 which may1 perhaps1 have an equal claim to originality4 ,the author1 at the beginning1 has an address to the spectators1 in which he tells them that the painting is called the ,dance of ,macaber4 ,there is an end1 therefore1 of the name of ,macaber1 as the author of the verses1 leaving it only as applicable to the painting1 and almost1 if not altogether confirmatory of the preceding conjecture4 ,the ,french version1 from which ,lydgate made his translation1 nearly agrees with the ,latin4 ,lydgate1 however1 in the above address1 has thought fit to use the word translator instead of author1 but this is of no moment1 any more than the words ,machabree the ,doctour1 which1 not being in the ,french text1 are most likely an interpolation4 ,he likewise calls the work the daunce2 and it may1 once for all1 be remarked1 that scarcely any two versions of it will be found to correspond in all respects1 every new editor assuming fresh liberties1 according to the usual practice in former times4 ,the ancient paintings of the ,macaber ,dance next demand our attention4 ,of these1 the oldest on record was that of ,minden in ,westphalia1 with the date #achc1 and mentioned by ,fabricius in his ,biblioth4 med4 et infimae aetatis1 tom4 v4 p4 #b4 ,it is to be wished that this statement had been accompanied with some authority2 but the whole of the article is extremely careless and inaccurate4 ,the earliest1 of which the date has been satisfactorily defined1 was that in the church-yard of the ,innocents at ,paris1 and which has been already mentioned as having been painted in #adcd4 ,in the cloister of the church of the ,sainte ,chapelle at ,dijon the ,macaber ,dance was painted by an artist whose name was ,masoncelle4 ,it had disappeared and was forgotten a long time ago1 but its existence was discovered in the archives of the department by ,mons4 ,boudot1 an ardent investigator of the manners and customs of the middle ages4 ,the date ascribed to this painting is #adcf4 ,the above church was destroyed in the revolution1 previously to which another ,macaber ,dance existed in the church of ,notre ,dame in the above city4 ,this was not a painting on the walls1 but a piece of white embroidery on a black piece of stuff about two feet in height and very long4 ,it was placed over the stalls in the choir on grand funeral ceremonies1 and was also carried off with the other church moveables1 in the abovementioned revolution4#ec ,similar exhibitions1 no doubt1 prevailed in other places4 ,the next ,macaber ,dance1 in point of date1 was the celebrated one at ,basle1 which has employed the pens and multiplied the errors of many writers and travellers4 ,it was placed under cover in a sort of shed in the church-yard of the ,dominican convent4 ,it has been remarked by one very competent to know the fact1 that nearly all the convents of the ,dominicans had a ,dance of ,death4#ed ,as these friars were preachers by profession1 the subject must have been exceedingly useful in supplying texts and matter for their sermons4 ,the present ,dance is said to have been painted at the instance of the prelates who assisted at the ,grand ,council of ,basle1 that lasted from #adca to #addc2 and in allusion1 as supposed1 to a plague that happened during its continuance4 ,plagues have also been assigned as the causes of other ,dances of ,death2 but there is no foundation whatever for such an opinion1 as is demonstrable from what has been already stated2 and it has been also successfully combated by ,m4 ,peignot1 who is nevertheless a little at variance with himself1 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 ,death4#ee ,the name of the original painter of this ,basle work is unknown1 and will probably ever remain so1 for no dependance can be had on some vague conjectures1 that without the smallest appearance of accuracy have been hazarded concerning it4 ,it is on record that the old painting having become greatly injured by the ravages of time1 ,john ,hugh ,klauber1 an eminent painter at ,basle1 was employed to repair it in the year #aefh1 as appears from a ,latin inscription placed on it at the time4 ,this painter is said to have covered the decayed fresco with oil1 and to have succeeded so well that no difference between his work and the original could be perceived4 ,he was instructed to add the portrait of the celebrated ,oecolampadius in the act of preaching1 in commemoration of his interference in the ,reformation1 that had not very long before taken place4 ,he likewise introduced at the end of the painting1 portraits of himself1 his wife ,barbara ,hallerin1 and their little son ,hans ,birich ,klauber4 ,the following inscription1 placed on the painting on this occasion1 is preserved in ,hentzner's ,itinerary1 and elsewhere4 ,a4 ,o4 ,c4 ,sebastiano ,doppenstenio1 ,casparo ,clugio ,coss4 ,bonaventura a ,bruno1 ,jacobo ,rudio ,tribb4 ,pl4 ,hunc mortales chorum fabulae1 temporis injuria vitiatum ,lucas ,gebhart1 ,iodoc4 ,pfister4 ,georgius ,sporlinus ,hujus loci ,a,ediles4 ,integritati suae restituendum curavere ,ut qui vocalis picturae divina monita securius audiunt ,mutae saltem poeseos miserab4 spectaculo ,ad seriam philosophiam excitentur4 ,greek3 ,,oratelos ,,makrou ,,biou ,,archen ,,oramakariou ,,ci,c ,i,c ,,lxiix4 ,in the year #afaf a further reparation took place1 and some alterations in the design are said to have been then made4 ,the above inscription1 with an addition only of the names of the then existing magistrates of the city1 was continued4 ,a short time before1 ,mathew ,merian the elder1 a celebrated topographical draftsman1 had fortunately copied the older painting1 of which he is supposed to have first published engravings in #afba1 with all the inscriptions under the respective characters that were then remaining1 but these could not possibly be the same in many respects that existed before the ,reformation1 and which are entirely lost4 ,a proof of this may be gathered from the lines of the ,pope's answer to ,death1 whom he is thus made to apostrophize3 ,shall it be said that ,i1 a ,god upon earth1 a successor of ,st4 ,peter1 a powerful prince1 and a learned doctor1 shall endure thy insolent summons1 or that1 in obedience to thy decree1 ,i should be compelled to ascertain whether the keys which ,i now possess will open for me the gates of ,paradise8 ,none of the inscriptions relating to the ,pope in other ancient paintings before the ,reformation approach in the least to language of this kind4 ,merian speaks of a tradition that in the original painting the portrait of ,pope ,felix ,v4 was introduced1 as well as those of the ,emperor ,sigismund and ,duke ,albert ,,ii4 all of whom were present at the council2 but admitting this to have been the fact1 their respective features would scarcely remain after the subsequent alterations and repairs that took place4 ,that intelligent traveller1 ,mons4 ,blainville1 saw this painting in ,january1 #agjg4 ,he states that as it had been much injured by the weather1 and many of the figures effaced1 the government caused it to be retouched by a painter1 whom they imagined to be capable of repairing the ravages it had sustained1 but that his execution was so miserable that they had much better have let it alone than to have had it so wretchedly bungled4 ,he wholly rejects any retouching by ,holbein4 ,he particularizes two of the most remarkable subjects1 namely1 the fat jolly cook1 whom ,death seizes by the hand1 carrying on his shoulder a spit with a capon ready larded1 which he looks upon with a wishful eye1 as if he regretted being obliged to set out before it was quite roasted4 ,the other figure is that of the blind beggar led by his dog1 whom ,death snaps up with one hand1 and with the other cuts the string by which the dog was tied to his master's arm4#ef ,the very absurd ascription of the ,basle painting to the pencil of ,hans ,holbein1 who was born near a century afterwards1 has been adopted by several tourists1 who have copied the errors of their predecessors1 without taking the pains to make the necessary enquiries1 or possessing the means of obtaining correct information4 ,the name of ,holbein1 therefore1 as combined with this painting1 must be wholly laid aside1 for there is no evidence that he was even employed to retouch it1 as some have inadvertently stated2 it was altogether a work unworthy of his talents1 nor does it1 even in its latest state1 exhibit the smallest indication of his style of painting4 ,this matter will be resumed hereafter1 but in the mean time it may be necessary to correct the mistake of that truly learned and meritorious writer1 ,john ,george ,keysler1 who1 in his instructive and entertaining travels1 has inadvertently stated that the ,basle painting was executed by ,hans ,bock or ,bok1 a celebrated artist of that city2#eg but it is well known that this person was not born till the year #aehd4 ,the ,basle painting is no longer in existence2 for on the #b;d of ,august1 #ahjf1 and for reasons that have not been precisely ascertained1 an infuriated mob1 in which were several women1 who carried lanterns to light the expedition1 tumultuously burst the inclosure which contained the painting1 tore it piecemeal from the walls1 and in a very short space of time completely succeeded in its total demolition1 a few fragments only being still preserved in the collection of ,counsellor ,vischer at his castle of ,wildensheim1 near ,basle4 ,this account of its destruction is recorded in ,millin's ,magazin ,encyclopedique among the nouvelles litteraires for that year2 but the ,etrenne ,helvetique for the above year has given a different account of the matter2 it states that the painting having been once more renovated in the year #agjc1 fell afterwards into great decay1 being entirely peeled from the wall--that this circumstance had1 in some degree1 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 spot1 the magistrates ventured1 but not without much hesitation1 to remove the cloister with its painting altogether in the year #ahje--;and that this occasioned some disturbance in the city among the common people1 but more particularly with those who had resided in its neighbourhood1 and conceived a renewed attachment to the painting4 ,of this ,dance of ,death very few specific copies have been made4 ,m4 ,heinecken#eh has stated that it was engraved in #aedd1 by ,jobst ,denneker of ,augsburg2 but he has confounded it with a work by this artist on the other ,dance of ,death ascribed to ,holbein1 and which will be duly noticed hereafter4 ,the work which contained the earliest engravings of the ,basle painting1 can on this occasion be noticed only from a modern reprint of it under the following title3 ,der ,todten-,tantz wie derselbe in der weitberuhmten ,stadt ,basel als ein ,spiegel menslicher beschaffenheit gantz kuntlich mit lebendigen farben gemahlet1 nicht ohne nutzliche vernunderung zu schen ist4 ,basel1 bey ,joh4 ,conrad und ,joh4 ,jacob von ,mechel1 #agfi1 #abmo4 that is1 ,the ,dance of ,death1 painted most skilfully1 and in lively colours1 in the very famous town of ,basel1 as a mirror of human life1 and not to be looked on without useful admiration4 ,the first page has some pious verses on the painting in the church-yard of the ,predicants1 of which the present work contains only ten subjects1 namely1 the cardinal1 the abbess1 the young woman1 the piper1 the jew1 the heathen man1 the heathen woman1 the cook1 the painter1 and the painter's wife4 ,on the abbess there is the mark ,d4 ,r4 probably that of the engraver1 two cuts by whom are mentioned in ,bartsch's work4#ei ,on the cut of the young woman there is the mark ,g ,s with the graving knife4 ,they are coarsely executed1 and with occasional variations of the figures in ,merian's plates4 ,the rest of the cuts1 thirty-two in number1 chiefly belong to the set usually called ,holbein's4 ,all the cuts in this miscellaneous volume have ,german verses at the top and bottom of each page with the subjects4 ,if ,jansen1 who usually pillages some one else1 can be trusted or understood1 there was a prior edition of this book in #afjf1 with cuts having the last-mentioned mark1 but which edition he calls the ,dance of ,death at ,berne2#fj a title1 considering the mixture of subjects1 as faulty as that of the present book1 of which1 or of some part of it1 there must have been a still earlier edition than the above-mentioned one of #afjf1 as on the last cut but one of this volume there is the date #aegf1 and the letters ,g ,s with the knife4 ,it is most probable that this artist completed the series of the ,basle ,dance1 and that some of the blocks having fallen into the hands of the above printers1 they made up and published the present mixed copy4 ,jost ,amman is said to have engraved #di plates of the ,dance of ,death in #aehg4 ,these are probably from the ,basle painting4#fa ,the completest copies of this painting that are now perhaps extant1 are to be found in a well-known set of engravings in copper1 by ,matthew ,merian1 the elder1 the master of ,hollar4 ,there are great doubts as to their first appearance in #afba1 as mentioned by ,fuessli and ,heinecken1 but editions are known to exist with the respective dates of #afdi1 #afif1 #afih1 #agbe1 #agdd1 #agef1 and #aghi4 ,some of these are in ,german1 and the rest are accompanied with a ,french translation by ,p4 ,viene4 ,they are all particularly described by ,peignot4#fb ,merian states in his preface that he had copied the paintings several years before1 and given his plates to other persons to be published1 adding that he had since redeemed and retouched them4 ,he says this ,dance was repaired in #aefh by ,hans ,hugo ,klauber1 a citizen of ,basle1 a fact also recorded on the cut of the painter himself1 his wife1 ,barbara ,hallerin1 and his son1 ,hans ,birich1 by the before-mentioned artist1 ,g4 ,s41 and that it contained the portraits of ,pope ,felix ,v41 the ,emperor ,sigismund1 and ,albert1 ,king of the ,romans1 all of whom assisted at the ,council of ,basle in the middle of the #aeth century1 when the painting was probably executed4 ,a greatly altered and modernised edition of ,merian's work was published in #aghh1 #hvo4 with the following title1 ,la ,danse des ,morts pour servir de miroir a la nature humaine1 avec le costume dessine a la moderne1 et des vers a chaques figures4 ,au ,locle1 chez ,s4 ,girardet libraire4 ,this is on an engraved frontispiece1 copied from that in ,merian4 ,the letter-press is extracted from the ,french translation of ,merian1 and the plates1 which are neatly etched1 agree as to general design with his2 but the dresses of many of the characters are rather ludicrously modernised4 ,some moral pieces are added to this edition1 and particularly an old and popular treatise1 composed in #aeic1 intitled ,l',art de bien vivre et de bien mourir4 ,a ,dance of ,death is recorded with the following title ,todtentantz durch alle ,stande der ,menschen1 ,leipsig1 durch ,david de ,necker1 formschneider4 #aegb1 #dto4#fc ,whether this be a copy of the ,basle or the ,berne painting1 must be decided on inspection1 or it may possibly be a later edition of the copy of the wood-cuts of ,lyons1 that will be mentioned hereafter4 ,in the little ,basle1 on the opposite side of the ,rhine1 there was a nunnery called ,klingenthal1 erected towards the end of the #acth century4 ,in an old cloister1 belonging to it there are the remains of a ,dance of ,death painted on its walls1 and said to have been much ruder in execution than that in the ,dominican cemetery at ,basle4 ,on this painting there was the date #acab4 ,in the year #agff one ,emanuel ,ruchel1 a baker by trade1 but an enthusiastic admirer of the fine arts1 made a copy in water colours of all that remained of this ancient painting1 and which is preserved in the public library at ,basle4#fd ,the numerous mistakes that have been made by those writers who have mentioned the ,basle painting have been already adverted to by ,m4 ,peignot1 and are not1 in this place1 worthy of repetition4#fe ,that which requires most particular notice1 and has been so frequently repeated1 is the making ,hans ,holbein the painter of it1 who was not born till a considerable time after its execution1 and even for whose supposed retouching of a work1 almost beneath his notice in point of art1 there is not the slightest authority4 ,in the small organ chapel1 or1 according to some1 in the porch1 of the church of ,st4 ,mary at ,lubeck in ,lower ,alsace1 there is1 or was1 a very ancient ,dance of ,death1 said to have been painted in #adfc4 ,dr4 ,nugent1 who has given some account of it1 says1 that it is much talked of in all parts of ,germany2 that the figures were repaired at different times1 as in #aehh1 #afdb1 and last of all in #agja4 ,the verses that originally accompanied it were in low ,dutch1 but at the last repair it was thought proper to change them for ,german verses which were written by ,nathaniel ,schlott of ,dantzick4 ,the ,doctor has given an ,english translation of them1 made for him by a young lady of ,lubeck4#ff ,this painting has been engraved1 and will be again mentioned4 ,leipsic had also a ,dance of ,death1 but no particulars of it seem to have been recorded4 ,in #aebe a similar dance was painted at ,anneberg in ,saxony1 which ,fabricius seems alone to have noticed4 ,he also mentions another in #aecd1 at the palace of ,duke ,george at ,dresden4#fg ,this is described in a ,german work written on the subject generally1 by ,paul ,christian ,hilscher1 and published at ,dresden1 #agje1 #hvo4 and again at ,bautzen1 #agba1 #hvo4 ,it consisted of a long frieze sculptured in stone on the front of the building1 containing twenty-seven figures4 ,a view of this very curious structure1 with the ,dance itself1 and also on a separate print1 on a larger scale1 varying considerably from the usual mode of representing the ,macaber ,dance1 is given in ,anthony ,wecken's ,chronicle of ,dresden1 printed in ,german at ,dresden #afhj1 folio4 ,it is said to have been removed in #agba to the church-yard of ,old ,dresden4 ,nicolai ,karamsin has given a very brief1 but ludicrous1 account of a ,dance of ,death in the cross aisle of the ,orphan ,house at ,erfurth2#fh but ,peignot places it in the convent of the ,augustins1 and seems to say that it was painted on the panels between the windows of the cell inhabited by ,luther4#fi ,in all probability the same place is intended by both these writers4 ,there is some reason to suppose that there was a ,dance of ,death at ,nuremberg4 ,misson1 describing a wedding in that city1 states that the bridegroom and his company sat down on one side of the church and the bride on the other4 ,over each of their heads was a figure of ,death upon the wall4 ,this would seem very like a ,dance of ,death1 if the circumstance of the figure being on both sides of the church did not excite a doubt on the subject4 ,whether there ever was a ,macaber ,dance at ,berne of equal antiquity with that of ,basle has not been ascertained3 but ,sandrart1 in his article for ,nicolas ,manuel ,deutch1 a celebrated painter at ,berne1 in the beginning of the #afth century1 has recorded a ,dance of ,death painted by him in oil1 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 it3 ,manuel aller welt figur1 ,hastu gemahlt uf diese mur ,nu must sterben da1 hilft kun fund3 ,bist nit sicher minut noch stund4 ,which he thus translates3 ,cunctorum in muris pictis ex arte figuris4 ,tu quoque decedes2 etsi hoc vix tempore credes4 ,then ,manuel's answer3 ,kilf eineger ,heiland6 dru ich dich bitt3 ,dann hic ist gar kein ,bleibens nit ,so mir der ,tod mein red wird stellen ,so bhut euch ,gott1 mein liebe ,gsellen4 ,that is1 in ,latin3 ,en tibi me credo1 ,deus1 hoc dum sorte recedo ,mors rapiat me1 te1 reliquos sociosque1 valete6 ,to which account ,m4 ,fuseli adds1 that this painting1 equally remarkable for invention and character1 was retouched in #aeec2 and in #aefj1 to render the street in which it was placed more spacious1 entirely demolished4 ,there were1 however1 two copies of it preserved at ,berne1 both in water colours1 one by ,albrech ,kauw1 the other a copy from that by ,wilhelm ,stettler1 a painter of ,berne1 and pupil of ,conrad ,meyer of ,zurich4 ,the painting is here said to have been in fresco on the wall of the ,dominican cemetery4#gj ,the verses that accompanied this painting have been mentioned as containing sarcastical freedoms against the clergy2 and as ,manuel had himself undergone some persecutions on the score of religion at the time of the ,reformation1 this is by no means improbable4 ,there is even a tradition that he introduced portraits of some of his friends1 who assisted in bringing about that event4 ,in #ahcb1 lithographic copies of the ,berne painting1 after the drawings of ,stettler1 were published at ,berne1 with a portrait of ,manuel2 and a set of very beautiful drawings in colours1 made by some artist at ,berne1 either after those by ,stettler or ,kauw1 in the public library1 are in the possession of the writer of this essay4 ,they1 as well as the lithographic prints1 exhibit ,manuel's likeness in the subject of the painter4 ,one of the bridges at ,lucerne was covered with a ,macaber ,dance1 executed by a painter named ,meglinger1 but at what time we are not informed4 ,it is said to have been very well painted1 but injured greatly by injudicious retouchings2 yet there seems to be a difference of opinion as to the merit of the paintings1 which are or were thirty-six in number1 and supposed to have been copied from the ,basle dance4 ,lucerne has also another of the same kind in the burial ground of the parish church of ,im-hof4 ,one of the subjects placed over the tomb of some canon1 the founder of a musical society1 is ,death playing on the violin1 and summoning the canon to follow him1 who1 not in the least terrified1 marks the place in the book he was reading1 and appears quite disposed to obey4 ,this ,dance is probably more modern than the other4#ga ,the subject of ,death performing on the above instrument to some person or other is by no means uncommon among the old painters4 ,m4 ,maurice ,rivoire1 in his very excellent description of the cathedral of ,amiens1 mentions the cloister of the ,machabees1 originally called1 says he1 the cloister of ,macabre1 and1 as he supposes1 from the name of the author of the verses4 ,he gives some lines that were on one of the walls1 in which the ,almighty commands ,death to bring all mortals before him4#gb ,this cloister was destroyed about the year #ahag1 but not before the present writer had seen some vestiges of the painting that remained on one of the sides of the building4 ,m4 ,peignot has a very probable conjecture that the church-yard of ,saint ,maclou1 at ,rouen1 had a ,macaber ,dance1 from a border or frieze that contains several emblematical subjects of mortality4 ,the place had more than once been destroyed4#gc ,on the pillars of the church at ,fescamp1 in ,normandy1 the ,dance of ,death was sculptured in stone1 and it is in evidence that the castle of ,blois had formerly this subject represented in some part of it4 ,in the course of some recent alterations in the new church of the ,protestants at ,strasburg1 formerly a ,dominican convent1 the workmen accidentally uncovered a ,dance of ,death that had been whitewashed1 either for the purpose of obliteration or concealment4 ,this painting seems to differ from the usual ,macaber ,dance1 not always confined like that to two figures only1 but having occasionally several grouped together4 ,m4 ,peignot has given some more curious particulars relating to it1 extracted from a literary journal by ,m4 ,schweighaeuser1 of ,strasburg4#gd ,it is to be hoped that engravings of it will be given4 ,chorier has mentioned the mills of ,macabrey1 and also a piece of land with the same appellation1 which he says was given to the chapter of ,st4 ,maurice at ,vienne in ,dauphine1 by one ,marc ,apvril1 a citizen of that place4 ,he adds1 that he is well aware of the ,dance of ,macabre4 ,is it not1 therefore1 probable1 that the latter might have existed at ,vienne1 and have led to the corruption of the above citizen's name by the common people4#ge ,misson has noticed a ,dance of ,death in ,st4 ,mary's church at ,berlin1 and obscurely referred to another in some church at ,nuremberg4 ,bruckmann1 in his ,epistolae ,itinerariae1 vol4 v4 ,epist4 xxxii4 describes several churches and other religious buildings at ,vienna1 and among them the monastery of the ,augustinians1 where1 he says1 there is a painting of a house with ,death entering one of the windows by a ladder4 ,in the same letter he describes a chapel of ,death in the above monastery1 which had been decorated with moral paintings by ,father ,abraham a ,st4 ,clara1 one of the monks4 ,among these were1 #a4 ,death demolishing a student4 #b4 ,death attacking a hunter who had just killed a stag4 #c4 ,death in an apothecary's shop1 breaking the phials and medicine boxes4 #d4 ,death playing at draughts with a nobleman4 #e4 ,harlequin making grimaces at ,death4 ,a description of this chapel1 and its painting was published after the good father's decease4 ,nuremberg1 #agaj1 #hvo4 ,the only specimen of it in ,holland that has occurred on the present occasion is in the celebrated ,orange-,salle1 which constitutes the grand apartment of the country seat belonging to the ,prince of ,orange in the wood adjacent to the ,hague4 ,in three of its compartments1 ,death is represented by skeletons darting their arrows against a host of opponents4#gf ,nor has ,italy furnished any materials for the present essay4 ,blainville has1 indeed1 described a singular and whimsical representation of ,death in the church of ,st4 ,peter the ,martyr1 at ,naples1 in the following words4 ,at the entrance on the left is a marble with a representation of ,death in a grotesque form4 ,he has two crowns on his head1 with a hawk on his fist1 as ready for hunting4 ,under his feet are extended a great number of persons of both sexes and of every age4 ,he addresses them in these lines3 ,eo so la morte che caccio ,sopera voi jente mondana1 ,la malata e la sana1 ,di1 e notte la percaccio2 ,non fugge1 vessuna intana ,per scampare dal mio laczio ,che tutto il mondo abbraczio1 ,e tutta la jente humana ,perche nessuno se conforta1 ,ma prenda spavento ,ch'eo per comandamento ,di prender a chi viene la sorte4 ,sia vi per gastigamento ,questa figura di morte1 ,e pensa vie di fare forte ,tu via di salvamento4 ,opposite to the figure of ,death is that of a man dressed like a tradesman or merchant1 who throws a bag of money on a table1 and speaks thus3 ,tutti ti volio dare ,se mi lasci scampare4 ,to which ,death answers3 ,se mi potesti dare ,quanto si pote dimandare ,non te pote scampare la morte ,se te viene la sorte4#gg ,it can hardly be supposed that this subject was not known in ,spain1 though nothing relating to it seems to have been recorded1 if we except the poem that has been mentioned in p4 #be1 but no ,spanish painting has been specified that can be called a regular ,macaber ,dance4 ,there are grounds1 however1 for believing that there was such a painting in the cathedral of ,burgos1 as a gentleman known to the author saw there the remains of a skeleton figure on a whitewashed wall4 ,,chapter ,,iv4 ,macaber ,dance in ,england4--,st4 ,paul's4--,salisbury4--,wortley ,hall4--,hexham4--,croydon4--,tower of ,london4--,lines in ,pierce ,plowman's ,vision supposed to refer to it4 ,we are next to examine this subject in relation to its existence in our own country4 ,on the authority of the work ascribed to ,walter de ,mapes1 already noticed in p4 #bd1 it is not unreasonable to infer that paintings of the ,macaber ,dance were coeval with that writer1 though no specimens of it that now remain will warrant the conclusion4 ,we know that it existed at ,old ,saint ,paul's4 ,stowe informs us that there was a great cloister on the north side of the church1 environing a plot of ground1 of old time called ,pardon church-yard4 ,he then states1 that about this cloyster was artificially and richly painted the ,dance of ,machabray1 or ,dance of ,death1 commonly called the ,dance of ,paul's3 the like whereof was painted about ,st4 ,innocent's cloyster at ,paris3 the meters or poesie of this dance were translated out of ,french into ,english1 by ,john ,lidgate1 ,monke of ,bury1 the picture of ,death leading all estates2 at the dispence of ,jenken ,carpenter in the reigne of ,henry the ,sixt4#gh ,lydgate's verses were first printed at the end of ,tottell's edition of the translation of his ,fall of ,princes1 from ,boccaccio1 #aeed1 folio1 and afterwards1 in ,sir ,w4 ,dugdale's ,history of ,st4 ,paul's cathedral4#gi ,in another place ,stowe records that on the #ajth ,april1 #aedi1 the cloister of ,st4 ,paul's church1 called ,pardon church-yard1 with the ,dance of ,death1 commonly called the ,dance of ,paul's1 about the same cloister1 costly and cunningly wrought1 and the chappel in the midst of the same church-yard1 were all begun to be pulled down4#hj ,this spoliation was made by the ,protector ,somerset1 in order to obtain materials for building his palace in the ,strand4#ha ,the single figure that remained in the ,hungerford chapel at ,salisbury cathedral1 previously to its demolition1 was formerly known by the title of ,death and the ,young ,man1 and was1 undoubtedly1 a portion of the ,macaber ,dance1 as there was close to it another compartment belonging to the same subject4 ,in #agdh1 a print of these figures was published1 accompanied with the following inscription1 which differs from that in ,lydgate4 ,the young man says3 ,alasse ,dethe alasse a blesful thyng thou were ,yf thou woldyst spare us yn ouwre lustynesse4 ,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 clepe4 ,death answers3 ,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 be4 ,this painting was made about the year #adfj1 and from the remaining specimen its destruction is extremely to be regretted1 as1 judging from that of the young gallant1 the dresses of the time would be correctly exhibited4 ,in the chapel at ,wortley ,hall1 in ,gloucestershire1 there was inscribed1 and most likely painted1 an history and ,daunce of ,deathe of all estatts and degrees4 ,this inscribed history was the same as ,lydgate's1 with some additional characters4#hb ,from a manuscript note by ,john ,stowe1 in his copy of ,leland's ,itinerary1 it appears that there was a ,dance of ,death in the church of ,stratford upon ,avon3 and the conjecture that ,shakespeare1 in a passage in ,measure for ,measure1 might have remembered it1 will not1 perhaps1 be deemed very extravagant4 ,he there alludes to ,death and the fool1 a subject always introduced into the paintings in question4#hc ,on the upper part of the great screen which closes the entrance to the choir of the church at ,hexham1 in ,northumberland1 are the painted remains of a ,dance of ,death4#hd ,these consist of the figures of a pope1 a cardinal1 and a king1 which were copied by the ingenious ,john ,carter1 of well-deserved antiquarian memory4 ,vestiges of a ,macaber ,dance were not long since to be traced on the walls of the hall of the ,archiepiscopal palace at ,croydon1 but so much obscured by time and neglect that no particular compartment could be ascertained4 ,the tapestries that decorated the walls of palaces1 and other dwelling places1 were sometimes applied in extension of this moral subject4 ,in the tower of ,london1 the original and most ancient seat of our monarchs1 there was some tapestry with the ,macaber ,dance4#he ,the following lines in that admirable satire1 the ,vision of ,pierce ,plowman1 written about the year #acej1 have evidently an allusion to the ,dance1 unless they might be thought to apply rather to the celebrated triumph of ,death by ,petrarch1 of which some very early paintings1 and many engravings1 still exist2 or they may even refer to some of the ancient representations of the infernal regions that follow ,death on the ,pale horse of the ,revelations1 and in which is seen a grotesque intermixture of all classes of people4#hf ,death came driving after1 and all to dust pashed ,kynges and ,kaysers1 ,knightes and ,popes1 ,learned and lewde3 he ne let no man stande ,that he hitte even1 he never stode after4 ,many a lovely ladie and lemmans of knightes ,swouned and swelted for sorrowe of ,deathes dyntes4 ,it is probable that many cathedrals and other edifices1 civil as well as ecclesiastical1 in ,france1 ,germany1 ,england1 and probably other ,european countries1 were ornamented with paintings and sculpture of this extremely popular subject4 ,,chapter ,v4 ,list of editions of the ,macaber ,dance4--,printed ,horae that contain it4--,manuscript ,horae4--,other ,manuscripts in which it occurs4--,various articles with letter-press1 not being single prints1 but connected with it4 ,it remains only1 so far as regards the ,macaber ,dance1 to present the reader with a list of the several printed editions of that celebrated work1 and which1 with many corrections and additions1 has been chiefly extracted from ,m4 ,peignot's ,recherches historiques et litteraires sur les ,danses des ,morts1 ,paris et ,dijon1 #ahbf1 #hvo4 ,the article that should stand at the head of this list1 if any reliance could be had on a supposed date1 is the ,german edition1 intitled1 ,der ,dotendantz mit figuren4 ,clage und ,antwort ,schon von allen staten der welt1 small folio4 ,this is mentioned in ,braun ,notitia de libris in ,bibliotheca ,monasterii ad ,,ss4 ,udalricum et ,afram ,augustae1 vol4 ii4 #fb4 ,the learned librarian expresses his doubts as to the date1 which he supposes may be between #adhj and #aejj4 ,he rejects a marginal note by the illuminator of the letters1 indicating the date of #adei4 ,every page of this volume is divided into two columns1 and accompanied with ,german verses1 which may be either the original text1 or a translation from the ,french verses in some early edition of the ,macaber ,dance in that language4 ,it consists of twenty-two leaves1 with wood-cuts of the ,pope1 ,cardinal1 ,bishop1 ,abbot1 c4 c4 accompanied by figures of ,death4 #a4 ,la ,danse ,macabre imprimee par ung nomme ,guy ,marchand1 c4 ,paris1 #adhe1 small folio4 ,mons4 ,champollion ,figeac has given a very minute description of this extremely rare1 and perhaps unique1 volume1 the only known copy of which is in the public library of ,grenoble4 ,this account is to be found in ,millin's ,magazin ,encyclopedique1 #ahaa1 vol4 vi4 p4 #cee1 and thence by ,m4 ,peignot1 in his ,recherches1 c4 #b4 ,ce present livre est appelle ,miroer salutaire pour toutes gens1 et de tous estatz1 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 salut3 et qui le voudront avoir4 ,la ,danse ,macabre nouvelle4 ,at the end1 ,cy finit la ,danse ,macabre hystoriee augmentee de pleuseurs nouveaux parsonnages 7six7 et beaux dis4 et les trois mors et trois vif ensemble4 ,nouvellement ainsi composee et imprimee par ,guyot ,marchant demorant a ,paris au grant hostel du college de ,navarre en champ ,gaillart lan de grace1 #adhf1 le septieme jour de juing4 ,a small folio of fifteen leaves1 or thirty pages1 twenty-four of which belong to the ,danse ,macabre1 and six to the ,trois morts et les trois vifs4 ,on the authority of the above expression1 composee1 and also on that of ,la ,croix du ,maine1 ,marchant has been made the author as well as the printer of the work2 but ,m4 ,de la ,monnoye is not of that opinion1 nor indeed is there any other metrical composition by this printer known to exist4 #c4 ,la ,danse ,macabre des femmes1 c4 ,paris1 par ,guyot ,marchant1 #adhf1 le septieme jour de ,juillet1 small folio1 of fifteen leaves only4 ,this is the first edition of the ,macaber ,dance of females2 and though thirty-two of them are described1 the ,queen and ,duchess only are engraved4 ,see ,no4 #f for the rest4 ,this and the preceding edition are also particularly described by ,messrs4 ,champollion ,figeac and ,peignot4 #d4 ,chorea ab eximio ,macabro versibus ,alemanicis edita1 et a ,petro ,desrey emendata4 ,parisiis per magistrum ,guidonem ,mercatorem pro ,godeffrido de ,marnef4 #adij1 folio4 ,papillon thought the cuts were in the manner of the ,french artist ,jollat1 but without foundation1 for they are much superior to any work by that artist1 and of considerable merit4 #e4 ,la nouvelle ,danse ,macabre des hommes dicte miroer salutaire de toutes gens et de touts etats1 c4 ,paris1 ,guyot ,marchant4 #adij4 folio4 #f4 ,la ,danse ,macabre des femmes1 toute hystoriee et augmentee de nouveaulx personnages1 c4 ,paris1 ,guyot ,marchant1 le #b ,mai1 #adia1 folio4 ,this edition1 the second of the ,dance of females1 has all the cuts with other additions4 ,the list of the figures is in ,peignot1 but with some doubts on the accuracy of his description4 #g4 ,an edition in the ,low ,german dialect was printed at ,lubeck1 #adif1 according to ,vonder ,hagen in his ,deutschen ,poesie1 p4 #dei1 who likewise mentions a ,low ,german edition in prose1 at the beginning of the #aeth 7he must mean #afth7 century4 ,he adds1 that he has copied one page with cuts from ,kindeling's ,remains1 but he does not say in what work4 #h4 ,la grant ,danse ,macabre des hommes et des femmes hystorice et augmentee de beaulx dits en ,latin1 c4 c4 ,le tout compose en ryme ,francoise et accompagne de figures4 ,lyon1 le xviii jour de ,fevrier1 l'an #adii1 folio4 ,this is supposed to be the first edition that contains both the men and the women4 #i4 ,there is a very singular work1 intitled ,icy est le compost et kalendrier des ,bergeres1 c4 ,imprime a ,paris en lostel de beauregart en la rue ,cloppin a lenseigne du roy ,prestre ,jhan4 ou quel lieu sont a vendre1 ou au lyon dargent en la rue ,sainct ,jaques4 ,at the end1 ,imprime a ,paris par ,guy ,marchant maistre es ars ou lieu susdit4 ,le xvii iour daoust mil cccciiiixx4xix4 ,this extremely rare volume is in the ,british ,museum1 and is mentioned by ,dr4 ,dibdin1 in vol4 ii4 p4 #ecj of his edition of ,ames's typographical antiquities1 and probably nowhere else4 ,it is embellished with the same fine cuts that relate to the females in the edition of the ,macaber ,dance1 ,nos4 #d and #aa4 ,the work begins with the words ,deux jeunes ,bergeres seulettes1 and appears to have been composed for females only1 differing very materially from the well-known ,kalendrier des ,bergers1 though including matter common to both4 #aj4 ,chorea ab eximio ,macabro versibus ,alemanicis edita et a ,petro ,desrey ,trecacio quodam oratore nuper emendata4 ,parisiis per ,magistrum ,guidonem ,mercatorem pro ,godeffrido ,marnef4 #ae ,octob4 #adii1 folio1 with cuts4 #aa4 ,la ,danse ,macabre1 c4 ,ant4 ,verard1 no date1 but about #aejj1 small folio4 ,a vellum copy of this rare edition is described by ,m4 ,van ,praet in his catalogue of vellum books in the royal library at ,paris4 ,a copy is in the ,archb4 ,cant4 library at ,lambeth4 #ab4 ,la ,danse ,macabre1 c4 ,ant4 ,verard1 no date1 but about #aejj1 folio4 ,some variations from ,no4 #i are pointed out by ,m4 ,van ,praet4 ,this magnificent volume on vellum1 and bound in velvet1 came from the library at ,blois4 ,it is a very large and thin folio1 consisting of three or four leaves only1 printed on pasteboard1 with four pages or compartments on each leaf4 ,the cuts are illuminated in the usual manner of ,verard's books4 ,in the beginning it is marked ,marolles1 ,no4 #afja4 ,it is probably imperfect1 the fool not being among the figures1 and all the females are wanting1 though1 perhaps1 not originally in this edition4 ,it is in the royal library at ,paris1 where there is another copy of the work printed by ,verard1 with coloured prints1 but differing materially from the other in the press-work4 ,it is a common-sized folio1 and was purchased at the sale of the ,count ,macarthy's books4#hg #ac4 ,la grant ,danse ,macabre des hommes et des femmes1 c4 ,imprimee a ,troyes par ,nicolas ,le ,rouge demourant en la grant rue a l'enseigne de ,venise aupres la belle croix4 ,no date1 folio4 ,with very clever wood-cuts1 probably the same as in the edition of #adij2 and if so1 they differ much from the manner of ,jollat1 and have not his well-known mark4 #ad4 ,la grant ,danse ,macabre des hommes et des femmes1 c4 ,rouen1 ,guillaume de la ,mare4 ,no date1 #dto4 with cuts1 and in the ,roman letter4 #ae4 ,la grande ,danse ,macabre des hommes et des femmes1 ou est demonstre tous humains de tous estats estre du bransle de la ,mort4 ,lyon1 ,olivier ,arnoulet4 ,no date1 #dto4 #af4 ,la grant ,danse ,macabre des hommes et des femmes1 c4 ,lyon1 ,nourry1 #aeja1 #dto4 cuts4 #ag4 ,la grant ,danse ,macabre des hommes et des femmes1 c4 ,imprime a ,genesve1 #aejc1 #dto4 cuts4 #ah4 ,la grant ,danse ,macabre1 c4 ,paris1 ,nicole de la ,barre1 #aebc1 #dto4 with very indifferent cuts1 and the omission of some of the characters in preceding editions4 ,this has been privately reprinted1 #ahbj1 by ,mr4 ,dobree1 from a copy in the ,british ,museum4 #ai4 ,la grant ,danse ,macabre des hommes et des femmes4 ,troyes1 ,le ,rouge1 #aeca1 folio1 cuts4 #bj4 ,la grand ,danse ,macabre des hommes et des femmes4 ,paris1 ,denys ,janot4 #aecc1 #hvo4 cuts4 #ba4 ,la grand ,danse ,macabre des hommes et des femmes1 tant en ,latin qu'en ,francoys4 ,paris1 par ,estienne ,groulleau libraire jure en la rue neuve ,nostre ,dame a l'enseigne ,s4 ,jean ,baptiste4 ,no date1 #afmo4 cuts4 ,the first edition of this size1 and differing in some respects from the preceding4 #bb4 ,la grand ,danse ,macabre des hommes et des femmes1 c4 ,paris1 ,estienne ,groulleau1 #aeej1 #afmo4 cuts4 #bc4 ,la grande ,danse des ,morts1 c4 ,rouen1 ,morron4 ,no date1 #hvo4 cuts4 #bd4 ,les lxviii huictains ci-devant appelles la ,danse ,machabrey1 par lesquels les ,chrestiens de tous estats tout stimules et invites de penser a la mort4 ,paris1 ,jacques ,varangue1 #aehi1 #hvo4 ,in ,roman letter1 without cuts4 #be4 ,la grande ,danse ,macabre des hommes et des femmes1 c4 ,troyes1 ,oudot1 #afda1 #dto4 cuts4 ,one of the bibliotheque bleue books4 #bf4 ,la grande ,danse ,macabre des hommes et des femmes1 renouvellee de vieux ,gaulois en langage le plus poli de notre temps1 c4 ,troyes1 ,pierre ,garnier rue du ,temple4 ,no date1 but the privilege is in #agbh1 #dto4 cuts4 ,the polished language is1 of course1 for the worse1 and ,macaber is called des ,machabees1 no doubt1 the editor's improvement4 #bg4 ,la grande ,danse ,macabre des hommes et des femmes1 renouvellee1 c4 ,troyes1 chez la veuve ,oudot1 et ,jean ,oudot fils1 rue du ,temple1 #agbi1 #dto4 cuts4 ,nearly the same as ,no4 #be4 ,these inferior editions continued1 till very lately1 to be occasionally reprinted for the use of the common people1 and at the trifling expense of a very few sous4 ,they are1 nevertheless1 of some value to those who feel interested in the subject1 as containing tolerable copies of all the fine cuts in the preceding edition1 ,no4 #aa4 ,dr4 ,dibdin saw in the public library at ,munich a very old series of a ,macaber ,dance1 that had been inserted1 by way of illustration1 into a ,german manuscript of the ,dance of ,death4 ,of these he has given two subjects in his ,bibliographical ,tour1 vol4 iii4 p4 #bgh4 ,but it was not only in the above volumes that the very popular subject of the ,macaber ,dance was particularly exhibited4 ,it found its way into many of the beautiful service books1 usually denominated ,horae1 or hours of the ,virgin4 ,these principally belong to ,france1 and their margins are frequently decorated with the above ,dance1 with occasional variety of design4 ,in most of them ,death is accompanied with a single figure only1 characters from both sexes being introduced4 ,it would be impossible to furnish a complete list of them2 but it is presumed that the mention of several1 and of the printers who introduced them1 will not be unacceptable4 ,no4 ,i4 ,las ,horas de nuestra ,senora con muchos otros oficios y oraciones4 ,printed in ,paris by ,nicolas ,higman for ,simon ,vostre1 #adie1 #hvo4 ,it has two ,dances of ,death1 the first of which is the usual ,macaber ,dance1 with the following figures3 ,le ,pape1 l',empereur1 le ,cardinal1 l',archevesque1 le ,chevalier1 l',evesque1 l',escuyer1 l',abe1 le ,prevost1 le ,roy1 le ,patriarche1 le ,connestable1 l',astrologien1 le ,bourgoys1 le ,chanoine1 le ,moyne1 l',usurier1 le ,medesin1 l',amoureux1 l',advocat1 le ,menestrier1 le ,marchant1 le ,chartreux1 le ,sergent1 le ,cure1 le ,laboureur1 le ,cordelier4 ,then the women3 ,la ,royne1 la ,duchesse1 la ,regente1 la ,chevaliere1 l',abbesse1 la ,femme descine1 la ,prieure1 la ,damoissele1 la ,bourgoise1 la ,cordeliere1 la ,femme daceul1 la ,nourice1 la ,theologienne1 la nouvelle mariee1 la ,femme grosse1 la ,veufve1 la ,marchande1 la ,ballive1 la ,chamberiere1 la ,recommanderese1 la vielle ,damoise1 l',espousee1 la ,mignote1 la ,fille pucelle1 la ,garde d'accouchee1 la jeune fille1 la ,religieuse1 la ,vielle1 la ,revenderesse1 l',amoureuse1 la ,sorciere1 la ,bigote1 la ,sote1 la ,bergere1 la ,femme aux ,potences1 la ,femme de ,village2 to which are added1 l',enfant1 le ,clerc1 l',ermite4 ,the second ,dance of ,death is very different from the preceding1 and consists of groupes of figures4 ,the subjects1 which have never yet been described1 are the following3 #a4 ,death sitting on a coffin in a church-yard4 ,discite vos choream cuncti qui cernitis istam4 #b4 ,death with ,adam and ,eve in ,paradise4 ,he draws ,adam towards him4 ,quid tum prosit honor glorie divitie4 #c4 ,death helping ,cain to slay ,abel4 ,esto meorum qui pulvis eris et vermibus esca4 #d4 ,death holding by the garment a cardinal1 followed by several persons4 ,in gelida putrens quando jacebis humo4 #e4 ,death mounted on a bull strikes three persons with his dart4 ,vado mori dives auro vel copia rerum4 #f4 ,death seizing a man sitting at a table with a purse in his hand1 and accompanied by two other persons4 ,nullum respectum dat michi1 vado mori4 #g4 ,an armed knight killing an unarmed man1 ,death assisting4 ,fortium virorum est magis mortem contemnere vitam odisse4 #h4 ,death with a rod in his hand1 standing upon a groupe of dead persons4 ,stultum est timere quod vitari non potest4 #i4 ,death with a scythe1 having mowed down several persons lying on the ground4 ,est commune mori mors nulli parcit honori4 #aj4 ,a soldier introducing a woman to another man1 who holds a scythe in his hand4 ,death stands behind4 ,mors fera mors nequam mors nulli parcit et equam4 #aa4 ,death strikes with his dart a prostrate female1 who is attended by two others4 ,hec tua vita brevis3 que te delectat ubique4 #ab4 ,a man falling from a tower into the water4 ,death strikes him at the same time with his dart4 ,est velut aura levis te mors expectat ubique4 #ac4 ,a man strangling another1 ,death assisting4 ,vita quid est hominis nisi res vallata ruinis4 #ad4 ,a man at the gallows1 ,death standing by4 ,est caro nostra cinis modo principium modo finis4 #ae4 ,a man about to be beheaded1 ,death assisting4 ,quid sublime genus quid opes quid gloria prestant4 #af4 ,a king attended by several persons is struck by ,death with his dart4 ,quid mihi nunc aderant hec mihi nunc abeunt4 #ag4 ,two soldiers armed with battle-axes4 ,death pierces one of them with his dart4 ,ortus cuncta suos3 repetunt matremque requirunt4 #ah4 ,death strikes with his dart a woman lying in bed4 ,et redit in nihilum quod fuit ante nihil4 #ai4 ,death aims his dart at a sleeping child in a cradle1 two other figures attending4 ,a1 a1 a1 vado mori1 nil valet ipsa juventus4 #bj4 ,a man on the ground in a fit1 ,death seizes him4 ,others attending4 ,mors scita sed dubia nec fugienda venit4 #ba4 ,death leads a man1 followed by others4 ,non sum securus hodie vel cras moriturus4 #bb4 ,death interrupts a man and woman at their meal4 ,intus sive foris est plurima causa timoris4 #bc4 ,death demolishes a group of minstrels1 from one of whom he has taken a lute4 ,viximus gaudentes1 nunc morimur tristes et flentes4 #bd4 ,death leads a hermit1 followed by other persons4 ,forte dies hec est ultima1 vado mori4 ,this ,dance is also found in the ,horae printed by ,godar1 ,vostre1 and ,gilles ,hardouyn1 but with occasional variations1 as to size and other matters1 in the different blocks which they respectively used4 ,the same designs have also been adopted1 and in a very singular style of engraving1 in a work printed by ,antony ,verard1 that will be noticed elsewhere4 ,some of the cuts1 for they are not all by the same artist1 in this very rare and beautiful volume1 and not found in others printed by or for ,simon ,vostre1 may be very justly compared1 in point of the delicacy of design and engraving1 though on wood1 with the celebrated pax of ,maso ,finiguerra at ,florence1 accurately copied in ,mr4 ,ottley's history of engraving4 ,they are accompanied with this unappropriated mark monogram4 ,no4 ,,ii4 ,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 ,evangeliste1 #adig1 #abmo4 ,this beautiful book is on vellum1 with the same ,danse ,macabre as in the preceding1 but the other cuts are different4 ,no4 ,,iii4 ,hore presentes ad usum ,sarum impresse fuerunt ,parisiis per ,philippum ,pigouchet ,anno ,salutis ,,mccccxcviii die vero xvi ,maii pro ,symone ,vostre librario commorante1 c4 #hvo4 as above4 ,another beautiful volume on vellum1 with the same ,danse ,macabre4 ,he printed a similar volume of the same date1 for the use of ,rome1 also on vellum4 ,a volume of prayers1 in #hvo4 mentioned by ,m4 ,peignot1 p4 #ade1 after ,m4 ,raymond1 but the title is not given4 ,it is supposed to be anterior to #aejj1 and seems to contain the same personages in its ,danse ,macabre1 as in the preceding volumes printed by ,simon ,vostre4 ,no4 ,,iv4 ,heures a l'usage de ,soissons4 ,printed by ,simon ,vostre1 on vellum1 #aejb1 #hvo4 ,with the same ,danse ,macabre4 ,no4 ,v4 ,heures a l'usage de ,rheims1 nouvellement imprimees avec belles histoires1 pour ,simon ,vostre1 #aejb1 #hvo4 ,this is mentioned by ,m4 ,peignot1 on the authority of ,papillon4 ,it was reprinted #aeac1 #hvo4 and has the same cuts as above4 ,no4 ,,vi4 ,heures a l'usage de ,rome4 ,printed for ,simon ,vostre by ,phil4 ,pigouchet1 #aejb1 large #hvo4 on vellum4 ,with the same ,danse ,macabre4 ,this truly magnificent volume1 superior to all the preceding by the same printer in beauty of type and marginal decoration1 differs from them in having stanzas at the bottom of each page of the ,dance1 but which apply to the figure at the top only4 ,they are here given4 ,,pope4 ,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'honneur4 ,,king4 ,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 noblesse4 ,,archbishop4 ,que vous tirez la teste arriere ,archevesque tirez vous pres1 ,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 loste4 ,,squire4 ,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 jours4 ,,astrologer4 ,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 pomme4 ,,merchant4 ,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 empeschie4 ,,monk4 ,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 chose4 ,,lover4 ,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 douleur4 ,,curate4 ,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 salaire4 ,,child4 ,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 puissance4 ,,queen4 ,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 feres4 ,,lady4 ,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 trasse4 ,,prioress4 ,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 payment4 ,,franciscan ,,nun4 ,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 matines4 ,,chamber-,,maid4 ,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 maistre4 ,,widow4 ,cest belle chose de tenir ,lestat ou on est appellee ,et soy tousjours bien maintenir ,vertus est tout par tout louee4 ,femme vesve venez avant ,et vous avancez de venir ,vous veez les aultres davant ,il convient une fois finir4 ,,lying-,,in ,,nurse4 ,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 ronge4 ,,shepherdess4 ,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 main4 ,,old ,,woman4 ,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 cuiller4 ,,witch4 ,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 maniere4 ,in the cut of the adoration of the shepherds their names are introduced as follows3 ,gobin le gay2 le beau ,roger2 ,aloris2 ,ysauber2 ,alison1 and ,mahault4 ,the same cut is in two or three other ,horae mentioned in this list4 ,no4 ,,vii4 ,heures a l'usaige de ,rouan4 ,simon ,vostre1 #aejh1 #hvo4 ,with the same ,danse ,macabre4 ,no4 ,,viii4 ,horae ad usum ,romanum4 ,thielman ,kerver1 #aejh1 #hvo4 ,vellum4 ,with the same ,danse ,macabre4 ,no4 ,,ix4 ,hore christofere virginis ,marie secundum usum ,romanum ad longum absque aliquo recursu1 c4 ,parisiis4 ,simon ,vostre1 #aejh1 #hvo4 ,m4 ,peignot has given a very minute description of this volume with a list of the different persons in the ,danse ,macabre4 ,no4 ,x4 ,heures a l'usage de 444 ,ant4 ,verard1 #aeji1 #hvo4 with the same ,danse ,macabre4 ,no4 ,,xi4 ,heures a l'usaige d',angers4 ,simon ,vostre1 #aeaj1 #hvo4 ,with the same ,danse ,macabre4 ,particularly described by ,m4 ,peignot4 ,no4 ,,xii4 ,heures a l'usaige de ,rome4 ,guil4 ,godar1 #aeaj1 large #hvo4 vellum illuminated4 ,a magnificent book4 ,it contains the ,danse ,macabre as in ,no4 ,i4 ,but it is remarkable for a third ,dance of ,death on the margins at bottom1 consisting of small compartments with a single figure1 but unaccompanied in the usual manner by ,death1 who1 in various shapes and attitudes1 is occasionally introduced4 ,the characters are the following1 without the arrangement commonly observed1 and here given in the order in which they occur4 #a4 ,la ,prieuse4 #b4 ,la ,garde dacouche4 #c4 ,l',abesse4 #d4 ,le ,promoteur4 #e4 ,le ,conestable4 #f4 ,le ,moine1 without a label4 #g4 ,la ,vielle ,demoiselle4 #h4 ,la ,baillive4 #i4 ,la ,duchesse4 #aj4 ,le ,sergent4 #aa4 ,la ,nourrice4 #ab4 ,la femme du ,chevallier4 #ac4 ,la ,damoiselle4 #ad4 ,le ,maistre descole4 #ae4 ,la ,femme du village4 #af4 ,la ,rescomanderese4 #ag4 ,la ,revenderese4 #ah4 ,le ,laboureur4 #ai4 ,la ,bourgoise4 #bj4 ,l',usurier4 #ba4 ,le ,pelerin4 #bb4 ,le ,berger4 #bc4 ,la ,religieuse4 #bd4 ,l',home d'armes4 #be4 ,la ,sorciere4 #bf4 ,le ,petit enfant4 #bg4 ,le ,clerc4 #bh4 ,le ,patriarche4 #bi4 ,le ,cardinal4 #cj4 ,l',empereur4 #ca4 ,le ,roy4 #cb4 ,la ,marchande4 #cc4 ,le ,cure4 #cd4 ,la ,theologienne4 #ce4 ,la ,jeune fille4 #cf4 ,le ,sot4 #cg4 ,le ,hallebardier4 #ch4 ,la ,pucelle vierge4 #ci4 ,l',hermite4 #dj4 ,l',escuier4 #da4 ,la ,chamberiere4 #db4 ,la ,femme de lescuier4 #dc4 ,la ,cordeliere4 #dd4 ,la ,femme veuve4 #de4 ,le ,chartreux4 #df4 ,la ,royne4 #dg4 ,la ,regente4 #dh4 ,la ,bergere4 #di4 ,l',advocat4 #ej4 ,l',espousee4 #ea4 ,la ,femme amoureuse4 #eb4 ,la ,nouvelle ,mariee4 #ec4 ,le ,medecin4 ,wherever the figure of ,death is introduced1 he is accompanied with the motto ,amort1 amort4 ,no4 ,,xiii4 ,hore ad usum ,romanum4 ,thielman ,kerver1 #aeaa1 #hvo4 ,vellum1 with the ,danse ,macabre4 ,no4 ,,xiv4 ,heures a l'usage de ,langres4 ,simon ,vostre1 #aeab1 #hvo4 ,in the possession of ,mons4 ,g4 ,m4 ,raymond1 who has described it in ,millin's ,magazin ,encyclopedique1 #ahad1 tom4 iii4 p4 #ac4 ,mentioned also by ,m4 ,peignot4 ,no4 ,,xv4 ,heures a l'usage de ,paris4 ,simon ,vostre1 #aeae1 #hvo4 ,with the ,danse ,macabre1 and the other mentioned in ,no4 ,i4 ,no4 ,,xvi4 ,heures de ,nostre ,dame a l'usage de ,troyes4 ,th4 ,englard1 pour ,g4 ,goderet1 vers #aebj4 ,vellum4 ,described by ,m4 ,peignot4 ,no4 ,,xvii4 ,hore ad usum ,romanum4 ,thielman ,kerver1 #aebf1 #hvo4 ,vellum4 ,a beautiful volume4 ,prefixed to the ,danse ,macabre are two prints of the ,trois morts et trois vifs4 ,in all the above ,horae the ,macaber ,dance is represented nearly alike in design1 the variations being chiefly in the attitudes of the figures1 which are cut on different blocks1 except in a few instances where the printers have borrowed the latter from each other4 ,thus ,vostre uses ,verard's1 and ,pigouchet ,godar's4 ,the number of the subjects also varies1 ,vostre and ,kerver having more than ,verard1 ,godar1 and ,pigouchet4 ,exceptions to the above manner of representing the ,macaber ,dance1 occur in two ,horae of singular rarity1 and which are therefore worthy of particular notice4 ,no4 ,,xviii4 ,officium beatae ,mariae ,virginis ad usum ,romane ecclesie4 ,impressum ,lugduni expensis ,bonini de ,boninis ,dalmatini1 die xx martij1 #adii1 #abmo4 ,on vellum4 ,here the designs are very different1 and three of the subjects are placed at the bottom of the page4 ,they consist of the following personages1 there being no females among them4 ,it was reprinted by the same printer in #aeba4 ,papa ,astrologus ,imperator ,cives ,cardinales4 ,canonicus4 ,archiepiscopus ,scutifer ,eques ,abbas ,episcopus4 ,pretor4 ,rex ,monachus ,patriarche ,usurarius ,capitanus4 ,medicus4 ,plebanus ,mercator ,laborator ,certosinus ,frater ,minor4 ,nuncius4 ,amans ,puer ,advocatus ,sacristanus ,joculator4 ,heremita4 ,no4 ,,xix4 ,hore beate ,marie ,virginis ad usum insignis ac preclare ecclesie ,sarum cum figuris passionis mysterium representantibus recenter additis4 ,impresse ,parisiis per ,johannem ,bignon pro honesto viro ,richardo ,fakes1 ,london1 librario1 et ibidem commorante cymeterie ,sancti ,pauli sub signo ,a4 ,b4 ,c4 #aeba4 ,a ledger-like #abmo4 ,this ,macaber ,dance is unfortunately imperfect in the only copy of the book that has occurred4 ,the figures that remain are those of the ,pope1 ,king1 ,cardinal1 ,patriarch1 ,judge1 ,archbishop1 ,knight1 ,mayor1 and ,earl4 ,under each subject are ,lydgate's verses1 with some slight variation2 and it is therefore very probable that we have here a copy1 as to many of the figures1 of the ,dance that was painted at ,st4 ,paul's in compartments like the other ,macaber ,dance1 and not as the group in ,dugdale1 which has been copied from a wood-cut at the end of ,lydgate's ,fall of ,prynces4 ,as all the before-mentioned ,horae were printed at ,paris1 with one exception only1 and many of them at a very early period1 it is equally probable that they may be copies of the ,dance at the ,innocents1 unless a preference in that respect should be given to the figures in the ,french editions of the ,danse ,macabre4 ,manuscript ,horae1 or books of prayers1 which contain the ,macaber ,dance are in the next place deserving of our attention4 ,these are extremely rare1 and two only have occurred on the present occasion4 #a4 ,a manuscript prayer book of the fifteenth century is very briefly described by ,m4 ,peignot1#hh which he states to be the only one that has come to his knowledge4 #b4 ,an exquisitely beautiful volume1 in large #hvo4 bound in brass and velvet4 ,it is a ,latin ,horae1 elegantly written in ,roman type at the beginning of the #afth century4 ,it has a profusion of paintings1 every page being decorated with a variety of subjects4 ,these consist of stories from scripture1 sports1 games1 trades1 grotesques1 c4 c4 the several employments of the months1 which have also the signs of the zodiac1 are worth describing1 there being two sets for each month4 ,january4 #a4 ,a man sitting at table1 a servant bringing in a dish of viands4 ,the white tablecloth is beautifully diapered4 #b4 ,boys playing at the game called ,hockey4 ,february4 #a4 ,a man warming himself by a fire1 a domestic bringing in faggots4 #b4 ,men and women at table1 two women cooking additional food in the same apartment4 ,march4 #a4 ,a man pruning trees4 #b4 ,a priest confirming a group of people4 ,april4 #a4 ,a man hawking4 #b4 ,a procession of pilgrims4 ,may4 #a4 ,a gentleman and lady on the same horse4 #b4 ,two pairs of lovers3 one of the men plays on a flute1 the other holds a hawk on his fist4 ,june4 #a4 ,a woman shearing sheep4 #b4 ,a bridal procession4 ,july4 #a4 ,a man with a scythe about to reap4 ,he drinks from his leathern bottle4 #b4 ,boys and girls at the sport called ,threading the needle4 ,august4 #a4 ,a man reaping with a sickle4 #b4 ,blind man's buff4 ,september4 #a4 ,a man sowing4 #b4 ,the games of hot cockles and 444 ,october4 #a4 ,making wine4 #b4 ,several men repairing casks1 the master of the vineyard directing4 ,november4 #a4 ,a man threshing acorns to feed his hogs4 #b4 ,tennis4 ,december4 #a4 ,singeing a hog4 #b4 ,boys pelting each other with snow balls4 ,the side margins have the following ,danse ,macabre1 consisting as usual of two figures only4 ,papa1 ,imperator1 ,cardinalis1 ,rex1 ,archiepiscopus1 ,comestabilis1 ,patriarcha1 ,eques auratus1 ,episcopus1 ,scutarius1 ,abbas1 ,prepositus1 ,astrologus1 ,mercator1 ,cordiger1 ,satelles1 ,usurarius1 ,advocatus1 ,mimus1 ,infans1 ,heremita4 ,the margins at bottom contain a great variety of emblems of mortality4 ,among these are the following3 #a4 ,a man presents a mirror to a lady1 in which her face is reflected as a death's head4 #b4 ,death shoots an arrow at a man and woman4 #c4 ,a man endeavouring to escape from ,death is caught by him4 #d4 ,death transfixes a prostrate warrior with a spear4 #e4 ,two very grotesque ,deaths1 the one with a scythe1 the other with a spade4 #f4 ,a group of five ,deaths1 four dancing a round1 the other drumming4 #g4 ,death on a bull1 holding a dart in his hand4 #h4 ,death in a cemetery running away with a coffin and pick-axe4 #i4 ,death digging a grave for two shrouded bodies on the ground4 #aj4 ,death seizing a fool4 #aa4 ,death seizing the master of a family4 #ab4 ,death seizing ,caillette1 a celebrated fool mentioned by ,rabelais1 ,des ,periers1 c4 ,he is represented in the ,french translation of the ,ship of ,fools4 #ac4 ,death seizing a beggar4 #ad4 ,death seizing a man playing at tennis4 #ae4 ,death striking the miller going to his mill4 #af4 ,death seizing ,ragot1 a famous beggar in the reign of ,louis ,,xii4 ,he is mentioned by ,rabelais4 ,this precious volume is in the present writer's possession4 ,other manuscripts connected with the ,macaber ,dance are the following3 #a4 ,no4 #ahdi1 a ,colbert ,,ms4 in the ,king of ,france's library1 appears to have been written towards the end of the fifteenth century1 and is splendidly illuminated on vellum with figures of men and women led by ,death1 the designs not much differing from those in ,verard's printed copy4 #b4 ,another manuscript in the same library1 formerly ,no4 #edc in that of ,saint ,victor1 is at the end of a small volume of miscellanies written on paper about the year #aebj2 the text resembles that of the immediately preceding article1 and occasionally varies from the printed editions4 ,it has no illuminations4 ,these are the only manuscript ,macaber ,dances in the royal library at ,paris4 #c4 ,a manuscript of the ,dance of ,death1 in ,german1 is in the library of ,munich4 ,see ,dr4 ,dibdin's bibliographical ,tour1 vol4 iii4 #bgh2 and ,vonder ,hagen's history of ,german poetry4 ,berlin1 #ahab1 #hvo4 p4 #dei4 ,the date of #adej is given to this manuscript on the authority of ,docen in his ,miscellanies1 vol4 ii4 p4 #adh1 and new ,literary ,advertizer for #ahjf1 ,no4 #bb1 p4 #cdh4 ,vonder ,hagen also states that ,docen has printed it in his ,miscellanies1 p4 #cdi-eb1 and #dab-af4 #d4 ,a manuscript in the ,vatican1 ,no4 #cad4 ,see ,vonder ,hagen1 ubi supra1 who refers to ,adelung1 vol4 ii4 p4 #cag-ah1 where the beginning and other extracts are given4 #e4 ,in the ,duke de la ,valliere's catal4 ,no4 #bhja1 is ,la ,danse ,macabre par personnages1 in #dto4 ,sur papier du xv siecle1 contenant #ab feuillets4 ,in the course of this enquiry no manuscript1 decorated with a regular series of a ,dance of ,death1 has been discovered4 ,the ,abbe ,rive left1 in manuscript1 a bibliography of all the editions of the ,macaber ,dance1 which is at present1 with other manuscripts by the ,abbe1 in the hands of ,m4 ,achard1 a bookseller at ,marseilles4 ,see ,peignot1 ,diction4 de ,bibliologie1 iii4 #bhd4 ,the following articles1 accompanied by letter-press1 and distinguishable from single prints1 appear to relate to the ,macaber ,dance4 #a4 ,the ,dance and song of ,death is among books licensed to ,john ,awdeley4#hi #b4 ,the roll of the ,daunce of ,death1 with pictures and verses upon the same1 was entered on the ,stationers' books1 #eth ,jan4 #aeig1 by ,thomas ,purfort1 sen4 and jun4 ,the price was #f;d4 ,this1 as well as that licensed to ,awdeley1 was in all probability the ,dance at ,st4 ,paul's4 #c4 ,der ,todten ,tantz au ,hertzog ,georgens zu ,sachsen schloss zu ,dresden befindlich4 i4 e4 ,here is found the ,dance of ,death on the ,saxon palace of ,duke ,george at ,dresden4 ,it consists of twenty-seven characters1 as follow3 #a4 ,death leading the way2 in his right hand he holds a drinking glass or cup1 and in his left a trumpet which he is blowing4 #b4 ,pope4 #c4 ,cardinal4 #d4 ,abbot4 #e4 ,bishop4 #f4 ,canon4 #g4 ,priest4 #h4 ,monk4 #i4 ,death beating a drum with bones4 #aj4 ,emperor4 #aa4 ,king4 #ab4 ,duke4 #ac4 ,nobleman4 #ad4 ,knight4 #ae4 ,gentleman4 #af4 ,judge4 #ag4 ,notary4 #ah4 ,soldier4 #ai4 ,peasant4 #bj4 ,beggar4 #ba4 ,abbess4 #bb4 ,duchess4 #bc4 ,old woman4 #bd4 ,old man4 #be4 ,child4 #bf4 ,old beggar4 #bg4 ,death with a scythe4 ,this is a single print in the ,chronicle of ,dresden1 by ,antony ,wecken1 ,dresden1 #afhj1 folio1 already mentioned in p4 #dd4 #d4 ,in the catalogue of the library of ,r4 ,smith1 which was sold by auction in #afhb1 is this article ,dance of ,death1 in the cloyster of ,paul's1 with figures1 very old4 ,it was sold for six shillings to ,mr4 ,mearne4 #e4 ,a sort of ,macaber ,dance1 in a ,swiss almanack1 consisting of eight subjects1 and intitled ,ein ,stuck aus dem ,todten tantz1 or1 a piece of a ,dance of ,death3 engraved on wood by ,zimmerman with great spirit1 after some very excellent designs4 ,they are accompanied with dialogues between ,death and the respective characters4 #a4 ,the ,postilion on horseback4 ,death in a huge pair of jack-boots1 seizes him by the arm with a view to unhorse him4 #b4 ,the ,tinker4 ,death1 with a skillet on his head1 plunders the tinker's basket4 #c4 ,the ,hussar on horseback1 accompanied by ,death1 also mounted1 and1 like his comrade1 wearing an enormous hat with a feather4 #d4 ,the ,physician4 ,death habited as a modern beau1 with chapeau-bras1 brings his urinal to the ,doctor for inspection4 #e4 ,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 alewife1 with a vessel at her back4 #f4 ,the ,ploughman1 holding his implements of husbandry1 is seized by ,death1 who sits on a plough and carries a scythe in his left hand4 #g4 ,the ,grave-digger1 is pulled by ,death into the grave which he has just completed4 #h4 ,the lame ,messenger1 led by ,death4 ,the size of the print #aa by #f-a_/b inches4 #f4 ,papillon states that ,le ,blond1 an artist1 then living at ,orleans1 engraved the ,macaber ,dance on wood for the ,dominotiers1 or venders of coloured prints for the common people1 and that the sheets1 when put together1 form a square of three feet1 and have verses underneath each figure4#ij ,,chapter ,,vi4 ,hans ,holbein's connexion with the ,dance of ,death4--,a dance of peasants at ,basle4--,lyons edition of the ,dance of ,death1 #aech4--;,doubts as to any prior edition4--,dedication to the edition of #aech4--,mr4 ,ottley's opinion of it examined4--,artists supposed to have been connected with this work4--,holbein's name in none of the old editions4--,reperdius4 ,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 artist4 ,it would be a great waste of time and words to dwell specifically on the numerous errors of such writers as ,papillon1 ,fournier1 and several others1 who have inadvertently connected ,holbein with the ,macaber ,dance1 or to correct those of travellers who have spoken of the subject as it appeared in any shape in the city of ,basle4 ,the opinions of those who have either supposed or stated that ,holbein even retouched or repaired the old painting at ,basle1 are entitled to no credit whatever1 unaccompanied as they are by necessary proofs4 ,the names of the artists who were employed on that painting have been already adverted to1 and are sufficiently detailed in the volumes of ,merian and ,peignot2 and it is therefore unnecessary to repeat them4 ,evidence1 but of a very slight and unsatisfactory nature1 has been adduced that ,holbein painted some kind of a ,death's ,dance on the walls of a house at ,basle4 ,whether this was only a copy of the old ,macaber subject1 or some other of his own invention1 cannot now be ascertained4 ,bishop ,burnet1 in his letters from ,switzerland1#ia states that there is a ,dance which he painted on the walls of a house where he used to drink2 yet so worn out that very little is now to be seen1 except shapes and postures1 but these shew the exquisiteness of the hand4 ,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 description4 ,he then mentions the older ,dance1 which he places along the side of the convent of the ,augustinians 7meaning the ,dominicans71 now the ,french church1 so worn out some time ago that they ordered the best painter they had to lay new colour on it1 but this is so ill done1 that one had rather see the dark shadow of ,holbein's pencil than this coarse work4 ,here he speaks obscurely1 and adopts the error that ,holbein had some hand in it4 ,keysler1 a man of considerable learning and ingenuity1 and the author of a very excellent book of travels1 mentions the old painting at ,basle1 and adds1 that ,holbein had also drawn and painted a ,death's ,dance1 and had likewise painted1 as it were1 a duplicate of this piece on another house1 but which time has entirely obliterated4#ib ,we are here again left entirely in the dark as to the first mentioned painting1 and its difference from the other4 ,charles ,patin1 an earlier authority than the two preceding travellers1 and who was at ,basle in #afga1 informs us that strangers behold1 with a considerable degree of pleasure1 the walls of a house at the corner of a little street in the above town1 which are covered from top to bottom with paintings by ,holbein1 that would have done honour to the commands of a great prince1 whilst they are1 in fact1 nothing more than the painter's reward to the master of a tavern for some meals that he had obtained4#ic ,in the list of ,holbein's works1 in his edition of ,erasmus's ,moriae encomion1 he likewise mentions the painting on a house in the ,eisengassen1 or ,iron-street1 near the ,rhine bridge1 and for which he is said to have received forty florins1#id perhaps the same as that mentioned in his travels4 ,this painting was still remaining in the year #agcj1 when ,mr4 ,breval saw it1 and described it as a dance of boors1 but in his opinion unworthy1 as well as the ,dance of ,death in that city1 of ,holbein's hand4#ie ,these accounts of the paintings on houses are very obscure and contradictory1 and the only way to reconcile them is by concluding that ,holbein might have decorated the walls of some houses with a ,dance of ,death1 and of others with a dance of peasants4#if ,the latter subject would indeed be very much to the taste of an inn-keeper1 and the nature of his occupation4 ,some of the writers on engraving have manifested their usual inaccuracy on the subject of ,holbein's ,dance of ,peasants4 ,joubert says it has been engraved1 but that it is a peu pres introuvable4#ig ,huber likewise makes them extremely rare1 and adds1 without the slightest authority1 that ,holbein engraved them4#ih ,there is1 however1 no doubt that his beautiful pencil was employed on this subject in various ways1 of which the following specimens are worthy of being recorded4 #a4 ,in a set of initial letters frequently used in books printed at ,basle and elsewhere4 #b4 ,in an edition of ,plutarch's works1 printed by ,cratander at ,basle1 #aecj1 folio1 and afterwards introduced into ,polydore ,vergil's ,anglicae historiae libri viginti sex1 printed at ,basle1 #aedj1 in folio1 where1 on p4 #c at bottom1 the subject is very elegantly treated4 ,it occurs also1 in other books printed in the same city4 #c4 ,in an edition of the ,nugae of ,nicolas ,borbonius1 ,basle1 #aedj1 #abmo4 at p4 #ag1 there is a dance of peasants replete with humour3 and1 #d4 ,a vignette in the first page of an edition of ,apicius1 printed at ,basle1 #aeda1 #dto4 without the printer's name4 ,after all1 there seems to be a fatality of ambiguity in the account of the ,basle paintings ascribed to ,holbein2 and that of the ,dance of ,death has not only been placed by several writers on the walls1 inside and outside1 of houses1 but likewise in the fish-market2 on the walls of the church-yard of ,st4 ,peter2 and even in the cathedral itself of ,basle2 and1 therefore1 amidst this chaos of description1 it is absolutely impossible to arrive at any conclusion that can be deemed in any degree satisfactory4 ,we are now to enter upon the investigation of a work which has been somewhat erroneously denominated a ,dance of ,death1 by most of the writers who have mentioned it4 ,such a title1 however1 is not to be found in any of its numerous editions4 ,it is certainly not a dance1 but rather1 with slight exception1 a series of admirable groups of persons of various characters1 among whom ,death is appropriately introduced as an emblem of man's mortality4 ,it is of equal celebrity with the ,macaber ,dance1 but in design and execution of considerable superiority1 and with which the name of ,hans ,holbein has been so intimately connected1 and that great painter so generally considered as its inventor1 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 composition4 ,in the year #aech there appeared a work with the following title1 ,les simulachres et historiees faces de la mort1 autant elegamment pourtraictes1 que artificiellement imaginees4 ,a ,lyon ,soubz lescu de ,coloigne1 #dto4 and at the end1 ,excudebant ,lugduni ,melchior et ,gaspar ,trechsel fratres1 #aech4 ,it has forty-one cuts1 most exquisitely designed and engraved on wood1 in a manner which several modern artists only of ,england and ,germany have been competent to rival4 ,as to the designs of these truly elegant prints1 no one who is at all skilled in the knowledge of ,holbein's style and manner of grouping his figures1 would hesitate immediately to ascribe them to that artist4 ,some persons have imagined that they had actually discovered the portrait of ,holbein in the subject of the nun and her lover2 but the painter1 whoever he may have been1 is more likely to be represented in the last cut as one of the supporters of the escutcheon of ,death4 ,in these designs1 which are wholly different from the dull and oftentimes disgusting ,macaber ,dance1 which is confined1 with little exception1 to two figures only1 we have the most interesting assemblage of characters1 among whom the skeletonized ,death1 with all the animation of a living person1 forms the most important personage2 sometimes amusingly ludicrous1 occasionally mischievous1 but always busy and characteristically occupied4 ,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 text4 ,in the ,notices sur les graveurs1 ,besancon1 #ahjg1 #hvo4 a work ascribed to ,m4 ,malpe1#ii it is stated to have been originally published at ,basle in #aecj2 and in ,m4 ,jansen's ,essai sur l'origine de la gravure1 c4 ,paris1 #ahjh1 #hvo4 a work replete with plagiarisms1 and the most glaring mistakes1 the same assertion is repeated4 ,this writer adds1 but unsupported by any authority1 that soon afterwards another edition appeared with ,flemish verses4 ,both these authors1 following their blind leader ,papillon1 have not ventured to state that they ever saw this supposed edition of #aecj1 and it may indeed be asked1 who has8 ,or in what catalogue of any library is it recorded8 ,malpe acknowledges that the earliest edition he had seen was that of #aech4 ,m4 ,fuseli1 in his edition of ,pilkington's ,dictionary of ,painters1 has appended a note to the article for ,hans ,holbein1 where1 alluding perhaps to the former edition of the present dissertation1 he remarks1 that ,holbein's title to the ,dance of ,death would not have been called in question1 had the ingenious author of the dissertation on that subject been acquainted with the ,german edition4 ,this gentleman seems1 however1 to have inadvertently forgotten a former opinion which he had given in one of his lectures1 where he says1 ,the scrupulous precision1 the high finish1 and the ,titianesque colour of ,hans ,holbein would make the least part of his excellence1 if his right to that series of emblematic groups known under the name of ,holbein's ,dance of ,death had not1 of late1 been too successfully disputed4 ,m4 ,fuseli would have rendered some service to this question by favouring us with an explicit account of the above ,german edition1 if he really intended by it a complete work2 but it is most likely that he adverted to some separate impressions of the cuts with printed inscriptions on them1 but which are only the titles of the respective characters or subjects4 ,to such impressions ,m4 ,malpe has certainly referred1 adding that they have1 at top1 passages from the ,bible in ,german1 and verses at bottom in the same language4 ,jansen follows him as to the verses at bottom only4 ,now1 on forty-one of these separate impressions1 in the collection of the accurate and laborious author of the best work on the origin and early history of engraving that has ever appeared1 and on several others in the present writer's possession1 neither texts of scripture1 nor verses at bottom1 are to be found1 and nothing more than the above-mentioned ,german titles of the characters4 ,m4 ,huber1 in his ,manuel des curieux et des amateurs de l'art1 vol4 i4 p4 #aee1 after inaccurately stating that ,holbein engraved these cuts1 proceeds to observe1 that in order to form a proper judgment of their merit1 it is necessary to see the earliest impressions1 printed on one side only of the paper2 and refers to twenty-one of them in the cabinet of ,m4 ,otto1 of ,leipsig1 but without stating any letter-press as belonging to them1 or regarding them as a part of any ,german edition of the work4 ,in the public library of ,basle there are proof impressions1 on four leaves1 of all the cuts which had appeared in the edition of #aech1 except that of the astrologer4 ,over each is the name of the subject printed in ,german1 and without any verses or letter-press whatever at bottom4 ,it is here necessary to mention that the first known edition in which these cuts were used1 namely1 that of #aech1 was accompanied with ,french verses1 descriptive of the subjects4 ,in an edition that soon afterwards appeared1 these ,french verses were translated into ,latin by ,george ,a,emylius1 a ,german divine2 and in another edition1 published at ,basle1 in #aeed1 the ,latin verses were continued4 ,in both these cases1 had there been any former ,german verses1 would they not have been retained in preference8 ,there is a passage1 however1 in ,gesner's ,pandectae1 a supplemental volume of great rarity to his well-known ,bibliotheca1 that slightly adverts to a ,german edition of this work1 and at the same time connects ,holbein's name with it4 ,it is as follows3 ,imagines mortis expressae ab optimo pictore ,johanne ,holbein cum epigrammatibus ,geo4 ,a,emylii1 excusae ,francofurti et ,lugduni apud ,frellonios1 quorum editio plures habet picturas4 ,vidi etiam cum metris ,gallicis et ,germanicis si bene memini4#ajj ,but ,gesner writes from imperfect recollection only1 and specifies no edition in ,german4 ,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 ,german1 and printed and perhaps engraved by ,jobst ,denecker1 at ,augsburg1 #aedd1 small folio4 ,the forty-one separate impressions of the cuts in the collection of ,mr4 ,ottley1 as well as those in the present writer's possession1 are printed on one side of the paper only1 another argument that they were not intended to be used in any book2 and although they are extremely clear and distinct1 many of them that were afterwards used in the various editions of the book are not less brilliant in appearance4 ,it is well known to those who are conversant with engravings on wood1 that the earliest impressions are not always the best2 a great deal depending on the care and skill with which they were taken from the blocks1 and not a little on the quality of the paper4 ,as they were most likely engraved at ,basle by an excellent artist1 of whom more will be said hereafter1 and at the instance of the ,lyons booksellers or publishers1 it is very probable that a few impressions would be taken off with ,german titles only for the use of the people of ,basle1 or other persons using the ,german language4 ,proofs might also be wanted for the accommodation of amateurs or other curious persons1 and therefore it would be only necessary to print the names or titles of the subjects4 ,this conjecture derives additional support from the well-known literary intercourse between the cities of ,lyons and ,basle1 and from their small distance from each other4 ,on the whole1 therefore1 the ,lyons edition of #aech may be safely regarded as the earliest1 until some other shall make its appearance with a well ascertained prior date1 either in ,german or any other language4 ,in the edition of #aech there is a dedication1 not in any of the others1 and of very considerable importance4 ,it is a pious1 quaint1 and jingling address to ,jeanne de ,touszele1 ,abbess of the convent of ,st4 ,peter1 at ,lyons1 in which the author1 whose name is obscurely stated to be ,ouzele1 compliments the good lady as the pattern of true religion1 from her intimate acquaintance with the nature of ,death1 rushing1 as it were1 into his hands1 by her entrance into the sepulchre of a cloister4 ,he enlarges on the various modes of representing the mortality of human nature1 and contends that the image of ,death has nothing terrific in the eyes of the ,christian4 ,he maintains that there is no better method of depicting mortality than by a dead person1 especially by those images which so frequently occur on sepulchral monuments4 ,adverting then to the figures in the present work he regrets the death of him who has here conceived imagine such elegant designs1 greatly exceeding all other patterns of the kind1 in like manner as the paintings of ,apelles and ,zeuxis have surpassed those of modern times4 ,he observes that these funereal histories1 accompanied by their grave descriptions in rhyme1 induce the admiring spectators to behold the dead as alive1 and the living as dead2 which leads him to believe that ,death1 apprehensive lest this admirable painter should exhibit him so lively that he would no longer be feared as ,death1 and that he should thereby become immortal himself1 had hastened his days to an end1 and thus prevented him from completing many other figures1 which he had already designed1 especially that of the carman crushed and wounded beneath his demolished waggon1 the wheels and horses of which are so frightfully overthrown that as much horror is excited in beholding their downfall1 as pleasure in contemplating the lickerishness of one of the ,deaths1 who is clandestinely sucking with a reed the wine in a bursting cask4#aja ,that in these imperfect subjects no one had dared to put the finishing hand1 on account of the boldness of their outline1 shadow1 and perspective1 delineated in so graceful a manner1 that by its contemplation one might indulge either in a joyful sorrow1 or a melancholy pleasure4 ,let antiquaries then1 says he1 and lovers of ancient imagery discover any thing comparable to these figures of ,death1 in which we behold the ,empress of all living souls from the creation1 trampling over ,caesars1 ,emperors1 and ,kings1 and with her scythe mowing down the tyrannical heroes of the earth4 ,he concludes with admonishing the ,abbess to take in good part this his sad but salutary present1 and to persuade her devout nuns not only to keep it in their cells and dormitories1 but in the cabinet of their memory1 therein pursuing the counsel of ,st4 ,jerom1 c4 ,the singularity of this curious and interesting dedication is deserving of the utmost attention4 ,it seems very strongly1 if not decisively1 to point out the edition to which it is prefixed1 as the first2 and what is of still more importance1 to deprive ,holbein of any claim to the invention of the work4 ,it most certainly uses such terms of art as can scarcely be mistaken as conveying any other sense than that of originality in design4 ,there cannot be words of plainer import than those which describe the painter1 as he is expressly called1 delineating the subjects1 and leaving several of them unfinished3 and whoever the artist might have been1 it clearly appears that he was not living in #aech4 ,now it is well known that ,holbein's death did not take place before the year #aeed1 during the plague which ravaged ,london at that time4 ,if then the expressions used in this dedication signify any thing1 it may surely be asked what becomes of any claim on the part of ,holbein to the designs of the work in question1 or does it not at least remain in a situation of doubt and difficulty8 ,it is1 however1 with no small hesitation that the author of the present dissertation still ventures to dispute1 and even to deny1 the title of ,holbein to the invention of this ,dance of ,death1 in opposition to his excellent and valuable friend ,mr4 ,ottley1 whose opinion in matters of taste1 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 oracular4 ,this gentleman has thus expressed himself3 ,it cannot be denied that were there nothing to oppose to this passage1 it would seem to constitute very strong evidence that ,holbein1 who did not die until the year #aeed1 was not the author of the designs in question2 but ,i am firmly persuaded that it refers in reality1 not to the designer1 but to the artist who had been employed1 under his direction1 to engrave the designs in wood1 and whose name1 there appears reason to believe1 was ,hans ,lutzenberger4#ajb ,holbein1 ,i am of opinion1 had1 shortly before the year #aech1 sold the forty-one blocks which had been some time previously executed1 to the booksellers of ,lyons1 and had at the same time given him a promise of others which he had lately designed1 as a continuation of the series1 and were then in the hands of the wood-engraver4 ,the wood-engraver1 ,i suppose1 died before he had completed his task1 and the correspondent of the bookseller1 who had probably deferred his publication in expectation of the new blocks1 wrote from ,basle to ,lyons to inform his friend of the disappointment occasioned by the artist's death4 ,it is probable that this information was not given very circumstantially1 as to the real cause of the delay1 and that the person who wrote the dedication of the book might have believed the designer and engraver to be one and the same person3 it is still more probable that he thought the distinction of little consequence to his reader1 and willingly omitted to go into details which would have rendered his quaint moralizing in the above passage less admissible4 ,besides1 the additional cuts there spoken of 7eight cuts of the ,dance of ,death and four of boys7 were afterwards finished 7doubtless by another wood-engraver1 who had been brought up under the eye of ,holbein71 and are not apparently inferior1 whether in respect of design or execution to the others4 ,in short1 these designs have always been ascribed to ,holbein1 and designedly ranked amongst his finest works4#ajc ,mr4 ,ottley having admitted that the edition of the ,dance of ,death1 printed in quarto1 at ,lyons1 #aech1 is the earliest with which we are at present acquainted1 proceeds to state his belief that the cuts had been previously and certainly used at ,basle4 ,he then alludes to the supposed ,german edition1 about the year #aecj1 but acknowledges that he had not been able to meet with or hear of any person who had seen it4 ,he next introduces to his reader's notice1 and afterwards describes at large1 a set of forty-one impressions1 being the complete series of the edition of #aech1 except one1 and taken off with the greatest clearness and brilliancy of effect1 on one side of the paper only1 each cut having over it its title printed in the ,german language1 with moveable type4 ,he thinks it possible that they may originally have had ,german verses underneath1 and texts of ,scripture above1 in addition to the titles2 a fact1 he adds1 not now to be ascertained1 as the margins are clipped on the sides and at bottom4 ,he says1 it is greatly to be regretted that the blocks were never taken off with due diligence and good printing ink1 after they got into the hands of the ,lyons booksellers1 and then introduces into his page two fac-similes of these cuts so admirably copied as to be almost undistinguishable from the originals4#ajd ,one may1 indeed1 regret with ,mr4 ,ottley the general carelessness of the old printers in their mode of taking off impressions from blocks of wood when introducing them into their books1 and which is so very unequally practised that1 as already observed1 the impressions are often clearer and more distinct in later than in preceding editions4 ,the works of the old designers and engravers would1 in many cases1 have been much more highly appreciated1 if they had had the same justice done to them by the printers as the editorial taste and judgment of ,mr4 ,ottley1 combined with the skill of the workmen1 have obtained in the decoration of his own book4 ,with respect to the impressions of the cuts in question1 when the blocks were in the hands of the ,lyons booksellers1 the fact is1 that in some of their editions they are occasionally as fine as those separately printed off2 and at the moment of making this remark1 an edition1 published in #aedg1 at ,lyons1 is before the writer1 in which many of the prints are uncommonly clear and even brilliant1 a circumstance owing1 in a great degree1 to the nature of the paper on which they are impressed4 ,it were almost to be wished that this perplexing evidence against ,holbein's title to the invention of the work before us had never existed1 and that he had consequently been left in the quiet possession of what so well accords with his exquisite pencil and extraordinary talents4 ,true it is1 that the person to whom we owe this stubborn testimony1 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 chosen1 than with the art of giving an accurate account of the prints in question4 ,yet it seems scarcely possible that he should have used the word imagined1 which undoubtedly expresses originality of invention1 and not the mere act of copying1 if he had referred to an engraver on wood1 whom he would not have dignified with the appellation of a painter on whom he was bestowing the highest possible eulogium4 ,there would also have been much less occasion for the author's hyperbolical fears on the part of ,death in the case of an engraver1 than in that of a painter4 ,he has stated that the rainbow subject1 meaning probably that of the ,last ,judgment1 was left unfinished2 but it appears among the engravings in his edition4 ,he must1 therefore1 have referred to a painting1 with which likewise the expression bold shadows and perspective1 seem better to accord than with a slight engraving on wood4 ,he had also seen the subject of the waggon with the wine casks in its unfinished state1 and in this case we may almost with certainty pronounce it to have been a painting1 as the cut of it does not appear in the first edition1 furnishing1 at the same time1 an argument against ,holbein's claim2 nor may it be unimportant to add that the dedicator1 a religious person1 and probably a man of some eminence1 was much more likely to have been acquainted with the painter than with the engraver4 ,the dedicator also stamps the work as originating at ,lyons2 and ,frellon1 its printer1 in a complaint against a ,venetian bookseller1 who pirated his edition1 emphatically describes it as exclusively belonging to ,france4 ,again1 it is improbable that the dedicator1 whoever he was1 should have preferred complimenting the engraver of the cuts1 who1 with all his consummate skill1 must1 in point of rank and genius1 be placed below the painter or designer2 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 work1 published at ,lyons1 or any other place1 whilst his designs for the ,bible have there been so pointedly noticed by his friend the poet ,borbonius4 ,it would be of some importance1 if it could be shown1 that the engraver was dead in or before the year #aech1 for that circumstance would contribute to strengthen ,mr4 ,ottley's opinion3 but should it be found that he did not die in or before #aech1 it would follow1 of course1 that the painter was the person adverted to in the dedication1 and who consequently could not be ,holbein4 ,it becomes necessary1 therefore1 to endeavour at least to discover some other artist competent to the invention of the beautiful designs in question2 and whether the attempt be successful or otherwise1 it may1 perhaps1 be not altogether misplaced or unprofitable4 ,it must be recollected that ,francis the ,first1 on returning from his captivity at ,pavia1 imported with him a great many ,italian and other artists1 among whom were ,lionardo da ,vinci1 ,rosso1 ,primaticcio1 c4 ,he is also known to have visited ,lyons1 a royal city at that time eminent in art of every kind1 and especially in those of printing and engraving on wood2 as the many beautiful volumes published at that place1 and embellished with the most elegant decorations in the graphic art1 will at this moment sufficiently testify4 ,in an edition of the ,nugae of ,nicolas ,borbonius1 the friend of ,holbein1 printed at ,lyons1 #aech1 #hvo4 are the following lines3 ,de ,hanso ,ulbio1 et ,georgio ,reperdio1 pictoribus4 ,videre qui vult ,parrhasium cum ,zeuxide1 ,accersat a ,britannia ,hansum ,ulbium1 et ,georgium ,reperdium4 ,lugduno ab urbe ,galliae4 ,in these verses ,reperdius is opposed to ,holbein for the excellence of his art1 in like manner as ,parrhasius had been considered as the rival of ,zeuxis4 ,after such an eulogium it is greatly to be regretted that notwithstanding a very diligent enquiry has been made concerning an artist1 who1 by the poet's comparative view of him1 is placed on the same footing with ,holbein1 and probably of the same school of painting1 no particulars of his life or works have been discovered4 ,it is clear from ,borbonius's lines that he was then living at ,lyons1 and it is extremely probable that he might have begun the work in question1 and have died before he could complete it1 and that the ,lyons publishers might afterwards have employed ,holbein to finish what was left undone1 as well as to make designs for additional subjects which appeared in the subsequent editions4 ,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 it4 ,if then there be any validity in what is here stated concerning ,reperdius1 the difficulty and obscurity in the preface to the ,lyons edition of the ,dance of ,death in #aech will be removed1 and ,holbein remain in possession of a share at least in the composition of that inestimable work4 ,the mark or monogram monogram3 ,,hl on one of the cuts cannot possibly belong to ,holbein1 but may possibly be that of the engraver1 of whom more hereafter4 ,,chapter ,,vii4 ,holbein's ,bible cuts4--,examination of the claim of ,hans ,lutzenberger as to the design or execution of the ,lyons engravings of the ,dance of ,death4--,other works by him4 ,at this time the celebrated designs for the illustration of the ,old ,testament1 usually denominated ,holbein's ,bible1 made their appearance1 with the following title1 ,historiarum veteris instrumenti icones ad vivum expressae4 ,una cum brevi1 sed quoad fieri potuit1 dilucida earundem expositione4 ,lugduni1 sub scuto ,coloniensi ,,mdxxxviii4 #dto4 ,they were several times republished with varied titles1 and two additional cuts4 ,prefixed are some highly complimentary ,latin verses by ,holbein's friend ,nicholas ,bourbon1 better known by his ,latinized name of ,borbonius1 who again introduces ,parrhasius and ,zeuxis in ,elysium1 and in conversation with ,apelles1 who laments that they had all been excelled by ,holbein4 ,these lines by ,borbonius do not appear1 among others addressed by him to ,holbein1 in the first edition of his ,nugae in #aecc1 or indeed in any of the subsequent editions2 but it is certain that ,borbonius was at ,lyons in #aech1 and might then have been called on by the publishers of the designs1 with whom he was intimately connected1 for the commendatory verses4 ,the booksellers ,frellon of ,lyons1 by some means with which we are not now acquainted1 or indeed ever likely to be1 became possessed of the copyright to these designs for the ,old ,testament4 ,it is very clear that they had previously been in possession of those for the ,dance of ,death1 and1 finding the first four of them equally adapted to a ,bible1 they accordingly1 and for the purpose of saving expense1 made use of them in this ,bible1 though with different descriptions1 having1 in all probability1 employed the same engraver on wood as in the ,dance of ,death1 a task to which he had already demonstrated himself to be fully competent4 ,now1 if the ,frellons had regarded ,holbein as the designer of the ,simulachres et historiees faces de la ,mort1 would they not rather have introduced into that work the complimentary lines of ,borbonius on some painting by ,holbein of a ,dance of ,death1 and which will be hereafter more particularly adverted to1 instead of inserting the very interesting and decisive dedication that has so emphatically referred to the then deceased painter of the above admirable composition8 ,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 question4 ,whoever may take the pains to examine these biblical subjects with a strict and critical eye1 will not only discover a very great difference in the style and drawing of them1 but likewise a striking resemblance1 in that respect1 of several of them to those in the ,dance of ,death1 as well as in the manner of engraving4 ,the rest are in a bolder and broader style1 in a careless but effective manner1 corresponding altogether with such designs as are well ascertained to be ,holbein's1 and of which it would be impossible to produce a single one1 that in point of delicacy of outline1 or composition1 accords with those in the ,dance2#aje and the judgment of those who are best acquainted with the works of ,holbein is appealed to on this occasion4 ,it is1 besides1 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 ,death1 and that ,holbein was afterwards engaged to complete the work4 ,a comparison of the #hth subject in the ,simulachres1 c4 with that in the ,bible for ,esther ,i4 ,,ii4 where the canopy ornamented with fleurs-de-lis is the same in both1 will contribute to strengthen the above conjecture1 as will both the cuts to demonstrate their ,gallic origin4 ,it is most certain that the king sitting at table in the ,simulachres is intended for ,francis ,i4 which1 if any one should doubt1 let him look upon the miniature of that king1 copied at p4 #bad in ,clarke's ,repertorium bibliographicum1 from a drawing in a ,french ,,ms4 belonging to ,m4 ,beckford1 or at a wood-cut in fo4 xcxix b4 of ,l'histoire de ,primaleon de ,grece4 ,paris1 #aeej1 folio1 where the art in the latter will be found to resemble very much that in the ,simulachres4 ,the portraits also of ,francis by ,thomas ,de ,leu1 ,boissevin1 and particularly that in the portraits of illustrious men edited by ,beza at ,geneva1 may be mentioned for the like purpose4 ,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 #aech1 may seem at variance with what has been advanced with respect to the ,bible cuts ascribed to him4 ,it is1 however1 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 work4 ,there were1 during the middle of the #afth century1 several artists equally competent to the undertaking1 both as to invention and execution1 as is demonstrable1 among numerous other instances1 from the spurious1 but beautiful1 ,italian copy of the original cuts2 from the scarcely distinguishable copies of the ,lyons ,bible cuts in an edition put forth by ,john ,stelsius at ,antwerp1 #aefa1 and from the works of several artists1 both designers and wood-engravers1 in the books published by the ,french1 ,flemish1 and ,italian booksellers at that period4 ,an interesting catalogue raisonne might be constructed1 though with some difficulty1 of such articles as were decorated with most exquisite and interesting embellishments4 ,the above century was much richer in this respect than any one that succeeded it1 displaying specimens of art that have only been rivalled1 perhaps never outdone1 by the very skilful engravers on wood of modern times4 ,our attention will1 in the next place1 be required to the excellent engraver of the ,dance of ,death1 the thirty-sixth cut of which represents the ,duchess sitting up in bed1 and accompanied with two figures of ,death1 one of which plays on a violin1 whilst the other drags away the bed-clothes4 ,on the base of one of the bed-posts is the mark or monogram monogram3 ,,hl which has1 among other artists1 been inconsiderately ascribed to ,holbein4 ,that it was intended to express the name of the designer cannot be supported by evidence of any kind4 ,we must then seek for its meaning as belonging to the engraver1 and whose name was1 in all probability1 ,hans ,leuczellberger or ,lutzenberger1 sometimes called ,franck4 ,m4 de ,mechel1 the celebrated printseller and engraver at ,basle1 addressed a letter to ,m4 de ,murr1 in which he states that on a proof sheet of an alphabet in the library in that city1 containing several small figures of a ,dance of ,death1 he had found the above name4 ,m4 ,brulliot remarks that he had seen some of the letters of this alphabet1 but had not perceived on them either the name of ,lutzenberger1 or the mark monogram3 ,,hl2#ajf but ,m4 de ,mechel has not said that the mark was on the proof sheet1 or on the letters themselves1 but only the name of ,lutzenberger1 adding that the monogram3 ,,hl on the cut of the ,duchess will throw some light on the matter1 and that ,holbein1 although this monogram has been usually ascribed to him1 never expressed his name by it1 but used for that purpose an monogram3 ,h joined to a monogram3 ,b2 in which latter assertion ,m4 de ,mechel was by no means correct4 ,on another alphabet of a ,dance of ,peasants1 in the possession of the writer of these pages1 and undoubtedly by the same artists1 ,m4 de ,mechel1 to whom it was shown when in ,england1 has written in pencil1 the following memorandum3 monogram3 ,,hl grave par ,hans 7,john7 ,lutzenberger1 graveur en patrons a ,basle1 vivant la au commencement du #afme siecle2 but he has inadvertently transferred the remark to the wrong alphabet1 though both were undoubtedly the work of the same artist1 as well as a third alphabet1 equally beautiful1 of groups of children4 ,the late ,pietro ,zani1 whose intimate experience in whatever relates to the art of engraving1 together with the vast number of prints that had passed under his observation1 must entitle his opinions to the highest consideration1 has stated1 in more places than one in his ,enciclopedia ,metodica1 that ,holbein had no concern with the cuts of the ,lyons ,dance of ,death1 the engraving of which he decidedly ascribes to ,hans ,lutzenberger2 and1 without any reference to the inscription on the proof of one of the alphabets in the library at ,basle before-mentioned1 which he had probably neither seen nor heard of1 mentions the copy of one of the alphabets which he had seen at ,dresden1 and at once consigns it to ,lutzenberger4 ,he promises to resume the subject at large in some future part of his immense work1 which1 if existing1 has not yet made its appearance4 ,as the prints by this fine engraver are very few in number1 and extremely rare1 the following list of them may not be unacceptable4 #a4 ,an oblong wood engraving1 in length #aa inches by #c-a_/b4 ,it represents1 on one side1 ,christ requiring the attention of a group of eight persons1 consisting of a monk1 a peasant with a flail1 a female1 c4 to a lighted taper on a candelabrum placed in the middle of the print2 on the other side1 a group of thirteen or fourteen persons1 preceded by one who is looking into a pit in which is the word ,,plato4 ,over his head is inscribed ,,aristoteles2 he is followed by a pope1 a bishop1 monks1 c4 c4 #b4 ,another oblong wood engraving1 #f-a_/b inches by #b-a_/b1 in two compartments1 divided by a pillar4 ,in one1 the ,judgment of ,solomon2 in the other1 ,christ and the woman taken in adultery2 he writes something on the ground with his finger4 ,it has the date #aeci4 #c4 ,another1 size as ,no4 #b4 ,an emperor is sitting in a court of justice with several spectators attending some trial4 ,this is doubtful4 #d4 ,another oblong print1 #aj-a_/b inches by #c1 and in two compartments4 #a4 ,david prostrate before the ,deity in the clouds1 accompanied by ,manasses and a youth1 over whom is inscribed ,,offen ,,svnder4 #b4 ,a pope on a throne delivering some book1 perhaps letters of indulgence1 to a kneeling monk4 ,this very beautiful print has been called ,the ,traffic of ,indulgences1 and is minutely and correctly described by ,jansen4#ajg #e4 ,a print1 #ab inches by #f1 representing a combat in a wood between several naked persons and a troop of peasants armed with instruments of husbandry4 ,below on the left1 the letters monogram3 ,h ,n4 ,annexed are two tablets1 one of which is inscribed ,,hans ,,levczellbvrger ,,fvrmschnider2 on the other is an alphabet4 ,jansen has also mentioned this print4#ajh ,brulliot describes a copy of it in the cabinet of prints belonging to the ,king of ,bavaria1 in which1 besides the name1 is the date ,,mdxxii4#aji #f4 ,a print of a dagger or knife case1 in length #i inches4 ,at top1 a figure inscribed ,,venvs has a lighted torch in one hand and a horn in the other2 she is accompanied by ,cupid4 ,in the middle two boys are playing1 and at bottom three others standing1 one with a helmet4 #g4 ,a copy of ,albert ,durer's decollation of ,john the ,baptist1 with the mark monogram3 ,h ,l reversed1 is mentioned by ,zani as certainly belonging to this artist4#aaj ,in the index of names1 he says1 he finds his name thus written ,,hanns ,,lvtzelbvrger ,,formschnider ,,genant 7chiamato7 ,,franck1 and calls him the true prince of engravers on wood4 #h4 ,an alphabet with a ,dance of ,death1 the subjects of which1 with a few exceptions1 are the same as those in the other ,dance2 the designs1 however1 occasionally vary4 ,in delicacy of drawing1 in strength of character and in skill as to engraving they may be justly pronounced superior to every thing of the kind1 and their excellence will probably remain a long time unrivalled4 ,the figures are so small as almost to require the aid of lenses1 the size of each letter being only an inch square4 ,zani had seen and admired this alphabet at ,dresden4#aaa #i4 ,another alphabet by the same artists4 ,it is a ,dance of ,peasants1 intermixed with other subjects1 some of which are not of the most delicate nature4 ,they are smaller than the letters in the preceding article1 and are probably connected in point of design with the ,dance of ,peasants that ,holbein is said to have painted at ,basle4 #aj4 ,another alphabet1 also by the same artists4 ,this is in all respects equal in beauty and merit to the others1 and exhibits groups of boys in the most amusing and playful attitudes and employments4 ,the size of the letters is little more than half an inch square4 ,these children much resemble those which ,holbein probably added to the later editions of the ,lyons engravings4#aab ,the proofs of the above alphabets1 may have been deposited by ,lutzenberger in the public library of his native city4 ,whether they were cut on wood or on metal may admit of a doubt2 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 letters1 and the term formschneider equally applies to those who engraved in relief on either of those materials4 ,nothing can exceed the beauty and spirit of the design in these alphabets1 nor the extreme delicacy and accurate minuteness of the engraving4 ,the letters in these respective alphabets were intended for the use of printers1 and especially those of ,basle1 as ,cratander1 ,bebelius1 and ,isingrin4 ,copies and imitations of them are to be found in many books printed at ,zurich1 ,strasburg1 ,vienna1 ,augsburg1 ,frankfort1 c4 and a few even in books printed at ,london by ,waley1 ,purslowe1 ,marsh1 and ,nicholson1 particularly in a quarto edition of ,coverdale's ,bible1 if printed in the latter city2 and one of them1 a capital ,a1 is in an edition of ,stowe's ,survey of ,london1 #afah1 #dto4 ,there is an unfortunate ambiguity connected with the marks that are found on ancient engravings in wood1 and it has been a very great error on the part of all the writers who treat on such engravings1 in referring the marks that accompany them to the block-cutters1 or as the ,germans properly denominate them the formschneiders1 whilst1 perhaps1 the greatest part of them really belong to the designers1 as is undoubtedly the case with respect to ,albert ,durer1 ,hans ,schaufelin1 ,jost ,amman1 ,tobias ,stimmer1 c4 ,it may be laid down as a rule that there is no certainty as to the marks of engravers1 except where they are accompanied with some implement of their art1 especially a graving tool4 ,where the designer of the subject put his mark on the drawing which he made on1 or for1 the block1 the engraver would1 of course1 copy it4 ,sometimes the marks of both designer and engraver are found on prints1 and in these cases the ambiguity is consequently removed4 ,,chapter ,,viii4 ,list of several editions of the ,lyons work on the ,dance of ,death1 with the mark of ,lutzenberger4--,copies of them on wood4--,copies on copper by anonymous artists4--,by ,wenceslaus ,hollar4--,other anonymous artists4--,nieuhoff ,picard4--,rusting4--,mechel4--,crozat's drawings4--,deuchar4--,imitations of some of the subjects4 ,i4 ,les ,simulachres et historiees faces de la ,mort1 autant elegamment pourtraictes1 que artificiellement imaginees4 ,a ,lyon1 ,soubz l'escu de ,coloigne1 ,,mdxxxviii4 ,at the end ,excudebant ,lugduni ,melchior et ,gaspar ,trechsel fratres1 #aech1 #dto4 ,on this title-page is a cut of a triple-headed figure crowned with wings1 on a pedestal1 over which a book with ,greek3 ,,gnothi ,,seauton4 ,below1 two serpents and two globes1 with usus me genuit4 ,this has1 #a4 ,a dedication to ,madame ,jehanne de ,touszele4 #b4 ,diverses tables de mort1 non painctes1 mais extraictes de l'escripture saincte1 colorees par ,docteurs ,ecclesiastiques1 et umbragees par philosophes4 #c4 ,over each print1 passages from scripture1 allusive to the subject1 in ,latin1 and at bottom the substance of them in four ,french verses4 #d4 ,figures de la mort moralement descriptes et depeinctes selon l'authorite de l'scripture1 et des ,sainctz ,peres4 #e4 ,les diverses mors des bons1 et des maulvais du viel1 et nouveau testament4 #f4 ,des sepultures des justes4 #g4 ,memorables authoritez1 et sentences des philosophes1 et orateurs ,payens pour conformer les vivans a non craindre la mort4 #g4 ,de la necessite de la mort qui ne laisse riens estre par durable4 ,with forty-one cuts4 ,this may be safely regarded as the first edition of the work4 ,there is nothing in the title page that indicates any preceding one4 ,,ii4 ,les ,simulachres et historiees faces de la mort1 contenant la ,medecine de l'ame1 utile et necessaire non seulement aux malades mais a tous qui sont en bonne disposition corporelle4 ,d'avantage1 la forme et maniere de consoler les malades4 ,sermon de sainct ,cecile ,cyprian1 intitule de ,mortalite4 ,sermon de ,s4 ,jan ,chrysostome1 pour nous exhorter a patience3 traictant aussi de la consommation de ce siecle1 et du second advenement de ,jesus ,christ1 de la joye eternelle des justes1 de la peine et damnation des mauvais1 et autres choses necessaires a un chascun chrestien1 pour bien vivre et bien mourir4 ,a ,lyon1 a l'escu de ,coloigne1 chez ,jan et ,francois ,frellon freres1 #aedb1 #abmo4 ,with forty-one cuts4 ,then a moral epistle to the reader1 in ,french4 ,the descriptions of the cuts in ,latin and ,french as before1 and the pieces expressed in the title page4 ,,iii4 ,imagines ,mortis4 ,his accesserunt1 ,epigrammata1 e ,gallico idiomate a ,georgio ,a,emylio in ,latinum translata4 ,ad haec1 ,medicina animae1 tam iis qui firma1 quam qui adversa corporis valetudine praediti sunt1 maxime necessaria4 ,ratio consolandi ob morbi gravitatem periculose decumbentes4 ,quae his addita sunt1 sequens pagina commonstrabit4 ,lugduni1 sub scuto ,coloniensi1 #aede4 ,with the device of the crab and the butterfly4 ,at the end1 ,lugduni ,excudebant ,joannes et ,franciscus ,frellonii fratres1 #aede1 #abmo4 ,the whole of the text is in ,latin1 and translated1 except the scriptural passages1 from the ,french1 by ,george ,a,emylius1 as he also states in some verses at the beginning2 but several of the mottoes at bottom are different and enlarged4 ,it has forty-two cuts1 the additional one1 probably not by the former artist1 being that of the beggar sitting on the ground before an arched gate3 extremely fine1 particularly the beggar's head4 ,this subject has no connection with the ,dance of ,death1 and is placed in another part of the volume1 though in subsequent editions incorporated with the other prints4 ,the ,medicina animae is very different from the ,french one4 ,there is some reason for supposing that the ,frellons had already printed an edition with ,a,emylius's text in #aedb4 ,this person was an eminent ,german divine of ,mansfelt1 and the author of many pious works4 ,in the present edition the first cut of the creation exhibits a crack in the block from the top to the bottom1 but it had been in that state in #aedc1 as appears from an impression of it in ,holbein's ,bible of that date4 ,it is found so in all the subsequent editions of the present work1 with the exception of those in ,italian of #aedi and in the ,bible of #aedi1 in which the crack appears to have been closed1 probably by cramping2 but the block again separated afterwards4 ,this edition is of some importance with respect to the question as to the priority of the publication of the work in ,france or ,germany1 or1 in other words1 whether at ,lyons or ,basle4 ,it is accompanied by some lines addressed to the reader1 which begin in the following manner3 ,accipe jucundo praesentia carmina vultu1 ,seu ,germane legis1 sive ea ,galle legis3 ,in quibus extremae qualis sit mortis imago ,reddidit imparibus ,musa ,latina modis ,gallia quae dederat lepidis epigrammata verbis ,teutona convertens est imitata manus4 ,da veniam nobis doctissime ,galle1 videbis ,versibus appositis reddita si qua parum4 ,now1 had the work been originally published in the ,german language1 ,a,emylius1 himself a ,german1 would1 as already observed1 scarcely have preferred a ,french text for his ,latin version4 ,this circumstance furnishes likewise1 an argument against the supposed existence of ,german verses at the bottom of the early impressions of the cuts already mentioned4 ,a copy of this edition1 now in the library of the ,british ,museum1 was presented to ,prince ,edward by ,dr4 ,william ,bill1 accompanied with a ,latin dedication1 dated from ,cambridge1 #ai ,july1 #aedf1 wherein he recommends the prince's attention to the figures in the book1 in order to remind him that all must die to obtain immortality2 and enlarges on the necessity of living well4 ,he concludes with a wish that the ,lord will long and happily preserve his life1 and that he may finally reign to all eternity with his most ,christian father4 ,bill was appointed one of the ,king's chaplains in ordinary1 #aeea1 and was made the first ,dean of ,westminster in the reign of ,elizabeth4 ,,iv4 ,imagines ,mortis4 ,duodecim imaginibus praeter priores1 totidemque inscriptionibus praeter epigrammata e ,gallicis a ,georgio ,a,emylio in ,latinum versa1 cumulatae4 ,quae his addita sunt1 sequens pagina commonstrabit4 ,lugduni sub scuto ,coloniensi1 #aedg4 ,with the device of the crab and butterfly4 ,at the end1 ,excudebat ,joannes ,frellonius1 #aedg1 #abmo4 ,this edition has twelve more cuts than those of #aech and #aedb1 and eleven more than that of #aede1 being1 the soldier1 the gamblers1 the drunkards1 the fool1 the robber1 the blind man1 the wine carrier1 and four of boys4 ,in all fifty-three4 ,five of the additional cuts have a single line only in the frames1 whilst the others have a double one4 ,all are nearly equal in merit to those which first appeared in #aech4 ,v4 ,icones ,mortis1 ,duodecim imaginibus praeter priores1 totidemque inscriptionibus1 praeter epigrammata e ,gallicis a ,georgio ,a,emylio in ,latinum versa1 cumulatae4 ,quae his addita sunt1 sequens pagina commonstrabit1 ,lugduni sub scuto ,coloniensi1 #aedg4 #abmo4 ,at the end1 ,excudebat ,johannes ,frellonius1 #aedg4 ,this edition contains fifty-three cuts1 and is precisely similar to the one described immediately before1 except that it is entitled ,icones1 instead of ,imagines ,mortis4 ,,vi4 ,les ,images de la ,mort4 ,auxquelles sont adjoustees douze figures4 ,davantage1 la medecine de l'ame1 la consolation des malades1 un sermon de mortalite1 par ,sainct ,cyprian1 un sermon de patience1 par ,sainct ,jehan ,chrysostome4 ,a ,lyon4 ,a l'escu de ,cologne1 chez ,jehan ,frellon1 #aedg4 ,with the device of the crab and butterfly4 ,at the end1 ,imprime a ,lyon a l'escu de ,coloigne1 par ,jehan ,frellon1 #aedg4 #abmo4 ,the verses at bottom of the cuts the same as in the edition of #aech1 with similar ones for the additional4 ,in all1 fifty-three cuts4 ,,vii4 ,simolachri historie1 e figure de la morte4 ,la medicina de l'anima4 ,il modo1 e la via di consolar gl'infermi4 ,un sermone di ,san ,cipriano1 de la mortalita4 ,due orationi1 l'un a ,dio1 e l'altra a ,christo4 ,un sermone di ,s4 ,giovan4 ,chrisostomo1 che ci essorta a patienza4 ,aiuntovi di nuovo molte figure mai piu stampate4 ,in ,lyone appresso ,giovan ,frellone ,,mdxlix4 #abmo4 ,with the device of the crab and butterfly4 ,at the end1 the same device on a larger scale in a circle4 ,fifty-three cuts4 ,the scriptural passages are in ,latin4 ,to this edition ,frellon has prefixed a preface1 in which he complains of a pirated copy of the work in ,italian by a printer at ,venice1 which will be more particularly noticed hereafter4 ,he maintains that the cuts in this spurious edition are far less beautiful than the ,french ones1 and this passage goes very far in aid of the argument that they are not of ,german origin4 ,frellon1 by way of revenge1 and to save the trouble of making a new translation of the articles that compose the volume1 makes use of that of his ,italian competitor4 ,,viii4 ,icones ,mortis4 ,duodecim ,imaginibus praeter priores1 totidemque inscriptionibus1 praeter epigrammata e ,gallicis a ,georgio ,a,emylio in ,latinum versa1 cumulatae4 ,quae his addita sunt1 sequens pagina commonstrabit4 ,basileae1 #aeed4 #abmo4 ,with fifty-three cuts4 ,it would not be very easy to account for the absence of the name of the ,basle printer4 ,,ix4 ,les ,images de la ,mort1 auxquelles sont adjoustees dix sept figures4 ,davantage1 la medecine de l'ame4 ,la consolation des malades4 ,un sermon de mortalite1 par ,saint ,cyprian4 ,un sermon de patience1 par ,saint ,jehan ,chrysostome4 ,a ,lyon1 par ,jehan ,frellon1 #aefb4 ,with the device of the crab and butterfly4 ,at the end1 ,a ,lyon1 par ,symphorien ,barbier1 #abmo4 ,this edition has five additional cuts1 viz4 #a4 ,a group of boys1 as a triumphal procession1 with military trophies4 #b4 ,the bride2 the husband plays on a lute1 whilst ,death leads the wife in tears4 #c4 ,the bridegroom led by ,death blowing a trumpet4 ,both these subjects are appropriately described in the verses below4 #d4 ,a group of boy warriors1 one on horseback with a standard4 #e4 ,another group of boys with drums1 horns1 and trumpets4 ,these additional cuts are designed and engraved in the same masterly style as the others1 but it is now impossible to ascertain the artists who have executed them4 ,from the decorations to several books published at ,lyons it is very clear that there were persons in that city capable of the task4 ,holbein had been dead eight years1 after a long residence in ,london4 ,du ,verdier1 in his ,bibliotheque ,francoise1 mentions this edition1 and adds that it was translated from the ,french into ,latin1 ,italian1 ,spanish1 ,german1 and ,english2#aac a statement that stands greatly in need of confirmation as to the last three languages1 but this writer1 on too many occasions1 deserves but small compliment for his accuracy4 ,x4 ,imagines ,mortis3 item epigrammata e ,gall4 a ,g4 ,a,emilio in ,latinum versa4 ,lugdun4 ,frellonius1 #aegd4 #abmo4#aad ,,xi4 ,in #afed a ,dutch work appeared with the following title1 ,de ,doodt vermaskert met swerelts ydelheyt afghedaen door ,g4 ,v4 ,wolsschaten1 verciert met de constighe ,belden vanden maerden ,schilder ,hans ,holbein4 i4 e4 ,death masked1 with the world's vanity1 by ,g4 ,v4 ,wolsschaten1 ornamented with the ingenious images of the famous painter ,hans ,holbein4 ,t',antwerpen1 by ,petrus ,bellerus4 ,this is on an engraved frontispiece of tablet1 over which are spread a man's head and the skin of two arms supported by two ,deaths blowing trumpets4 ,below1 a spade1 a pilgrim's staff1 a scepter1 and a crosier1 with a label1 on which is sceptra ligonibus aequat4 ,then follows another title-page1 with the same words1 and the addition of ,geeraerdt ,van ,wolsschaten's designation1 ,prevost van sijne conincklijcke ,majesteyts ,munten des ,heertoogdoms van ,brabant1 c4 ,,mdcliv4 #abmo4 ,the author of the text1 which is mixed up with poetry and historical matter1 was prefect of the mint in the ,duchy of ,brabant4#aae ,this edition contains eighteen cuts1 among which the following subjects are from the original blocks4 #a4 ,three boys4 #b4 ,the married couple4 #c4 ,the pedlar4 #d4 ,the shipwreck4 #e4 ,the beggar4 #f4 ,the corrupt judge4 #g4 ,the astrologer4 #h4 ,the old man4 #i4 ,the physician4 #aj4 ,the priest with the eucharist4 #aa4 ,the monk4 #ab4 ,the abbess4 #ac4 ,the abbot4 #ad4 ,the duke4 ,four others1 viz4 the child1 the emperor1 the countess1 and the pope1 are copies1 and very badly engraved4 ,the blocks of the originals appear to have fallen into the hands of an artist1 who probably resided at ,antwerp1 and several of them have his mark1 monogram3 ,,sa1 concerning which more will be said under one of the ensuing articles4 ,as many engravings on wood by this person appeared in the middle of the sixteenth century1 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 recorded4 ,there are evident marks of retouching in these cuts1 but when they first appeared cannot now be ascertained4 ,the mark might have been placed on them1 either to denote ownership1 according to the usual practice at that time1 or to indicate that they had been repaired by that particular artist4 ,all these editions1 except that of #aegd1 have been seen and carefully examined on the present occasion3 the supposed one of #aecj has not been included in this list1 and remains to be seen and accurately described1 if existing1 by competent witnesses4 ,papillon1 in his ,traite de la gravure en bois1 has given an elaborate1 but1 as usual with him1 a very faulty description of these engravings4 ,he enlarges on the beauty of the last cut with the allegorical coat of arms1 and particularly on that of the gentleman whose right hand he states to be placed on its side1 whilst it certainly is extended1 and touches with the back of it the mantle on which the helmet and shield of arms are placed4 ,he errs likewise in making the female look towards a sort of dog's head1 according to him1 under the mantle and right hand of her husband1 which1 he adds1 might be taken for the pummell of his sword1 and that she fondles this head with her right hand1 c4 not one word of which is correct4 ,he says that a good impression of this print would be well worth a ,louis d'or to an amateur4 ,he appears to have been in possession of the block belonging to the subject of the lovers preceded by ,death with a drum2 but it had been spoiled by the stroke of a plane4 ,,copies ,,of ,,the ,,above ,,designs1 ,,and ,,engraved ,,also ,,on ,,wood4 ,i4 ,at the head of these1 in point of merit1 must be placed the ,italian spurious edition mentioned in ,no4 ,,vii4 of the preceding list4 ,it is entitled ,simolachri historie1 e figure de la morte1 ove si contiene la medicina de l'anima utile e necessaria1 non solo a gli ammalati1 ma tutte i sani4 ,et appresso1 il modo1 e la via di consolar gl'infermi4 ,un sermone di ,s4 ,cipriano1 de la mortalita4 ,due orationi1 l'una a ,dio1 e l'altra a ,christo da dire appresso l'ammalato oppresso da grave infermita4 ,un sermone di ,s4 ,giovan ,chrisostomo1 che ci essorta a patienza2 e che tratta de la consumatione del secolo presente1 e del secondo avenimento di ,jesu ,christo1 de la eterna felicita de giusti1 de la pena e dannatione de rei2 et altre cose necessarie a ciascun ,christiano1 per ben vivere1 e ben morire4 ,con gratia e privilegio de l'illustriss4 ,senato ,vinitiano1 per anni dieci4 ,appresso ,vincenzo ,vaugris al segno d',erasmo1 ,,mdxlv4 #abmo4 ,with a device of the brazen serpent1 repeated at the end4 ,it has all the cuts in the genuine edition of the same date1 except that of the beggar at the gate4 ,it contains a very moral dedication to ,signor ,antonio ,calergi by the publisher ,vaugris or ,valgrisi2 in which1 with unjustifiable confidence1 he enlarges on the great beauty of the work1 the cuts in which are1 in his estimation1 not merely equal1 but far superior to those in the ,french edition in design and engraving4 ,they certainly approach the nearest to the fine originals of all the imitations1 but will be found on comparison to be inferior4 ,the mark monogram3 ,,hl on the cut of the duchess sitting up in bed1 with the two ,deaths1 one of whom is fiddling1 whilst the other pulls at the clothes1 is retained1 but this could not be with a view to pass these engravings as originals1 after what is stated in the dedication4 ,an artist's eye will easily perceive the difference in spirit and decision of drawing4 ,in the ensuing year #aedf1 ,valgrisi republished this book in ,latin1 but without the dedication1 and there are impressions of them on single sheets1 one of which has at the bottom1 ,in ,venetia1 ,,mdlxviii4 ,fra4 ,valerio ,faenzi ,inquis4 ,apreso ,luca ,bertelli4 ,so that they required a license from the ,inquisition4 ,,ii4 ,in the absence of any other ,italian editions of the ,simolachri1 it is necessary to mention that twenty-four of the last-mentioned cuts were introduced in a work of extreme rarity1 and which has escaped the notice of bibliographers1 intitled ,discorsi ,morali dell' eccell4 ,sig4 ,fabio ,glissenti contra il dispiacer del morire4 ,detto ,athanatophilia ,venetia1 #afji4 #dto4 ,these twenty-four were probably all that then remained2 and five others of subjects belonging also to the ,simolachri1 are inserted in this work1 but very badly imitated1 and two of them reversed4 ,in the subject of the ,pope there is in the original a brace of grotesque devils1 one of which is completely erased in ,glissenti1 and a plug inserted where the other had been scooped out4 ,a similar rasure of a devil occurs in the subject of the two rich men in conversation1 the demon blowing with a bellows into his ear1 whilst a poor beggar in vain touches him to be heard4 ,besides these cuts1 ,glissenti's work is ornamented with a great number of others1 connected in some way or other with the subject of ,death1 which the author discusses in almost every possible variety of manner4 ,he appears to have been a physician1 and an exceedingly pious man4 ,his portrait is prefixed to every division of the work1 which consists of five dialogues4 ,,iii4 ,in an anonymous work1 intitled ,tromba sonora per richiamar i morti viventi dalla tomba della colpa alla vita della gratia4 ,in ,venetia1 #afgj4 #hvo4 ,of which there had already been three editions2 there are six of the prints from the originals1 as in the ,simolachri1 c4 ,no4 ,i4 and a few others1 the same as the additional ones to ,glissenti's work4 ,in another volume1 intitled ,il non plus ultra di tutte le scienze ricchezze honori1 e diletti del mondo1 c4 ,in ,venetia1 #afgg4 #bdmo4 ,there are twenty-five of the cuts as in the ,simolachri1 and several others from those added to ,glissenti4 ,,iv4 ,a set of cuts which do not seem to have belonged to any work4 ,they are very close copies of the originals4 ,on the subject of the ,duchess in bed1 the letter monogram3 ,s appears on the base of one of the pillars or posts1 instead of the original monogram3 ,,hl1 and it is also seen on the cut of the soldier pierced by the lance of ,death4 ,two have the date #aedf4 ,in that of the monk1 whom1 in the original1 ,death seizes by the cowl or hood1 the artist has made a whimsical alteration1 by converting the hood into a fool's cap with bells and asses' ears1 and the monk's wallet into a fool's bauble4 ,it is probable that he was of the reformed religion4 ,v4 ,imagines ,mortis1 his accesserunt epigrammata e ,gallico idiomate a ,georgio ,a,emylio in ,latinum translata1 c4 ,coloniae apud haeredes ,arnoldi ,birckmanni1 anno #aeee4 #abmo4 ,with fifty-three cuts4 ,this may be regarded as a surreptitious edition of ,no4 ,,iv4 of the originals by monogram3 ,,hl p4 #ajf4 ,the cuts are by the artist mentioned in ,no4 ,,ix4 of those originals1 whose mark is monogram3 ,,sa which is here found on five of them4 ,they are all reversed1 except the nobleman2 and although not devoid of merit1 they are not only very inferior to the fine originals1 but also to the ,italian copies in ,no4 ,i4 ,the first two subjects are newly designed2 the two ,devils in that of the ,pope are omitted1 and there are several variations1 always for the worse1 in many of the others1 of which a tasteless example is found in that of ,death and the soldier1 where the thigh bone1 as the very appropriate weapon of ,death1 is here converted into the common-place dart4 ,the mark monogram3 ,,hl in the original cut of the ,duchess in bed1 is here omitted1 without the substitution of any other4 ,this edition was republished by the same persons1 without any variation1 successively in #aeeg1 #aeff1 #aefg1 and #aegc4aaf ,papillon1 in his ,traite sur la gravure en bois1#aag when noticing the above-mentioned mark1 has1 amidst the innumerable errors that abound in his otherwise curious work1 been led into a mistake of an exceedingly ludicrous nature1 by converting the owner of the mark into a cardinal4 ,he had found it on the cuts to an edition of ,faerno's fables1 printed at ,antwerp1 #aefg1 which is dedicated to ,cardinal ,borromeo by ,silvio ,antoniano1 professor of ,belles ,lettres at ,rome1 afterwards secretary to ,pope ,pius ,,iv4 and at length himself a ,cardinal4 ,he was the editor of ,faerno's work4 ,another of ,papillon's blunders is equally curious and absurd4 ,he had seen an edition of the ,emblems of ,sambucus1 with cuts1 bearing the mark monogram3 ,,sa in which there is a fine portrait of the author with his favourite dog1 and under the latter the word ,,bombo1 which ,papillon gravely states to be the name of the engraver2 and finding the same word on another of the emblems which has also the dog1 he concludes that all the cuts which have not the monogram3 ,,sa were engraved by the same ,,bombo4 ,had ,papillon1 a good artist in his time1 but an ignorant man1 been able to comprehend the verses belonging to that particular emblem1 he would have seen that the above word was merely the name of the dog1 as ,sambucus himself has declared1 whilst paying a laudable tribute to the attachment of the faithful companion of his travels4 ,brulliot1 in his article on the mark monogram3 ,,sa#aah has mentioned ,papillon's ascription of it to ,silvio ,antoniano1 but without correcting the blunder1 as he ought to have done4 ,this monogram appears on five of the cuts to the present edition of the ,imagines ,mortis2 but ,m4 ,de ,murr and his follower ,janssen1 are not warranted in supposing the rest of them to have been engraved by a different artist4 ,it will perhaps not be deemed an unimportant digression to introduce a few remarks concerning the owner of the above monogram4 ,it is by no means clear whether he was a designer or an engraver1 or even both4 ,there is a chiaroscuro print of a group of saints1 engraved by ,peter ,kints1 an obscure artist1 with the name of ,antony ,sallaerts at length1 and the mark4 ,here he appears as a designer4 ,m4 ,malpe1 the ,besancon author of ,notices sur les graveurs1 speaks of ,sallaerts as an excellent painter1 born at ,brussels about #aegf1 which date cannot possibly apply to the artist in question2 but at the same time1 he adds1 that he is said to have engraved on wood the cuts in a little catechism printed at ,antwerp that have the monogram monogram3 ,,sa4 ,these are certainly very beautiful1 in accordance with many others with the same mark1 and very superior in design to those which have it in the ,imagines ,mortis4 ,m4 ,malpe has also an article for ,antony ,silvyus or ,silvius1 born at ,antwerp about #aebe1 and he mentions several books with engravings and the mark in question1 which he gives to the same person4 ,m4 ,brulliot expresses a doubt as to this artist2 but it is very certain there was a family of that name1 and surnamed1 or at least sometimes called1 ,bosche or ,bush1 which indeed is more likely to have been the real ,flemish name ,latinized into ,silvius4 ,foppens#aai has mentioned an ,antony ,silvius1 a schoolmaster at ,antwerp1 in #aefe1 and several other members of this family4 ,two belonging to it were engravers1 and another a writing master4 ,whether the artist in question was a ,sallaerts or a ,silvius1 it is certain that ,plantin1 the celebrated printer1 employed him to decorate several of his volumes1 and it is to be regretted that an unsuccessful search has been made for him in ,plantin's account books1 that were not long since preserved1 with many articles belonging to him1 in his house at ,antwerp4 ,his mark also appears in several books printed in ,england during the reign of ,elizabeth1 and particularly on a beautiful set of initial letters1 some of which contain the story of ,cupid and ,psyche1 from the supposed designs by ,raphael1 and other subjects from ,ovid's ,metamorphoses3 these have been counterfeited1 and perhaps in ,england4 ,the initial monogram3 ,g1 in this alphabet1 with the subject of ,leda and the swan1 was inadvertently prefixed to the sacred name at the beginning of ,st4 ,paul's ,epistle to the ,hebrews in the ,bishop's ,bible1 printed by ,rd4 ,jugge in #aegb1 and in one of his ,common ,prayer ,books4 ,an elegant portrait of ,edward ,,vi4 with the mark monogram3 ,,sa is likewise on ,jugge's edition of the ,new ,testament1 #aeeb1 #dto4 and there is reason to believe that ,jugge employed this artist1 as the same monogram appears on a cut of his device of the pelican4 ,,vi4 ,in the ,german volume1 the title of which is already given in the first article of the engravings from the ,basle painting1#abj there are twenty-nine subjects belonging to the present work2 the rest relating to the ,basle dance1 except two or three that are not in either of them4 ,these have fallen into the hands of a modern bookseller1 but there can be no doubt that there were other editions which contained the whole set4 ,the most of them have the letters monogram3 ,g4 ,s4 with the graving tool1 and one has the date #aegf4 ,the name of this artist is unknown2 but ,m4 ,bartsch has mentioned several other engravings by him1 omitting1 however1 the present1 which1 it is to be observed1 sometimes vary in design from the originals4 ,,vii4 ,imagines ,mortis illustratae epigrammatis ,georgii ,a,emylii theol4 doctoris4 ,fraxineus ,a,emylio ,suo4 ,criminis ut poenam mortem mors sustulit una3 sic te immortalem mortis imago facit4 ,with a cut of ,death and the old man4 ,this is the middle part only of a work1 intitled ,libellus ,davidis ,chytraei de morte et vita aeterna4 ,editio postrema2 cui additae sunt imagines mortis1 illustrata ,epigrammatis ,d4 ,georgio ,a,emylio1 ,witebergae4 ,impressus a ,matthaeo ,welack1 anno ,,mdxc4 #abmo4 ,the cuts1 fifty-three in number1 are1 on the whole1 tolerably faithful1 but coarsely engraved4 ,in the subject of the ,pope the two ,devils are omitted1 and1 in that of the ,counsellor1 the ,demon blowing with a bellows into his ear is also wanting4 ,some have the mark monogram3 cross1 and one that of monogram3 ,w with a knife or graving tool4 ,,viii4 ,todtentanz durch alle stendt der menschen1 c4 furgebildet mit figuren4 ,s4 ,gallen1 #aeha4 #dto4 ,see ,janssen1 ,essai sur l'origine de la gravure1 i4 #abb1 who seems to make them copies of the originals4 ,,ix4 ,the last article in this list of the old copies1 though prior in date to some of the preceding1 is placed here as differing materially from them with respect to size4 ,it is a small folio1 with the following title1 ,todtentantz1 ,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 bas4 ,,mdxliiii4 ,desine longaevos exposcere sedulus annos ,inque bonis multos annumerare dies ,atque hodie1 fatale velit si rumpere filum ,atropos1 impavido pectore disce mori4 ,at the end1 ,gedruckt inn der kaiserlichen ,reychstatt ,augspurg durch ,jobst ,denecker ,formschneyder4 ,this edition is not only valuable for its extreme rarity1 but for the very accurate and spirited manner in which the fine original cuts are copied4 ,it contains all the subjects that were then published1 but not arranged as those had been4 ,it has the addition of one singular print1 intitled ,der ,eebrecher1 i4 e4 the ,adulterer1 representing a man discovering the adulterer in bed with his wife1 and plunging his sword through both of them1 ,death guiding his hands4 ,on the opposite page to each engraving there is a dialogue between ,death and the party1 and at bottom a ,latin hexameter4 ,the subject of the ,pleader has the unknown mark monogram1 and on that of the ,duchess in bed1 there is the date #aedb4 ,from the above colophon we are to infer that ,dennecker1 or as he is sometimes1 and perhaps more properly1 called ,de ,necker or ,de ,negher1 was the engraver1 as he is known to have executed many other engravings on wood1 especially for ,hans ,schaufelin1 with whom he was connected4 ,he was also employed in the celebrated triumph of ,maximilian1 and in a collection of saints1 to whom the family of that emperor was related4 ,x4 ,emblems of ,mortality1 representing1 in upwards of fifty cuts1 ,death seizing all ranks and degrees of people1 c4 ,printed for ,t4 ,hodgson1 in ,george's ,court1 ,st4 ,john's ,lane1 ,clerkenwell1 #aghi4 #abmo4 ,with an historical essay on the subject1 and translations of the ,latin verses in the ,imagines ,mortis1 by ,john ,sidney ,hawkins1 esq4 ,the cuts were engraved by the brother of the celebrated ,bewick1 of ,newcastle-upon-,tyne1 and a pupil of ,hodgson1 who was an engraver on wood of some merit at that time4 ,they are but indifferently executed1 but would have been better had the artist been more liberally encouraged by the master1 who was the publisher on his own account1 ,mr4 ,hawkins very kindly furnishing the letter-press4 ,they are faithful copies of all the originals1 except the first1 which1 containing a figure of the ,deity habited as a ,pope1 was scrupulously exchanged for another design4 ,a frontispiece is added1 representing ,death leading up all classes of men and women4 ,,xi4 ,the ,dance of ,death of the celebrated ,hans ,holbein1 in a series of fifty-two engravings on wood by ,mr4 ,bewick1 with letter-press illustrations4 ,what's yet in this ,that bears the name of life8 ,yet in this life ,lie hid more thousand ,deaths3 yet ,death we fear1 ,that makes these odds all even4 ,,shakspeare4 ,london4 ,william ,charlton ,wright4 #abmo4 ,with a frontispiece1 partly copied from that in the preceding article1 a common-place life of ,holbein1 and an introduction pillaged verbatim from an edition with ,hollar's cuts1 published by ,mr4 ,edwards4 ,the cuts1 with two or three exceptions1 are imitated from the originals1 but all the human figures are ridiculously modernised4 ,the text to the subjects is partly descriptions in prose1 and partly ,mr4 ,hawkins's verses1 and the cuts1 if ,bewick's1 very inferior to those in his other works4 ,,xii4 ,emblems of ,mortality1 representing ,death seizing all ranks and degrees of people4 ,imitated in a series of wood cuts from a painting in the cemetery of the ,dominican church at ,basil in ,switzerland1 with appropriate texts of scripture1 and a poetical apostrophe to each1 freely translated from the ,latin and ,french4 ,london4 ,printed for ,whittingham and ,arliss1 juvenile library1 ,paternoster-row4 #abmo4 ,the frontispiece and the rest of the cuts1 with two exceptions1 from the same blocks as those used for the last-mentioned edition4 ,the preface1 with very slight variation1 is abridged from that by ,mr4 ,hawkins in ,no4 ,,viii4 and the descriptive verses altogether the same as those in that edition4 ,both the last articles seem intended for popular and juvenile use4 ,it will be immediately perceived that the title page is erroneous in confounding the ,basle ,dance of ,death with that in the volume itself4 ,,xiii4 ,the last in this list is ,hans ,holbein's ,todtentanz in #ec getreu nach den holtz schnitten lithographirten ,blattern4 ,herausgegeben von ,j4 ,schlotthauer1 ,k4 ,professor4 ,mit erklaerendem ,texte4 ,munschen1 #ahcb4 ,auf kosten des ,herausgebers1 #abmo4 or1 ,hans ,holbein's ,dance of ,death in fifty-three lithographic leaves1 faithfully taken from wood engravings4 ,published by ,j4 ,schlotthauer1 royal professor1 with explanatory text4 ,munich1 #ahcb4 ,at the cost of the editors4 ,this work is executed in so beautiful and accurate a manner that it might easily be mistaken for the wood originals4 ,the professor has substituted ,german verses1 communicated by a friend1 instead of the former ,latin ones4 ,he states that the subject will be taken up by ,professor ,massman1 of ,munich1 whose work will satisfy all enquiries relating to it4 ,massman1 however1 has added to this volume a sort of explanatory appendix1 in which some of the editions are mentioned4 ,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 ,basle1 and concludes with a promise to treat the subject more at large at some future time4 ,,copies ,,of ,,the ,,same ,,designs1 ,,engraved ,,in ,,copper4 ,i4 ,todten ,dantz durch alle stande und ,beschlecht der ,menschen1 c4 i4 e4 ,death's ,dance through all ranks and conditions of men4 ,this title is on a frontispiece representing a gate of rustic architecture1 at the top of which are two boy angels with emblems of mortality between them1 and underneath are the three ,fates4 ,at the bottom1 ,adam and ,eve with the tree of knowledge1 each holding the apple presented by the serpent4 ,between them is a circular table1 on which are eight sculls of a ,pope1 ,emperor1 ,cardinal1 c4 with appropriate mottoes in ,latin4 ,on the outer edge of the table ,,statvtvm ,,est ,,omnibvs ,,hominibvs ,,semel ,,mori ,,post ,,hoc ,,avtem ,,ivdicivm4 ,in the centre the letters ,,mvs1 the terminating syllable of each motto4 ,before the gate are two pedestals1 inscribed ,,memento ,,mori and ,,memorare ,,novissima1 on which stand figures of ,death supporting two pyramids or obelisks surmounted with sculls and a cross1 and inscribed ,,iter ,,ad ,,vitam4 ,below1 ,eberh4 ,kieser excudit4 ,this frontispiece is a copy of a large print engraved on wood long before4 ,without date1 in quarto4 ,the work consists of sixty prints within borders of flowers1 c4 in the execution of which two different and anonymous artists have been employed4 ,at the top of each print is the name of the subject1 accompanied with a passage from scripture1 and at the bottom three couplets of ,german verses4 ,most of the subjects are copied from the completest editions of the ,lyons cuts1 with occasional slight variations4 ,they are not placed in the same order1 and all are reversed1 except ,nos4 #eg and #fj4 ,no4 #ab is not reversed1 but very much altered1 a sort of duplicate of the ,miser4 ,no4 #ej1 the ,jew1 and ,no4 #ea1 the ,jewess1 are entirely new4 ,the latter is sitting at a table1 on which is a heap of money1 and ,death appears to be giving effective directions to a demon to strangle her4 ,no4 #eb is also new4 ,a castle within a hedge4 ,death enters one of the windows by a ladder1 whilst a woman looks out of another4#aba ,the subject is from ,jeremiah1 ch4 ix4 v4 #ba4 ,death is come up into our windows1 c4 ,in the subject of the ,pope1 the two ,devils are omitted4 ,two military groups of boys1 newly designed1 are added4 ,the following are copies from ,aldegrever1 ,nos4 #a1 #b1 #c1 #d1 #f1 #aa1 and #ab4 ,at the beginning and end of the book there are moral poems in the ,german language4 ,,ii4 ,another edition of the same cuts4 ,the title-page of the copy here described is unfortunately lost4 ,it has a dedication in ,latin to three patricians of ,frankfort on the ,maine by ,daniel ,meisner a ,commenthaw1 ,boh4 ,poet4 ,l4 ,c4 dated1 according to the ,roman capitals1 in a passage from ,psalm #df1 in the year #afbc4 ,this is followed by the ,latin epigram1 or address to the reader1 by ,geo4 ,a,emylius1 whose translations of the original ,french couplets are also given1 as well as the originals themselves4 ,these are printed on pages opposite to the subjects1 but they are often very carelessly transposed4 ,at the end the date #afbc is twice repeated by means of the ,roman capitals in two verses from ,psalms #gh and #fc1 the one ,german1 the other ,latin4 #abmo4 ,,iii4 ,icones ,mortis sexaginta imaginibus totidemque inscriptionibus insignitae1 versibus quoque ,latinis et novis ,germanicis illustratae4 ,vorbildungen desz ,todtes4 ,in sechtzig figuren durch alle ,stande und ,geschlechte1 derselbigen nichtige ,sterblichkeit furzuweisen1 aus gebruckt1 und mit so viel ubors schriffren1 auch ,lateinischen und neuen ,teutschen ,verszlein erklaret4 ,durch ,johann ,vogel4 ,bey ,paulus ,fursten ,kunsthandlern zu finden4 ,on the back of this printed title is an engraving of a hand issuing from the clouds and holding a pair of scales1 in one of which is a scull1 in the other a ,papal tiara1 sceptre1 c4 weighing down the scull4 ,on the beam of the scales an hour glass and an open book with ,arabic numerals4 ,in the distance1 at bottom1 is seen a traveller reposing in a shed4 ,above is a label1 inscribed ,metas et tempora libro1 and below1 ,ich ,wage ziel und zeitten ab4 ,then follows a neatly engraved and regular title-page4 ,at top1 a winged scull surmounted with an hour-glass1 and crossed with a spade and scythe4 ,at bottom1 three figures of ,death sitting on the ground2 one of them plays on a hautboy1 or trumpet1 another on a bagpipe1 and the third has a drum behind him4 ,the middle exhibits a circular ,dance of ,death leading by the hand persons of all ranks from the ,emperor downwards4 ,in the centre of this circle ,toden ,tantz zu finden bey ,paulus ,furst ,kunst handlern1 and quite at the bottom of the page1 ,g4 ,stra4 in4 ,a4 ,khol fecit4 ,next comes an exhortation on ,death to the reader in ,latin verse1 followed by several poems in ,german and ,latin1 those in ,german signed ,g4 ,p4 ,h4 ,immediately afterwards1 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 ,pope1 a ,cardinal1 and a ,king1 between a vase of flowers on the right1 and a pot of incense1 a cock standing near it1 on the left4 ,on the keystone of the gate are two tilting lances in saltier1 to which a shield and helmet are suspended4 ,through the arch is seen a chamber1 in which there seems to be a bier1 and near it a cross4 ,on the left of the gate is a niche with a scull and bones in it4 ,below are two large figures of ,death4 ,that on the left has a wreath of flowers round its head1 and is beating a bell with a bone4 ,under him is an owl1 and on the side of his left knee a scythe4 ,the other ,death has a cap and feather1 in his right hand an hour-glass1 the left pointing to the opposite figure4 ,on the ground between them1 a bow1 a quiver of arrows and a dart4 ,on the left inner side of the gate a pot with holy water is suspended to a ring1 the sprinkler being a bone4 ,further on1 within the gate1 is a flat stone1 on which are several sculls and bones1 a snake biting one of the sculls4 ,on the right hand corner at bottom is the letter monogram3 ,a1 perhaps the mark of the unknown engraver4 ,the explanations on the pages opposite to each print are in ,german and ,latin verses1 the latter by ,a,emylius1 with occasional variations4 ,this edition has the sixty prints in the two preceding ,nos4 some of them having been retouched2 and the cut of the ,king at table1 ,no4 #i1 is by a different engraver from the artist of the same ,no4 in the preceding #dto4 edition1 ,no4 ,i4 ,the present edition has also an additional engraving at the end1 representing a gate1 within which are seen several sculls and bones1 other sculls in a niche1 and in the distance a cemetery with coffins and crosses4 ,over the gate a scull on each side1 and on the outer edge of the arch is the inscription1 ,quis ,rex1 quis subditus hic est8 ,at bottom1 ,hie sage wer es sagen kan ,here let tell who may3 ,wer konig sey8 wer unterthan4 ,or1 which be the king8 which the subject8 ,paulus ,furst ,excu4 ,the whole of the print in a border of sculls1 bones1 snakes1 toads1 and a lizard4 ,opposite to it the date #afdg is to be gathered from the ,roman capitals in two scriptural quotations1 the one in ,latin1 the other in ,german1 ending with this colophon1 ,gedrucht zu ,nuremberg durch ,christoff ,lochner4 ,in ,verlegung ,paul ,fursten ,kunsthandlern allda4 #abmo4 ,,iv4 ,a set of engravings1 #h inches by #h1 of which the subject of the ,pedlar1 only has occurred on the present occasion4 ,instead of the trump-marine1 which one of the ,deaths plays on in the original cut1 this artist has substituted a violin1 and added a landscape in the back-ground4 ,below are these verses3 ,,la ,,mort4 ,sus8 cesse ton traficq1 car il fault a ceste heure ,que tu sente l'effort de mon dard assere4 ,tu as assez vescu1 il est temps que tu meure1 ,mon coup inevitable est pour toy prepare4 ,,le ,,marchant4 ,et de grace pardon1 arreste ta cholere4 ,je suis pauvre marchant appaise ta rigueur4 ,permete qu'encore un temps je vive en ceste terre3 ,et puis tu recevras l'offrande de mon coeur4 ,v4 ,a set of thirty etchings by ,wenceslaus ,hollar1 within elegant frames or borders designed by ,diepenbecke1 of which there are three varieties4 ,the first of these has at the top a coffin with tapers1 at bottom1 ,death lying prostrate4 ,the sides have figures of time and eternity4 ,at bottom1 ,ab4 ,diepenbecke inv4 ,w4 ,hollar fecit4 ,the second has at top a ,death's head crowned with the ,papal tiara2 at bottom1 a ,death's head with cross-bones on a tablet1 accompanied by a saw1 a globe1 armour1 a gun1 a drum1 c4 ,on the sides are ,hercules and ,minerva4 ,at bottom1 ,ab4 ,diepenbecke inv4 ,w4 ,hollar fecit1 #afea4 ,the third has at top a ,death's head1 an hour-glass winged between two boys2 at bottom1 a ,death's head and cross-bones on a tablet between two boys holding hour-glasses4 ,on the sides1 ,democritus and ,heraclitus with fools' caps4 ,this border has no inscription below4 ,as these etchings are not numbered1 the original arrangement of them cannot be ascertained4 ,the names of ,diepenbecke and ,hollar are at the bottom of several of the borders1 c4 ,on the subject of the ,queen is the mark monogram3 ,,uh and on three others that of monogram3 ,,wh4 ,this is the first and most desirable state of the work1 the borders having afterwards fallen into the hands of ,petau and ,van ,morle1 two foreign printsellers1 whose impressions are very inferior4 ,it has not been ascertained what became of these elegant additions1 but the work afterwards appeared without them1 and with the additional mark monogram3 ,,hb i4 on every print1 and intended for ,holbein invenit4 ,it is very certain that ,hollar himself did not place this mark on the prints2 he has never introduced it in any of his copies from ,holbein1 always expressing that painter's name in these several ways3 monogram3 ,,hh1 monogram3 ,h,holbein inv4 monogram3 ,h,holbein pinxit1 ,h4 ,,holbein inv4 ,h4 ,,holbein inventor4 ,on one of his portraits from the ,arundel collection he has placed monogram3 ,h,holbein incidit in lignum4 ,no copy1 however1 of this portrait has occurred in wood1 and1 if this be only a conjecture on the part of the engraver1 the distance of time between the respective artists is an objection to its validity1 though it is possible that ,holbein might have engraved on wood1 because there are prints which have all the appearance of belonging to him1 that have his usual mark1 accompanied by an engraving tool4 ,there is no text to these etchings1 except the ,latin scriptural passages under each1 that occur in the original editions in that language4 ,as a sort of frontispiece to the work1 ,hollar has transferred the last cut of the allegorical shield of arms1 supported by a lady and gentleman1 to the beginning1 with the appropriate title of ,,mortalivm ,,nobilitas4 ,the other subjects are1 #a4 ,adam and ,eve in ,paradise4 #b4 ,their expulsion from ,paradise4 #c4 ,adam digging1 ,eve spinning4 #d4 ,the ,pope4 #e4 ,the ,emperor4 #f4 ,the ,empress4 #g4 ,the ,queen4 #h4 ,the ,cardinal4 #i4 ,the ,duke4 #aj4 ,the ,bishop4 #aa4 ,the ,nobleman4 #ab4 ,the ,abbot4 #ac4 ,the ,abbess4 #ad4 ,the ,friar4 #ae4 ,the ,nun4 #af4 ,the ,preacher4 #ag4 ,the ,physician4 #ah4 ,the ,soldier1 or ,warrior4 #ai4 ,the ,advocate4 #bj4 ,the ,married ,couple4 #ba4 ,the ,duchess4 #bb4 ,the ,merchant4 #bc4 ,the ,pedlar4 #bd4 ,the ,miser4 #be4 ,the ,waggoner with wine casks4 #bf4 ,the ,gamesters4 #bg4 ,the ,old ,man4 #bh4 ,the ,old ,woman4 #bi4 ,the ,infant4 ,of these1 ,nos4 #a1 #e1 #f1 #h1 #i1 #ac1 #ad1 #bc1 #bg1 and #bh1 correspond with the ,lyons wood-cuts1 except that in ,no4 #a a stag is omitted1 and there are some variations2 in ,no4 #f1 the windows of the palace are altered2 in ,no4 #ac1 a window is added to the house next to the nunnery2 and in ,no4 #i1 a figure is introduced1 and the ducal palace much altered2 in ,no4 #bc1 a sword is omitted4 ,they are all reverses1 except ,no4 #e4 ,the rest of the subjects are reversed1 with one exception1 from the copies by monogram3 ,,sa in the spurious edition first printed at ,cologne in #aeee1 with occasional very slight variations4 ,hollar's copies from the original cuts are in a small degree less both in width and depth4 ,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 original1#abb and it is remarkable that this is the only print belonging to the spurious ones that is not reversed4 ,it is very probable that ,hollar executed this work at ,antwerp1 where1 at the time of its date1 he might have found ,diepenbecke and engaged him to make designs for the borders which are etched on separate plates1 thus supplying passe-par-touts that might be used at discretion4 ,many sets appear without the borders1 which seem to have strayed1 and perhaps to have been afterwards lost or destroyed4 ,as ,rubens is recorded to have admired the beauty of the original cuts1 so it is to be supposed that ,diepenbecke1 his pupil1 would entertain the same opinion of them1 and that he might have suggested to ,hollar the making etchings of them1 undertaking himself to furnish appropriate borders4 ,but how shall we account for the introduction of so many of the spurious and inferior designs1 if he had the means of using the originals8 ,many books were formerly excessively rare1 which1 from peculiar circumstances1 not necessary to be here detailed1 but well known to bibliographers and collectors1 have since become comparatively common4 ,hollar might not have had an opportunity of meeting with a perfect copy of the original cuts1 or he might1 in some way or other1 have been impeded in the use of them1 when executing his work1 and thus have been driven to the necessity of pursuing it by means of the spurious edition4 ,these1 however1 are but conjectures1 and it remains for every one to adopt his own opinion4 ,the copper-plates of the above thirty etchings appear to have fallen into the hands of an ,english noble family1 from which the late ,mr4 ,james ,edwards1 a bookseller of well merited celebrity1 obtained them1 and about the year #agid caused many impressions to be taken off after they had been rebitten with great care1 so as to prevent that injury1 with respect to outline1 which usually takes place where etchings or engravings upon copper are retouched4 ,previously to this event good impressions must have been extremely rare1 at least on the continent1 as they are not found in the very rich collections of ,winckler or ,brandes1 nor are they mentioned by the foreign writers on engraving4 ,to ,mr4 ,edwards's publication of ,hollar's prints there was prefixed a short dissertation on the ,dance of ,death1 which is here again submitted to public attention in a considerably enlarged form1 and corrected from the errors and imperfections into which its author had been misled by preceding writers on the subject1 and by the paucity of the materials which he was then able to obtain4 ,this edition was reprinted verbatim1 and with the same etchings1 in #ahaf1 for ,j4 ,coxhead1 in ,holywell ,street1 ,strand1 but without any mention of the former1 and accompanied with the addition of a brief memoir of ,holbein4 ,it is most likely that ,hollar1 having discovered the error which he had committed in copying the spurious engravings before-mentioned1 and subsequently procured a set of genuine impressions1 resolved to make another set of etchings from the original work1 four only of which he appears to have executed1 his death probably taking place before they could be completed4 ,these are1 #a4 ,the ,pope crowning the ,emperor1 with ,moriatur sacerdos magnus4 #b4 ,the rich man disregarding the beggar1 with ,qui obturat aurem suam ad clamorem pauperis1 c4 and the four ,latin lines1 ,consulitis1 dites1 c4 at bottom1 as in the original4 ,it is beautifully and most faithfully copied1 with monogram3 ,h,holbein inv4 ,hollar fecit4 #c4 ,the ,ploughman1 with ,in sudore vultus1 c4 #d4 ,the ,robber1 with ,domine vim patior4 ,in ,dugdale's ,history of ,st4 ,paul's1 and also in the ,monasticon1 there is a single etching by ,hollar of ,death leading all ranks of people4 ,it is only an improved copy of an old wood-cut in ,lydgate's works1 already mentioned in p4 #eb1 and which is altogether imaginary1 not being taken from any real series of the ,dance4 ,,vi4 ,varii e veri ritratte della morte disegnati in immagini1 ed espressi in ,essempii al peccatore duro di cuore1 dal padre ,gio4 ,battista ,marmi della compagnia de ,giesu4 ,venetia1 #affi1 #hvo4 ,it has several engravings1 among which are the following1 after the original designs4 #a4 ,queen4 #b4 ,nobleman4 #c4 ,merchant4 #d4 ,gamblers4 #e4 ,physician4 #f4 ,miser4 ,the last five being close copies from the same subjects1 in the ,basle edit4 #agfi1 ,no4 ,v4 of the copies in wood4 ,,vii4 ,theatrum mortis humanae tripartitum4 ,i4 ,pars4 ,saltum ,mortis4 ,,ii4 ,pars4 ,varia genera ,mortis4 ,,iii4 ,pars4 ,paenas ,damnatorum continens1 cum figuris aeneis illustratum4 ,then the same repeated in ,german1 with the addition ,durch ,joannem ,weichardum ,valvasor4 ,lib4 ,bar4 cum facultate superiorum1 et speciali privilegio ,sac4 ,caes4 ,majest4 ,gedrucht zu ,laybach1 und zu finden ben ,johann ,baptista ,mayr1 in ,saltzburg4 ,anno #afhb4 #dto4 ,prefixed is an engraved frontispiece representing a ruined arch1 under which is a coffin1 and before it the ,king of ,terrors between two other figures of ,death mounted respectively on an elephant and camel4 ,in the foreground1 ,adam and ,eve1 tied to the forbidden tree of knowledge1 between several other ,deaths variously employed4 ,two men digging graves1 c4 ,underneath1 monogram3 ,w4 inven4 monogram3 ,w4 excud4 ,jo4 ,koch del4 ,and4 ,trost sculp4 ,wagenpurgi in ,carniola4 ,it is the first part only with which we are concerned4 ,the artist1 with very little exception1 has followed and reversed the spurious wood-cuts of #aeee1 by monogram3 ,,sa4 ,to the groups of boys he has added a ,death leading them on4 ,,viii4 ,de ,doodt vermaskert met des werelts ydelheyt afghedaen door ,geeraerdt ,van ,wolschaten4 ,this is another edition of ,no4 ,,ix4 of the original wood-cuts1 here engraved on copper4 ,the text is the same as that of #afed1 with the addition of seven leaves1 including a cut of ,death leading all ranks of men4 ,in that of the ,pedler the artist has introduced some figures in the distance of the original soldier4 ,among other variations the costume of the time of ,william ,,iii4 is sometimes very ludicrously adopted1 especially in the frontispiece1 where the author is represented writing at a desk1 and near him two figures of a man in a full bottom wig1 and a woman with a mask and a perpendicular cap in several stories1 usually called a ,fontange1 both having skeleton faces4 ,at bottom1 the mark monogram3 ,l ,b4f44 ,this edition was printed at ,antwerp by ,jan ,baptist ,jacobs1 without date1 but the privilege has that of #afih4 #abmo4 ,,ix4 ,imagines ,mortis1 or the ,dead ,dance of ,hans ,holbeyn1 painter of ,king ,henry the ,,viii4 ,this title is on a copper-plate within a border1 and accompanied with nineteen etchings on copper1 by ,nieuhoff ,piccard1 a person who will be more particularly adverted to hereafter4 ,they consist of1 #a4 ,the emblem of ,mortality4 #b4 ,the temptation4 #c4 ,the expulsion from ,paradise4 #d4 ,adam digging1 ,eve spinning4 #e4 ,concert of ,deaths4 #f4 ,the ,infant4 #g4 ,the new married couple4 #h4 ,the ,duke4 #i4 ,the ,advocate4 #aj4 ,the ,abbot4 #aa4 ,the ,monk4 #ab4 ,the ,abbess4 #ac4 ,the ,soldier4 #ad4 ,the ,merchant4 #ae4 ,the ,pedler4 #af4 ,the ,fool4 #ag4 ,the ,blind ,man4 #ah4 ,the ,old ,woman4 #ai4 ,the ,old ,man4 ,the designs1 with some occasional variations1 correspond with those in the original wood-cuts4 ,the plates of these etchings must have passed into the hands of some ,english printsellers1 as broken sets of them have not long since been seen1 one only of which1 namely1 that of the ,temptation1 had these lines on it3 ,all that e'er had breath ,must dance after ,death4 with the date #agbj4 ,several were then numbered at bottom with ,arabic numerals4 ,x4 ,schau-platz des ,todes1 oder ,todten ,tanz1 von ,sal4 ,van ,rusting ,med4 ,doct4 in ,nieder-,teutscher-,spracke nun aber in ,hoch ,teutscher mit nothigen ,anmerchungen heraus gegeben von ,johann ,georg4 ,meintel ,hochfurstl ,brandenburg-,onoltzbachischen pfarrer zu ,petersaurach4 ,nurnberg1 #agcf4 #hvo4 ,or1 ,the ,theatre of ,death1 or ,dance of ,death1 by ,sol4 ,van ,rusting1 doctor of medicine1 in ,low ,german language1 but now in ,high ,german1 with necessary notes by ,john ,george ,meintel in the service of his ,serene ,highness of ,brandenburg1 and parson of ,petersaurach4 ,it is said to have been originally published in #agjg1 which is very probable1 as ,rusting1 of whom very little is recorded1 was born about #afej4 ,in the early part of his life he practised as an army surgeon4 ,he was a great admirer and follower of the doctrines of ,balthasar ,bekker in his ,monde enchante4 ,there are editions in ,dutch only1 #agce and #agda4 #abmo4 the plates being copies4 ,in the above-mentioned edition by ,meintel there is an elaborate preface1 with some account of the ,dance of ,death1 and its editions1 but replete with the grossest errors1 into which he has been misled by ,hilscher1 and some other writers4 ,his text is accompanied with a profusion of notes altogether of a pious and moral nature4 ,rusting's work consists of thirty neat engravings1 of which the following are copied from the ,lyons wood-cuts4 #a4 ,the ,king1 much varied4 #b4 ,the ,astrologer4 #c4 ,the ,soldier4 #d4 ,the ,monk4 #e4 ,the ,old ,man4 #f4 ,the ,pedler4 ,the rest are1 on the whole1 original designs1 yet with occasional hints from the ,lyons cuts2 the best of them are1 the ,masquerade1 the ,rope-dancer1 and the ,skaiters4 ,the frontispiece is in two compartments2 the upper one1 ,death crowned1 sitting on a throne1 on each side of him a ,death trumpeter2 the lower1 a fantastic ,dance of seven ,deaths1 near a crowned skeleton lying on a couch4 ,,xi4 ,le triomphe de la ,mort4 ,a ,basle1 #aghj1 folio4 ,this is the first part of a collection of the works of ,hans ,holbein1 engraved and published by ,m4 ,chretien de ,mechel1 a celebrated artist1 and formerly a printseller in the above city4 ,it has a dedication to ,george ,,iii4 followed by explanations in ,french of the subjects1 in number #df1 and in the following order2 ,no4 #a4 ,a ,frontispiece1 representing a tablet of stone1 on one side of which ,holbein appears behind a curtain1 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 paint2 this is further designated by a heap of the attributes of greatness1 dignities1 wealth1 arts1 and sciences1 intermixed with ,deaths' heads1 all of which are trampled under foot by ,death himself4 ,at bottom1 ,lucan's line1 ,mors sceptra ligonibus aequat4 ,the tablet is surmounted by a medallion of ,holbein1 supported by two genii1 one of whom decorates the portrait with flowers1 whilst another lets loose a butterfly1 and a third is employed in blowing bubbles4 ,on the tablet itself is a second title1 ,le triomphe de la mort1 grave d'apres les dessins originaux de ,jean ,holbein par ,chrn4 de ,mechel1 graveur a ,basle1 ,,mdcclxxx4 ,this frontispiece has been purposely inverted for the present work4 ,the other subjects are3 ,no4 #b4 ,the ,temptation4 #c4 ,expulsion from ,paradise4 #d4 ,adam digging1 ,eve spinning4 #e4 ,the ,pope4 #f4 ,the ,cardinal4 #g4 ,the ,duke4 #h4 ,the ,bishop4 #i4 ,the ,canon4 #aj4 ,the ,monk4 #aa4 ,the ,abbot4 #ab4 ,the ,abbess4 #ac4 ,the ,preacher4 #ad4 ,the ,priest4 #ae4 ,the ,physician4 #af4 ,the ,astrologer4 #ag4 ,the ,emperor4 #ah4 ,the ,king4 #ai4 ,the ,empress4 #bj4 ,the ,queen4 #ba4 ,the ,duchess4 #bb4 ,the ,countess4 #bc4 ,the ,new-married ,couple4 #bd4 ,the ,nun4 #be4 ,the ,nobleman4 #bf4 ,the ,knight4 #bg4 ,the ,gentleman4 #bh4 ,the ,soldier4 #bi4 ,the ,judge4 #cj4 ,the ,counsellor4 #ca4 ,the ,advocate4 #cb4 ,the ,merchant4 #cc4 ,the ,pedler4 #cd4 ,the ,shipwreck4 #ce4 ,the ,wine-carrier4 #cf4 ,the ,plowman4 #cg4 ,the ,miser4 #ch4 ,the ,robber4 #ci4 ,the ,drunkard4 #dj4 ,the ,gamblers4 #da4 ,the ,old ,man4 #db4 ,the ,old ,woman4 #de4 ,the ,blind ,man4 #dd4 ,the ,beggar4 #de4 ,the ,infant4 #df4 ,the ,fool4 ,m4 ,mechel has added another print on this subject1 viz4 the sheath of a dagger1 a design for a chaser4 ,it is impossible to exceed the beauty and skill that are manifested in this fine piece of art4 ,the figures are1 a king1 queen1 warrior1 a young woman1 a monk1 and an infant1 all of whom most unwillingly accompany ,death in the dance4 ,the despair of the king1 the dejection of the queen1 accompanied by her little dog1 the terror of the soldier who hears the drum of ,death1 the struggling of the female1 the reluctance of the monk1 and the sorrow of the poor infant1 are depicted with equal spirit and veracity4 ,the original drawing is in the public library at ,basle1 and ascribed to ,holbein4 ,there is a general agreement between these engravings and the original wood-cuts4 ,twenty-three are reversed4 ,in ,no4 #ac the jaw-bone in the hand of ,death is not distinct4 ,in ,no4 #af a cross is added1 and in ,no4 #ag two heads4 ,mr4 ,coxe1 in his ,travels in ,switzerland1 has given some account of the drawings copied as above by ,m4 de ,mechel1 in whose possession he saw them4 ,he states that they were sketched with a pen1 and slightly shaded with ,indian ink4 ,he mentions ,m4 de ,mechel's conjecture that they were once in the ,arundel collection1 and infers from thence that they were copied by ,hollar1 which1 however1 from what has been already stated on the subject of ,hollar's print of the ,soldier and ,death1 as well as from other variations1 could not have been the case4 ,mr4 ,coxe proceeds to say that four of the subjects in ,m4 de ,mechel's work are not in the drawings1 but were copied from ,hollar4 ,it were to be wished that he had specified them4 ,the particulars that follow were obtained by the compiler of the present dissertation from ,m4 de ,mechel himself when he was in ,london4 ,he had not been able to trace the drawings previously to their falling into the hands of ,m4 de ,crozat1#abc at whose sale1 about #agga1 they were purchased by ,counsellor ,fleischmann of ,strasburg1 and ,m4 de ,mechel having very emphatically expressed his admiration of them whilst they were in the possession of ,m4 ,fleischmann1 that gentleman very generously offered them as a present to him4 ,m4 de ,mechel1 however1 declined the offer1 but requested they might be deposited in the public library at ,basle1 among other precious remains of ,holbein's art4 ,this arrangement1 however1 did not take place1 and it happened in the mean time that two nephews of ,prince ,gallitzin1 minister from ,russia to the court of ,vienna1 having occasion to visit ,m4 ,fleischmann1 then much advanced in years1 and his memory much impaired1 prevailed on him to concede the drawings to their uncle1 who1 on learning from ,m4 de ,mechel what had originally passed between himself and ,m4 ,fleischmann1 sent the drawings to him1 with permission to engrave and publish them1 which was accordingly done1 after they had been detained two years for that purpose4 ,they afterwards passed into the ,emperor of ,russia's collection of fine arts at ,petersburg4 ,it were greatly to be wished that some person qualified like ,mr4 ,ottley1 if such a one can be found1 would take the trouble to enter on a critical examination of these drawings in their present state1 with a view to ascertain1 as nearly as possible1 whether they carry indisputable marks of ,holbein's art and manner of execution1 or whether1 as may well be suspected1 they are nothing more than copies1 either by himself or some other person1 from the original wood engravings4 ,m4 de ,mechel had begun this work in #agga1 when he had engraved the first four subjects1 including a frontispiece totally different from that in the volume here described4 ,there are likewise variations in the other three4 ,he was extremely solicitous that these should be cancelled4 ,,xii4 ,david ,deuchar1 sometimes called the ,scottish ,worlidge1 who has etched many prints after ,ostade and the ,dutch masters1 published a set of etchings by himself1 with the following printed title3 ,the ,dances of ,death through the various stages of human life1 wherein the capriciousness of that tyrant is exhibited in forty-six copper-plates1 done from the original designs1 which were cut in wood and afterwards painted by ,john ,holbein in the town house at ,basle1 to which is prefixed descriptions of each plate in ,french and ,english1 with the scripture text from which the designs were taken4 ,edinburgh1 ,,mdcclxxxviii4 ,before this most inaccurate title are two engraved leaves1 on one of which is ,deuchar's portrait1 in a medallion1 supported by ,adam and ,eve holding the forbidden fruit4 ,over the medallion1 the three ,fates1 the whole within an arch before a pediment4 ,on each side1 a plain column1 supporting a pyramid1 c4 ,on the other leaf a copy of the engraved title to ,m4 de ,mechel's work with the substitution of ,deuchar's name4 ,after the printed title is a portrait1 as may be supposed1 of ,holbein1 within a border containing six ovals of various subjects1 and a short preface or account of that artist1 but accompanied with some very inaccurate statements4 ,the subjects are inclosed1 like ,hollar's1 within four different borders1 separately engraved1 three of them borrowed1 with a slight variation in one1 from ,diepenbeke1 the fourth being probably ,deuchar's invention4 ,the etchings of the ,dance of ,death are forty-six in number1 accompanied with ,de ,mechel's description and ,english translation4 ,at the end is the emblematical print of mortality1 but not described1 with the dagger sheath1 copied from ,de ,mechel4 ,thirty of these etchings are immediately copied from ,hollar1 ,no4 ,x4 having the distance altered4 ,the rest are taken from the spurious wood copies of the originals by monogram3 ,,sa with variation in ,no4 ,,xviii42 and in ,no4 ,,xxxix4 and ,,xliii4 ,deuchar has introduced winged hour-glasses4 ,these etchings are very inferior to those by ,hollar4 ,the head of ,eve in ,no4 ,,iii4 resembles that of a periwigged ,frenchman of the time of ,louis ,,xiv4 but many of the subjects are very superior to others1 and intitled to much commendation4 ,,xiii4 ,the last in this list is ,der ,todtentanz ein gedicht von ,ludwig ,bechstein mit #dh kupfern in treuen ,conturen nach ,h4 ,holbein4 ,leipzig4 #ahca1 #abmo42 or1 ,death's ,dance1 a poem by ,ludwig ,bechstein1 with forty-eight engravings in faithful outlines from ,h4 ,holbein4 ,these very elegant etchings are by ,frenzel1 inspector of the gallery of engravings of the ,king of ,saxony at ,dresden4 ,the poem1 which is an epic one1 relates entirely to the power of ,death over mankind4 ,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 them4 ,thus1 in the subject of ,adam digging and ,eve spinning1 he has partly copied an ancient wood engraving that occurs in some of the ,horae printed by ,francis ,regnault at ,paris4 ,in the subject of the ,queen1 and on that of the ,duke and ,duchess1 he has made some use of those of ,death and the ,fool1 and ,death and the ,hermit1 in the old ,dance at ,basle4 ,on the other hand1 he has been imitated1 #a4 in ,la ,periere ,theatre des bons engins4 #aefa4 #bdmo4 where the rich man bribing the judge is introduced at fo4 #ff4 #b4 ,the figure of the ,swiss gentleman in ,recueil de la diversite des habits4 ,paris1 #aefg4 #abmo4 is copied from the last print in the ,lyons book4 #c4 ,from the same print the ,death's head has been introduced in an old wood engraving1 that will be more particularly described hereafter4 #d4 ,brebiette1 in a small etching on copper1 has copied the ,lyons plowman4 #e4 ,mr4 ,dance1 in his painting of ,garrick1 has evidently made use of the gentleman who lifts up his sword against ,death4 ,the copies of the portrait of ,francis ,i4 have been already noticed4 ,,chapter ,,ix4 ,further examination of ,holbein's title4--,borbonius4--,biographical notice of ,holbein4--,painting of a ,dance of ,death at ,whitehall by him4 ,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 ,death4 ,the numerous errors that have been fallen into in making ,holbein a participator in any manner whatever with the old ,basle ,macaber ,dance1 have been already noticed1 and are indeed not worth the trouble of refuting4 ,it is wholly improbable that he would interfere with so rude a piece of art2 nor has his name been recorded among the artists who are known to have retouched or repaired it4 ,the ,macaber ,dance at ,basle1 or any where else1 is1 therefore1 with respect to ,holbein1 to be altogether laid aside2 and if the argument before deduced from the important dedication to the edition of the justly celebrated wood-cuts published at ,lyons in #aech be of any value1 his claim to their invention1 at least to those in the first edition1 must also be rejected4#abd ,there is indeed but very slight evidence1 and none contemporary1 that he painted any ,dance of ,death at ,basle4 ,the indefinite statements of ,bishop ,burnet and ,m4 ,patin1 together with those of the numerous and careless travellers who have followed blind leaders1 and too often copied each other without the means or inclination of obtaining correct information1 are deserving of very little attention4 ,the circumstance of ,holbein's having painted a ,dance of ,peasants somewhere in the above city1 in conjunction with the usual mistake of ascribing to him the old ,macaber ,dance1 seems to have occasioned the above erroneous statements as to a ,dance of ,death by his pencil4 ,it is hardly possible that ,zuinger1 almost a contemporary1 when describing the ,dance of ,peasants and other paintings by ,holbein at ,basle would have omitted the mention of any ,dance of ,death3#abe but even admitting the former existence of such a painting1 it would not constitute him the inventor of the designs in the ,lyons work4 ,he might have imitated or copied those designs1 or the wood-cuts themselves1 or perhaps have painted subjects that were different from either4 ,we are now to take into consideration some very clear and important evidence that ,holbein actually did paint a ,dance of ,death4 ,this is to be found in the ,nugae of ,borbonius in the following verses3 ,de morte picta a ,hanso pictore nobili4 ,dum mortis ,hansus pictor imaginum exprimit1 ,tanta arte mortem retulit1 ut mors vivere ,videatur ipsa3 et ipse se immortalibus ,parem ,diis fecerit1 operis hujus gloria4#abf ,it has been already demonstrated that these lines could not refer to the old painting of the ,macaber ,dance at the ,dominican convent1 whilst1 from the important dedication to the edition of the wood-cuts first published at ,lyons in #aech1 it is next to impossible that that work could then have been in ,borbonius's contemplation4 ,it appears from several places in his ,nugae that he was in ,england in #aece1 at which time ,holbein drew his portrait in such a manner as to excite his gratitude and admiration in another copy of verses4#abg ,this was probably the chalk drawing still preserved in the fine collection of portraits of the eminent persons in the court of ,henry ,,viii4 formerly at ,kensington1 and thence removed to ,buckingham ,house1 and which has been copied in an elegant wood-cut1 that first appeared in the edition of the ,paidagogeion of ,borbonius1 ,lyons1 #aecf1 and afterward in two editions of his ,nugae4 ,it is inscribed ,,nic4 ,,borbonivs ,,vandop4 ,,anno ,,aetatis ,,xxxii4 #aece4 ,he returned to ,lyons in #aecf1 and it is known that he was there in #aech1 when he probably wrote the complimentary lines in ,holbein's ,biblical designs a short time before their publication1 either out of friendship to the painter1 or at the instance of the ,lyons publisher with whom he was certainly connected4 ,now if ,borbonius1 during his residence at ,lyons1 had been assured that the designs in the wood-cuts of the ,dance of ,death were the production of ,holbein1 would not his before-mentioned lines on that subject have been likewise introduced into the ,lyons edition of it1 or at least into some subsequent editions1 in none of which is any mention whatever made of ,holbein1 although the work was continued even after the death of that artist8 ,the application1 therefore1 of ,borbonius's lines must be sought for elsewhere2 but it is greatly to be regretted that he has not adverted to the place where the painting1 as he seems to call it1 was made4 ,very soon after the calamitous fire at ,whitehall in #afig1 which consumed nearly the whole of that palace1 a person calling himself ,t4 ,nieuhoff ,piccard1 probably belonging to the household of ,william the ,third1 and a man who appears to have been an amateur artist1 made the etchings in the article ,,ix4 already described in p4 #acj4 ,copies of them were presented to some of his friends1 with manuscript dedications to them4 ,three of these copies have been seen by the author of this ,dissertation1 and as the dedications differ from each other1 and are of very considerable importance on the present occasion1 the following extracts from them are here translated and transcribed3 ,,to ,,mynheer ,,heymans4 ,sir1--,the costly palace of ,whitehall1 erected by ,cardinal ,wolsey1 and the residence of ,king ,henry ,,viii4 contains1 among other performances of art1 a ,dance of ,death1 painted by ,holbein in its galleries1 which1 through an unfortunate conflagration1 has been reduced to ashes2 and even the little work which he has engraved with his own hand1 and which ,i have copied as near as possible1 is so scarce1 that it is known only to a few lovers of art4 ,and since the court has thought proper1 in consideration of your singular deserts1 to cause a dwelling to be built for you at ,whitehall1 ,i imagined it would not be disagreeable to you to be made acquainted with the former decorations of that palace4 ,it will not appear strange that the artist should have chosen the above subject for ornamenting the royal walls1 if we consider that the founder of the ,greek monarchy directed that he should be daily reminded of the admonition1 ',remember1 ,philip1 that thou art a man4' ,in like manner did ,holbein with his pencil give tongues to these walls to impress not only the king and his court1 but every one who viewed them with the same reflection4 ,he then proceeds to describe each of the subjects1 and concludes with some moral observations4 ,in another copy of these etchings the dedication is to ,the high1 noble1 and wellborn ,lord ,william ,benting1 ,lord of ,rhoon1 ,pendreght1 c4 ,sir1--,in the course of my constant love and pursuit of works of art1 it has been my good fortune to meet with that scarce little work of ,hans ,holbein neatly engraved on wood1 and which he himself had painted as large as life in fresco on the walls of ,whitehall4 ,in the copy which ,i presume to lay before you1 as being born in the same palace1 ,i have followed the original as nearly as possible1 and considering the partiality which every one has for the place of his birth1 a description of what is remarkable and curious therein and now no longer existing on account of its destruction by a fatal fire1 must needs prove acceptable1 as no other remains whatever have been left of that once so famous court of ,king ,henry ,,viii4 built by ,cardinal ,wolsey1 than your own dwelling4 ,he then repeats the story of ,philip of ,macedon1 and the account of the subjects of his etchings4 ,at the end of this dedication there is a fragment of another1 the beginning of which is lost4 ,the following passages only in it are worthy of notice4 ,the residence of ,king ,william4 ,i flatter myself with a familiar acquaintance with ,death1 since ,i have already lived long enough to seem to be buried alive1 c4 ,in other respects1 the same1 in substance1 as the preceding4 ,it is almost needless to advert to ,m4 ,nieuhoff ,piccard's mistake in asserting that ,holbein made the engravings which he copied2 but it would have been of some importance if1 instead of his pious ejaculations1 he had described all the subjects that ,holbein painted on the walls of the galleries at ,whitehall4 ,he must have used some edition of the wood-cuts posterior to that of #aede1 which did not contain the subjects of the ,german soldier1 the fool1 and the blind man1 all of which he has introduced4 ,it is possible1 however1 that he has given us all the subjects that were then remaining1 the rest having become decayed or obliterated from dampness and neglect1 and even those which then existed would soon afterwards perish when the remains of the old palace were removed4 ,his copies are by no means faithful1 and seem to be rather the production of an amateur than of a regular artist4 ,for his greater convenience1 he appears to have preferred using the wood engravings instead of the paintings2 and it is greatly to be regretted that we have no better or further account of them1 especially of the time at which they were executed4 ,the lives of ,holbein that we possess are uniformly defective in chronological arrangement4 ,there seems to be a doubt whether the ,earl of ,arundel recommended him to visit ,england2 but certain it is that in the year #aebf he came to ,london with a letter of that date addressed by ,erasmus to ,sir ,thomas ,more1 accompanied with his portrait1 with which ,more was so well satisfied that he retained him at his house at ,chelsea upwards of two years1 until ,henry ,,viii4 from admiration of his works1 appointed him his painter1 with apartments at ,whitehall4 ,in #aebi he visited ,basle1 but returned to ,england in #aecj4 ,in #aece he drew the portrait of his friend ,nicholas ,bourbon or ,borbonius at ,london1 probably the before-mentioned crayon drawing at ,buckingham ,house1 or some duplicate of it4 ,in #aech he painted the portrait of ,sir ,richard ,southwell1 a privy counsellor to ,henry ,,viii4 which was afterwards in the gallery of the ,grand ,duke of ,tuscany4#abh ,about this time the magistrates of the city of ,basle settled an annuity on him1 but conditionally that he should return in two years to his native place and family1 with which terms he certainly did not comply1 preferring to remain in ,england4 ,in the last-mentioned year he was sent by the king into ,burgundy to paint the portrait of the ,duchess of ,milan1 and in #aeci to ,germany to paint that of ,anne of ,cleves4 ,in some household accounts of ,henry ,,viii4 there are payments to him in #aech1 #aeci1 #aedj1 and #aeda1 on account of his salary1 which appears to have been thirty pounds per annum4#abi ,from this time little more is recorded of him till #aeec1 when he painted ,queen ,mary's portrait1 and shortly afterwards died of the plague in ,london in #aeed4 ,in the absence of positive evidence it may surely be allowed to substitute probable conjecture2 and as it cannot be clearly proved that ,holbein painted a ,dance of ,death at ,basle1 may not the before-mentioned verses of ,borbonius refer to his painting at ,whitehall1 and which the poet must himself have seen8 ,it is no objection that ,borbonius remained a year only in ,england1 when his portrait was painted by his friend ,holbein in #aece1 or that the verses did not make their appearance till #aech1 for they seem rather to fix the date of the painting1 if really belonging to it1 between those years2 and it is not unreasonable to suppose that ,borbonius would hold some intercourse with the painter1 even after leaving ,england1 as is indeed apparent from other compliments bestowed on him in his ,nugae1 the contents of which are by no means chronologically arranged1 and many of the poems known to have been written long before their publication4 ,the lines in question might have been written any where1 and at any time1 and this may be very safely stated until the real time in which the ,whitehall painting was made shall be ascertained4 ,in one of ,vanderdort's manuscript catalogues of the pictures and rarities transported from ,st4 ,james's to ,whitehall1 and placed there in the newly erected cabinet room of ,charles ,i4 and in which several works by ,holbein are mentioned1 there is the following article3 ,a little piece where ,death with a green garland about his head1 stretching both his arms to apprehend a ,pilate in the habit of one of the spiritual ,prince ,electors of ,germany4 ,copied by ,isaac ,oliver from ,holbein4#acj ,there cannot be a doubt that this refers to the subject of the ,elector1 as painted by ,holbein in the ,dance of ,death at ,whitehall1 proving at the same time the identity of the painting with the wood-cuts1 whatever may be the inference4 ,sandrart1 after noticing a remarkable portrait of ,henry ,,viii4 at ,whitehall1 states1 that there yet remains in that palace another work by ,holbein that constitutes him the ,apelles of the time4#aca ,this is certainly very like an allusion to a ,dance of ,death4 ,it is by no means improbable that ,mathew ,prior may have alluded to ,holbein's painting at ,whitehall1 as it is not likely that he would be acquainted with any other4 ,our term of life depends not on our deed1 ,before our birth our funeral was decreed1 ,nor aw'd by foresight1 nor misled by chance1 ,imperious death directs the ebon lance1 ,peoples great ,henry's tombs1 and leads up ,holbein's ,dance4 ,ode to the ,memory of ,george ,villiers4 ,,chapter ,x4 ,other ,dances of ,death4 ,having thus disposed of the two most ancient and important works on the subject in question1 others of a similar nature1 but with designs altogether different1 and introduced into various books1 remain to be noticed1 and such are the following3 ,i4 ,les loups ravissans fait et compose par maistre ,robert ,gobin prestre1 maistre es ars licencie en decret1 doyen de crestiente de ,laigny sur ,marne au dyocese de ,paris1 advocat en court d'eglise4 ,imprime pour ,anthoine ,verard a ,paris1 #dto4 without date1 but about #aejj4 ,this is a very bitter satire1 in the form of a dream1 against the clergy in general1 but more particularly against ,popes ,john ,,xxii4 and ,boniface ,,viii4 ,a wolf1 in a lecture to his children1 instructs them in every kind of vice and wickedness1 but is opposed1 and his doctrines refuted1 by an allegorical personage called ,holy ,doctrine4 ,in a second vision ,death appears to the author1 accompanied by ,fate1 ,war1 ,famine1 and ,mortality4 ,all classes of society are formed into a ,dance1 as the author chooses to call it1 and the work is accompanied with twenty-one very singular engravings on wood1 executed in a style perhaps nowhere else to be met with4 ,the designs are the same as those in the second ,dance of the ,horae1 printed by ,higman for ,vostre1 ,no4 ,i4 page #fa4 ,,ii4 ,a booke of ,christian prayers1 collected out of the ancient writers1 c4 ,printed by ,j4 ,day1 #aefi4 #dto4 ,afterwards in #aegh1 #aeha1 #aeij1 and #afji4 ,it is more frequently mentioned under the title of ,queen ,elizabeth's prayer-book1 a most unsuitable title1 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 him4#acb ,this book was most probably compiled by the celebrated ,john ,fox1 and is accompanied with elegant borders in the margins of every leaf cut in wood by an unknown artist whose mark is monogram3 ,,ci1 though they have been most unwarrantably ascribed to ,holbein1 and even to ,agnes ,frey1 the wife of ,albert ,durer1 who is not known with any certainty to have practised the art of engraving4 ,at the end is a ,dance of ,death different from every other of the kind1 and of singular interest1 as exhibiting the costume of its time with respect to all ranks and conditions of life1 male and female4 ,these are the characters4 ,the ,emperor1 the ,king1 the ,duke1 the ,marques1 the ,baron1 the ,vicount1 the ,archbishop1 the ,bishop1 the ,doctor1 the ,preacher1 the ,lord1 the ,knight1 the ,esquire1 the ,gentleman1 the ,judge1 the ,justice1 the ,serjeant at law1 the ,attorney1 the ,mayor1 the ,shirife1 the ,bailife1 the ,constable1 the ,physitian1 the ,astronomer1 the ,herauld1 the ,sergeant at arms1 the ,trumpetter1 the ,pursevant1 the ,dromme1 the ,fife1 the ,captaine1 the ,souldier1 the ,marchant1 the ,citizen1 the ,printers 7in two compartments71 the ,rich ,man1 the ,aged ,man1 the ,artificer1 the ,husbandman1 the ,musicians 7in two compartments71 the ,shepheard1 the ,foole1 the ,beggar1 the ,roge1 of ,youth1 of ,infancie4 ,then the females4 ,the ,empresse1 the ,queene1 the ,princes1 the ,duchesse1 the ,countesse1 the ,vicountesse1 the ,baronnesse1 the ,lady1 the ,judge's ,wife1 the ,lawyer's ,wife1 the ,gentlewoman1 the ,alderman's ,wife1 the ,marchantes ,wife1 the ,citizen's ,wife1 the ,rich ,man's ,wife1 the ,young ,woman1 the ,mayde1 the ,damosell1 the ,farmar's ,wife1 the ,husbandman's ,wife1 the ,countriwoman1 the ,nurse1 the ,shepheard's ,wife1 the ,aged ,woman1 the ,creeple1 the ,poore ,woman1 the ,infant1 the 7female7 ,foole4 ,all these are designed in a masterly manner1 and delicately engraved4 ,the figures of the ,deaths occasionally abound in much humour1 and always with appropriate characters4 ,the names of the unknown artists were worthy of being recorded4 ,,iii4 ,icones mortis1 sexaginta imaginibus totidemque inscriptionibus insignitae versibus quoque ,latinis et novis ,germanicis illustratae4 ,norimbergae ,christ4 ,lockner1 #afdh1 #hvo4#acc ,,iv4 ,rudolph ,meyers ,s3 ,todten dantz ergantz et und heraus gegeben durch ,conrad ,meyern ,maalern in ,zurich1 im jahr #afej4 ,on an engraved title page1 representing an angel blowing a trumpet1 with a motto from the ,apocalypse4 ,death or ,time holds a lettered label with the above inscription or title4 ,in the back ground groups of small figures allusive to the last judgment4 ,then follows a printed title ,sterbenspiegel das ist sonnenklare vorstellung menschlicher nichtigkeit durch alle ,stand und ,geschlechter3 vermitlest #fj dienstlicher kupferblatteren lehrreicher uberschrifften und beweglicher zu vier stimmen auszgesetzter ,todtengesangen1 vor disem angefangen durch ,rudolffen ,meyern ,s4 von ,zurich1 c4 ,jetzaber zu erwekung nohtwendiger ,todsbetrachtung verachtung irdischer eytelkeit2 und beliebung seliger ewigkeit zuend gebracht und verlegt durch ,conrad ,meyern ,maalern in ,zurich und daselbsten bey ihme zufinden4 ,getruckt zu ,zuerich bey ,johann ,jacob ,bodmer1 ,,mdcl4 #dto4 that is3 ,the ,mirror of ,death--that is--a brilliant representation of human nothingness in all ranks and conditions1 by means of #fj appropriate ,copperplates1 spiritual superscriptions1 and moving songs of ,death1 arranged for four voices1 formerly commenced by ,rudolph ,meyer of ,zurich1 c4 but now brought to an end and completed1 for the awaking of a necessary consideration of death1 a contempt of earthly vanity1 and a love of blissful eternity1 by ,conrad ,meyer of ,zurich1 of whom they are to be had4 ,printed at ,zurich1 by ,john ,jacob ,bodmer1 ,,mdcl4 ,the subjects are the following3--#a4 ,the ,creation4 #b4 ,the ,fall4 #c4 ,expulsion from ,paradise4 #d4 ,punishment of ,man4 #e4 ,triumph of ,death4 #f4 ,an allegorical frontispiece relating to the class of the ,clergy4 #f4 ,the ,pope4 #g4 ,the ,cardinal4 #h4 ,the ,bishop4 #i4 ,the ,abbot4 #aj4 ,the ,abbess4 #aa4 ,the ,priest4 #ab4 ,the ,monk4 #ac4 ,the ,hermit4 #ad4 ,the ,preacher4 #ae4 ,an allegorical frontispiece to the class of ,rulers and ,governors4 #ae4 ,the ,emperor4 #af4 ,the ,empress4 #ag4 ,the ,king4 #ah4 ,the ,queen4 #ai4 ,the ,prince ,elector4 #bj4 ,the ,earl and ,countess4 #ba4 ,the ,knight4 #bb4 ,the ,nobleman4 #bc4 ,the ,judge4 #bd4 ,the ,steward1 ,widow1 and ,orphan4 #be4 ,the ,captain4 #bf4 ,an allegorical frontispiece to the ,lower ,classes4 #bf4 ,the ,physician4 #bg4 ,the ,astrologer4 #bh4 ,the ,merchant4 #bi4 ,the ,painter and his kindred3 among these the old man is ,dietrich ,meyern2 the painter resembles the portrait of ,conrad ,meyern in ,sandrart1 and the man at the table is probably ,rudolph ,meyern4 #cj4 ,the ,handcraftsman4 #ca4 ,the ,architect4 #cb4 ,the ,innkeeper4 #cc4 ,the ,cook4 #cd4 ,the ,ploughman4 #ce4 ,the ,man and ,maid ,servant4 #cf4 ,the old ,man4 #cg4 ,the old ,woman4 #ch4 ,the ,lovers4 #ci4 ,the ,child4 #dj4 ,the ,soldier4 #da4 ,the ,pedler4 #db4 ,the ,highwayman4 #dc4 ,the ,quack ,doctor4 #dd4 ,the ,blind ,man4 #de4 ,the ,beggar4 #df4 ,the ,jew4 #dg4 ,the ,usurer4 #dh4 ,the ,gamesters4 #di4 ,the ,drunkards4 #ej4 ,the ,gluttons4 #ea4 ,the ,fool4 #eb4 ,the ,certainty of ,death4 #ec4 ,the ,uncertainty of ,death4 #ed4 ,the ,last ,judgment4 #ee4 ,christ's ,victory4 #ef4 ,salvation4 #eg4 ,true and ,false ,religion4 ,the text consists chiefly of ,death's apostrophe to his victims1 with their remonstrances1 verses under each subject1 and various other matters4 ,at the end are pious songs and psalms set to music4 ,this work was jointly executed by two excellent artists1 ,rodolph and ,conrad ,meyer or ,meyern1 natives of ,zurich4 ,the designs are chiefly by ,rodolph1 and the etchings by ,conrad1 consisting of sixty very masterly compositions4 ,the grouping of the figures is admirable1 and the versatile representations of ,death most skilfully characterized4 ,many of the subjects are greatly indebted to the ,lyons wood engravings4 ,in #afeg and #agei there appeared other editions of the latter1 with this title1 ,die menschliche ,sterblichkeit under dem titel ,todten ,tanz in ,,lxi original-kupfern1 von ,rudolf und ,conrad ,meyern beruhmten kunstmahlern in ,zurich abermal herausgegeben1 nebst neven1 dazu dienenden1 moralischen versen und veber schriften4 ,that is1 ,human mortality1 under the title of the ,dance of ,death1 in #fa original copper prints of ,rudolf and ,conrad ,meyern1 renowned painters at ,zurich1 to which are added appropriate moral verses and inscriptions4 ,hamburg and ,leipsig1 #agei1 #dto4 ,the prolegomena are entirely different from those in the other edition1 and an elaborate preface is added1 giving an account of several editions of the ,dance of ,death4 ,instead of the ,captain1 ,no4 #be1 the ,ensign is substituted1 and the ,cook is newly designed4 ,some of the numbers of the subjects are misplaced4 ,the etchings have been retouched1 and on many the date of #afcg is seen1 which had no where occurred in the first edition here described4 ,in #agjd copies of #eb of these etchings were published at ,augsburg1 under the title of ,tripudium mortis per victoriam super carnem universae orbis terrae erectum4 ,ab ,a4 ,c4 ,redelio ,s4 ,c4 ,m4 ,t4 ,p4 on a label held by ,death as before4 ,then the ,german title ,erbaulicher ,sterb-,spiegel dast ist sonnen-klahre vorstellung menschlicher nichtigkeit durch alle stande und geschlechter3 vermittelst schoner kupffern1 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 ,redelio1 ,belg4 ,mech4 ,sac4 ,caes4 ,majest4 ,l4 ,p4 ,augsburg zu finden bey ,johann ,philipp ,steudner4 ,druckts1 ,abraham ,gugger4 #agjd4 #dto4 ,that is1 ,an edifying mirror of mortality1 representing the nullity of man through all stations and generations1 by means of beautiful engravings in copper1 instructive inscriptions1 and heart-moving lays of ,death1 as an appendix to the work formerly edited by ,rudolph and ,conrad ,meyern of ,zurich1 but now published with ,latin inscriptions1 and engravings augmented and renewed by the worldly renowned poet ,augustin ,casimir ,redel1 c4 ,in this edition the ,pope and all the other religious characters are omitted1 probably by design4 ,the etchings are very inferior to the fine originals1 and without the name of the artist4 ,the dresses are frequently modernised in the fashion of the time1 and other variations are occasionally introduced4 ,v4 ,den ,algemeynen dooden ,spiegel van ,pater ,abraham a ,sancta ,clara1 i4 e4 ,the universal mirror of ,death of ,father ,abraham a ,sancta ,clara4 ,on a frontispiece engraved on copper1 with a medallion of the author1 and various allegorical figures4 ,then the printed title1 ,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 historien1 ,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 ,leopoldus4 ,getrouwelyck overgeset vyt het hoogh-duyts in onse ,nederduytsche ,taele4 ,tot ,brussel1 by de ,wed4 ,g4 ,jacobs tegen de ,baert-brugge in de ,druckerye1 #agcj4 #abmo4 i4 e4 ,the universal mirror of ,death taken from the chapel of the dead2 in which all men may see themselves properly1 whether laughing or weeping1 ornamented with pretty stories1 spirited poems1 and instructive prints1 arranged by ,father ,abraham a ,sancta ,clara1 of the ,augustinian order1 and preacher to his ,imperial ,majesty ,leopold1 and faithfully translated out of ,high ,dutch into our ,netherlandish language4 ,the work consists of sixty-seven engravings on wood within borders1 and of very indifferent execution in all respects2 the text a mixture of prose and poetry of a religious nature1 allusive to the subjects1 which are not uniformly a dance of ,death4 ,the best among them are the ,painter1 p4 #de2 the ,drunkard1 p4 #ge2 the dancing ,couple1 ,death playing the ,flageolet1 p4 #ajc2 the ,fowler1 p4 #aac2 the hen-pecked ,husband1 p4 #aci2 the ,courtezan1 p4 #adg2 the ,musician1 p4 #aic2 the ,gamester1 p4 #bba2 and the blind ,beggar1 p4 #bhi4 ,,vi4 ,geistliche ,todts-,gedanchen bey allerhand semahlden und ,tchildereyn in vabildung ,interschiedlichen geschlechts1 alters1 standes1 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 gebracht1 dardurch zumheyl der seelen im gemuth des geneighten lesers ein lebendige forcht und embsige vorsorg des ,todes zu erwecken4 ,cum permissu superiorum4 ,passau ,gedrucht bey ,frederich ,gabriel ,mangold1 hochfurst1 hof buchdruckern1 #agec4 ,lintz1 verlegts ,frantz ,anton ,ilger1 ,burgerl1 ,buchhandlern allda4 ,folio4 ,in ,english1 ,the ,spiritual ,dance of ,death in all kinds of pictures and representations1 whereby persons of every age1 sex1 rank1 and dignity1 may be reminded of ,death1 from which lesson they may exercise themselves in virtue1 and avoid sin4 ,first put upon copper1 and afterwards1 through moral considerations and investigations brought to light in ,death's own colours1 thereby for the good of the souls of the well inclined readers to awaken in them a lively fear and diligent anticipation of ,death4 ,the subjects are3 #a4 ,the ,creation4 #b4 ,temptation4 #c4 ,expulsion4 #d4 ,punishment4 #e4 ,a charnel house1 with various figures of ,death1 three in the back-ground dancing4 #f4 ,the ,pope4 #g4 ,cardinal4 #h4 ,bishop4 #i4 ,abbot4 #aj4 ,canon4 #aa4 ,preacher4 #ab4 ,chaplain4 #ac4 ,monk4 #ad4 ,abbess4 #ae4 ,nun4 #af4 ,emperor4 #ag4 ,empress4 #ah4 ,king4 #ai4 ,queen4 #bj4 ,prince4 #ba4 ,princess4 #bb4 ,earl4 #bc4 ,countess4 #bd4 ,knight4 #be4 ,nobleman4 #bf4 ,judge4 #bg4 ,counsellor4 #bh4 ,advocate4 #bi4 ,physician4 #cj4 ,astrologer4 #ca4 ,rich man4 #cb4 ,merchant4 #cc4 ,shipwreck4 #cd4 ,lovers4 #ce4 ,child4 #cf4 ,old man4 #cg4 ,old woman4 #ch4 ,carrier4 #ci4 ,pedler4 #dj4 ,ploughman4 #da4 ,soldier4 #db4 ,gamesters4 #dc4 ,drunkards4 #dd4 ,murderer4 #de4 ,fool4 #df4 ,blind man4 #dg4 ,beggar4 #dh4 ,hermit4 #di4 ,corruption4 #ej4 ,last ,judgment4 #ea4 ,allegory of ,death's ,arms1 c4 ,the designs and some of the engravings are by ,m4 ,rentz1 for the most part original1 with occasional hints from the ,lyons wood-cuts4 ,another edition with some variation was printed at ,hamburg1 #agei1 folio4 ,,vii4 ,in the ,lavenburg ,calendar for #agib1 are #ab designs by ,chodowiecki for a ,dance of ,death4 ,these are3 #a4 ,the ,pope4 #b4 ,the ,king4 #c4 ,the ,queen4 #d4 ,the ,general4 #e4 ,the ,genealogist4 #f4 ,the ,physician4 #g4 ,the ,mother4 #h4 ,the ,centinel4 #i4 ,the ,fish ,woman4 #aj4 ,the ,beggar4 #aa4 ,the fille de joye and bawd4 #ab4 ,the ,infant4 ,,viii4 ,a ,dance of ,death in one of the ,berne ,almanacks1 consisting of the #af following subjects4 #a4 ,death fantastically dressed as a beau1 seizes the city maiden4 #b4 ,death wearing a ,kevenhuller hat1 takes the housemaid's broom from her4 #c4 ,death seizes a terrified washerwoman4 #d4 ,he takes some of the apple-woman's fruit out of her basket4 #e4 ,the cellar maid or tapster standing at the door of an alehouse is summoned by death to accompany him4 #f4 ,he lays violent hands upon an abusive strumpet4 #g4 ,in the habit of an old woman he lays hold of a midwife with a newly born infant in her hands4 #h4 ,with a shroud thrown over his shoulder he summons the female mourner4 #i4 ,in the character of a young man with a chapeau bras he brings a urinal for the physician's inspection4 #aj4 ,the life-guardsman is accompanied by ,death also on horseback and wearing an enormous military hat4 #aa4 ,death with a skillet on his head plunders the tinker's basket4 #ab4 ,death in a pair of jack-boots leads the postilion4 #ac4 ,the lame beggar led by ,death4 #ad4 ,death standing in a grave pulls the grave digger towards him by the leg4 #ae4 ,death seated on a plough with a scythe in his left hand1 seizes the farmer1 who carries several implements of husbandry on his shoulders4 #af4 ,the fraudulent inn-keeper in the act of adulterating his liquor in the cask1 is throttled by ,death who carries an ale vessel at his back4 ,these figures are cut on wood in a free and masterly manner1 by ,zimmerman1 an artist much employed in the decoration of these calendars4 ,the prints are accompanied with dialogues between ,death and the respective parties4 ,,ix4 ,freund ,heins ,erscheinungen in ,holbeins manier von ,j4 ,r4 ,schellenberg ,winterthur1 bey ,heinrich ,steiner und ,comp4 #aghe1 #hvo4 ,that is--,friend ,heins appearance in the manner of ,holbein1 by ,j4 ,r4 ,schellenberg4 ,the preface states that from the poverty of the ,german language in synonymous expressions for the allegorical or ideal ,death1 the author has ventured to coin the jocose appellation of ,friend ,hein1 which will be understood from its resemblance to ,hain or ,hayn1 a word signifying a grove4 ,the sagacity of the ,german reader will perhaps discover the analogy4 ,the subjects are #bd in number1 as follow3 #a4 ,love interrupted4 ,the lovers are caught by ,death in a net1 and in no very decent attitude4 #b4 ,suicide4 ,a man shoots himself with a pistol1 and falls into the arms of ,death4 #c4 ,death in the character of a beau visits a lady at her toilet4 #d4 ,the ,aeronaut4 ,the balloon takes fire1 and the aeronaut is precipitated4 #e4 ,death's visit to the school4 ,he enters at a door inscribed ,,silentium1 and puts the scholars to flight4 #f4 ,bad distribution of alms4 #g4 ,expectation deluded4 ,death disguised as a fine lady lays hands upon a beau1 who seems to have expected a very different sort of visitor4 #h4 ,unwelcome officiousness4 ,death feeding an infant with poison1 the nurse wringing her hands in despair4 #i4 ,the dissolution of the monastery4 ,the ,abbot followed by his monks receives the fatal summons in a letter delivered to him by ,death4 #aj4 ,the company of a friend4 ,an aged man near a grave wrings his hands4 ,death behind directs his attention to heaven4 #aa4 ,the lottery gambler4 ,death presents him with the unlucky ticket4 #ab4 ,the woman of ,vienna and the woman of ,rome4 ,death seizes one1 and points to the other4 #ac4 ,the ,usurer4 ,death shuts him into his money chest4 #ad4 ,the ,glutton4 ,death seizes him at table1 and forcibly pours wine down his throat4 #ae4 ,the ,rope-dancer4 ,death mounted on an ass1 and fantastically apparelled1 enters the circle of spectators1 and seizes the performer by one of his legs4 #af4 ,the lodge of secrecy 7freemasonry74 ,death introduces a novice blindfold to the lodge4 #ag4 ,the recruiting ,officer4 ,death enlists some country fellows1 a fiddler preceding4 #ah4 ,berthold ,swartz4 ,death ignites the contents of the mortar1 and blows up the monk4 ,in the usual representations of this story the ,devil is always placed near the monk4 #ai4 ,the ,duel4 ,a man strikes with a sword at ,death1 who is lifting up the valves of a window4 #bj4 ,the plunder of the falling-trap4 ,death demolishes a student by throwing a bookcase filled with books upon him4 #ba4 ,silence surrendered4 ,death appears to a schoolmistress4 ,the children terrified1 escape4 #bb4 ,the privilege of the strong4 ,death lays violent hands on a lady1 whom her male companions in vain endeavour to protect4 #bc4 ,the apothecary4 ,death enters his shop1 and directs his attention to the poor patients who are coming in4 #bd4 ,the ,conclusion4 ,two anatomists joining hands are both embraced by ,death4 ,the best of these subjects are ,nos4 #d1 #ac1 #ad1 #ae1 and #ah4 ,the text is a mixture of prose and verse4 ,x4 ,the ,english ,dance of ,death1 from the designs of ,thomas ,rowlandson1 with metrical illustrations by the author of ,doctor ,syntax4 #b vols4 #hvo4 #ahae-ahaf4 ,ackermann4 ,in seventy-two coloured engravings4 ,among these the most prominent and appropriate are1 the last ,chase2 the ,recruit2 the ,catchpole2 the ,death-blow2 the ,dramshop2 the ,skaiters2 the ,duel2 the ,kitchen2 the ,toastmaster2 the ,gallant's downfall2 and the fall of four in hand4 ,the rest are comparatively feeble and irrelevant1 and many of the subjects ill-chosen1 and devoid of that humour which might have been expected from the pencil of ,rowlandson1 whose grotesque predominates as usual in the groups4 ,,xi4 ,death's ,doings1 consisting of numerous original compositions in prose and verse1 the friendly contributions of various writers1 principally intended as illustrations of #bd plates designed and etched by ,r4 ,dagley1 author of ,select gems from the antique1 c4 #ahbf4 #hvo4 ,from the intrinsic value and well deserved success of this work1 a new edition was almost immediately called for1 which received many important additions from the modest and ingenious author4 ,among these a new frontispiece1 from the design of ,adrian ,van ,venne1 the celebrated ,dutch poet and painter1 is particularly to be noticed4 ,this edition is likewise enriched with numerous elegant contributions1 both in prose and verse1 from some of the best writers of the age4 ,,xii4 ,a modern ,french ,dance of ,death1 under the title of ,voyage pour l',eternite1 service general des omnibus acceleres1 depart a tout heure et de tous les point du globe4 ,par ,j4 ,grandville4 ,no date1 but about #ahcj4 ,a series of nine lithographic engravings1 including the frontispiece4 ,oblong #dto4 ,these are the subjects3 #a4 ,frontispiece4 ,death conducting passengers in his omnibus to the cemetery of ,pere la ,chaise4 #b4 ,c'est ici le dernier relai4 ,death as a postilion gives notice to a traveller incumbered with his baggage1 c4 #c4 ,vais-je bien8 444 vous avancez horriblement4 ,death enters a watchmaker's shop1 and shews his hour-glass to the master and his apprentice4 #d4 ,monsieur le ,baron1 on vous demande4--,dites que je n'y suis pas4 ,death having entered the apartment1 the valet communicates his summons to his gouty master lying on a couch4 #e4 ,soyez tranquille1 j'ai un garcon qui ne se trompe jamais4 ,the apothecary addresses these words to some cautious patients whilst he fills a vessel which they have brought to his shop4 ,death1 as an apprentice in another room1 pounds medicines in a mortar4 #f4 ,voila1 ,messieurs1 un plat de mon metier4 ,a feast4 ,death as a waiter enters with a plate of poisonous fruit4 #g4 ,voulez vous monter chez moi1 mon petit ,monsieur1 vous n'en serez pas fache1 allez4 ,death1 tricked out as a fille de joye with a mask1 entices a youth introduced by a companion4 #h4 --,pour une consultation1 ,docteur1 j'en suis j'vous suis 444 ,death in the character of an undertaker1 his hearse behind1 invites an old man to follow him4 #i4 ,oui1 ,madame1 ce sera bien la promenade la plus delicieuse6 une voiture dans le dernier gout6 un cheval qui fend l'air1 et le meilleur groom de ,france4 ,death1 habited as a beau1 conducts a lady followed by her maid to a carriage in waiting4 ,,xiii4 ,the ,british ,dance of ,death1 exemplified by a series of engravings from drawings by ,van ,assen1 with explanatory and moral essays4 ,printed by and for ,george ,smeeton1 ,royal ,arcade1 ,pall ,mall4 #hvo4 no date4 ,with a frontispiece designed by ,geo4 ,cruikshank1 representing a crowned sitting ,death1 holding a scythe in one hand1 and with the other leaning on a globe4 ,this is circular in the middle4 ,over it two small compartments of ,death striking an infant in the cradle1 and a sick man4 ,at bottom1 two others of ,death demolishing a glutton and a drunkard4 ,a short preface states that the work is on the plan of the celebrated designs of ,holbein1 meaning of course the ,lyons work1 but to which it has not the smallest resemblance1 and refers to ,lord ,orford for the mention of the ,basle dance1 which1 as having two or sometimes three figures only1 it does resemble4 ,it then states that the late ,mr4 ,van ,assen had no intention of publishing these designs1 which now appear in compliance with the wishes of many of his friends to possess them4 ,they are very neatly engraved1 and tinted in imitation of the original drawings1 but are wholly destitute of that humour which might have been expected from the pencil of the ingenious inventor1 and which he has manifested on many other occasions4 ,the subjects are the following3 #a4 ,the ,infant4 #b4 ,juvenile piety4 #c4 ,the ,student4 #d4 ,the ,sempstress4 #e4 ,the musical ,student4 #f4 ,the ,dancer4 #g4 ,the female ,student4 #h4 ,the ,lovers4 #i4 ,the industrious ,wife4 #aj4 ,the ,warrior4 #aa4 ,the ,pugilists4 #ab4 ,the ,glutton4 #ac4 ,the ,drunkard4 #ad4 ,the ,watchman4 #ae4 ,the ,fishwoman4 #af4 ,the ,physician4 #ag4 ,the ,miser4 #ah4 ,old ,age4 ,death with his dart is standing near all these figures1 but does not seem to be noticed by any of them4 ,,xiv4 ,a ,dance of ,death in ,danish rimes is mentioned in ,nyerup's ,bidragh til den ,danske digtakunst historie4 #ahjj4 #abmo4 ,,xv4 ,john ,nixon ,coleraine1 an amateur1 and secretary to the original ,beef ,stake ,club1 etched a dance of ,death for ladies' fans4 ,he died only a few years ago4 ,published by ,mr4 ,fores1 of ,piccadilly1 who had the copper-plates1 but of which no impressions are now remaining4 ,,chapter ,,xi4 ,dances of ,death1 with such text only as describes the subjects4 ,i4 ,six small circles on a single sheet1 engraved on copper by ,israel ,van ,meckenen4 #a4 ,christ sitting on his cross4 #b4 ,three skulls on a table4 #c4 ,death and the ,pope4 #d4 ,death riding on a lion1 and the ,patriarch4 #e4 ,death and the ,standard-bearer4 #f4 ,death and the ,lady4 ,at top memento mori1 at bottom ,israhel ,v4 ,m4 ,,ii4 ,a ,dance of ,death1 engraved on copper1 by ,henry ,aldegrever4 #a4 ,creation of ,eve4 #b4 ,adam and ,eve eating the forbidden fruit4 #c4 ,expulsion from ,paradise4 #d4 ,adam digging1 ,eve spinning4 #e4 ,death and the ,pope4 #f4 ,death and the ,cardinal4 #g4 ,death and the ,bishop4 #h4 ,death and the ,abbot4 ,all these have the date #aeda1 and with some variations follow the ,lyons woodcuts4 ,they have scriptural texts in ,latin4 #abmo4 ,the whole were afterwards copied in a work by ,kieser1 already described1 p4 #aba4 ,,iii4 ,a ,dance of ,death1 consisting of eight subjects1 engraved on copper by an unknown artist1 whose mark is monogram3 ,,ac4 #a4 ,death beating a drum1 precedes a lady and gentleman accompanied by a little dog4 #b4 ,death playing on a stickado1 precedes a lady and gentleman dancing back to back1 below an hour-glass4 #c4 ,death1 with an hour-glass in his right hand1 lays his left on the shoulder of a gentleman taking hold of a lady with his right hand1 and carrying a hawk with his left4 #d4 ,death crowned with a garland1 and holding an hour-glass in his left hand1 stands between a lady and gentleman joining hands4 #e4 ,death1 with a fool's cap and hood1 a dagger of lath1 and a bladder1 holds up an hour-glass with his right hand2 with his left he seizes the hand of a terrified lady accompanied by a gentleman1 who endeavours to thrust away the unwelcome companion4 #f4 ,another couple led by ,death4 #g4 ,death with a cap and feathers holds an hour-glass in his right hand1 and with his left seizes a lady1 whom a gentleman endeavours to draw away from him4 ,all have the date #aefb4 #abmo4 ,size1 three inches by two4 ,they are described also in ,bartsch1 ,peintre ,graveur1 ix4 #dhb1 and have been sometimes erroneously ascribed to ,aldegrever4 ,illustration ,,iv4 ,a ,dance of ,death1 extremely well executed on wood1 the designs of which have been taken from a set of initial letters1 that will hereafter be particularly described4 ,they are upright1 and measure two inches by one and a half4 ,each subject is accompanied with two ,german verses4 ,v4 ,on the back of the title page to ,die kleyn furstlich ,chronica1 ,strasb4 #aedd1 #dto4 are three subjects that appear to be part of a series4 #a4 ,death and the ,pope1 who has a book and triple crosier4 ,death kneels to him whilst he plays on a tabor and drum4 #b4 ,death and the ,king4 ,death blows a trumpet4 #c4 ,death shoots an arrow at a warrior armed with sword and battle-axe4 ,all these figures are accompanied with ,german verses1 and are neatly engraved on wood4 ,,vi4 ,a series of single figures1 etched with great spirit by ,giovanni ,maria ,mitelli4 ,they are not accompanied by ,death1 but hold dialogues with him in ,italian stanzas4 ,the characters are1 #a4 ,the ,astrologer4 #b4 ,the ,doctor of universal science4 #c4 ,the ,hunter4 #d4 ,the ,mathematician4 #e4 ,the ,idolater4 ,they are not mentioned in ,bartsch1 nor in any other list of the works of engravers4 ,it is possible that there are more of them4 ,,vii4 ,the five ,deaths1 etched by ,della ,bella4 #a4 ,a terrific figure of ,death on a galloping horse4 ,in his left hand a trumpet1 to which a flag1 agitated by the wind1 is attached4 ,in the back ground1 several human skeletons1 variously employed4 #b4 ,death carrying off an infant in his arms4 ,in the back-ground1 the church-yard of the ,innocents at ,paris4 #c4 ,death walking away with a young child on his back4 ,in the distance1 another view of the above cemetery4 #d4 ,death carrying off a female on his shoulders1 with her head downwards1 followed at a distance by another ,death holding a corpse in his arms4 #e4 ,death dragging a reluctant old man towards a grave1 in which another ,death1 with an hour-glass in his hand1 awaits him4 ,all these are extremely fine1 and executed in the artist's best time4 ,there is a sixth of the series1 representing ,death throwing a young man into a well1 but it is very inferior to the others4 ,it was begun by ,della ,bella a short time before his death1 and finished by his pupil ,galestruzzi1 about #affd4 ,della ,bella likewise etched a long print of the triumph of ,death4 ,,viii4 ,a single anonymous ,french engraving on copper1 #ad-a_/b by #f-a_/b1 containing three subjects4 #a4 ,death and the soldier4 #b4 ,death standing with a pruning knife in his right hand1 and a winged hour-glass in his left4 ,under him are three prostrate females1 one plays on a violin2 the next1 who represents ,pride1 holds a peacock in one hand and a mirror in the other2 the third has a flower in her left hand4 #c4 ,death and the lady4 ,he holds an hour-glass and dart1 and she a flower in her right hand4 ,under each subject are ,french verses4 ,this may perhaps be one only of a set4 ,,ix4 ,a ,german ,dance of ,death1 in eight oblong engravings on copper1 #aa by #h-a_/b1 consisting of eight sheets and twenty-five subjects1 as follow4 #a4 ,a fantastic figure of a ,death1 with a cap and feathers1 in the attitude of dancing and playing on a flute4 ,he is followed by another dancing skeleton carrying a coffin on his shoulder4 #b4 ,pope4 #c4 ,emperor4 #d ,empress4 #e4 ,cardinal4 #f4 ,king4 #g4 ,bishop4 #h4 ,duke or ,general4 #i4 ,abbot4 #aj4 ,knight4 #aa4 ,carthusian4 #ab4 ,burgomaster4 #ac4 ,canon4 #ad4 ,nobleman4 #ae4 ,physician4 #af4 ,usurer4 #ag4 ,chaplain4 #ah4 ,bailiff or ,steward4 #ai4 ,churchwarden4 #bj4 ,merchant4 #ba4 ,hermit4 #bb4 ,peasant4 #bc4 ,young ,man4 #bd4 ,maiden4 #be4 ,child4 ,this is a complete set of the prints1 representing the ,lubeck painting1 already described in p4 #dc4 ,in the translation of the inscriptions1 as given by ,dr4 ,nugent1 two more characters are added at the end1 viz4 the ,dancing ,master and the ,fencing ,master4 ,on the spectator's left hand of ,no4 #a4 of these engravings1 is a column containing the following inscription in ,german1 in ,english as follows3 ,silence1 fool-hardy one1 whoever thou art1 who1 with needless words1 profanest this holy place4 ,this is no chapel for talking1 but thy sure place is in ,death's ,dance4 ,silence then1 silence1 and let the painting on these silent walls commune with thee1 and convince thee that man is and will be earth3 and on ,nos4 #d and #e1 the words ,zu finden in ,lubeck by ,christian ,gotfried ,donatius4 ,x4 ,the following entry is in the ,stationers' books3 #bh b4 vo ,januarij #aeig4 ,tho4 ,purfoote1 sen4 ,entered their c4 ,mr4 ,dix and ,wm4 ,m4 ,the ,tho4 ,purfoote1 jun4 roll of the ,daunce of ,death1 with pictures and verses upon the same ,,vid4 ,,xi4 ,in the catalogue of the library of ,r4 ,smith1 secretary of the ,poultry ,compter1 which was sold by auction in #afhb1 is this article ,dance of ,death in the cloyster of ,paul's1 with figures1 very old4 ,probably a single sheet4 ,,xii4 ,the ,dance of ,death2 a single sheet1 engraved on copper1 with the following figures4 ,in the middle1 ,death leading the king2 the beggar hand in hand with the king2 ,death leading the old man1 followed by a child2 the fool2 the wise man1 as an astrologer1 led by ,death4 ,on the spectator's left hand1 ,death bringing a man before a judge2 with the motto1 ,the greatest judge that sits in honour's seat1 must come to grave1 where't boots not to intreate4 ,a man and woman in a brothel1 ,death behind2 with the motto1 ,leave1 wanton youth1 thou must no longer stay2 if once ,i call all mortals must obey4 ,on the opposite side1 the ,miser and ,death2 the motto1 ,come1 worldling1 come1 gold hath no power to save1 leave it thou shalt1 and dance with me to grave4 ,death and the ,prisoner2 the motto1 ,prisoner arise1 ile ease thy fetterd feet1 and now betake thee to thy winding sheet4 ,in the middle of the print sits a minstrel on a stool formed of bones placed on a coffin with a pick-axe and spade4 ,he plays on a tabor and pipe2 with this motto1 ,sickness1 despaire1 sword1 famine1 sudden death1 all these do serve as minstrells unto ,death2 the beggar1 king1 fool1 and profound1 courtier and clown all dance this round4 ,under the above figures is a poem of sixty-six lines on the power of ,death1 beginning thus3 ,yea1 ,adam's brood and earthly wights which breath now on the earth1 ,come dance this dance1 and mark the song of this most mighty ,death4 ,full well my power is known and seen in all the world about1 ,when ,i do strike of force do yeeld both noble1 wise1 and stout1 c4 ,printed cullored and sould by ,r4 ,walton at the ,globe and ,compasses at the ,west end of ,st4 ,paules church turning down towards ,ludgate4 ,,xiii4 ,a large anonymous ,german engraving on copper1 in folio4 ,in the middle is a circular ,dance of ,death1 with nine females1 from the ,empress to the ,fool4 ,in the four corners1 two persons kneeling before a crucifix2 saints in heaven2 the temptation2 and the infernal regions4 ,at top1 a frame with these verses3 ,vulneris en nostri certam solamque medelam ,en data divina praemia larga manu4 ,der ,todt ,christi ,zunicht hat gmacht ,den ,todt und ,sleben wider bracht4 ,at bottom in a similar frame3 ,per unius peccatum ,mors intravit in mundum4 ,den ,todt und ewig hellisch pein ,hat veruhr sagt die ,sund allein4 ,this is within a broad frame1 containing a ,dance of ,death1 in twelve ovals4 ,the names of the characters are in ,german3 #a4 ,the ,pope4 #b4 ,emperor4 #c4 ,king4 #d4 ,cardinal4 #e4 ,bishop4 #f4 ,duke4 #g4 ,earl4 #h4 ,gentleman4 #i4 ,citizen4 #aj4 ,peasant4 #aa4 ,soldier and ,beggar4 #ab4 ,fool and ,child4 ,under each subject is an appropriate inscription in ,latin and ,german4 ,in the middle at top1 a ,death's head and bones1 an hour-glass and a dial4 ,in the middle at bottom1 a lamp burning on a ,death's head1 and a pot of holy water with an aspergillum4 ,on the sides1 in the middle1 funereal implements4 ,,xiv4 ,heineken1 in his ,dictionnaire des ,graveurs1 iii4 #gg1 mentions a ,dance of ,death engraved about #agdj by ,maurice ,bodenehr of ,friburg1 but without any further notice4 ,,xv4 ,another very large print1 #b feet by #a-a_/b1 in mezzotinto1 the subject as in ,no4 #aj4 but the figures varied1 and much better drawn4 ,at bottom1 ,joh4 ,el4 ,ridinger excud4 ,aug4 ,vindel4 ,,xvi4 ,newton's ,dances of ,death4 ,published ,july #ab1 #agif1 by ,wm4 ,holland1 ,no4 #ej1 ,oxford ,street1 consisting of the following grotesque subjects engraved on copper4 ,the size #f inches by #e4 #a4 ,auctioneer4 #b4 ,lawyer4 #c4 ,old ,maid on ,death's back4 #d4 ,gamblers4 #e4 ,scolding ,wife4 #f4 ,apple-woman4 #g4 ,blind ,beggar4 #h4 ,distressed ,poet and ,bailiff4 #i4 ,undertaker4 #aj4 ,sleeping ,lady4 #aa4 ,old ,woman and her ,cats4 #ab4 ,gouty ,parson feeding on a tythe pig4 #ab4 ,same subject differently treated4 #ac4 ,sailor and ,sweetheart4 #ad4 ,physician1 ,gravedigger1 and ,death dancing a round4 #ae4 ,market-man4 #af4 ,doctor1 sick ,patient1 and ,nurse4 #ag4 ,watchman4 #ah4 ,gravedigger putting a corpse into the grave4 #ai4 ,old maid reading1 ,death extinguishes the candle4 #bj4 ,gravedigger making a grave4 #ba4 ,old ,woman4 #bb4 ,barber4 #bc4 ,lady and ,death reflected in the mirror4 #bd4 ,waiter4 #be4 ,amorous ,old ,man and ,young ,woman4 #bf4 ,jew ,old ,clothes-man4 #bg4 ,miser4 #bh4 ,female ,gin-drinker4 ,,xvii4 ,the ,dance of ,death modernised4 ,published ,july #ac1 #ahjj1 and designed by ,g4 ,m4 ,woodward1 ,berners' ,street1 ,oxford ,street4 ,contains the following caricatures4 ,size #e by #d-a_/b4 #a4 ,king4 ,return the diadem and ,i'll follow you4 #b4 ,cardinal4 ,zounds1 take care of my great toe1 or ,i shall never rise higher than a cardinal4 #c4 ,bishop4 ,i cannot go1 ,i am a bishop4 #d4 ,old ,man4 ,my good friend1 ,i am too old1 ,i assure you4 #e4 ,dancing-master4 ,i never practised such an ,allemande as this since ,i have been a dancing-master4 #f4 ,alderman4 ,if you detain me in this way my venison will be quite cold4 #g4 ,methodist ,preacher4 ,if you wo'nt take ,i1 ,i'll never mention you or the ,devil in my sarmons as long as ,i lives4 #h4 ,parson4 ,i can't leave my company till ,i've finish'd my pipe and bottle4 #i4 ,schoolmaster4 ,i am only a poor schoolmaster1 and sets good examples in the willage4 #aj4 ,miser4 ,spare my money1 and ,i'll go contented4 #aa4 ,politician4 ,stay till ,i have finished the newspaper1 for ,i am told there is great intelligence from the continent4 #ab4 ,press-gang ,sailor4 ,why d-- me ,i'm one of your apprentices4 #ac4 ,beggar4 ,this is the universal dance from a king to a beggar4 #ad4 ,jockey4 ,i assure you ,i am engaged at ,newmarket4 #ae4 ,undertaker4 ,a pretty dance this for an undertaker4 #af4 ,gouty ,man4 ,buzaglo's exercise was nothing to this4 #ag4 ,poet4 ,i am but a poor poet1 and always praised the ode to your honour written by the late ,king of ,prussia4 #ah4 ,physician4 ,here's fine encouragement for the faculty4 #ai4 ,lawyer4 ,the law is always exempt by the statutes4 #bj4 ,old ,maid4 ,let me but stay till ,i am married1 and ,i'll ask no longer time4 #ba4 ,fine ,lady4 ,don't be so boisterous1 you filthy wretch4 ,i am a woman of fashion4 #bb4 ,empress4 ,fellow1 ,i am an empress4 #bc4 ,young ,lady4 ,indeed1 ,sir1 ,i am too young4 #bd4 ,old ,bawd4 ,you may call me old bawd1 if you please1 but ,i am sure ,i have always been a friend to your worship4 ,,xviii4 ,bonaparte's ,dance of ,death4 ,invented1 drawn1 and etched by ,richard ,newton1 #g by #e4 #a4 ,stabb'd at ,malta4 #b4 ,drown'd at ,alexandria4 #c4 ,strangled at ,cairo4 #d4 ,shot by a ,tripoline gentleman4 #e4 ,devoured by wild beasts in the desert4 #f4 ,alive in ,paris4 ,,chapter ,,xii4 ,books in which the subject is occasionally introduced4 ,to offer any thing in the shape of a perfect list of these1 would be to attempt an impossibility1 and therefore such only as have come under the author's immediate inspection are here presented to the curious reader4 ,the same remark will apply to the list of single prints that follows4 ,there is a very singular book1 printed1 as supposed1 about #adfj1 at ,bamberg1 by ,albert ,pfister4 ,it is in ,german1 and a sort of moral allegory in the shape of complaints against ,death1 with his answers to these accusations4 ,it is very particularly described from the only known perfect copy in the royal library at ,paris1 by ,m4 ,camus1 in vol4 ii4 of ,memoires de l'institut4 national des sciences et arts3 litterature et beaux arts1 p4 #f et seq4 ,it contains five engravings on wood1 the first of which represents ,death seated on a throne4 ,before him stands a man with an infant to complain that ,death has taken the mother1 who is seen wrapped in a shroud upon a tomb4 ,the second cut represents ,death also on a throne with the same person as before1 making his complaint1 accompanied by several other persons at the feet of ,death1 sorrowfully deposing the attributes of their respective conditions1 and at the head of them a ,pope kneeling with one knee on the ground4 ,the third cut has two figures of ,death1 one of which1 on foot1 mows down several boys and girls2 the other is on horseback1 and pursues some cavaliers1 against whom he shoots his arrows4 ,the fourth cut is in two compartments1 the upper representing1 as before1 a man complaining to ,death seated on a throne with a crown on his head4 ,below1 on the spectator's left hand1 is a convent whence several monks are issuing towards a garden encircled with hurdles1 in which is a tree laden with fruit by the side of a river2 a woman is seen crowning a child with a chaplet1 near whom stands another female in conversation with a young man4 ,m4 ,camus1 in the course of his description of this cut1 has fallen into a very ludicrous error4 ,he mistakes the very plain and obvious gate of the garden1 for a board1 on which1 he says1 several characters are engraved which may be meant to signify the arts and sciences1 none of which are competent to protection against the attacks of ,death4 ,these supposed characters1 however1 are nothing more than the flowered hinges1 ring or knocker1 and lock of the door1 which stands ajar4 ,the fifth cut is described as follows1 and probably with greater accuracy than in ,m4 ,camus1 by ,dr4 ,dibdin1 from a single leaf of this very curious work in the ,bibliotheca ,spenceriana1 vol4 i4 p4 #ajd1 accompanied with a copy of part of it only4 ,above the figures there seen sits the ,almighty upon a throne1 with an attendant angel on each side4 ,he is putting the forefinger of his left hand into the centre of his right1 and upon each of the hands is an eye1 denoting1 ,i presume1 the omniscience of the ,deity4 ,the fac-simile cut partly corresponds with ,m4 ,camus's description of ,death1 and the complainant before ,christ seated on a throne in a heaven interspersed with stars4 ,the above fourth cut among these is on a single leaf in the possession of the author1 which had ,dr4 ,dibdin seen1 he would not have introduced ,m4 ,camus's erroneous account of it1 who has also referred to ,heineken's ,idee1 c4 p4 #bgf1 where it certainly is not in the ,french edition of #agga4 #hvo4 ,in the celebrated ,nuremberg ,chronicle1 printed in that city1 #adic1 large folio1 there is at fo4 cclxiiii4 a fine wood-cut of three ,deaths dancing hand in hand1 another playing to them on a haut-boy4 ,below is a skeleton rising from a grave4 ,it is inscribed ,,imago ,,mortis4 ,in the ,stultifera navis of ,sebastian ,brant1 originally printed in ,german at ,basle and ,nuremberg1 #adid1 are several prints1 finely cut on wood1 in which ,death is introduced4 ,in an edition printed at ,basle1 #aegb1 #abmo4 with elegant wood engravings1 after the designs of ,christopher ,maurer1 and which differ very materially from those in the early editions1 there is a cut of great merit to the verses that have for their title1 ,qui alios judicat4 ,it represents a man on his death bed2 and as the poet's intention is to condemn the folly of those who1 judging falsely or uncharitably of others1 forget that they must die themselves1 ,death is introduced as pulling a stool from under a fool1 who sits by the bed-side of the dying man4 ,in the original cut the fool is tumbling into the jaws of hell1 which1 as usual1 is represented by a monstrous dragon4 ,in the ,calendrier des ,bergers1 ,paris1 #aejj1 folio1 at sign4 g4 #f1 is a terrific figure of ,death on the pale horse2 and at sign4 g4 #e4 ,death in a cemetery1 with crosses and monuments2 in his left hand the lid of a coffin in which his left foot is placed4 ,these cuts are not in the ,english translation4 ,ortulus ,rosarum1 circa #aejj1 #abmo4 ,a wood-cut of ,death bearing a coffin on his shoulder1 leads a group consisting of a pope1 a cardinal1 c4 ,in the dialogue ,of lyfe and death1 at the end of the dialoges of creatures moralysed1 probably printed abroad without date or printer's name soon after #aejj1 are two engravings in wood1 one representing ,death appearing to a man with a falcon on his fist1 the other ,death with his spade leading an emperor1 a king1 and a duke4 ,the latter is not found in the ,latin editions of this work1 and has probably formed a part of some very old ,dance of ,death4 ,in an edition of ,boetius de consolatione1 ,strasburg1 #aeja1 folio1 is a figure of ,death on a lean horse throwing his dart at a group of warriors4 ,in the ,freidanck1 ,strasburg1 #aejh1 #dto1 near the end is a wood-cut of a garden1 in which two men and two women are feasting at a table4 ,they are interrupted by the unexpected appearance of ,death1 who forcibly seizes one of the party1 whilst the rest make their escape4 ,in the ,mortilogus of ,conrad ,reitter1 ,prior of ,nordlingen1 printed at ,augsbourg by ,erhard ,oglin and ,geo4 ,nadler1 #aejh1 #dto4 there is a wood-cut of ,death in a church-yard1 holding a spade with one hand and with the other showing his hour-glass to a young soldier2 and another of ,death shooting an arrow at a flying man4 ,in ,heures a l'usaige de ,sens1 printed at ,paris by ,jean de ,brie1 #aeab1 #hvo4 the month of ,december in the calendar is figured by ,death pulling an old man towards a grave2 a subject which is1 perhaps1 nowhere else to be found as a representation of that month4 ,it is certainly appropriate1 as being at once the symbol of the termination of the year and of man's life4 ,in the ,chevalier de la ,tour1 printed by ,guillaume ,eustace1 ,paris1 #aead1 folio1 there is an allegorical cut1 very finely engraved on wood1 at fo4 xxii4 nearly filling the page4 ,the subject is the expulsion of ,adam and ,eve from ,paradise1 the gate of which exhibits a regular entrance1 with round towers and portcullis4 ,behind this gate is seen the forbidden tree1 at the bottom of which is the ,devil1 seemingly rejoicing at the expulsion1 with an apple in his hand4 ,near the gate stands the angel with his sword1 and a cross on his head4 ,between him and the parties expelled is a picturesque figure of ,death with a scythe ready for action4 ,horae ad usum ,romanum1 printed for ,geoffrey ,tory of ,tours1 #aebe4 ,before the ,vigiliae ,mortuorum is a wood-cut of a winged ,death holding a clock in one hand2 with the other he strikes to the ground and tramples on several men and women4 ,near him is a tree with a crow uttering ,,cras ,,cras4 ,in another edition1 dated #aebg1 is a different cut of a crowned figure of ,death mounted on a black mule and holding a scythe and hour-glass4 ,he is trampling on several dead bodies1 and is preceded by another ,death1 armed also with a scythe1 whilst a third behind strikes the mule1 who stops to devour one of the prostrate figures4 ,above is a crow4 ,in a beautiful ,officium ,virg4 printed at ,venice1 #aebe1 #abmo4 is a vignette of ,death aiming an arrow at a group consisting of a pope1 cardinal1 c4 ,another ,death is behind1 on the spectator's left4 ,in ,heures de ,notre ,dame mises en reyne1 c4 par ,pierre ,gringoire1 #aebg1 #hvo4 there is a cut at fo4 lx4 before the vigilles de la mort1 of a king lying on a bier in a chapel with tapers burning1 several mourners attending1 and on the ground a pot of holy water4 ,a hideous figure of ,death holding a scythe in one hand and a horn in the other1 tramples on the body of the deceased monarch4 ,in a folio missal for the use of ,salisbury1 printed at ,paris by ,francis ,regnault1 #aeca1 there is a singular cut prefixed to the ,officium ,mortuorum1 representing two ,deaths seizing a body that has the horrible appearance of having been some time in its grave4 ,in a ,flemish metrical translation of ,pope ,innocent ,,iii4's work1 ,de vilitate conditionis humanae1 ,ghend1 #aedc1 #abmo4 there is a wood-cut of ,death emerging from hell1 armed with a dart and a three-pronged fork1 with which he attacks a party taking their repast at a table4 ,in the cuts to the ,old ,testament1 beautifully engraved on wood by ,solomon or le petit ,bernard1 ,lyons1 #aeec1 #abmo4 ,death is introduced in the vision of ,ezekiel1 ch4 xxxvii4 ,in this work the expulsion from ,paradise is imitated from the same subject in the ,lyons wood-cuts4 ,in ,hawes's ,history of ,graund ,amoure and la bel ,pucell1 called the ,pastime of ,pleasure1 printed by ,r4 ,tottel1 #aeee1 #dto4 are two prints2 the first exhibits a female seated on a throne1 in contemplation of several men and animals1 some of whom are lying dead at her feet2 behind the throne ,death is seen armed with a dart1 which he seems to have been just making use of3 there is no allusion to it in the text1 and it must have been intended for some other work4 ,the second print has two figures of ,death and a young man1 whom he threatens with a sort of mace in his right hand1 whilst he holds a pickaxe with his left4 ,imagines elegantissimae quae multum lucis ad intelligendos doctrinae ,christianae locos adferre possunt1 collectae a ,johann ,cogelero verbi divini ministro1 ,stetini4 ,viteberg1 #aefj1 #abmo4 ,it contains a wood-print1 finely executed1 of the following subject4 ,in the front ,death1 armed with a hunting-spear1 pushes a naked figure into the mouth of hell1 in which are seen a pope and two monks4 ,behind this group1 ,moses1 with a pair of bulls' horns1 and attended by two ,jews1 holds the tables of the law4 ,in the distance the temptation1 and the brazen serpent4 ,a ,german translation of the well known block book1 the ,ars ,moriendi1 was printed at ,dilingen1 #aefi1 #abmo4 with several additional engravings on wood4 ,it is perhaps the last publication of the work4 ,on the title-page is an oval cut1 representing a winged boy sleeping on a scull1 and ,death shooting an arrow at him4 ,the first cut exhibits a sort of ,death's dance1 in eight small compartments4 #a4 ,a woman in bed just delivered of a child1 with which ,death is running away4 #b4 ,a man sitting at a table1 ,death seizes him behind1 and pulls him over the bench on which he is sitting4 #c4 ,death drowning a man in a river4 #d4 ,flames of fire issue from a house1 ,death tramples on a man endeavouring to escape4 #e4 ,two men fighting1 one of whom pierces the other with his sword4 ,the wounded man is seized by ,death1 the other by the ,devil4 #f4 ,a man on horseback is seized by ,death also mounted behind4 #g4 ,death holds his hour-glass to a man on his death-bed4 #h4 ,death leading an aged man to the grave4 ,at the end of this curious volume is a singular cut1 intitled ,symbolum ,m4 ,joannis ,stotzinger ,presbyteri ,dilingensis4 ,it exhibits a young man sitting at a table1 on which is a violin1 music books1 and an hour-glass4 ,on the table is written ,,respice ,,finem4 ,near him his guardian angel holding a label1 inscribed ,,angelvs ,,astat4 ,behind them ,death about to strike the young man with his dart1 and over him ,,mors ,,minatvr4 ,at the end of the table ,conscience as a female1 whom a serpent bites1 with the label ,,conscientia ,,mordet1 and near her the ,devil1 with the label ,,diabolvs ,,accvsat4 ,above is the ,deity looking down1 and the motto ,,devs ,,videt4 ,il ,cavallero ,determinado1 ,antwerp1 #aeia1 #dto4 ,a translation from the ,french romance of ,olivier de la ,marche1 with etchings by ,vander ,borcht4 ,the last print represents ,death1 armed with a coffin lid as a shield1 attacking a knight on horseback4 ,in several of the other prints ,death is represented under the name of ,atropos1 as president in tournaments4 ,in other editions the cuts are on wood by the artist with the mark monogram3 ,a4 ,in the margins of some of the ,horae1 printed by ,thielman ,kerver1 there are several grotesque figures of ,death1 independently of the usual ,dance4 ,in many of the ,bibles that have prints to the ,revelations1 that of ,death on the pale horse is to be noticed4 ,in ,petrarch's work de remediis utriusque fortunae1 both in the ,german and ,latin editions1 there are several cuts that relate materially to the subject4 ,it may be as well to mention that this work has been improperly ascribed to ,petrarch4 ,in many of the old editions of ,petrarch's works which contain the triumphs1 that of ,death is usually accompanied with some terrific print of ,death in a car drawn by oxen1 trampling upon all conditions of men from the pope to the beggar4 ,guilleville1 ,pelerin de la vie humaine4 ,the pilgrim is conducted by ,abstinence into a refectory1 where he sees many figures of ,death in the act of feeding several persons sitting at table4 ,these are good people long deceased1 who during their lives have been bountiful to their fellow-creatures4 ,at the end1 the pilgrim is struck by ,death with two darts whilst on his bed4 ,death kicking at a man1 his wife1 and child4 ,from some book printed at ,strasburg in the #afth century4 ,death1 as an ecclesiastic1 sitting on the ground and writing in a book4 ,another ,death holding an inscribed paper in one hand1 seizes with the other a man pointing to a similar paper4 ,the ,deity in a cloud looking on4 ,from the same book4 ,mors1 a ,latin comedy1 by ,william ,drury1 a professor of poetry and rhetoric in the ,english college at ,douay4 ,it was acted in the refectory of the college and elsewhere1 and with considerable applause1 which it very well deserved4 ,there is as much1 and sometimes more1 wit and humour in it than are found in many ,english farces4 ,it was printed at ,douay1 #afbh1 #abmo4 with two other ,latin plays1 but not of equal interest4 ,a moral and poetical ,drama1 in eleven scenes1 intitled1 ,youth's ,tragedy1 by ,t4 ,s4 #afga and #agjg1 #dto4 in which the interlocutors are1 ,youth1 the ,devil1 ,wisdom1 ,time1 ,death1 and the ,soul4 ,it is miserable stuff4 ,la ,historia della ,morte1 ,trevigi1 #afgd1 #dto4 four leaves only4 ,it is a poem in octave stanzas4 ,the author1 wandering in a wood1 is overwhelmed with tears in reflecting on the approach of ,death and his omnipotent dominion over mankind4 ,he is suddenly accosted by the king of terrors1 who is thus described3 ,un ombra mi coperse prestamente ,che mi fece tremar in cotal sorte ,ell'era magra1 e longa in sua figura1 ,che chi la vede perde gioco1 e festa1 ,dente d'acciaio haveva in bocca oscura1 ,corna di ferro due sopra la testa ,ella mi fe tremar dalla paura1 c4 ,the work consists of a long dialogue between the parties4 ,the author enquires of ,death if he was born of father and mother4 ,death answers that he was created1 by ,jesus ,christ1 che e signor giocondo1 with the other angels2 that after ,adam's sin he was called ,death4 ,the author tells him that he seems rather to be a malignant spirit1 and presses for some further information4 ,he is referred to the ,bible1 and the account of ,david's destroying angel3 ,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 appellato4 ,this corresponds with the usual story1 that during a plague ,gregory saw an angel hovering over the castle1 who1 on the ,pope's looking up to him1 immediately sheathed his flaming sword4 ,more questions are then propounded by ,death1 particularly as to the use of his horns and teeth1 and the curiosity of the author is most condescendingly gratified4 ,bishop ,warburton and ,mr4 ,malone have referred to old ,moralities1 in which the fool escaping from the pursuit of ,death is introduced4 ,ritson has denied the existence of any such farces1 and he is perhaps right with respect to printed ones2 but vestiges of such a drama were observed several years ago at the fair of ,bristol by the present writer4 ,see the notes to ,measure for ,measure1 ,act iii4 sc4 #a1 and to ,pericles1 ,act iii4 sc4 #b4 ,in ,musart ,adolescens ,academicus sub institutione ,salomonis1 ,duaci1 #afcc1 #abmo4 is an engraving on copper of a modern ,bacchus astride upon a wine cask drawn by two tigers4 ,in one hand he holds a thyrsus composed of grapes and vine leaves1 and in the other a cup or vase1 from which a serpent springs1 to indicate poison4 ,behind this ,bacchus ,death is seated1 armed with his scythe and lying in wait for him4 ,the motto1 ,vesani calices quid non fecere1 a parody on the line1 ,fecundi calices quem non fecere disertum8 ,horat4 lib4 i4 epist4 v4 #a4 #ai4 ,in ,christopher ,van ,sichem's ,bibels' ,tresoor1 #afdf1 #dto4 there is a wood-cut of ,death assisting ,adam to dig the ground1 partly copied from the subject of the ,curse1 in the work printed at ,lyons4 ,in ,de ,chertablon1 maniere de se bien preparer a la mort1 c4 ,anvers1 #agjj1 #dto4 there is an allegorical print in which a man is led by his guardian angel to the dwelling of ,faith1 ,hope1 and ,charity1 but is violently seized by ,death1 who points to his last habitation1 in the shape of a sepulchral monument4 ,in ,luyken's ,onwaardige wereld1 ,amst4 #agaj1 #abmo4 are three allegorical engravings relating to this subject4 ,in a very singular book1 intitled ,confusio disposita rosis rhetorico-poeticis fragrans1 sive quatuor lusus satyrico morales1 c4 authore ,josepho ,melchiore ,francisco a ,glarus1 dicto ,tschudi de ,greplang4 ,augsburg1 #agbe1 #abmo4 are the following subjects4 #a4 ,the world as ,spring1 represented by a fine lady in a flower-garden1 ,death and the ,devil behind her4 #b4 ,death and the ,devil lying in wait for the miser4 #c4 ,death and the ,devil hewing down the barren fig-tree4 #d4 ,a group of dancers at a ball interrupted by ,death4 #e4 ,death striking a lady in bed attended by her waiting maid4 #f4 ,death gives the coup-de-grace to a drunken fellow who had fallen down stairs4 #g4 ,death mounted on a skeleton-horse dashes among a group of rich men counting their gold1 c4 #h4 ,a rich man refused entrance into heaven4 ,he has been brought to the gate in a sedan chair1 carried by a couple of ,deaths in full-bottom periwigs4 ,in ,luyken's ,vonken der lief de ,jezus1 ,amst4 #agbg1 #abmo4 are several engravings relating to the subject4 ,in one of them ,death pours a draught into the mouth of a sick man in bed4 ,in ,moncrief's ,march of ,intellect1 #ahcj1 #ahmo4 scene a workhouse1 ,death brings in a bowl of soup1 a label on the ground1 inscribed ,death in the pot4 ,an engraving in wood after ,cruikshank4 ,in ,jan ,huygen's ,beginselen van ,gods koninryk1 ,amst4 #agch1 #abmo4 with engravings by ,luyken1 a dying man attended by his physician and friends2 ,death at the head of the bed eagerly lying in wait for him4 ,in one of the livraisons of ,goethe's ,balladen und ,romanzen1 #ahca1 in folio1 with beautiful marginal decorations1 there is a ,dance of ,death in a church-yard1 accompanied with a description1 of which an ,english translation is inserted in the ,literary ,gazette for #ahcb1 p4 #gca1 under the title of ,the ,skeleton ,dance1 with a reference to another indifferent version in the ,souvenir4 ,the well-known subjects of ,death and the old man with the bundle of sticks1 c4 and ,cupid and ,death in many editions of ,a,esopian fables4 ,,chapter ,,xiii4 ,books of emblems and fables4--,frontispieces and title-pages1 in some degree connected with the ,dance of ,death4 ,,emblems ,,and ,,fables4 ,it is very seldom that in this numerous and amusing class of books a subject relating to ,death1 either moral or of a ludicrous nature does not occur4 ,it may be sufficient to notice a few of them4 ,la ,morosophie de ,guillaume de la ,perriere1 #aeec1 #abmo4 ,emblemes ou devises ,chretiennes1 par ,georgette de ,montenaye1 #aega1 #dto4 ,le ,imprese del ,s4 ,gab4 ,symeoni4 ,lyons1 #aegd1 #dto4 ,enchiridion artis pingendi1 fingendi et sculpendi4 ,auth4 ,justo ,ammanno1 ,tig4 ,francof4 #aegh1 #dto4 ,this is one of ,jost ,amman's emblematical books in wood1 and contains at the end a figure of ,death about to cut off two lovers with his scythe1 ,cupid hovering over them4 ,apologi creaturarum4 ,plantin1 #aeij1 #dto4 with elegant etchings by ,marc ,gerard4 ,it has one subject only of ,death summoning a youth with a hawk on his fist to a church-yard in the back-ground4 ,reusner's aureolorum emblematum liber singularis1 ,argentorati1 #aeia1 #abmo4 ,a print of ,death taking away a lady who has been stung by a serpent2 designed and engraved by ,tobias ,stimmer4 ,de ,bry ,proscenium vitae humanae1 ,francof4 #aeib and #afbg1 #dto4 ,this collection has two subjects3 #a4 ,death and the ,young ,man4 #b4 ,death and the ,virgin4 ,jani ,jacobi ,boissardi ,emblematum liber1 a ,theodoro de ,bry sculpta4 ,francof4 #aeic4 ,contains one print1 intitled ,sola virtus est funeris expers4 ,the three ,fates1 one of whom holds a tablet with ,,sic ,,visvm ,,svperis4 ,death attending with his hour-glass4 ,below1 crowns1 sceptres1 and various emblems of human vanity4 ,on the spectator's left1 a figure of ,virtue standing1 with sword and shield4 ,de ,bry ,emblemata4 ,francof4 #aeic1 #dto4 ,the last emblem has ,death striking an old man1 who still clings to the world1 represented as a globe4 ,rolandini variar4 imaginum1 lib4 iii4 ,panormi1 #aeie1 #abmo4 ,alciati ,emblemata1 one of the earliest books of its kind1 and a favourite that has passed through a great many editions4 ,typotii symbola divina et humana ,pontificum ,imperatorum1 ,regum1 c4 ,francofurti1 #afja1 folio4 ,friderich's ,emblems1 #afag1 #hvo4 ,several engravings on the subject4 ,das erneurte ,stamm-und ,stechbuchlein4 ,by ,fabian ,athyr4 ,nuremberg1 #afed4 ,small obl4 #dto4 ,mannichii ,emblemata4 ,nuremberg1 #afbd1 #dto4 ,minne ,beelden toe-ghepast de ,lievende ,jonckheyt1 ,amst4 #afce1 #abmo4 ,the cuts on the subject are extremely grotesque and singular4 ,sciographia ,cosmica4 ,a description of the principal towns and cities in the world1 with views engraved by ,paul ,furst1 and appropriate emblems4 ,by ,daniel ,meisner3 in eight parts4 ,nuremberg1 #afcg4 ,oblong #dto4 ,in the print of the town of ,freyburg1 ,death stands near an old man1 and holds a clock in one hand4 ,in that of the city of ,toledo ,death accompanies a female who has a mirror in her hand4 ,in the same work1 at vol4 ,a4 #d1 is a figure of ,death trampling on ,envy1 with the motto1 ,der ,todt mach dem ,neyd ein ende4 ,at ,a4 #ci1 ,death intercepting a traveller1 the motto1 ,vitam morti obviam procedit4 ,at ,a4 #gd1 ,death standing near a city1 the motto1 ,tros ,tyriusve mihi nullo discrimine habetur4 ,at ,c4 #i1 a man and woman in the chains of matrimony1 which ,death dissolves by striking the chain with a bone1 the motto1 ,conjugii vinculum firmissimum est4 ,at ,c4 #cj1 ,death about to mow down a philosopher holding a clock1 the motto1 ,omnis dies1 omnis hora1 quam nihil sumus ostendit4 ,at ,e4 #cb1 ,death standing in the middle of a parterre of flowers1 holding in one hand a branch of laurel1 in the other a palm branch1 the motto1 ,ante mortem nullus beatus est4 ,at ,e4 #ce1 ,death shooting with a cross-bow at a miser before his chest of money1 the motto1 ,nec divitiis nec auro4 ,at ,e4 #dd1 ,death seizes a young man writing the words1 sic visum superis on a tablet1 the motto1 ,viva virtus est funeris expers4 ,at ,g4 #cb1 ,death pursues a king and a peasant1 all on horseback1 the motto1 ,mors sceptra ligonibus aequat4 ,at ,g4 #ff1 a woman looking in a mirror sees ,death1 who stands behind her reflected1 the motto1 ,tota vita sapientis est meditatio mortis4 ,at ,h4 #ff1 a company of drunkards4 ,death strikes one of them behind when drinking1 the motto1 ,malus inter poculo mos est4 ,at ,h4 #hj1 ,death cuts down a genealogical tree1 with a young man and woman1 the motto1 ,juventus proponit1 mors disponit4 ,conrad ,buno ,driestandige ,sinnbilder1 #afdc4 ,oblong #dto4 ,amoris divini et humani antipathia4 ,antw4 #afgj4 #abmo4 ,typotii ,symbola varia diversorum principum sacrosanctae ecclesiae et sacri ,imperii ,romani4 ,arnheim1 #afgi4 #abmo4 ,in ,sluiter's ,somer en winter leven1 ,amst4 #afhg1 #abmo4 is a figure of ,death knocking at the door of a house and alarming the inhabitants with his unexpected visit4 ,the designer most probably had in his recollection ,horace's ,mors aequo pede pulsat pauperum tabernas regumque turres4 ,euterpe soboles hoc est emblemata varia1 c4 with stanzas in ,latin and ,german to each print4 ,no date4 ,oblong #dto4 ,the engravings by ,peter ,rollo4 ,republished at ,paris1 with this title1 ,le ,centre de l'amour1 c4 ,a ,paris chez ,cupidon4 ,same form1 and without date4 ,this edition has several additional cuts4 ,rollenhagii nucleus ,emblematum4 ,the cuts by ,crispin de ,passe4 ,in ,herman ,krul's ,eerlyche tytkorting1 c4 a ,dutch book of emblems1 #dto4 n4 d4 there are some subjects in which ,death is allegorically introduced1 and sometimes in a very ludicrous manner4 ,death enters the study of a seated philosopher1 from whose mouth and breast proceed rays of light1 and presents him with an hour-glass4 ,below a grave1 over which hangs one foot of the philosopher4 ,a4 ,venne invent4 ,obl4 #e-a_/b by #d-a_/b4 ,catz's ,emblems1 in a variety of forms and editions1 containing several prints relating to the subject4 ,oth4 ,vaenii ,emblemata ,horatiana4 ,several editions1 with the same prints4 ,le ,centre de l',amour decouvert soubs divers emblesmes galans et facetieux4 ,a ,paris chez ,cupidon4 ,obl4 #dto4 without date4 ,one print only of a man sitting in a chair seized by ,death1 whilst admiring a female1 who1 not liking the intrusion1 is making her escape4 ,the book contains several very singular subjects1 accompanied by ,latin and ,german subjects4 ,it occurs also under the title of ,euterpae soboles hoc est emblemata varia eleganti jocorum mistura1 c4 ,fables nouvelles par ,m4 de la ,motte4 #dto4 edition4 ,amsterd4 #agbg1 #abmo4 ,apophthegmata ,symbolica1 c4 per ,a4 ,c4 ,redelium ,belgam4 ,augspurg1 #agjj4 ,oblong #dto4 ,death and the soldier2 ,death interrupting a feast2 ,death and the miser2 ,death and the old man2 ,death drawing the curtain of life1 c4 c4 ,choice emblems1 divine and moral4 #agcb4 #abmo4 ,,frontispieces ,,and ,,title ,,pages ,,to ,,books4 ,arent ,bosman4 ,this is the title to an old ,dutch legend of a man who had a vision of hell1 which is related much in the manner of those of ,tundale and others4 ,it was printed at ,antwerp in #aejd1 #dto4 ,the frontispiece has a figure of ,death in pursuit of a terrified young man1 and may probably belong to some other work4 ,on a portion of the finely engraved wood frontispiece to ,joh4 de ,bromyard ,summa predicantium4 ,nuremberg1 #aeah1 folio4 ,death with scythe and hour-glass stands on an urn1 supported by four persons1 and terrifies several others who are taking flight and stumbling over each other4 ,schawspiel ,menchliches ,lebens4 ,frankfort1 #aeif1 #dto4 ,another edition in ,latin1 intitled1 ,theatrum vitae humanae1 by ,j4 ,boissard1 the engravings by ,de ,bry4 ,at the top of the elegant title or frontispiece to this work is an oblong oval of a marriage1 interrupted by ,death1 who seizes the bridegroom4 ,at bottom a similar oval of ,death digging the grave of an old man who is looking into it4 ,on one side of the page1 ,death striking an infant in its cradle2 on the other1 a merchant about to ship his goods is intercepted by ,death4 ,on the title-page to a ,german jeu d'esprit1 in ridicule of some anonymous pedant1 there is a wood-cut of ,death mounted backwards on an ass1 and near him a fool hammering a block of some kind on an anvil4 ,the title of this satirical morsel is ,res ,mira4 ,asinus sex linguarum jucundissimis anagrammatismis et epigrammatibus oneratus1 tractionibus1 depositionibus1 et fustuariis probe dedolatus1 hero suo remissus1 ac instar prodromi praemissus1 donec meliora sequantur1 ,asininitates aboleantur1 virique boni restituantur3 ubi etiam ostenditur ab asino salso intentata vitia non esse vitia4 ,ob variam ejus jucunditatem1 suavitatem et versuum leporem recusus1 anno #afbe4 ,the address to the reader is dated from ,giessen1 #aith ,june1 #afjf1 and the object of the satire disguised under the name of ,jonas ,melidaeus4 ,les ,consolations de l'ame fidelle contre les frayeurs de la mort1 par ,charles ,drelincourt4 ,amsterdam1 #affj4 #hvo4 ,deugden ,spoor ,de ,vijfte ,der-,eeringe ,aen de ,medicijas met sampt ,monsieur ,joncker ,doctor ,koe-,beest ende alle sijne ,complicen4 ,death introduces an old man to a physician who is inspecting a urinal4 #abmo4 ,death leading an old man with a crutch1 near a charnel-house1 inscribed ,,memento ,,mori4 ,at top these verses3 ,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 mourir4 ,a ,amsterdam chez ,henri ,desbordes4 ,another print1 with the same design4 ,se vendent a ,londres par ,daniel ,du ,chemin4 ,on a spade1 the monogram monogram3 ,,hf #hvo4 ,reflexions sur les grands hommes4 ,in the foreground various pranks of ,death4 ,in the distance1 a church-yard with a regular dance1 in a circle1 of men1 women1 and ,deaths1 two of the latter sitting on a monument and playing on a violin and violoncello4 ,engraved by ,a4 ,d4 ,putter4 #abmo4 ,la ,dance ,macabre1 or ,death's ,duell1 by ,w4 ,c4 i4 e4 ,colman4 ,printed by ,wm4 ,stansby1 no date1 #abmo4 ,it has an elegantly engraved frontispiece by ,t4 ,cecill1 with eight compartments1 exhibiting ,death with the pope1 the emperor1 the priest1 the nobles1 the painter1 the priest1 and the peasant4 ,the poem1 in six line stanzas1 is of considerable merit1 and entirely moral on the subject of ,death1 but it is not the ,macaber ,dance of ,lydgate4 ,at the end1 the author apologizes for the title of his book1 which1 he says1 was injuriously conferred by ,roger ,muchill upon a sermon of ,dr4 ,donne's1 and adds a satirical epistle against ,muchill that never did good4 ,there certainly was a sermon by ,donne1 published by ,muchill or ,michel1 with the title of ,death's ,duell4 ,there appears to have been another edition of this book1 the title-page only of which is preserved among ,bagford's collections among the ,harl4 ,,mss4 ,no4 #eicj4 ,it has the same printed title1 with the initials ,w4 ,c4 and the name of ,w4 ,stansby4 ,it is also without date4 ,this frontispiece is on a curtain held by two winged boys4 ,at the top1 a figure of ,death1 at bottom another of ,time kneeling on a globe4 ,in the right-hand corner1 which is torn1 there seems to have been a hand coupe with a bracelet as a crest2 in the left1 a coat of arms with a cross boutonne arg4 and sable1 and four mullets1 arg4 and sable4 ,on each side1 four oval compartments1 with the following subjects4 #a4 ,a pope1 a cardinal1 and four bishops4 #b4 ,several monks and friars4 #c4 ,several magistrates4 #d4 ,a schoolmaster reading to his pupils4 #e4 ,an emperor1 a king1 a queen1 a duke1 a duchess1 and a male attendant4 #f4 ,a group of noblemen or gentlemen4 #g4 ,a painter painting a figure of ,death1 in the back ground a woman who seems to be purchasing articles of dress4 #h4 ,two men with spades1 one of them digging4 ,this very beautiful print is engraved by ,t4 ,cecil4 ,on the top of each of the above compartments1 ,death holds a string with both his hands4 ,theatrum omnium miserarum4 ,a theatre filled with a vast number of people4 ,in the centre1 an obelisk on a pedestal1 behind which is a small stage with persons sitting4 ,in the foreground1 ,death holding a cord1 with which three naked figures are bound1 and another ,death with a naked figure in a net4 ,between these figures symbols of the world1 the flesh1 and the ,devil4 #dto4 ,les ,consolations de l',ame fidelle contre les frayeurs de la mort4 ,death holds his scythe over a group of persons1 consisting of an old man and a child near a grave1 who are followed by a king1 queen1 and a shepherd1 with various pious inscriptions4 #hvo4 ,la maniere de se bien preparer a la mort1 par ,m4 de ,chertablon4 ,anvers1 #agjj1 #dto4 ,in an engraved frontispiece1 a figure of ,time or ,death trampling upon a heap of articles expressive of worldly pomp and grandeur1 strikes one end of his scythe against the door of a building1 on which is inscribed ,,statvtvm ,,est ,,omnibvs ,,hominibvs4 ,,semel ,,mori4 ,hebr4 ix4 ,at the bottom1 within a frame ornamented with emblems of mortality1 a sarcophagus with the skeleton of a man raised from it4 ,two ,deaths are standing near1 one of whom blows a trumpet1 the other points upward with one hand1 and holds a scythe in the other4 ,on one side of the sarcophagus are several females weeping2 on the other1 a philosopher sitting1 who addresses a group of sovereigns1 c4 who are looking at the skeleton4 ,palingenii ,zodiacus ,vitae4 ,rotterdam1 #agbb4 #abmo4 ,death seizes a sitting figure crowned with laurel1 perhaps intended for ,virtue1 who clings to a bust of ,minerva1 c4 ,death leading a bishop holding his crosier4 ,he is preceded by another ,death as a bellman with bell and lanthorn4 ,above1 emblems of mortality over a label1 inscribed ,a ,vision4 #abmo4 ,scene1 a church-yard4 ,death holding an hour-glass in one hand levels his dart at a young man in the habit of an ecclesiastic1 with a mask in his hand4 ,worlidge inv4 ,boitard sculp4 ,the book unknown4 #hvo4 ,three figures of ,death uncovering a circular mirror1 with a group of persons dying1 c4 ,at bottom1 ,,ingredimvr4 ,,cvncti4 ,,dives4 ,,cvm4 ,,paupere4 ,,mixtvs4 ,j4 ,sturt sculp4 ,death touching a globe1 on which is inscribed ,,vanity1 appears to a man in bed4 ,hayman inv4 ,c4 ,grignion sc4 #hvo4 ,to a little ,french work1 intitled ,spectriana1 ,paris1 #ahag1 #bdmo4 there is a frontispiece on copper representing the subject of one of the stories4 ,a figure of ,death incumbered with chains beckons to an armed man to follow him into a cave4 ,,chapter ,,xiv4 ,single prints connected with the ,dance of ,death4 #aejj-afjj4 7,n4 ,b4 ,the right and left hands are those of the spectator4 ,the prints on wood are so specified47 ,an ancient engraving1 in the manner of ,israel ,van ,meckenen4 ,death is playing at chess with a king1 who is alarmed at an impending check-mate4 ,a pope1 cardinal1 bishop1 and other persons are looking on4 ,above are three labels4 ,bartsch x4 #ee4 ,no4 #cb4 ,albert ,durer's knight preceded by ,death1 and followed by a demon1 a well-known and beautiful engraving4 ,a very scarce and curious engraving1 representing the interior of a brothel4 ,at the feet of a bed a man is sitting by a woman almost naked1 who puts her hand into his purse1 and clandestinely delivers the money she takes from it to a fellow standing behind one of the curtains4 ,on the opposite side is a grinning fool making significant signs with his fingers to a figure of ,death peeping in at a window4 ,this singular print has the mark ,l upon it1 and is something in the manner of ,lucas ,van ,leyden1 but is not mentioned in ,bartsch's catalogue of his prints4 ,upright #g-a_/b by #e-a_/b4 ,a small etching1 very delicately executed1 and ascribed to ,lucas ,van ,leyden1 whose manner it certainly resembles4 ,at a table on the left a family of old and young persons are assembled4 ,they are startled by the appearance of a hideous figure of ,death with a long beard and his head covered4 ,near him is a young female1 crowned with a chaplet of flowers1 holding in her hand a scull1 ,death's head1 and hour-glass1 and which the father of the family turns round to contemplate4 ,above is an angel or genius shooting an arrow at the family1 and as it were at random4 ,at top on the right is the letter ,l1 and the date #aebc4 ,see ,bartsch1 vol4 vii4 p4 #dce4 ,oblong1 #e-a_/b by #d4 ,a small upright print of ,death with a spade on his shoulder1 and leading an armed soldier4 ,the mark ,l below on a tablet4 ,not mentioned by ,bartsch4 ,a small circular engraving1 of several persons feasting and dancing4 ,death lies in wait behind a sort of canopy4 ,probably a brothel scene1 as part of the story of the prodigal son4 ,the mark is ,l4 ,not noticed by ,bartsch4 ,a reverse of this engraving1 marked ,s4 ,an engraving on wood of ,death presenting an hour-glass1 surmounted by a dial1 to a soldier who holds with both his hands a long battle-axe4 ,the parties seem to be conversing4 ,with ,albert ,durer's mark1 and the date #aeaj4 ,it has several ,german verses4 ,see ,bartsch1 vii4 #ade1 ,no4 #acb4 ,a wood print of ,death in a tree pointing with his right hand to a crow on his left1 with which he holds an hour-glass4 ,at the foot of the tree an old ,german soldier holding a sword pointed to the ground4 ,on his left1 another soldier with a long pike4 ,a female sitting by the side of a large river with a lap-dog4 ,the mark of ,urs ,graaf monogram3 ,,vg and the date #aebd on the tree4 ,upright1 #h by #d-a_/b4 ,death as a buffoon1 with cap1 bauble1 and hour-glass1 leading a lady4 ,the motto1 ,,omnem ,,in ,,homine ,,venvstatem ,,mors ,,abolet4 ,with the mark and date monogram #aeda4 ,bartsch1 viii4 #agd4 ,an engraving of ,adam and ,eve near the tree of life1 which is singularly represented by ,death entwined with a serpent4 ,adam holds in one hand a flaming sword1 and with the other receives the apple from ,eve1 who has taken it from the serpent's mouth4 ,at top is a tablet with the mark and date monogram #aedc4 ,a copy from ,barthol4 ,beham4 ,bartsch1 viii4 #aaf4 ,death seizing a naked female4 ,a small upright engraving4 ,the motto1 ,,omnem ,,in ,,homine ,,venvstatem ,,mors ,,abolet4 ,with the mark and date monogram #aedf4 ,bartsch1 viii4 #age4 ,a small upright engraving1 representing ,death with three naked women1 one of whom he holds by the hair of her head4 ,a lascivious print4 ,the mark monogram on a label at bottom4 ,bartsch1 viii4 #agf1 who calls the women sorceresses4 ,a small upright engraving of ,death holding an hour-glass and dial to a soldier with a halberd4 ,at top1 the mark and date monogram #aecb4 ,bartsch1 viii4 #bgf4 ,an upright engraving of ,death seizing a soldier1 who struggles to escape from him4 ,below1 an hour-glass4 ,in a corner at top1 the mark monogram4 ,an upright engraving of ,death trampling upon a vanquished soldier1 who endeavours to parry with his sword a blow that with one hand his adversary aims at him1 whilst with the other he breaks the soldier's spear4 ,in a corner at top1 the mark monogram4 ,a truly terrific print1 engraved also by monogram3 ,,ac4 ,bartsch1 viii4 #bgg4 ,a naked female seized by a naked man in a very indecent manner4 ,death who is behind seizes the man whose left hand is placed on a little boy taking money out of a bag4 ,the motto1 ,,ho3 ,,mors ,,vltima ,,linea ,,rervm1 with the mark and date monogram #aebi4 ,see ,bartsch1 viii4 #agf4 ,near the end of an ,english ,primer1 printed at ,paris1 #aech1 #dto4 is a small print of ,death leading a pope1 engraved with great spirit on wood1 but it has certainly not formed part of a series of a ,dance of ,death4 ,an upright engraving of a pair of lovers interrupted by ,death with scythe and hour-glass1 with the mark and date monogram3 ,,hm #aeej4 ,not in ,bartsch4 ,a small wood print of a gentleman conducting a lady1 whose train is held up by ,death with one hand1 whilst he holds up an hour-glass with the other4 ,in a corner below1 the supposed mark of ,jost de ,negher1 monogram4 ,upright1 #b by #a-c_/d4 ,a ,german anonymous wood print of the prodigal son at a brothel1 a female fool attending4 ,death unexpectedly appears and takes him by the hand1 whilst another female is caressing him4 ,oblong1 #d-a_/b by #d4 ,an upright engraving on wood1 #ad by #aa1 of a naked female on a couch4 ,death with a spade and hour-glass approaches her4 ,with her left hand she holds one corner of a counterpane1 ,death seizing the other1 and trampling upon it4 ,under the counterpane1 and at the foot of the couch is a dead and naked man grasping a sword in one hand4 ,there is no indication of the artist of this singular print4 ,an upright wood engraving1 #ad-a_/b by #aa1 of a whole-length naked female turning her head to a mirror1 which she holds behind her with both hands4 ,death1 unnoticed1 with an hour-glass1 enters the apartment2 before him a wheel4 ,on the left at bottom a blank tablet1 and near the woman's left foot a large wing4 ,an engraving on wood by ,david ,hopfer of ,death and the ,devil surprizing a worldly dame1 who admires herself in a mirror4 ,oblong1 #h inches by #e-a_/b4 ,an upright engraving of a lady holding in one hand a bunch of roses and in the other a glove4 ,death behind with his hour-glass2 the motto1 ,,omnem ,,in ,,homine ,,venvstatem ,,mors ,,abolet4 and the mark ,f4 ,b4 ,bartsch1 ix4 #dfd4 ,a wood print of ,death seizing a child4 ,on the left1 at top1 is a blank tablet4 ,upright1 #b-a_/b by #b4 ,a small oblong anonymous engraving of a naked female asleep on a couch4 ,a winged ,death places an hour-glass on her shoulder4 ,a lascivious print4 ,an ancient anonymous wood print3 scene1 a forest4 ,death habited as a woodman1 with a hatchet at his girdle and a scythe1 shoots his arrows into a youth with a large plume of feathers1 a female and a man lying prostrate on the ground2 near them are two dead infants with amputated arms2 the whole group at the foot of a tree4 ,in the back-ground1 a stag wounded by an arrow1 probably by the young man4 #dto4 size4 ,a small wood-cut of ,death seizing a child4 ,anonymous1 in the manner of ,a4 ,durer4 #b-a_/d by #a-g_/h4 ,a very old oblong wood-cut1 which appears to have been part of a ,dutch or ,flemish ,macaber ,dance4 ,the subjects are1 ,death and the ,pope1 with ,die doot seyt1 die paens seyt1 c4 and the ,cardinal with ,die doot seyt1 and ,die ,cardinael seyt4 ,there have been verses under each character4 #i-a_/b by #f-a_/b4 ,a small wood print of a tree1 in which are four men1 one of whom falls from the tree into a grave at the foot of it4 ,death1 as a woodman1 cuts down the tree with a hatchet4 ,in the back-ground1 another man fallen into a grave4 ,a figure of ,death as a naked old man with a long beard4 ,he leans on a pedestal1 on which are placed a scull and an hour-glass1 and with his left hand draws towards him a draped female1 who holds a globe in her left hand4 ,at the bottom of the print1 ,,mors ,,omnia ,,mvtat1 with the unknown monogram monogram3 ,,bad4 ,upright1 #e inches by #b-c_/d4 ,it is a very rare print on copper1 not mentioned by ,bartsch4 ,a small anonymous wood print of ,death playing on a vielle1 or beggar's lyre4 ,an ancient anonymous copper engraving of ,death standing on a bier1 and laying hands upon a youth over whom are the words1 ,ach got min sal ich1 and over ,death1 hie her by mich4 ,both inscriptions on labels4 ,bartsch1 x4 p4 #ed1 ,no4 #cj4 ,an allegorical engraving on copper by ,cuerenhert1 after ,martin ,heemskirk1 #aeej4 ,a naked man bestrides a large sack of money1 on which a figure or statue of ,hope is standing4 ,death with one hand levels his dart at the terrified man1 and holds a circle in the other4 ,the money is falling from the sack1 and appears to have demolished the hour-glass of ,death4 ,upright1 #aa inches by #h4 ,at bottom1 these lines3 ,maer als hemdie eininghe doot comt voer ogen ,dan vint hii hem doer uedele hope bedrogen4 ,there is a smaller copy of it4 ,a circular engraving1 two inches diameter1 of a pair of lovers in a garden4 ,the lady is playing on a harp1 her companion's lute is on the ground4 ,they are accompanied by a fool1 and ,death behind is standing with a dart in his hand ready for aim at the youthful couple4 ,a very large engraving on wood tinted in chiaroscuro4 ,it represents a sort of triumphal arch at the top of which is a ,death's head1 above1 an hour-glass between two arm bones1 that support a stone2 evidently borrowed from the last cut of the arms of ,death in the ,lyons wood-cuts4 ,underneath1 the three ,fates between obelisks crowned with ,deaths' heads and crosses1 with the words ,greek3 ,,mnemoneue ,,apopsychein and ,,iter ,,ad ,,vitam4 ,in the middle1 a circle with eight compartments1 in which are skeleton heads of a pope1 an emperor1 c4 with mottoes4 ,in the extremity of the circle1 the words ,post hoc autem judicium statutum est omnibus hominibus semel mori4 ,the above obelisks are supported by whole length figures of ,death1 near which are shields with ,,bonis ,,bona and ,,malis ,,mala4 ,on the pedestals that support the figures of ,death are shields inscribed ,,memento ,,mori and ,,memorare ,,novissima4 ,underneath the circle1 a sort of table monument with ,death's head brackets1 and on its plinth a sceptre1 cardinal's cross1 abbot's crozier1 a vessel with money1 and two books4 ,between the brackets1 in capitals3 ,,tria ,,sunt ,,vere ,,qvae ,,me ,,facivnt ,,flere4 ,and underneath in italics3 ,primum quidem durum1 quia scio me moriturum4 ,secundum vero plango1 quia moriar1 et nescio quando4 ,tertium autem flebo1 quia nescio ubi manebo4 ,in a corner at bottom1 ,ill4 ,d4 ,petro ,caballo ,j4 ,c4 ,poutrem ,relig4 ,d4 ,steph4 ordinisq4 milit4 ,ser4 ,m4 ,d4 ,hetr3 ,auditori mon3 ,joh4 ,fortuna ,fortunius ,inven4 ,seni44444 ,,mdlxxxviii4 ,it is a very fine print1 engraved with considerable spirit4 #afjj-agjj4 ,a very beautiful engraving by ,john ,wierix1 of a large party feasting and dancing1 with music1 in a garden4 ,death suddenly enters1 and strikes a young female supported by her partner4 ,at bottom1 ,medio1 lusu1 risuque rapimur aeternum cruciandi4 ,oblong1 #f-a_/b by #d-a_/b4 ,its companion--,death1 crowned with serpents1 drags away a falling female1 round whom he has affixed his chain1 which is in vain held back by one of the party who supplicates for mercy4 ,at bottom these lines3 ,divitibus mors dura venit1 redimita corona ,anguifera1 et risus ultimo luctus habet4 ,on the top of the print1 ,o mors quam amara est memoria tua homini pacem habenti in substantiis suis1 etc4 ,eccl4 cap4 xli4 ,an allegorical print by one of the ,wierxes1 after ,h4 ,van ,balen4 ,the ,virgin ,mary and a man are kneeling before and imploring ,christ1 who is about to strike a bell suspended to the branch of a tree1 the root of which ,death cuts with an axe1 whilst the ,devil assists in pulling at it with a rope4 ,upright1 #d-a_/b by #c-a_/b4 ,time holding a mirror to two lovers1 ,death behind waiting for them4 ,at bottom1 ,luxuries predulce malum cui tempus1 c4 ,engraved by ,jerom ,wierx4 ,oblong1 #ab by #h4 ,an allegorical engraving by ,jerom ,wierx1 after ,martin ,de ,vos1 with four moral stanzas at bottom1 beginning ,gratia magna ,dei caelo demittitur alto4 ,a figure of ,faith directs the attention of a man1 accompanied with two infants1 to a variety of worldly vanities scattered in a sun-beam4 ,on the right1 a miser counting his gold is seized and stricken by ,death4 ,at top1 four lines of ,latin and ,dutch4 ,oblong1 #ac by #aj4 ,a rare etching1 by ,rembrant1 of a youthful couple surprized by ,death4 ,date1 #afci4 ,upright1 #d-a_/d by #c4 ,rembrant's ,hour of ,death4 ,an old man sitting in a tent is visited by a young female4 ,he points to a figure of ,death with spade and hour-glass4 ,upright1 #e-a_/d by #c-a_/b4 ,an engraving by ,de ,bry4 ,in the middle1 an oblong oval1 representing a marriage1 ,death attending4 ,on the sides1 grotesques of apes1 goats1 c4 ,at bottom1 ,s4 ,p4 and these lines3 ,ordo licet reliquos sit praestantissimus inter ,conjugium1 heu nimium saepe doloris habet4 ,oblong1 #e-a_/b by #b-a_/d4 ,its companion--,death digging a grave for an old man1 who looks into it4 ,psal4 #di and #ij4 ,an engraving by ,crispin de ,pas of ,death standing behind an old man1 who endeavours1 by means of his money spread out upon a table1 to entice a young female1 who takes refuge in the arms of her young lover4 ,at bottom1 the following dialogue4 ,,senex4 ,nil aurei8 nil te coronati juvant8 ,argenteis referto bulga nil movet8 ,,mors4 ,varios quid at ,senex amores expetis3 ,tumulum tuae finemque vitae respice4 ,,juvenis4 ,quid aureorum me beabit copia4 ,amore si privata sim dulcissimo4 ,its companion--,death with his hour-glass stands behind an old woman1 who offers money to a youth turning in disdain to his young mistress4 ,at bottom1 these lines3 ,,juvenis4 ,facie esse quid mihi gratius posset tua ,ipsius haud ,corinthi gaza divitis4 ,,vetula4 ,formam quid ah miselle nudam respicis ,cum plus beare possit auri copia4 ,,mors4 ,at tu juventa quid torquere frustra anus ,quin jam sepulchri instantis es potius memor4 ,both oblong1 #f by #d4 ,an engraving by ,bosse of a queen reposing on a tent bed1 ,death peeps in through the curtains1 another ,death stands at the corner of the bed1 whilst a female with a shield1 inscribed ,,pietas1 levels a dart at the queen4 ,underneath1 these verses3 ,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 mortels4 ,oblong1 #d-a_/b by #c4 ,an engraving by ,john ,sadeler1 after ,stradanus1 of an old couple1 with their children and grandchildren1 in the kitchen of a farm-house4 ,death enters1 fantastically crowned with flowers and an hour-glass1 and with a bagpipe in his left hand4 ,round his right arm and body is a chain with a hook at the extremity4 ,he offers his right hand to the old woman1 who on her knees is imploring him for a little more delay4 ,in the back-ground1 a man conducted to prison2 beggars receiving alms1 c4 ,at bottom1 these lines3 ,pauperibus mors grata venit2 redimita corona ,florifera1 et luctus ultima risus habet4 ,on the top of the print1 ,o mors bonum est judicium tuum homini indigenti1 et qui minoratur viribus defecto aetate1 c4 ,eccl4 cap4 xli4 ,oblong1 #aa by #h-a_/b4 ,an exceedingly clever etching by ,tiepolo of a group of various persons1 to whom ,death1 sitting on the ground and habited grotesquely as an old woman1 is reading a lecture4 ,oblong1 #g by #e-a_/b4 ,a small circle1 engraved by ,le ,blond1 of ,death appearing to the astrologer1 copied from the same subject in the ,lyons wood-cuts4 ,a print1 painted and engraved by ,john ,lyvijus of two card players quarrelling4 ,death seizes and strikes at them with a bone4 ,below1 ,rixas atque odia satagit dispergere serpens1 ,antiquus1 cuncta at jurgia morte cadunt4 ,oblong1 #aj by #g-a_/b4 ,an engraving by ,langlois4 ,death with a basket at his shoulder1 on which sits an owl1 and holding with one hand a lantern1 seizes the dice of a gambler sitting at a table with his winnings spread before him4 ,at top1 these verses3 ,alarme ,o le pipeur1 chassez1 chassez le moy1 ,je ne veux pas jouer a la raffle avec toy4 ,,la ,,mort4 ,a la raffle je joue avec toutes personnes ,toutes pieces je prends1 tant meschantes que bonnes4 ,at bottom1 a dialogue between the gambler and ,death1 in verse1 beginning ,j'ay ramene ma chance il n'y a plus remede4 ,upright1 #aj by #g-a_/b4 ,a print by ,de ,gheyn1 but wanting his name1 of an elegantly attired lady1 with a feather on her head1 and a fan mirror in her hand4 ,she is accompanied by ,death handsomely attired1 with a similar feather1 and holding an hour-glass4 ,at bottom1 ,qui genio indulges1 media inter gaudia morti ,non dubiae certum sis memor esse locum4 ,upright1 #h by #e-a_/b4 ,hollar's etching in ,dugdale's ,monasticon and his history of ,st4 ,paul's1 from the old wood-cut in ,lydgate's ,dance of ,macaber1 already described1 and an outline copy in ,mr4 ,edwards's publication of ,hollar's ,dance of ,death4 ,death and two ,misers1 #aa-c_/d by #aj4 ,engraved by ,michael ,pregel1 #afaf4 ,at bottom1 six ,latin lines1 beginning ,si mihi divitiae sint omnes totius orbis4 ,an oblong allegorical print1 #ad by #aj-a_/b4 ,death and ,time at war with man and animals4 ,in the foreground1 ,death levels three arrows at a numerous group of mortals of all ranks and conditions1 who endeavour1 in every possible way1 to repel his attack4 ,in the back-ground1 he shoots a single arrow at various animals4 ,it is a very rare and beautiful engraving by ,bolsverd1 after ,vinck-boons1 dated #afaj4 ,at bottom1 six lines in ,latin1 by ,j4 ,semmius1 beginning ,cernis ut imperio succumbant omnia ,mortis4 ,an oblong print1 #ah-a_/b by #ac1 intitled1 ,alle mans vrees1 i4 e4 ,every man's terror1 and engraved by ,cornelius ,van ,dalen1 after ,adrian ,van ,venne4 ,it exhibits ,death armed with a spade1 and overturning and putting to flight a variety of persons4 ,at bottom1 four stanzas of ,dutch verses1 beginning ,dits de vrees van alle man4 ,a large allegorical oblong engraving1 #ah-a_/b by #ac1 by ,peter ,nolpe1 after ,peter ,potter4 ,on the left1 a figure of religion1 an angel hovering over her with a crown and palm branch4 ,she points to several figures bearing crosses1 and ascending a steep hill to heaven4 ,on the right1 the ,devil blowing into the ear of a female1 representing worldly vanity4 ,in the middle1 ,death beating a drum to a man and woman dancing4 ,in the back-ground1 several groups of people variously employed1 and a city in flames4 ,an anonymous ,venetian engraving of ,death striking a lady sitting at a table covered with various fruits1 a lute1 c4 ,she falls into the arms of her lover or protector4 ,oblong1 #i-a_/b by #g4 ,a print1 after ,martin ,heemskirk1 of ,charon ferrying over souls4 ,on the right1 a winged ,death supporting an emperor about to enter the fatal boat4 ,below1 four lines1 beginning ,sed terris debentur opes1 quas linquere fato4 ,an oblong engraving1 #ad by #ab1 after ,john ,cossiers4 ,on the right1 ,death entering at a door1 seizes a young man4 ,in the middle1 a music-master teaching a lady the lute1 ,death near them holding a violin and music-book4 ,on the left1 in another apartment1 ,death in a dancing attitude1 with a double bagpipe1 leads an aged man with a rosary in his left hand1 and leaning on a staff with his right4 ,at bottom1 three stanzas of ,french verses1 beginning ,la ,mort qui n'a point d'oreilles4 ,a very small wood print1 that seems to have belonged to some ,english book1 about #afjj4 ,it represents ,death behind a female1 who sees his reflected image in a mirror which she holds1 instead of her own4 #a-a_/b by #a-a_/b4 ,the ,devil's ,ruff shop1 into which a young gallant introduces his mistress1 whose ruff one of the ,devils is stiffening with a poking-stick4 ,death1 with a ruff on his neck1 waits at the door1 near which is a coffin4 ,this very curious satirical print1 after ,martin ,de ,vos1 is covered with inscriptions in ,french and ,dutch4 ,oblong1 #aa-a_/b by #h4 ,a small anonymous engraving of two ,deaths hand in hand2 the one holds a flower1 the other two serpents2 a man and woman also hand in hand2 the latter holds a flower in her hand2 they are preceded by a little boy on a cock-horse and a girl with a doll4 ,underneath1 four lines1 beginning ,quid sit1 quid fuerit1 quid tandem aliquando futurus4 ,an anonymous engraving of a young gallant looking up to an image of ,hope placed on a bag of money1 near which plate1 jewels1 and money lie scattered on the ground4 ,death enters at a door1 holding a circle in one hand and a dart with the other1 in a menacing attitude4 ,at bottom1 these ,latin lines3 ,namque ubi ,mors trucibus supra caput adstitit armis1 ,hei quam tunc nullo pondere nummus erit4 ,the same in ,dutch4 ,upright1 #h-a_/b by #f4 ,this print was afterwards copied in a reduced form into a book of emblems1 with the title1 ,stulte hoc nocte repetent animam tuam1 with verses in ,latin1 ,french1 and ,german4 ,a small anonymous wood engraving of five ,deaths dancing in a circle2 the motto1 ,,dooden ,,dans ,,op ,,lestem1 i4 e4 the last ,dance of ,death4 ,a very clever etching of a winged and laurelled ,death playing on the bagpipe and making his appearance to an old couple at table4 ,the man puts off his cap and takes the visitor by the hand1 as if to bid him welcome4 ,below1 two ,dutch lines1 beginning ,maerdie hier sterven1 c4 ,at top1 on the left1 ,w4 ,v4 ,valckert1 in4 fe4 #afab4 ,oblong1 #h-a_/b by #f-a_/b4 ,a very complicated and anonymous allegorical print1 with a great variety of figures4 ,in the middle1 ,death is striking with a sledge-hammer at a soul placed in a crucible over a sort of furnace4 ,a demon with bellows is blowing the fire1 and a female1 representing the world1 is adding fuel to it4 ,in various parts of the print are ,dutch inscriptions4 ,oblong1 #aj-a_/b by #f4 ,two old misers1 a man and a woman4 ,she weighs the gold1 and he enters it in a book4 ,death with an hour-glass peeps in at one window1 and the ,devil at another4 ,on the left1 stands a demon with a book and a purse of money4 ,on the right1 in a corner1 ,i4 ,v4 ,,brvg3 ,f4 ,se vend chez ,audran rue ,s4 ,jaques aux deux piliers d'or4 ,an upright mezzotint1 #aa-a_/b by #h-a_/b4 ,two old misers1 a man and a woman4 ,he holds a purse1 and she weighs the money4 ,death behind lies in wait for them4 ,below1 a ,french stanza1 beginning ,fol en cette nuit on te redemande ton ame1 and the same in ,latin4 ,below1 ,j4 ,meheux sculp4 ,a ,paris chez ,audran rue ,st4 ,jaques aux deux pilliers d'or4 ,an upright mezzotint1 #aj by #g-a_/b4 ,an oval engraving in a frame of slips of trees4 ,death pulling down a fruit tree2 a hand in a cloud cutting a flower with a sickle4 ,motto1 ,fortior frango1 tenera meto4 ,upright1 #f-a_/b by #d4 ,an anonymous engraving of a lady sitting at her toilet4 ,she starts at the reflected image of ,death standing behind her1 in her looking glass4 ,her lover stands near her in the act of drawing his sword to repel the unwelcome visitor4 ,upright1 #g-a_/d by #f-a_/b4 ,to some such print or painting1 ,hamlet1 holding a scull in his hand1 evidently alludes in ,act v4 ,sc4 #a4 ,now get you to my lady's chamber1 and tell her let her paint an inch thick1 to this favour she must come4 ,a print of the tree of knowledge1 the serpent holding the apple in his mouth4 ,below1 several animals1 as in the usual representations of ,paradise4 ,on one side a youth on horseback with a hawk on his fist2 on the other1 ,death strikes at him with his dart4 ,on the right1 at bottom1 the letters ,r4 ,p4 ex4 and these verses3 ,nor noble1 valiant1 youthfull or wise1 have ,the least exemption from the gloomy grave4 ,upright1 #f by #d4 ,a large oblong engraving1 on copper1 #bb by #ag4 ,on the left1 is an arched cavern1 from which issue two ,deaths1 one of whom holds a string1 the end of which is attached to an owl1 placed as a bird decoy1 on a pillar in the middle of the print4 ,under the string1 three men reading4 ,on the left1 near a tree1 is a ghastly sitting figure1 whose head has been flayed4 ,on the opposite side below1 a musical group of three men and a woman4 ,in the back-ground1 several men caught in a net2 near them1 ,death with a hound pursuing three persons who are about to be intercepted by a net spread between two trees4 ,in the distance1 a vessel with a ,death's head on the inflated sail4 ,on the top of the arched cavern1 a group of seven persons1 one of whom1 a female1 points to the interior of an urn2 near them a flying angel holding a blank shield of arms4 ,in the middle of the print1 at bottom1 some inscription has been erased4 ,a print1 intitled ,cursus ,mundi4 ,a woman holds1 in one hand1 a broken vessel with live coals2 in the other1 a lamp1 at which a little boy is about to light a candle4 ,death appears on the left4 ,at bottom1 a ,latin inscription stating that the picture was painted by ,william ,panneels1 the scholar of ,rubens1 in #afca1 and that it is in the palace of ,anselm ,casimir1 archbishop of ,mentz4 ,upright1 #i-a_/b by #f-a_/b4 ,a small anonymous engraving of ,death sitting on a large fractured bass-viol1 near which1 on the ground1 is a broken violin4 ,an elegant small and anonymous engraving of a young soldier1 whom ,death strikes with his dart whilst he despoils him of his hat and feather4 ,at bottom1 six couplets of ,french verses1 beginning ,retire toy de moy ,o monstre insatiable4 ,upright1 #c-c_/d by #b-c_/d4 ,a small anonymous engraving of a merchant watching the embarkation of his goods1 ,death behind waiting for him4 ,motto from ,psalm #ci1 ,computat et parcit nec quis sit noverit1 haeres1 c4 ,upright1 #c-a_/d by #a-a_/b4 ,its companion--,death striking a child in a cradle4 ,job #ad4 ,vita brevis hominum variis obnoxia curis1 c4 ,these were probably part of a series4 ,an anonymous engraving of a man on his death-bed4 ,on one side1 the vision of a bishop saint in a cloud2 on the other1 ,death has just entered the room to receive his victim4 ,oblong1 #e-a_/b by #b-a_/b4 ,an anonymous engraving of a woman sitting under a tree4 ,sin1 as a boy1 with ,,peccatvm inscribed on his forehead1 delivers a globe1 on which a serpent is entwined1 to ,death4 ,at bottom1 ,a muliere initium factum est peccati et per illam omnes morimur4 ,eccl4 ,c4 ,,xxv4 ,a small anonymous engraving of ,death interrupting a ,turkish sultan at table4 ,in the back ground1 another ,turk contemplating a heap of sculls4 ,a mezzotint by ,gole1 of ,death appearing to a miser1 treading on an hour-glass and playing on the violin4 ,in the back-ground1 a room in which is ,death seizing a young man4 ,the floor is covered with youthful instruments of recreation4 ,this subject has been painted by ,old ,franks and ,otho ,vaenius4 ,upright1 #i by #f-a_/b4 ,another mezzotint of the same subject by ,p4 ,schenck is mentioned by ,peignot1 p4 #ai4 ,it is inscribed ,mortis ingrata musica4 ,a very singular1 anonymous1 and unintelligible engraving of a figure that seems intended for a blacksmith1 who holds a large hammer in his hand4 ,on his right1 two monks1 and behind him1 ,death folding his arms to his breast4 ,below1 writing implements1 c4 ,upright1 #d by #c4 ,the triumphal car of ,time drawn by genii1 and accompanied by a pope1 cardinal1 emperor1 king1 queen1 c4 ,at the top of the car1 ,death blows a trumpet1 to which a banner is suspended1 with ,je trompe tout le monde4 ,in the back-ground a running fountain1 with ,ainsi passe la gloire du monde4 ,an anonymous upright engraving1 #d by #b-a_/b4 ,a very neat engraving by ,le ,blon of several ,european coins4 ,in the centre1 a room in which ,death strikes at two misers1 a man and a woman sitting at a table covered with money4 ,on the table cloth1 ,luc4 #ab ca4 ,its companion--,death and the ,miser4 ,the design from the same subject in the ,lyons wood-cuts4 ,a label on the wall1 with ,luc4 #ab4 ,oblong1 #f-a_/b by #c-a_/b4 ,a ,german anonymous print1 apparently from a book of emblems1 representing ,death waiting with a scythe to cut off the following persons3 #a4 ,a lady4 #b4 ,a gentleman4 #c4 ,an advocate4 #d4 ,a soldier3 and1 #e4 ,a preacher4 ,each has an inscription4 #a4 ,ich todt euch alle 7,i kill you all74 #b4 ,ich erfrew euch alle 7,i rejoice you all74 #c4 ,ich eruhr euch alle 7,i honour you all74 #d4 ,ich red fur euch alle 7,i speak for you all74 #e4 ,ich fecht fur euch alle 7,i fight for you all74 #f4 ,ich bett fur euch alle 7,i pray for you all74 ,with verses at bottom1 in ,latin and ,german4 ,oblong1 #e-a_/d by #d4 ,an anonymous engraving of a naked youth who with a sword strikes at the head of ,death pursuing another youth4 ,oblong1 #i-a_/b by #e-a_/b4 ,an upright engraving1 #e-a_/b by #d1 representing a young man on horseback holding a hawk on his fist1 and surrounded by various animals4 ,death holding an hour-glass1 strikes at him with his dart4 ,behind1 the tree of knowledge1 with the serpent and apple4 ,at bottom1 on the right1 are the initials ,t4 ,p4 ex4 ,an engraving of the ,duke of ,savoy1 who1 attended by his guards1 receives petitions from various persons4 ,before him stands in a cloud the angel of ,death1 who points towards heaven4 ,at bottom1 on the left1 ,delphinus pinxit4 ,brambilla del4 #afgf1 and on the right1 ,nobilis de ,piene ,s4 ,r4 ,c4 ,prim4 caelator f4 ,taur4 ,oblong1 #aj-a_/b by #g-a_/b4 ,an engraving by ,de ,gheyn1 intitled1 ,vanitas1 idelheit4 ,a lady is sitting at a table1 on which is a box of jewels and a heap of money4 ,a hideous female ,death strikes at her with a flaming dart1 which1 at the same time1 scatters the leaves of a flower which she holds in her left hand4 ,upright1 #i by #g4 ,a very small circular wood-cut1 apparently some printer's device1 representing an old and a young man1 holding up a mirror1 in which is reflected the figure of ,death standing behind them1 with the motto1 ,beholde your glory4 ,an anonymous print of ,death and the miser4 ,death seizes his money1 which he conveys into a dish4 ,upright1 #c-a_/b by #b-a_/b4 ,it is a copy from the same subject in the ,lyons wood-cuts4 #agjj-ahjj4 ,an anonymous modern copy of ,death and the bridegroom1 copied from the ,lyons wood-cuts1 edition #aefb4 ,an etching of ,death1 with an hour-glass in one hand and a cane in the other1 entering a room where a poor poet has been writing1 and who would willingly dispense with the visit4 ,at bottom ,and when ,death himself knocked at my door1 ye bad him come again2 and in so gay a tone of careless indifference did ye do it1 that he doubted of his commission4 ,there must certainly be some mistake in this matter1 quoth he4 ,the same in ,italian4 ,this is one of ,patch's caricatures after ,ghezzi4 ,upright1 #af-a_/b by #ab4 ,a print intitled ,time's lecture to man1 with eight stanzas in verse1 beginning ,why start you at that skeleton4 ,it consists of three divisions4 ,at top a young man starts at the appearance of time and death4 ,under the youth ,calcanda semel via lethi4 ,at each extremity of this division is a figure of ,death sitting on a monument4 ,the verses1 in double columns1 are placed between two borders with compartments4 ,that on the right a scull crowned with a mitre2 an angel with a censer2 time carrying off a female on his back2 ,death with an infant in his arms2 ,death on horseback with a flag2 ,death wrestling with a man4 ,the border on the left has a scull with a regal crown2 an angel dancing with a book2 ,death carrying off an old man2 ,death leading a child2 ,death with a naked corpse2 ,death digging a grave4 ,at bottom ,sold by ,clark and ,pine1 engravers1 in ,castle ,yard1 near ,chancery ,lane1 ,t4 ,witham1 frame-maker1 in ,long ,lane1 near ,west ,smithfield1 ,london4 ,with a vignette of three ,deaths' heads4 #ac by #i-a_/b4 ,there is a very singular ancient gem engraved in ,passeri de ,gemmis ,astriferis1 tom4 ii4 p4 #bdh4 representing a skeleton ,death standing in a car drawn by two animals that may be intended for lions2 he holds a whip in his hand1 and is driving over other skeletons4 ,it is covered with barbarous and unintelligible words in ,greek characters1 and is to be classed among those gems which are used as amulets or for magical purposes4 ,it seems to have suggested some of the designs that accompany the old editions of ,petrarch's ,triumph of ,death4 ,a folio mezzotint of ,j4 ,daniel von ,menzel1 an ,austrian hussar4 ,behind him is a figure of ,death with the hussar's hat on his head1 by whom he is seized4 ,there are some ,german verses1 and below ,mon amis avec moi a la danse ,c'est pour vous la juste recompense4 ,the print is dated #agdd4 ,a ,dutch anonymous oblong engraving on copper1 #aj-a_/b by #aj1 intitled ,bombario1 o dood6 te schendig in de nood4 ,death leads a large group of various characters4 ,at bottom verses beginning ,de ,boertjes knappen al temaal4 ,on each side caricatures inscribed ,democritus and ,heraclitus4 ,it is one of the numerous caricatures on the famous ,south ,sea or ,mississippi bubble4 ,an engraving1 published by ,darly1 entitled ,macaronies drawn after the life4 ,on the left a macaroni standing4 ,on the floor dice and dice-box4 ,on a table cards and two books4 ,on the right1 ,death with a spade1 leaning on a sarcophagus1 inscribed ,here lies interred ,dicky ,daffodil1 c4 ,oblong1 #i by #f4 ,a very clever private etching by ,colonel ,turner1 of the ,guards1 #agii1 representing1 in the foreground1 three ,deaths dancing in most grotesque attitudes4 ,in the distance several groups of skeletons1 some of whom are dancing1 one of them beating a drum4 ,oblong1 #e-a_/b by #c-a_/b4 ,a small engraving by ,chodowiecki4 ,death appears to a medical student sitting at a table2 underneath these lines1 ,de grace epargne moi1 je me fais medecin1 ,tu recevras de moi la moitie des malades4 ,upright1 #c-a_/b by #b4 ,this is not included in his ,dance of ,death4 ,the same slightly retouched1 with ,german verses4 ,a small engraving1 by ,chodowiecki1 of ,death approaching a dying man attended by his family and a physician4 ,oblong1 #b-a_/b by #b4 ,a modern engraving1 intitled ,an emblem of a modern marriage4 ,death habited as a beau stands by a lady1 who points to a monument inscribed ,requiescat in pace4 ,above a weeping ,cupid with an inverted torch4 ,at bottom 444 ,no smiles for us the ,godhead wears1 ,his torch inverted and his face in tears4 ,drawn by ,m4 ,h4 from a sketch cut with a diamond on a pane of glass4 ,published according to act of parliament1 ,june #ae1 #agge4 ,a modern caricature intitled ,a patch for t'other eye4 ,death is about to place a patch on the right eye of an old general1 who has one already on the other4 ,his hat and truncheon lie on the ground1 and he is drawing his sword for the purpose of opposing the intention of his grim adversary1 exclaiming at the same time1 ,oh ,g--d d--n ye1 if that's your sport1 have at ye4 ,upright1 #h inches by #g4 ,a small engraving by ,chr4 de ,mechel1 #agge1 of an apothecary's shop4 ,he holds up a urinal to a patient who comes to consult him1 behind whom ,death is standing and laying hands upon him4 ,below these verses3 ,docteur1 en vain tu projettes ,de prononcer sur cette eau1 ,la mort rit de tes recettes ,et conduit l'homme au tombeau4 ,oblong1 #d by #c4 ,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 infants4 ,with uplifted arms she screams at the sight of the apparition4 ,below in a corner the husband1 accompanied with four other children4 ,upright1 #aa by #aj-a_/b4 ,the lawyer's last circuit4 ,he is attacked by four ,deaths mounted on skeleton horses4 ,he is placed behind one of them1 and all gallop off with him4 ,a road-post inscribed ,road to hell4 ,below1 the lines from ,hamlet1 ,where be his quiddits now8 his quillets1 his cases1 his tenures1 and his tricks1 c4 ,published ,april #be1 #aghb1 by ,r4 ,smith1 opposite the ,pantheon1 ,oxford ,street4 ,oblong1 #aj by #f-a_/b4 #ahjj4 ,a modern wood-cut of a drinking and smoking party4 ,demons of destruction hover over them in the characters of ,poverty1 ,apoplexy1 ,madness1 ,dropsy1 and ,gout4 ,in the bowl on the table is a monstrous head inscribed ,disease4 ,behind1 a gigantic figure of ,death with scythe and hour-glass4 ,oblong1 #c-a_/b by #c4 ,a ,sketch by ,samuel ,ireland1 after ,mortimer1 in imitation of a chalk drawing1 apparently exhibiting an ,englishman1 a ,dutchman1 and a ,spaniard4 ,death behind stretching his arms upon all of them4 ,oblong #aj-a_/b by #h4 ,a wood print intitled ,das betruhte ,brautfest4 ,death seizes a man looking at a table covered with wedding-cakes1 c4 ,from a modern ,swiss almanack4 ,oblong #f-a_/b by #e-a_/b4 ,a mezzotint of a physician1 who attending a sick patient in bed is attacked by a group of ,deaths bearing standards1 inscribed ,despair1 l'amour1 omnia vincit amor1 and luxury4 ,oblong1 #aa by #h-a_/b4 ,an etching from a drawing by ,van ,venne of ,death preaching from a charnel-house to a group of people4 ,his text book rests on the figure of a skeleton as a reading desk4 ,it is prefixed to ,mr4 ,dagley's ,death's ,doings1 mentioned in p4 #aeg4 ,oblong1 #e-a_/b by #d-a_/d4 ,mr4 ,dagley1 in the second edition of his ,death's ,doings1 p4 #i1 mentions a print of a man draining an enormous bowl1 and ,death standing ready to confirm the title of the print1 the last drop4 ,an etching by ,dagley1 after ,birch1 of ,baxter1 a famous cricketer1 bowled out by ,death4 ,below1 his portrait at full length4 ,oblong1 #i by #g4 ,sketches of the celebrated skeletons1 originally designed on the long wall between ,turnham-,green and ,brentford4 ,etchings of various groups2 the subjects1 billiards1 drafts1 cards1 dice1 toss1 and pitch4 ,oblong1 #ah by #aa4 ,humorous sketches of skeletons engaged in the various sciences of ,singing1 ,dancing1 ,music1 ,oratory1 ,painting1 and ,sculpture4 ,drawn by ,h4 ,heathcote ,russell as a companion to the skeletons copied from the long wall at ,brentford4 ,published #c;d ,june1 #ahcj4 ,same size as the preceding print4 ,a lithographic print of a conjurer pointing with his magic wand to a table on which are cups1 a lanthorn1 c4 ,in the back-ground1 the ,devil running away with a baker1 and a group of three dancing ,deaths4 ,below1 birds in cages1 cards1 c4 ,oblong1 #h by #f4 ,a small modern wood-cut of ,death seizing a lady at a ball4 ,he is disguised as one of the party4 ,underneath1 ,death leads the dance4--,young--,night #e4 ,from the ,christian's ,pocket ,magazine4 ,oblong1 #b-a_/b by #a-a_/b4 ,a design for the ballad of ,leonora1 by ,lady ,diana ,beauclerc4 ,a spectre1 as ,death1 carrying off a lady on horseback1 and striking her with his dart4 ,other ,death-like spectres waiting for her4 ,oblong1 #aa-c_/d by #i4 ,a small modern engraving of ,death presenting a smelling bottle to a fainting butcher with one hand1 and with the other fanning him4 ,the motto1 ,a butcher overcome with extreme sensibility1 is as strangely revived4 ,a modern halfpenny wood-cut of several groups1 among which is a man presenting an old woman to ,death4 ,the motto1 ,death come for a wicked woman4 ,an oval etching1 by ,harding1 intitled ,death and the ,doctor4 ,upright1 #d-a_/b by #c-a_/b4 ,a modern etching of ,death striking a sleeping lady leaning on a table1 on which little imps are dancing4 ,at bottom1 ,marks fecit4 ,oblong1 #d by #c4 ,an anonymous modern wood-cut of ,death seizing a usurer1 over whom another ,death is throwing a counterpane4 ,square1 #d by #d4 ,an etching1 intitled the ,last ,drop4 ,a fat citizen draining a punch-bowl4 ,death behind is about to strike him with his dart4 ,upright1 #h-a_/b by #f-a_/b4 ,in an elegant series of prints1 illustrative of the poetical works of ,goethe1 there is a poem of seven stanzas1 intitled ,der ,todtentanz1 where the embellishment represents a church-yard1 in which several groups of skeletons are introduced1 some of them rising1 or just raised1 from their graves2 others in the attitude of dancing together or preparing for a dance4 ,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 ,munich4 ,prefixed to a poem by ,edward ,quillinan1 in a volume of wood-cuts used at the press of ,lee ,priory1 the seat of ,sir ,egerton ,brydges1 intitled ,death to ,doctor ,quackery1 there is an elegant wood-cut1 representing ,death hob-and-nobbing with the ,doctor at a table4 ,in the same volume is another wood-cut on the subject of a dance given by the ,lord of ,death in ,clifton ,halls4 ,a motley group of various characters are dancing in a circle whilst ,death plays the fiddle4 ,in #ahcb was published at ,paris ,la ,danse des ,morts1 ballade dediee a ,madame la ,comtesse de ,tryon ,montalembert4 ,paroles et musique de ,p4 ,merruau4 ,the subject is as follows3 ,a girl named ,lise is admonished by her mother not to dance on a ,saturday1 the day on which ,satan calls the dead to the infernal ,sabbat4 ,she promises obedience1 but whilst her mother is napping1 escapes to the ball4 ,she forgets the midnight hour1 when a company of damned souls1 led by ,satan1 enter the ball-room hand-in-hand1 exclaiming ,make way for ,death4 ,all the party escape1 except ,lise1 who suddenly finds herself encircled by skeletons1 who continue dancing round her4 ,from that time1 on every ,saturday at midnight1 there is heard under ground1 in the church-yard1 the lamentation of a soul forcibly detained1 and exclaiming ,girls beware of dancing ,satan6 ,at the head of this ballad is a lithographic print of the terrified ,lise in ,satan's clutches1 surrounded by dancing1 piping1 and fiddling ,deaths4 ,about the same time there appeared a silly ballad1 set to music1 intitled the ,cork ,leg1 accompanied by a print in which the man with the cork leg falling on the ground drops his leg4 ,it is seized by ,death1 who stalks away with it in a very grotesque manner4 ,,chapter ,,xv4 ,initial or capital ,letters with the ,dance of ,death4 ,it is very well known that the use of initial or capital letters1 especially with figures of any kind1 is not coeval with the invention of printing4 ,it was some time before they were introduced at all1 a blank being left1 or else a small letter printed for the illuminators to cover or fill up1 as they had been accustomed to do in manuscripts2 for1 although the art of printing nearly put an end to the occupation of that ingenious class of artists1 they continued to be employed by the early printers to decorate their books with elegant initials1 and particularly to illuminate the first pages of them with beautiful borders of foliage or animals1 for the purpose of giving them the appearance of manuscripts4 ,it has more than once been most erroneously asserted by bibliographers and writers on typography1 that ,erhard ,ratdolt1 a printer at ,venice1 was the first person who made use of initial letters about the year #adgg2 for instances are not wanting of their introduction into some of the earliest printed books4 ,among the latter the most beautiful specimen of an ornamented capital letter is the ,b in the ,psalter of #adeg1 of which ,dr4 ,dibdin has given a very faithful copy in vol4 ,i4 p4 #ajg1 of the ,bibliotheca ,spenceriana4 ,this truly elegant letter seems to have been regarded as the only one of its kind2 but1 in a fragment of an undescribed missal in folio1 printed in the same type as the above-mentioned ,psalter1 there is an equally beautiful initial ,t1 prefixed to the ,te igitur canon of the mass4 ,it is ornamented with flowers and foliage1 and in both these precious volumes there are many other smaller capitals1 but whether printed with the other type1 or afterwards stamped1 may admit of some doubt4 ,this unique and valuable fragment is in the collection of the present writer4 ,as the art of printing advanced1 the initial letters assumed every possible variety of form1 with respect to the subjects with which they were ornamented4 ,incidents from scripture and profane history1 animals of every kind1 and the most ludicrous grotesques1 constitute the general materials2 nor has the ,dance of ,death been forgotten4 ,it was first introduced into the books printed at ,basle by ,bebelius and ,cratander about the year #aecj1 and for one or the other of these celebrated printers an alphabet of initial letters was constructed1 which1 in elegance of design and delicacy of engraving1 have scarcely ever been equalled1 and certainly never exceeded4 ,whether they were engraved in relief on blocks of type or printer's metal1 in the manner of wood-cutting1 or executed in wood in the usual manner1 is a matter of doubt1 and likely to remain so4 ,they may1 in every point of view be regarded as the chef d'oeuvre of ancient block engraving1 and to copy them successfully at this time might require the utmost efforts of such artists as ,harvey1 ,jackson1 and ,byfield4#acd ,a proof set of this alphabet1 in the possession of the present writer1 was shown to ,m4 ,de ,mechel when he was in ,london1 on which occasion he stated that he had seen in the public library of ,basle another proof set on a single sheet1 with the inscription ,hans ,lutzelburger1 who is elsewhere called formschneider1 or block-cutter1 of which he has written a memorandum on the leaf containing the first abovementioned set of proofs4 ,m4 de ,mechel1 with great probability1 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 mort1 on one of which1 as already stated1 the mark monogram3 ,,hl is placed2#ace but to whomsoever this mark may turn out to belong1 certain it is that ,holbein never made use of it4#acf ,these letters measure precisely #a inch by #g_/h of an inch1 and the subjects are as follow3 ,a4 ,a group of ,deaths passing through a cemetery covered with sculls4 ,one of them blows a trumpet1 and another plays on a tabor and pipe4 ,b4 ,two ,deaths seize upon a pope1 on whom a demon fastens1 to prevent their dragging him along4 ,c4 ,an emperor in the clutches of two ,deaths1 one of whom he resists1 whilst the other pulls off his crown4 ,d4 ,a king thrown to the ground and forcibly dragged away by two ,deaths4 ,e4 ,death and the cardinal4 ,f4 ,an empress sitting in a chair is attacked by two ,deaths1 one of whom lifts up her petticoat4 ,g4 ,a queen seized by two ,deaths1 one of whom plays on a fife4 ,h4 ,a bishop led away by ,death4 ,i4 ,a duke with his hands clasped in despair is seized behind by ,death in the grotesque figure of an old woman4 ,k4 ,death with a furred cap and mantle1 and a flail in his right hand1 seizes a nobleman4 ,l4 ,death in the habit of a priest with a vessel of holy water takes possession of the canon4 ,m4 ,death behind a physician in his study lays his hand on a urinal which he is inspecting4 ,n4 ,one ,death lays hold on a miser1 whilst another carries off his money from a table4 ,o4 ,death carries off a terrified monk4 ,p4 ,combat between ,death and the soldier4 ,q4 ,death very quietly leads away a nun4 ,r4 ,death and the fool who strikes at him with his bauble4 ,s4 ,exhibits two ,deaths1 one of whom is in a very licentious action with a female1 whilst the other runs off with an hour-glass on his back4 ,t4 ,a minstrel with his pipe1 lying prostrate on the ground1 is dragged away by one ,death1 whilst another pours something from a vessel into his mouth4 ,v4 ,a man on horseback endeavouring to escape from ,death is seized by him behind4 ,w4 ,death and the hermit4 ,x4 ,death and the ,devil among the gamblers4 ,y4 ,death1 the nurse1 and the infant4 ,z4 ,the last ,judgment4 ,but they were not only used at ,basle by ,bebelius ,isingrin and ,cratander1 but also at ,strasburg by ,wolfgang ,cephaleus1 and probably by other printers2 because in an edition of ,huttichius's ,romanorum principum effigies1 printed by ,cephaleus at ,strasburg in #aeeb1 they appear in a very worn and much used condition4 ,in his ,greek ,bible of #aebf1 near half the alphabet were used1 some of them by different hands4 ,they were separately published in a very small volume without date1 each letter being accompanied with appropriate scriptural allusions taken from the ,vulgate ,bible4 ,they were badly copied1 and with occasional variations1 for books printed at ,strasburg by ,j4 ,schott about #aedj4 ,same size as the originals4 ,the same initials were used by ,henry ,stainer of ,augsburg in #aecj4 ,schott also used two other sets of a larger size1 the same subjects with variations1 and which occur likewise in books printed at ,frankfort about #aeej by ,cyriacus ,jacob4 ,christopher ,froschover1 of ,zurich1 used two alphabets with the ,dance of ,death4 ,in ,gesner's ,bibliotheca ,universalis1 printed by him in #aede1 folio1 he used the letters ,a4 ,b4 ,c4 in indifferent copies of the originals with some variation4 ,in a ,vulgate ,bible1 printed by him in #aedd1 he uses the ,a and ,c of the same alphabet1 and also the following letters1 with different subjects1 viz4 ,f4 ,death blowing a trumpet in his left hand1 with the right seizes a friar holding his beads and endeavouring to escape4 ,o4 ,death and the ,swiss soldier with his battle-axe2 and1 ,s4 a queen between two ,deaths1 one of whom leads her1 the other holds up her train4 ,the ,gesner has also a ,q from the same alphabet of ,death and the nun4 ,this second alphabet is coarsely engraved on wood1 and both are of the same size as the originals4 ,in ,francolin's ,rerum praeclare gestarum1 intra et extra moenia civitatis ,viennensis1 pedestri et equestri praelio1 terra et aqua1 elapso ,mense ,junio ,anni ,domini ,,mdlx4 elegantissimis iconibus ad vivum illustratarum1 in laudem et gloriam sere4 poten4 invictissimique principis et ,domini1 ,domini ,ferdinandi electi ,roma3 imperatoris1 c4 ,vienna excudebat ,raphael ,hofhalter1 at fo4 xxii4 b4 the letter ,d is closely copied in wood from the original1 and appears to have been much used4 ,this very rare work is extremely interesting for its large and spirited etchings of the various ceremonies on the above occasion1 but more particularly for the tournaments4 ,it is also valuable for the marks of the artists1 some of which are quite unknown4 ,other copies of them on wood occur in ,english books1 but whether the whole alphabet was copied would be difficult to ascertain4 ,in a ,coverdale's ,bible1 printed by ,james ,nicolson in ,southwark1 the letters ,a4 ,i4 and ,t4 occur4 ,the subject of the ,a4 is that of the fool and ,death1 from the ,r4 of the originals1 with the addition of the fool's bauble on the ground3 the two other letters are like the originals4 ,the size #b inches by #a-a_/b4 ,the same letters1 and no others1 occur in a folio ,english ,bible1 the date of which has not been ascertained1 it being only a fragment4 ,the ,a is found as late as #afah in an edition of ,stowe's ,survey of ,london4 ,in all these letters large white spots are on the back-ground1 which might be taken for worm-holes1 but are not so4 ,the ,i occurs in ,j4 ,waley's table of yeres of kings1 #aefg1 #abmo4 ,an ,x and a ,t1 an inch and #a_/b square1 with the same subjects as in the originals1 and not only closely copied1 but nearly as well engraved on wood1 are in the author's collection4 ,their locality has not been traced4 ,hollar etched the first six letters of the alphabet from the initials described in p4 #bad4 ,they are rather larger than the originals1 but greatly inferior to them in spirit and effect4 ,two other alphabets1 the one of peasants dancing1 the other of boys playing1 by the same artists1 have been already described in p4 #aja1 and were also used by the ,basle and other printers4 ,in ,braunii ,civitates ,orbis terrarum1 ,par4 ,i4 ,no4 #cg1 edit4 #aegf1 there is an ,h1 inch and #a_/b square4 ,the subject1 ,death leading a ,pope on horseback4 ,it is engraved on wood with much spirit4 ,in ,prodicion y destierro de los ,moriscos de ,castilla1 por ,f4 ,marcos de ,guadalajara y ,xavier4 ,pamplona1 #afad1 #dto4 there is an initial ,e cut in wood with the subject of the cardinal1 varied from that in ,lutzenberger's alphabet4 ,a ,greek ,greek3 ,p on wood1 with ,death leading away the pope1 was used by ,cephalaeus in a ,testament4 ,in ,fulwell's ,flower of ,fame1 printed by ,w4 ,hoskins1 #aege1 #dto4 is an initial of ,death leading a king1 probably belonging to some alphabet4 ,an ,s rudely cut on wood with ,death seizing two children was used by the ,english printers1 ,j4 ,herford and ,t4 ,marshe4 ,an ,a well cut on wood1 representing ,death striking a miser1 who is counting his money at a table4 ,it occurs at fo4 #e of ,quad's fasciculus geographicus4 ,cologne1 #afjh1 small folio1 printed by ,john ,buxemacher4 ,an ,r indifferently cut on wood1 two inches square4 ,the subject1 ,death in a grave pulls an old man towards him4 ,a boy making his escape4 ,from some unknown book4 ,an ,s indifferently cut on wood1 two inches square4 ,death shovelling two sculls1 one crowned1 into a grave4 ,on the shovel the word ,,idem1 and below1 the initials of the engraver or designer1 ,i4 ,f4 ,from some unknown book4 ,an ,h1 an inch and half square1 very beautifully cut on wood4 ,the letter is surrounded by a group of people1 over whom ,death below is drawing a net4 ,it is from some ,dutch book of emblems1 about #afdj4 ,an ,m cut on wood in p4 #cec of a ,suetonius1 edited by ,charles ,patin1 and printed #afge1 #dto4 ,basle typis ,genathianis4 ,the subject is1 ,death seizing ,cupid4 ,size1 #a-a_/b square4 ,a ,w1 #b-a_/h square1 engraved on copper1 with the initials of ,michael ,burghers4 ,a large palm tree in the middle1 ,death with his scythe approaches a shepherd sitting on a bank and tending his flock4 ,in the second volume of ,braun and ,hogenberg ,civitates orbis terrarum1 and prefixed to a complimentary letter from ,remaglus ,lymburgus1 a physician and canon of ,liege1 there is an initial letter about an inch and a half square1 representing a pope and an emperor playing at cards4 ,they are interrupted by ,death1 who offers them a cup which he holds in his left hand whilst he points to them with his right4 ,other figures are introduced4 ,this letter is very finely engraved on wood4 ,in ,vol4 ,,ii4 p4 #aah 7misprinted #bjh7 of ,steinwich's ,bibliothecae ,ecclesiasticae4 ,colon4 ,agrip4 #aeii1 folio4 ,there is a single initial letter ,v only1 which may have been part of an alphabet with a ,dance of ,death4 ,the subject is ,death and the queen4 ,the size nearly an inch square4 ,at fo4 #a4 of ,f4 ,marco de ,guadalajara y ,xavier1 ,memorable expulsion y justissimo destierro de los ,moriscos de ,espana1 ,pamplona1 #afac1 #dto4 there is an initial ,e1 finely drawn and well engraved in wood4 ,the subject has been taken from two cuts in the ,lyons ,dance of ,death1 viz4 the cardinal and the emperor4 ,from the first1 the figures of the cardinal and ,death seizing his hat2 and from the other1 the figures of the kneeling man1 and of ,death seizing the emperor's crown1 are introduced as a complete group in the above initial letter4 ,size1 #a-a_/b inch square4 ,in p4 #ff of the same work there is another letter that has probably belonged to a set of initials with a ,dance of ,death4 ,it is an ,h1 and copied from the subject of the bishop taken by ,death from his flock1 in the ,lyons series4 ,it is engraved in a different and inferior style from that last mentioned1 yet with considerable spirit4 ,size1 #a-a_/b inch4 ,,chapter ,,xvi4 ,paintings4--,drawings4--,miscellaneous4 ,rene of ,anjou is said to have painted a sort of ,death's ,dance at ,avignon1 which was destroyed in the ,french revolution4 ,in one of the wardrobe accounts of ,henry ,,viii4 a picture at ,westminster is thus described3 ,item1 a table with the picture of a woman playing upon a lute1 and an old manne holding a glasse in th' one hande and a deadde mannes headde in th' other hande4 ,,ms4 ,harl4 ,no4 #adai4 ,a round painting in oil1 by or from ,hans ,holbein4 ,the subject1 an old man making love to a young girl4 ,death pulling him back1 hints at the consequences1 whilst the absurdity is manifested by the presence of a fool1 with cockscomb and bauble1 on the other side4 ,diameter1 #ae inches4 ,from the striking resemblance in the features of the old lover to those of ,erasmus1 there is no doubt that ,holbein intended by this group to retort upon his friend1 who1 on one of the drawings which ,holbein had inserted in a copy of ,erasmus's ,praise of ,folly1 now in the public library at ,basle1 and which represented a fat epicure at table embracing a wench1 had written the name of ,,holbein1 in allusion to his well-known intemperance4 ,in the present writer's possession4 ,the small painting by ,isaac ,oliver1 from ,holbein1 formerly at ,whitehall1 of ,death with a green garland1 c4 already more particularly described at p4 #ade4 ,a small painting in oil1 by ,old ,franks1 of a gouty old miser startled at the unexpected appearance of ,death1 who approaches him playing on a violin1 one of his feet resting on an hour-glass4 ,in the distance1 and in another room1 ,death is seen in conversation with a sitting gentleman4 ,upright1 #g-a_/b by #e-a_/b4 ,the same subject1 painted in oil by ,otho ,vaenius1 in which a guitar is substituted for the violin4 ,this picture was in the collection of ,richard ,cosway1 ,esquire4 ,upright1 #ab by #f1 and is now belonging to the present writer4 ,a ,mr4 ,knowles1 a modern artist1 is said to have painted a miser counting his hoard1 and ,death putting an extinguisher over him4 ,at p4 #dfj of the memoirs of that most ingenious artist1 ,charles ,alfred ,stothard1 by his widow1 mention is made of an old picture1 at ,nettlecombe ,hall1 ,somersetshire1 belonging to its owner1 a clergyman1 of a ,dance of ,death4 ,mr4 ,tyssen1 a bookseller at ,bristol1 is said to possess a will of the #aeth century1 in which the testator bequeaths a painting of the ,dance of ,death4 ,,drawings4 ,in a beautifully illuminated ,psalter1 supposed to have been made for ,richard ,,ii4 and preserved among the ,cotton ,,mss4 ,domit4 xvii4 is a very singular painting1 representing part of the choir of a cathedral1 with ten monks sitting in their stalls1 and chaunting the service4 ,at the top of these stalls1 and behind it1 are five grotesque ,deaths looking down on the monks4 ,one of the ,deaths has a cardinal's hat1 two have baronial crowns on their heads1 and those of the remaining two are decorated with a sort of imperial crowns1 shaped like the papal tiara4 ,a priest celebrates mass at the altar1 before which another priest or monk prostrates himself4 ,what the object of the painter was in the introduction of these singular figures of ,death is difficult to comprehend4 ,illustration ,in the manuscript and illuminated copies of the ,romance of the ,rose1 the ,pelerin de la vie humaine and the ,chevalier ,delibere1 representations of ,death as ,atropos1 are introduced4 ,a very ancient and masterly drawing of ,death and the beggar1 the outlines black on a blue ground1 tinted with white and red4 ,the figures monogram at bottom indicate its having been part of a ,macaber ,dance4 ,upright1 #e-a_/d by #d4 ,in the author's possession4 ,sir ,thomas ,lawrence had four very small drawings by ,callot that seemed to be part of an intended series of a ,dance of ,death4 #a4 ,death and the bishop4 #b4 ,death and the soldier4 #c4 ,death and the fool4 #d4 ,death and the old woman4 ,an extremely fine drawing by ,rembrandt of four ,deaths1 their hands joined in a dance1 their faces outwards4 ,one has a then fashionable female cap on his head1 and another a cap and feather4 ,upright1 #i-a_/b by #f-a_/b4 ,in the author's possession4 ,a very singular drawing in pen and ink and bistre4 ,in the middle1 a sitting figure of a naked man holding a spindle1 whilst an old woman1 leaning over a tub on a bench1 cuts the thread which he has drawn out4 ,near the old woman ,death peeps in behind a wall4 ,close to the bench is a woman sitting on the ground mending a piece of linen1 a child leaning on her shoulder4 ,on the other side is a sitting female weaving1 and another woman in an upright posture1 and stretching one of her hands towards a shelf4 ,oblong1 #aa-a_/d by #h4 ,in the author's possession4 ,an anonymous drawing in pen and ink of a ,death embracing a naked woman4 ,his companion is mounted on the back of another naked female1 and holds a dart in each hand4 ,oblong1 #d by #c-a_/d4 ,in the author's possession4 ,a single sheet1 containing four subjects1 skilfully drawn with a pen and tinted in ,indian ink4 #a4 ,an allegorical1 but unknown figure sitting on a globe1 with a sort of sceptre in his right hand4 ,death seizes him by his garment with great vigour1 and endeavours to pull him from his seat4 #b4 ,two men eating and drinking at a table4 ,death1 unperceived1 enters the room1 and levels his dart at them4 #c4 ,death seizes two naked persons very amorously situated4 #d4 ,death seizes a miser counting his money4 ,in the author's possession4 ,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 ,deutch4 ,in the author's possession1 together with lithographic copies of them that have been recently published at ,berne4#acg ,a modern ,indian ink drawing of a drunken party of men and women4 ,death above in a cloud levels his dart at them4 ,upright1 #e-a_/d by #c-a_/b4 ,in the author's possession4 ,a spirited drawing in ,indian ink of two ,deaths as pugilists with their bottle-holders4 ,oblong1 #g by #d-a_/b4 ,in the author's possession4 ,a pen and ink tinted drawing1 intitled ,the ,last ,drop4 ,a female seated before a table on which is a bottle of gin or brandy4 ,she is drinking a glass of it1 ,death standing by and directing his dart at her4 ,in the author's possession4 ,mr4 ,dagley1 in the second edition of his ,death's ,doings1 p4 #g1 has noticed some very masterly designs chalked on a wall bordering the road from ,turnham-,green towards ,kew-,bridge4 ,they exhibited figures of ,death as a skeleton ludicrously occupied with gamblers1 dancers1 boxers1 c4 all of the natural size4 ,they were unfortunately swept away before any copies were made to perpetuate them1 as they well deserved4 ,it was stated in ,the ,times newspaper that these sketches were made by a nephew of ,mr4 ,baron ,garrow1 then living in retirement near the spot1 but who afterwards obtained a situation in ,india4 ,these drawings were made in #ahai4 ,four very clever coloured drawings by ,rowlandson1 being probably a portion of an unfinished series of a ,death's ,dance4 #a4 ,the ,suicide4 ,a man seated near a table is in the act of discharging a pistol at his head4 ,the sudden and terrific appearance of ,death1 who1 starting from behind a curtain1 significantly stares at him through an eye-glass4 ,one of the candles is thrown down1 and a wine-glass jerked out of the hand of the suicide1 who1 from a broken sword and a hat with a cockade1 seems intended for some ruined soldier of fashion4 ,a female servant1 alarmed at the report of the pistol1 rushes into the apartment4 ,below1 these verses3 ,death smiles1 and seems his dart to hide1 ,when he beholds the suicide4 #b4 ,the ,good ,man1 ,death1 and the ,doctor4 ,a young clergyman reads prayers to the dying man2 the females of his family are shedding tears4 ,death unceremoniously shoves out the physician1 who puts one hand behind him1 as expecting a fee1 whilst with the other he lifts his cane to his nostrils4 ,below1 these lines3 ,no scene so blest in ,virtue's eyes1 ,as when the man of virtue dies4 #c4 ,the ,honey-moon4 ,a gouty old fellow seated on a sopha with his youthful bride1 who puts her hand through a window for a military lover to kiss it4 ,a table covered with a desert1 wine1 c4 ,death1 stretching over a screen1 pours something from a bottle into the glass which the husband holds in his hand4 ,below1 these verses3 ,when the old fool has drunk his wine1 ,and gone to rest1 ,i will be thine4 #d4 ,the ,fortune-teller4 ,some females enter the conjurer's study to have their fortunes told4 ,death seizes the back of his chair and oversets him4 ,below1 these verses3 ,all fates he vow'd to him were known1 ,and yet he could not tell his own4 ,these drawings are oblong1 #i by #e inches4 ,in the author's possession4 ,,miscellaneous4 ,a circular carving on wood1 with the mark of ,hans ,schaufelin monogram3 ,,hs1 representing ,death seizing a naked female1 who turns her head from him with a very melancholy visage4 ,it is executed in a masterly manner4 ,diameter1 #d inches4 ,in the author's possession4 ,in ,boxgrove church1 ,sussex1 there is a splendid and elaborately sculptured monument of the ,lords ,delawar2 and on the side which has not been engraved in ,mr4 ,dallaway's history of the county1 there are two figures of ,death and a female1 wholly unconnected with the other subjects on the tomb4 ,these figures are #i-a_/b inches in height1 and of rude design4 ,many persons will probably remember to have seen among the ballads1 c4 that were formerly1 and are still exhibited on some walls in the metropolis1 a poem1 intitled ,death and the ,lady4 ,this is usually accompanied with a wood-cut1 resembling the above figures4 ,it is proper to mention likewise on this occasion the old alliterative poem in ,bishop ,percy's famous manuscript1 intitled ,death and ,liffe1 the subject of which is a vision wherein the poet sees a contest for superiority between our ,lady ,dame ,life1 and the ugly fiend1 ,dame ,death4 ,see ,percy's ,reliques of ancient ,english poetry1 in the ,essay on the ,metre of ,pierce ,plowman's ,vision4 ,whether there may have been any connexion between these respective subjects must be left to the decision of others4 ,there is certainly some reason to suppose so4 ,illustration ,the sculptures at ,berlin and ,fescamp have been already described4 ,among the subjects of tapestry at the ,tower of ,london1 the most ancient residence of our kings1 was the ,dance of ,macabre4 ,see the inventory of ,king ,henry ,,viii4's ,guardrobe1 c4 in ,,ms4 ,harl4 #adai1 fo4 #e4 ,two panes of glass with a portion of a ,dance of ,death4 #a4 ,three ,deaths1 that appear to have been placed at the beginning of the ,dance4 ,over them1 in a character of the time of ,henry ,,vii4 these lines3 444 ev'ry man to be contented wt his chaunce1 ,and when it shall please ,god to folowe my daunce4 #b4 ,death and the ,pope4 ,no verses4 ,size1 upright1 #h-a_/b by #g inches4 ,in the author's possession4 ,they have probably belonged to a ,macaber ,dance in the windows of some church4 ,,chapter ,,xvii4 ,trois vifs et trois morts4--,negro figure of ,death4--,danse aux ,avengles4 ,the first of these subjects1 as connected with the ,macaber ,dance1 has been already introduced at p4 #ca-cc2 what is now added will not1 it is presumed1 be thought unworthy of notice4 ,it is needless to repeat the descriptions that have been given by ,m4 ,peignot of the manuscripts in the ,duke de la ,valliere's catalogue4 ,the following are some of the printed volumes in which representations of the trois vifs et trois morts occur4 ,they are to be found in all the editions of the ,danse ,macabre that have already been described1 and in the following ,horae and other service books of the catholic church4 ,horae ad usum ,sarum1 #adie1 no place1 no printer4 #dto4 ,three ,deaths1 three horsemen with hawks and hounds4 ,the hermit1 to whom the vision appeared1 in his cell4 ,heures a l'usaige de ,rome4 ,paris4 ,nicolas ,higman1 for ,guil4 ,eustace1 #aejf1 #abmo4 ,horae ad usum ,traject4 #aeac4 #ahmo4 ,breviarium seu horarium domesticum ad usum ,sarum4 ,paris1 ,f4 ,byrckman1 #aeaf4 ,large folio4 ,three ,deaths and three young men4 ,horae ad usum ,romanum4 ,paris4 ,thielman ,kerver1 #aebb4 #hvo4 ,and again1 #aece4 #dto4 ,a ,dutch ,horae4 ,paris4 ,thielman ,kerver1 #aebb4 #hvo4 ,heures a l'usage de ,paris4 ,thielman ,kerver's widow1 #aebe4 #hvo4 ,missale ad usum ,sarum4 ,paris1 #aebg4 ,folio4 ,three horsemen as noblemen1 but without hawks or hounds4 ,enchiridion preclare ecclesie ,sarum4 ,paris4 ,thielman ,kerver1 #aebh4 #cbmo4 ,horae ad usum fratrum predicatorum ordinis ,s4 ,dominici4 ,paris4 ,thielman ,kerver1 #aebi4 #hvo4 ,horae ad usum ,romanum4 ,paris4 ,yolande ,bonhomme1 widow of ,t4 ,kerver1 #aeca4 #hvo4 ,missale ad usum ,sarum4 ,paris4 ,f4 ,regnault1 #aeca4 ,three ,deaths only2 different from the others4 ,prayer of ,salisbury4 ,paris4 ,francois ,regnault1 #aeca1 #abmo4 ,horae ad usum ,sarum4 ,paris4 ,widow of ,thielman ,kerver1 #aecb4 #abmo4 ,heures a l'usage de ,paris4 ,francois ,regnault1 #aece4 #abmo4 ,horae ad usum ,romanum4 ,paris4 ,gilles ,hardouyn1 #aecg4 #ahmo4 ,the subject is different from all the others1 and very curiously treated4 ,heures a l'usage de ,paris4 ,thielman ,kerver1 #aeeh4 #abmo4 ,heures a l'usage de ,rome4 ,paris4 ,thielman ,kerver1 #aegc4 #abmo4 ,heures a l'usage de ,paris4 ,jacques ,kerver1 #aegc4 #abmo4 ,and again1 #aege4 #abmo4 ,in ,the ,contemplation of ,sinners1 printed by ,wynkyn de ,worde4 #dto4 ,all the above articles are in the collections of the author of this dissertation4 ,in an elegant ,,ms4 ,horae1 in the ,harl4 ,coll4 ,no4 #biag1 #abmo4 three ,deaths appear to a pope1 an emperor1 and a king coming out of a church4 ,all the parties are crowned4 ,at the end of ,desrey's ,macabri speculum choreae mortuorum1 a hermit sees a vision of a king1 a legislator1 and a vain female4 ,they are all lectured by skeletons in their own likenesses4 ,in a manuscript collection of unpublished and chiefly pious poems of ,john ,awdeley1 a blind poet and canon of the monastery of ,haghmon1 in ,shropshire1 anno #adbf1 there is one on the trois vifs et trois morts1 in alliterative verses1 and composed in a very grand and terrific style4 ,,negro ,,figure ,,of ,,death4 ,in some degree connected with the old painting of the ,macaber ,dance in the church-yard of the ,innocents at ,paris1 was that of a black man over a vaulted roof1 constructed by the celebrated ,n4 ,flamel1 about the year #acij4 ,this is supposed to have perished with the ,danse ,macabre2 but a copy of the figure has been preserved in some of the printed editions of the dance4 ,it exhibits a ,negro blowing a trumpet1 and was certainly intended as a personification of ,death4 ,in one of the oldest of the above editions he is accompanied with these verses3 ,,cry ,,de ,,mort4 ,tost1 tost1 tost1 que chacun savance ,main a main venir a la danse ,de ,mort1 danser la convient1 ,tous et a plusieurs nen souvient4 ,venez hommes femmes et enfans1 ,jeunes et vieulx1 petis et grans1 ,ung tout seul nen eschapperoit1 ,pour mille escuz si les donnoit1 c4 ,before the females in the dance the figure is repeated with a second ,cry de ,mort4 ,tost1 tost1 venez femmes danser ,apres les hommes incontinent1 ,et gardez vous bien de verser1 ,car vous danserez vrayment2 ,mon cornet corne bien souvent ,apres les petis et les grans4 ,despecte vous legierement1 ,apres la pluye vient le beau temps4 ,these lines are differently given in the various printed copies of the ,danse ,macabre4 ,this figure is not to be confounded with an alabaster statue of ,death that remained in the church-yard of the ,innocents1 when it was entirely destroyed in #aghf4 ,it had been usually regarded as the work of ,germain ,pilon1 but with greater probability belonged to ,francois ,gentil1 a sculptor at ,troyes1 about #aedj4 ,it was transported to ,notre ,dame1 after being bronzed and repaired1 by ,m4 ,deseine1 a distinguished artist4 ,it was saved from the fury of the iconoclast revolutionists by ,m4 ,le ,noir1 and deposited in the ,museum which he so patriotically established in the ,rue des petits ,augustins1 but it has since disappeared4 ,it was an upright skeleton figure1 holding in one hand a lance which pointed to a shield with this inscription3 ,il n'est vivant1 tant soit plein d'art1 ,ne de force pour resistance1 ,que je ne frappe de mon dart1 ,pour bailler aux vers leur pitance4 ,priez ,dieu pour les trespasses4 ,it is engraved in the second volume of ,m4 ,le ,noir's ,musee des monumens ,francais1 and also in his ,histoire des arts en ,france1 ,no4 #ia4 ,,danse ,,aux ,,aveugles4 ,there is a poetical work1 in some degree connected with the subject of this dissertation1 that ought not to be overlooked4 ,it was composed by one ,pierre ,michault1 of whom little more seems to be known than that he was in the service of ,charles1 ,count of ,charolois1 son of ,philip le ,bon1 ,duke of ,burgundy4 ,it is intitled ,la ,danse aux ,aveugles1 and the object of it is to show that all men are subject to the influence of three blind guides1 ,love1 ,fortune1 and ,death1 before whom several persons are whimsically made to dance4 ,it is a dialogue in a dream between the ,author and ,understanding1 and the respective blind guides describe themselves1 their nature1 and power over mankind1 in ten-line stanzas1 of which the following is the first of those which are pronounced by ,death3 ,je suis la ,mort de nature ennemie1 ,qui tous vivans finablement consomme1 ,anichillant a tous humains la vie1 ,reduis en terre et en cendre tout homme4 ,je suis la mort qui dure me surnomme1 ,pour ce qu'il fault que maine tout affin2 ,je nay parent1 amy1 frere ou affin ,que ne face tout rediger en pouldre1 ,et suis de ,dieu ad ce commise affin1 ,que l'on me doubte autant que tonnant fouldre4 ,some of the editions are ornamented with cuts1 in which ,death is occasionally introduced1 and that portion of the work which exclusively relates to him seems to have been separately published1 ,m4 ,goujet#ach having mentioned that he had seen a copy in vellum1 containing twelve leaves1 with an engraving to every one of the stanzas1 twenty-three in number4 ,more is unnecessary to be added1 as ,m4 ,peignot has elaborately and very completely handled the subject in his interesting ,recherches sur les ,danses des ,morts4 ,dijon1 #ahbf4 octavo4 ,,chapter ,,xviii4 ,errors of various writers who have introduced the subject of the ,dance of ,death4 ,to enumerate even a moiety of these mistakes would almost occupy a separate volume1 but it may be as well to notice some of them which are to be found in works of common occurrence4 ,,travellers4--,the erroneous remarks of ,bishop ,burnet and ,mr4 ,coxe have been already adverted to4 ,see pp4 #gi1 #acd1 and #ach4 ,misson seems to regard the old ,danse ,macabre as the work of ,holbein4 ,the ,rev4 ,robert ,gray1 in ,letters during the course of a tour through ,germany and ,switzerland in the year #agia and #agib1 has stated that ,mechel has engraved ,rubens's designs from the ,dance of ,death1 now perishing on the walls of the church-yard of the ,predicant convent1 where it was sketched in #adca4 ,mr4 ,wood1 in his ,view of the ,history of ,switzerland1 as quoted in the ,monthly ,review1 ,nov4 #agii1 p4 #bij1 states1 that the ,dance of ,death in the church-yard of the ,predicants has been falsely ascribed to ,holbein1 as it is proved that it was painted long after the death of that artist1 and not before he was born1 as the honourable ,horace ,walpole supposes4 ,here the corrector stands in need himself of correction1 unless it be possible that he is not fairly quoted by the reviewer4 ,miss ,williams1 in her ,swiss tour1 #agih1 when speaking of the ,basle ,dance of ,death1 says it was painted by ,kleber1 a pupil of ,holbein4 ,those intelligent and amusing travellers1 ,breval1 ,keysler1 and ,blainville have carefully avoided the above strange mistakes4 ,,writers ,,on ,,painting ,,and ,,engraving4--,meyssens1 in his article for ,holbein in the effigies of the ,painters1 mentions his ,death's ,dance1 in the town-hall of ,basle1 the design whereof he first neatly cut in wood and afterwards painted1 which appeared so fine to the learned ,erasmus1 c4 ,english edition1 #afid1 p4 #ae4 ,felibien1 in his ,entretiens sur les vies des ,peintres1 follows ,meyssens as to the painting in the town-hall4 ,le ,comte places the supposed painting by ,holbein in the fish-market1 and in other respects copies ,meyssens4 ,cabinet des ,singularites1 c4 tom4 iii4 p4 #cbc1 edit4 #agjb1 #abmo4 ,bullart not only places the painting in the town-hall of ,basle1 but adds1 that he afterwards engraved it in wood4 ,acad4 des ,sciences et des ,arts1 tom4 ii4 p4 #dab4 ,mr4 ,evelyn1 in his ,sculptura1 the only one of his works that does him no credit1 and which is a meagre and extremely inaccurate compilation1 when speaking of ,holbein1 actually runs riot in error and misconception4 ,he calls him a ,dane4 ,he makes what he terms the licentiousness of the friars and nuns1 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 ,christ1 and also the ,dance ,machabre and ,mortis imago1 to have been cut in wood1 and one or both of the latter to have been painted in the church of ,basle4 ,mr4 ,evelyn's own copy of this work1 with several additions in manuscript1 is in the possession of ,mr4 ,taylor1 a retired and ingenious artist1 of ,cirencester-place4 ,he probably intended to reprint it1 and opposite the above-mentioned word ,dane1 has inserted a query4 ,sandrart places the ,dance of ,death in the fish-market at ,basle1 and makes ,holbein the painter as well as the engraver4 ,acad4 artis pictoriae1 p4 #bch1 edit4 #afhc1 folio4 ,baldinucci speaks of twenty prints of the ,dance of ,death painted by ,holbein in the ,senate-house of ,basle4 ,notizie de professori del disegno1 c4 tom4 iii4 #cac and #cai4 ,m4 ,descamps inadvertently ascribes the old ,dance of ,death on the walls of the church-yard of ,saint ,peter to the pencil of ,holbein4 ,vie des ,peintres ,flamandi1 c4 #agec4 #hvo4 ,tom4 i4 p4 #ge4 ,papillon1 in his account of the ,dance of ,death1 abounds with inaccuracies4 ,he says1 that a magistrate of ,basle employed him to paint a ,dance of ,death in the fish-market1 near a church-yard2 that the work greatly increased his reputation1 and made much noise in the world1 although it has many anatomical defects2 that he engraved this painting on small blocks of wood with unparalleled beauty and delicacy4 ,he supposes that they first appeared in #aecj at ,basle or ,zuric1 and as he thinks with a title and ,german verses on each print4 ,now he had never seen any edition so early as #aecj1 nor any of the cuts with ,german verses1 and having probably been misled on this occasion1 he has been the cause of misleading many subsequent writers1 as ,fournier1 ,huber1 ,strutt1 c4 ,he adopts the error as to the mark monogram3 ,,hl on the thirty-sixth subject belonging to ,holbein4 ,he is entirely ignorant of the nature and character of the fool or idiot in ,no4 xliii4 whom he terms un homme lascif qui a leve le devant de sa robbe3 and1 to crown the whole1 he makes the old ,macaber ,dance an imitation of that ascribed to ,holbein4 ,de ,murr1 in tom4 ii4 p4 #ece of his ,bibliotheque de ,peinture1 c4 servilely copies ,papillon in all that he has said on the subject1 with some additional errors of his own4 ,the ,abbe ,fontenai1 in the article for ,holbein in his ,dictionnaire des ,artistes1 ,paris1 #aggf1 #hvo4 not only makes him the painter of the old ,macaber ,dance1 but places it in the town-house at ,basle4 ,mr4 ,walpole1 or rather ,vertue1 in the ,anecdotes of ,painting in ,england1 corrects the error of those who give the old ,macaber ,dance to ,holbein1 but inadvertently makes that which is usually ascribed to him to have been borrowed from the other4 ,messrs4 ,huber and ,rost make ,holbein the engraver of the ,lyons wood-cuts1 and suppose the original drawings to be preserved in the public library at ,basle4 ,they probably allude to the problematical drawings that were used by ,m4 de ,mechel1 and which are now in ,russia4 ,manuel des curieux et des amateurs de l'art4 ,tom4 i4 p4 #aee4 ,in the ,notices sur les graveurs1 ,besancon1 #ahjg1 #hvo4 a work that has1 by some writers1 been given to ,m4 ,malpe1 and by others to the ,abbe ,baverel1 ,papillon is followed with respect to the supposed edition of #aecj1 and its ,german verses4 ,mr4 ,janssen is more inaccurate than any of his predecessors1 some of whom have occasionally misled him4 ,he makes ,albert ,durer the inventor of the designs1 the greater part of which1 he says1 are from the ,dance of ,death at ,berne4 ,he adopts the edition of #aecj1 and the ,german verses4 ,he condemns the title-page of the edition of #aefb for stating an addition of seventeen plates1 whereas1 says he1 there are but five2 but the editor meant only that there were seventeen more cuts than in the original1 which had only forty-one4 ,,miscellaneous ,,writers4--,charles ,patin1 a libeller of the ,english nation1 has made ,holbein the engraver on wood of a ,dance of ,death1 which1 he says1 is not much unlike that in the church-yard of the ,predicants at ,basle1 painted1 as some say1 from the life1 by ,holbein4 ,he ought to have known that this work was executed near a century before ,holbein was born4 ,erasmi stultitiae laus4 ,basileae1 #afgf1 #hvo4 at the end of the list of ,holbein's works4 ,martiniere1 in his ,geographical ,dictionary1 makes ,holbein the inventor of the ,macaber ,dance at ,basle4 ,goujet1 in his very useful ,bibliotheque ,francoise1 tom4 x4 p4 #dcf1 has erroneously stated that the ,lyons engravings on wood were by the celebrated artist ,salomon ,bernard1 usually called ,le petit ,bernard4 ,the mistake is very pardonable1 as it appears that ,bernard chiefly worked in the above city4 ,m4 ,compan1 in his ,dictionnaire de ,danse1 #aghg1 #abmo4 under the article ,macabree1 very gravely asserts that the author took his work from the ,maccabees1 qui1 comme tout le monde scait danserent1 et en ont fait epoque pour les morts4 ,he then quotes some lines from a modern edition of the ,danse ,macabre1 where the word ,machabees is ignorantly substituted for ,machabre4 ,m4 ,fournier states that ,holbein painted a ,dance of ,death in the fish-market at ,basle1 reduced it1 and engraved it4 ,dissertation sur l'imprimerie1 p4 #gj4 ,mr4 ,warton has converted the imaginary ,machabree into a ,french poet1 but corrects himself in his ,hist4 of ,engl4 ,poetry4 ,he supposes the single cut in ,lydgate to represent all the figures that were in ,st4 ,paul's cloister4 ,he atones for these errors in referring to ,holbein's cuts in ,cranmer's ,catechism1 as entirely different in style from those published at ,lyons1 but which he thinks1 are probably the work of ,albert ,durer1 and also in his conjecture that the painter ,reperdius might have been concerned in the latter4 ,see ,observations on the ,fairy ,queen of ,spenser1 vol4 ii4 #aaf1 c4 ,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 #aedc1 and that ,georgius ,a,emylius published this ,dance at ,lyons1 #aedb1 one year before ,holbein's painting at ,basle appeared4 ,hist4 ,engl4 ,poetry1 vol4 ii4 p4 #cfd1 edit4 ,price4 ,the ,marquis de ,paulmy ascribes the old ,macaber ,dance at ,basle to ,holbein1 and adds1 le sujet et l'execution en sont aussi singuliers que ridicules4 ,melanges tires d'une grande bibliotheque1 tom4 ,ff4 #cga4 ,m4 ,champollion ,figeac in ,millin's ,magazin encyclopedique1 #ahaa1 tom4 vi4 has an article on an edition of the ,danse ,macabre anterieure a celle de #adhf4 ,in this article he states that ,holbein painted a fresco ,dance of ,death at ,basle near the end of the #aeth century 7,holbein was not born till #adih672 that this ,dance resembled the ,danse ,macabre1 all the characters of which are in ,holbein's style2 that it is still more like the ,dance in the ,monasticon ,anglicanum in a single print2 and that the ,english ,dance belongs to ,john ,porey1 an author who appears1 however1 to be unknown to all biographers4 ,we should have been obliged to ,m4 ,figeac if he had mentioned where he met with this ,john ,porey1 whom he again mentions1 but in such a manner as to leave a doubt whether he means to consider him as a poet or a painter4 ,even ,m4 ,millin himself1 from whom more accuracy might have been expected1 speaks of ,holbein's work as at the ,dominican convent at ,basle4 ,the ,nouveau ,dictionnaire ,historique1 #aghi1 #hvo4 gives the painting on the walls of the cemetery of ,st4 ,peter at ,basle1 to ,holbein1 confounding the two works as some other ,french biographical dictionaries have done1 especially one that has cited an edition of the ,danse ,macabre in #adhf as the first of ,holbein's painting1 though it immediately afterwards states that artist to have been born in #adih4 ,in that excellent work1 the ,biographie universelle1 in #db vols4 #hvo4 #ahaa-ahbh1 ,m4 ,ponce1 under the article ,holbein1 inaccurately refers to the ,dance of ,death painted in #aedc on the walls of a cemetery at ,basle1 at the same time properly remarking that it was not ,holbein's4 ,he refers to the supposed original drawings of ,holbein's work at ,petersburg that were engraved by ,de ,mechel1 and concludes his brief note with a reference to a dissertation of ,m4 ,raymond in ,millin's ,magazin encyclopedique1 #ahad1 tom4 v4 which is nothing more than a simple notice of two editions of the ,danse ,macabre1 described in the present dissertation4 ,and lastly--,the ,reviewer of the first edition of the present dissertation prefixed to ,mr4 ,edwards's engravings or etchings by ,wenceslaus ,hollar1 has displayed considerable ingenuity in his attempt to correct supposed errors1 by a lavish substitution of many of his own1 some of which are the following3 ,that the ,dance of ,death is found in carvings in wood in the choirs of churches4 ,not a single instance can be produced4 ,that ,hollar's etchings are on wood4 ,black letter is corrected to ,black letters4 ,that the book would have been more complete if ,lydgate's stanzas had been quoted1 in common with others in ,piers ,plowman4 ,now all the stanzas of ,lydgate are given1 and not a single one is to be found in ,piers ,plowman4 ,and they most ingeniously and scientifically denominate the skeleton figure of ,death the ,gothic monster of ,holbein6 99 99 99 99 99 ,a short time after the completion of the present ,dissertation1 the author accidentally became possessed of a recently published ,german life of ,holbein1 in which not a single addition of importance to what has been gleaned from preceding writers can possibly be found4 ,it contains a general1 but extremely superficial account of the works of that artist1 including the ,dance of ,death1 which1 as a matter of course1 is ascribed to him4 ,as the author1 a ,mr4 ,ulrich ,hegner1 who is said to be a ,swiss gentleman and amateur1 has not conducted himself with that urbanity and politeness which might have been looked for from such a character1 and has thought proper1 in adverting to the slight ,essay by the present writer1 prefixed1 at the instance of the late ,mr4 ,edwards1 to his publication of ,hollar's etchings of the ,dance of ,death1 to speak of it with a degree of contempt1 which1 even with all its imperfections1 others may think it may not have deserved2 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 compilation4 ,had ,mr4 ,hegner written with a becoming diffidence in his opinions1 his work might have commanded and deserved respect1 though greatly abounding in error and false conceit4 ,he has undertaken a task for which he has shown himself wholly unqualified1 and with much unseemly arrogance1 and its usual concomitant1 ignorance1 has assumed to himself a monopoly of information on the subject which he discusses4 ,his arguments1 if worthy of the name1 are1 generally speaking1 of a most weak and flimsy texture4 ,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 fact4 ,he has not been in possession of a tenth part of the materials that were necessary for the proper investigation of his subject1 nor does he appear to have even seen them4 ,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 them1 with the exception of ,mr4 ,ottley1 and of the modest and urbane ,monsieur ,peignot1 are liable to the charge of extreme inaccuracy and imperfection in their treatment of the ,dance of ,death1 and the list of such writers may now be closed with the addition of ,herr ,hegner4 ,some of his positions are now to be stated and examined4 ,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 dissertation1 adding that he also engraved them1 and suppressing any mention in this place of the monogram on one of the cuts which he elsewhere admits not to belong to ,holbein4 ,soon afterwards1 and with very good reason1 he doubts the originality of the drawings1 which he says ,m4 de ,mechel caused to be copied by ,rudolph ,schellenberg1 a skilful artist1 already mentioned as the author of a ,dance of ,death of his own invention2 and proceeds to state1 that from these copies ,de ,mechel employed some inferior persons in his service to make engravings2 advancing all this without the accompaniment of any proof whatever1 and in direct contradiction to ,de ,mechel's authority of having himself engraved them4 ,an apparently bitter enemy to ,de ,mechel1 whose posthumous materials1 now in the library at ,basle1 he nevertheless admits to have used for his work1 he invidiously enlarges on the discrepancies between his engravings and the ,lyons wood-cuts1 both in size and manner2 and then concludes that they were copied from the wood-cuts1 the copyist allowing himself the privilege of making arbitrary variations1 especially in the figure of the ,eve in the second cut1 which1 he says1 is of the family of ,boucher1 who1 in spite of ,hegner's opinion1 is regarded by better judges as a clever painter4 ,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 only1 and ,hegner does not appear to have seen them1 or at least does not tell us so4 ,his criticisms on the merit of the engravings in ,de ,mechel's work cannot be justified1 for though they may occasionally be faulty1 they are very neatly1 and many will think beautifully executed4 ,what ,hegner has said respecting the alphabets of initial letters1 is at once futile and inaccurate2 but his comment on ,hans ,lutzenberger deserves the severest censure4 ,adverting to the inscription with the name of this fine artist on one of the sets of the initials1 he terms him an itinerant bookseller1 who had bought the blocks and put his name on them2 and this after having himself referred to a print on which ,lutzenberger is called ,,formschneider1 i4 e4 woodcutter3 making in this instance a clumsy and dishonest effort to get rid of an excellent engraver1 who stands so recorded in opposition to his own untenable system4 ,the very important and indelible expressions in the dedication to the first known edition of the ,lyons wood-cuts1 he very modestly terms a play upon words1 and endeavours to account for the death of the painter by supposing ,holbein's absence in ,england would warrant the language of the dedication4 ,this is indeed a most desperate argument4 ,frellon1 the publisher and proprietor of the work1 must have known better than to have permitted the dedication to accompany his edition had it been susceptible of so silly a construction4 ,he again adheres to the improbable notion that ,holbein engraved the cuts to the ,lyons book1 and this in defiance of the mark or monogram monogram3 ,,hl which this painter never used2 nor will a single print with ,holbein's accredited name be found to bear the slightest resemblance to the style of the wood-cuts4 ,even those in ,cranmer's catechism1 which approach the nearest to them1 are in a different manner4 ,his earlier engravings on wood1 whether in design only1 or as the engraver1 resemble those by ,urs ,graaf1 who1 as well as ,holbein1 decorated the frontispieces or titles to many of the books printed at ,basle4 ,it is not improbable that ,urs ,graaf was at that time a pupil of ,holbein4 ,hegner next endeavours to annihilate the painting at ,whitehall recorded in ,nieuhoff's etchings and dedications1 but still by arguments of an entirely negative kind4 ,he lays much stress on this painting not being specifically mentioned by ,sandrart or ,van ,mander1 who were in ,england2 but where does it appear that the latter1 during his short stay in this country1 had visited ,whitehall8 ,even admitting that both these persons had seen that palace1 it is most probable that the fresco painting of the ,dance of ,death1 would1 from length of time1 dampness of the walls1 and neglect1 have been in a condition that would not warrant the exhibition of it1 and it was1 moreover1 placed in a gallery which scarcely formed1 at that time1 a part of ,whitehall1 and which was1 probably1 not shown to visitors4 ,it must not1 however1 be omitted to mention that ,sandrart1 in p4 #bci of his ,acad4 ,pict4 states1 though ambiguously1 that there was still remaining at ,whitehall a work by ,holbein that would constitute him the ,apelles of his time1 an expression which we may remember had been also applied to ,holbein by his friend ,borbonius in the complimentary lines on a ,dance of ,death4 ,the ,herr ,hegner has thought fit to speak of ,mr4 ,t4 ,nieuhoff in terms of indecorous and unjust contempt1 describing him as an unknown and unimportant ,dutch copper-plate engraver1 and arraigning his evidence as being in manuscript only2 as if manuscripts that have never been printed were of no authority4 ,but where has ,hegner discovered that ,nieuhoff was a ,dutch copper-plate engraver1 by which is meant a professed artist2 or even though he had been such1 would that circumstance vitiate his testimony8 ,in his dedication to ,lord ,william ,benting the expressions allusive to his ardent love of the arts1 seem to constitute him an amateur attempter of etching2 for what he has left us in that way is indeed of a very subordinate character1 and unworthy of a professed artist4 ,he appears to have been one of the ,dutchmen who accompanied ,king ,william to ,england1 and to have had apartments assigned to him at ,whitehall4 ,at the end of his dedication to ,lord ,w4 ,benting1 he calls himself an old servant of that person's father1 and subscribes himself your and your illustrious family's most obedient and humble servant4 ,the identification of ,william ,benting must be left to the sagacity of others4 ,he could not have been the ,earl of ,portland created in #afhi1 or he would have been addressed accordingly4 ,he is1 moreover1 described as a youth born at ,whitehall1 and then residing there1 and whose dwelling consisted of nearly the whole of the palace that remained after the fire4 ,again1--,we have before us a person living in the palace of ,whitehall anterior to its destruction1 testifying what he had himself seen1 and addressing one who could not be imposed upon1 as residing also in the palace4 ,there seems to be no possible motive on the part of ,nieuhoff for stating an untruth1 and his most clear and unimpeachable testimony is opposed by ,hegner's wild and weak conjectures1 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 ,whitehall1 amidst those inaccurate and superficial accounts of ,england which1 with little exception1 have been given by foreign travellers4 ,among these ,hegner has selected ,patin and ,sandrart4 ,before adducing the former1 he would have done well to have looked at his very imperfect and erroneous account of ,holbein's works1 in his edition of the ,greek3 ,,morias ,,egkomion of ,erasmus2 and1 with respect to the latter1 the stamp of inaccuracy has been long affixed to most of the works he has published4 ,he has mentioned1 that being in company with ,rubens in a ,dutch passage boat the conversation fell upon ,holbein's book of cuts1 representing the ,dance of ,death2 that ,rubens gave them the highest encomiums1 advising him1 who was then a young man1 to set the highest value upon them1 informing him1 at the same time1 that he in his youth had copied them4#aci ,on this passage ,mr4 ,warton has well remarked that if ,rubens styled these prints ,holbein's1 in familiar conversation1 it was but calling them by the name which the world had given them1 and by which they were generally known2 and that ,sandrart has1 in another place1 confounded them with the ,basle painting4#adj ,to conclude1--,juvenal's hoc volo1 sic jubeo1 sit pro ratione voluntas1 may be regarded as ,herr ,hegner's literary motto4 ,he has advocated the vague traditions of unauthenticated ,dances of ,death by ,holbein1 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 him4 ,yet1 if by fair and candid argument1 supported by the necessary proofs1 the usual and long standing claim on the part of ,holbein can be substantiated1 no one will thereby be more highly gratified than the author of this dissertation4 ,,additions ,,and ,,corrections4 ,p4 #ei4 ,after ,no4 #ag add ,la ,danse ,macabre4 ,paris1 ,nicole de la ,barre1 #aebc1 #dto4 with very different cuts1 and some characters omitted in former editions4 ,p4 #gg1 last line of the text4 ,there is a ,german work intitled ,the process or law-suit of ,death1 printed1 and perhaps written1 by ,conrad ,fyner in #adgg2 but as it is not noticed in ,panzer's list of ,german books1 no further account of it can be given than that it is briefly mentioned by ,joseph ,heller1 in a ,german work on the subject of engraving on wood1 in which one cut from it is introduced1 that exhibits ,death conversing with a husbandman who holds a flail in one of his hands4 ,it is probable that the book would be found to contain other figures relating to a ,macaber ,dance4 ,p4 #aab1 l4 ult4 ,there is another work by ,glissenti1 intitled ,la ,morte innamorata4 ,venet4 #afjh1 #bdmo4 with a dedication to ,sir ,henry ,wotton1 the ,english ambassador at ,venice1 by ,elisabetta ,glissenti ,serenella1 the author's niece2 in which1 after stating that ,sir ,henry had seen it represented1 she adds1 that she had ventured to have it printed for the purpose of offering it to him as a very humble donation1 c4 ,it is a moral1 dramatic1 and allegorical fable of five acts1 in which ,man1 to avoid ,death1 who has fallen in love with him1 retires with his family to the country of ,long ,life1 where he takes up his abode in the house of the ,world1 by whom and his wife ,fraud1 who is in strict friendship with ,fortune1 he is apparently made much of1 and calculates on being very happy4 ,death follows the ,man1 and being unknown in the above region1 contrives1 with the aid of ,infirmity1 the ,man's nurse1 to make him fall sick4 ,the ,world being tired of his guest1 and very desirous to get rid of1 and plunder him of his property1 under pretence of introducing him to ,fortune1 and consequent happiness1 enters into a plot with ,time to disguise ,death1 who is lodged in the same house with him1 as ,fortune1 and thus to give him possession of the ,man1 who imagines that he is just about to secure ,fortune4 ,each act of this piece is ornamented with some wood-cut that had been already introduced into the other work of ,glissenti4 ,p4 #aah1 line #cb4 ,ebert1 in his ,bibliographisches ,lexicon1 ,leipsig4 #ahba1 #dto4 has mentioned some later editions of ,denneker's engravings4 ,see the article ,denecker1 p4 #igb4 ,p4 #abf1 l4 #ad4 ,it is not impossible that ,hollar may have copied a bust carved in wood1 or some other material1 by ,holbein1 as ,albert ,durer and other great artists are known to have practised sculpture in this manner4 ,p4 #ace1 l4 #be4 ,these four prints are in the author's possession4 ,p4 #acg1 l4 ult4 ,other imitations of the ,lyons cuts are1 #a4 ,a wood engraving of ,adam digging and ,eve spinning1 by ,corn4 ,van ,sichem in the ,bibel's tresor1 ,amst4 #afdf1 #dto4 #b4 ,the ,astrologer1 a small circular print on copper by ,le ,blond4 #c4 ,the ,bridegroom1 an anonymous modern engraving on wood4 #d4 ,the ,miser1 a small modern and anonymous print on copper4 ,p4 #adg1 l4 #ai4 ,in the library at ,lambeth palace1 ,no4 #ajdi1 there is a copy of this book in ,greek1 ,latin1 ,italian1 ,spanish1 ,english1 and ,french1 printed by ,j4 ,day1 #aefi1 #hvo4 ,it was given by ,archb4 ,tillotson1 and from a memorandum in it supposed to have been the ,queen's own copy4 ,the cut of the ,queen kneeling was used so late as #afeb1 in ,benlowes' ,theophila4 ,some of the cuts have the unexplained mark monogram3 ,,ci4 ,p4 #afd1 ,article xii4 ,this print is a copy1 with a few variations1 of a much older one engraved on wood1 and probably unique1 in the very curious collection of single sheets and black letter ballads1 belonging to ,george ,daniel1 ,esquire1 of ,islington4 ,the figures are executed in a style of considerable merit1 and each of them is described in a stanza of four lines4 ,it may probably be the same as ,no4 #a or ,no4 #b1 mentioned in p4 #gf1 or either of ,nos4 x4 or xi4 described in p4 #afc4 ,p4 #bbf1 line #ab4 ,another drawing by ,rowlandson1 intitled ,death and the ,drunkards4 ,five topers are sitting at a table and enjoying their punch4 ,death suddenly enters and violently seizes one of them4 ,another perceives the unwelcome and terrific intruder1 whilst the rest are too intent on their liquor to be disturbed at the moment4 ,it is a very spirited and masterly performance4 #aa by #i4 ,in the author's possession4 ,p4 #bci1 l4 #ab4 ,there is likewise in the ,biographie ,universelle an article intitled ,macaber1 poete ,allemand by ,m4 ,weiss1 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 work1 should have permitted himself to be misled in much that he has said1 by the errors of ,champollion ,figeac in the ,magazin ,encyclopedique4 ,he certainly doubts the existence of ,macaber as a writer1 but inclines to ,m4 ,van ,praet's ,arabic ,magbarah4 ,he states1 that the ,english version of the ,macaber ,dance belongs to ,john ,porey1 a poet who remains unknown even to his countrymen1 and is inserted in the ,monasticon ,anglicanum4 ,now this unknown poet1 who is likewise adopted by ,m4 ,peignot1 is merely the person who contributed ,hollar's plate in the ,monasticon1 already mentioned in p4 #eb1 and whose coat of arms is at the top of that plate1 with the following inscription1 ,quo praesentes et posteri ,mortis1 ut vidimus1 omni ,ordini comunis1 sint magis memores1 posuit ,,iohannes ,,porey4 ,mr4 ,weiss has likewise inadvertently adopted the error that ,holbein painted the old ,dance of ,macaber in the convent of the ,augustines at ,basle4 ,two recently published ,dances of ,death have come to hand too late to have been noticed in their proper places4 #a4 ,der ,todtentantz4 ,ein ,gedicht von ,ludwig ,bechstein1 mit #dh kupfern in treuen ,conturen nach ,h4 ,holbein4 ,leipzig bei ,friedrich ,august ,leo1 #ahca4 #hvo4 ,these prints are executed in a faithful and elegant outline1 and accompanied with modern ,german verses4 #b4 ,hans ,holbein's ,todtentanz in #ec getreu nach den ,holz schnitten lithographirten ,blattern4 ,heraus gegeben von ,j4 ,schlotthaver k4 ,professor ,mit erklaerendem ,texte4 ,munchen1 #ahcb1 ,auf ,rosten des ,heraus gegebers4 #abmo4 ,the prints are most accurately and elegantly lithographed in imitation of wood engraving4 ,the descriptions are in ,german verse1 and accompanied with some brief prefatory matter by ,dr4 ,h4 ,f4 ,massmann1 which is said to have been amplified in one of the ,german journals or reviews4 ,,description ,,of ,,the ,,cuts ,,given ,,in ,,the ,,dissertation4 ,i4 ,the frontispiece is a design for the sheath of a dagger1 probably made by ,holbein for the use of a goldsmith or chaser4 ,the original drawing is in the public library at ,basle4 ,see some remarks on it in p4 #acc4 ,,ii4 ,these circular engravings by ,israel ,van ,meckenen are mentioned in p4 #afj4 ,,iii4 ,copy of an ancient drawing1 #aded1 of ,death and the ,beggar4 ,see p4 #bbc4 ,,iv4 ,figures of ,death and the ,lady1 sculptured on a monument of the ,delawars1 in ,boxgrove church1 ,sussex4 ,see p4 #bbf4 ,v4 ,a fac-simile of one of the cuts to a very early edition1 printed without date at ,troyes by ,nicolas le ,rouge4 ,it represents the story of the trois morts et trois vifs1 and the vision of ,saint ,macarius4 ,see pp4 #cc1 #cd1 and #ei4 ,,vi4 ,a fac-simile of another cut from the edition of a ,danse ,macabre1 mentioned in ,no4 ,v4 ,,description ,,of ,,the ,,lyons ,,wood-,,cuts ,,of ,,the ,,dance ,,of ,,death4 ,the ,copies have been made by ,,mr4 ,,bonner from the ,cuts belonging to the ,imagines ,mortis1 ,lugduni sub scuto ,coloniensi1 #aedg1 #abmo4 and which have been usually ascribed to ,holbein4 #a4 ,,the ,,creation ,,of ,,all ,,things4 ,the ,deity is seen taking ,eve from the side of ,adam4 ,formavit ,dominus ,deus hominem de limo terrae1 c4 ,gen4 i4 #b4 ,,the ,,temptation4 ,eve has just received the forbidden fruit from the serpent1 who1 on the authority of venerable ,bede1 is here1 as well as in most ancient representations of the subject1 depicted with a female human face4 ,she holds it up to ,adam1 and entices him to gather more of it from the tree4 ,quia audisti vocem uxoris tuae1 et comedisti de ligno1 c4 ,gen4 iii4 #c4 ,,the ,,expulsion ,,from ,,paradise4 ,adam and ,eve are preceded by ,death1 who plays on a vielle1 or beggar's lyre1 as if demonstrating his joy at the victory he has obtained over man4 ,emisit eum ,dominum ,deus de ,paradiso voluptatis1 ut operaretur terram de qua sumptus est4 ,gen4 iii4 #d4 ,,the ,,consequences ,,of ,,the ,,fall ,,of ,,man4 ,adam is digging the ground1 assisted by ,death4 ,in the distance ,eve is suckling her first-born and holding a distaff4 ,whence the proverb in many languages3 ,when ,adam delv'd and ,eve span ,where was then the gentleman8 ,maledicta terra in opere tuo1 in laboribus comedes cunctis diebus vitae tuae1 donec revertaris1 c4 ,gen4 iii4 #e4 ,a ,,cemetery1 in which several ,deaths are assembled1 most of whom are playing on noisy instruments of music1 as a general summons to mortals to attend them4 ,vae1 vae1 vae habitantibus in terra4 ,apoc4 viii4 #f4 ,,the ,,pope4 ,he is crowning an ,emperor1 who kneels before him1 two ,cardinals attending1 one of whom is ludicrously personated by ,death4 ,in the back-ground are bishops1 c4 ,death embraces the ,pope with one hand1 and with the other leans on a crutch4 ,two grotesque ,devils are introduced into the cut1 one of whom hovers over the ,pope1 the other in the air holds a diploma1 to which several seals are appended4 ,moriatur sacerdos magnus4 ,josue xx4 #g4 ,,the ,,emperor4 ,seated on a throne1 and attended by his courtiers1 he seems to be listening to1 or deciding1 the complaint of a poor man who is kneeling before him1 against his rich oppressor1 whom the ,emperor1 holding the sword of justice1 seems to regard with an angry countenance4 ,behind him ,death lays hands upon his crown4 ,dispone domui tuae1 morieris1 enim tu1 et non vives4 ,isaiae xxxviii4 #h4 ,,the ,,king4 ,he is sitting at his repast before a well-covered table1 under a canopy studded with fleurs-de-lis4 ,death intrudes himself as a cupbearer1 and presents the ,king with probably his last draught4 ,the figure of the ,king seems intended as a portrait of ,francis ,i4 ,sicut et ,rex hodie est1 et cras morietur2 nemo enim ex regibus aliud habuit4 ,ecclesiast4 x4 et ,sapient4 vii4 #i4 ,,the ,,cardinal4 ,there is some difficulty in ascertaining the real meaning of the designer of this subject4 ,it has been described as the ,cardinal receiving the bull of his appointment1 or as a rich man making a purchase of indulgences4 ,the latter interpretation seems warranted by the ,latin motto4 ,death is twisting off the ,cardinal's hat4 ,vae qui justificatis impium pro muneribus1 et justitiam justi aufertis ab eo4 ,isaiae v4 #aj4 ,,the ,,empress4 ,gorgeously attired and attended by her maids of honour1 she is intercepted in her walk by ,death in the character of a shrivelled old woman1 who points to an open grave1 and seems to say1 to this you must come at last4 ,gradientes in superbia potest ,deus humiliare4 ,dan4 iv4 #aa4 ,,the ,,queen4 ,she has just issued from her palace1 when ,death unexpectedly appears and forcibly drags her away4 ,her jester1 in whose habiliments ,death has ludicrously attired himself1 endeavours in vain to protect his mistress4 ,a female attendant is violently screaming4 ,death holds up his hour-glass to indicate the arrival of the fatal hour4 ,mulieres opulentae surgite1 et audite vocem meam3 post dies et annum1 et vos conturbemini4 ,isaiae xxxii4 #ab4 ,,the ,,bishop4 ,quietly resigned to his fate he is led away by ,death1 whilst the loss of the worthy ,pastor is symbolically deplored by the flight and terror of several shepherds in the distance amidst their flocks4 ,the setting sun is very judiciously introduced4 ,percutiam pastorem1 et dispergentur oves gregis4 ,mat4 xxvi4 ,mar4 xiv4 #ac4 ,,the ,,duke4 ,attended by his courtiers1 he is accosted in the street for charity by a poor beggar woman with her child4 ,he disdainfully turns aside from her supplication1 whilst ,death1 fantastically crowned with leaves1 unexpectedly lays violent hands upon him4 ,princeps induetur moerore1 et quiescere faciam superbiam potentium4 ,ezech4 viii4 #ad4 ,,the ,,abbot4 ,death having despoiled him of his mitre and crosier1 drags him away4 ,the ,abbot resists with all his might1 and is about to throw his breviary at his adversary4 ,ipse morietur1 quia non habuit disciplinam1 et in multitudine stultitiae suae decipietur4 #ae4 ,,the ,,abbess4 ,death1 grotesquely crowned with flags1 seizes the poor ,abbess by her scapulary4 ,a ,nun at the convent gate1 with uplifted hands1 bewails the fate of her superior4 ,laudavi magis mortuos quam viventes4 ,eccles4 iv4 #af4 ,,the ,,gentleman4 ,he vainly1 with uplifted sword1 endeavours to liberate himself from the grasp of ,death4 ,the hour-glass is placed on his bier4 ,quis est homo qui vivet1 et non videbit mortem1 eruet animam suam de manu inferi8 #ag4 ,,the ,,canon4 ,death holds up his hour-glass to him as he is entering a cathedral4 ,they are followed by a noble person with a hawk on his fist1 his buffoon or jester1 and a little boy4 ,ecce appropinquat hora4 ,mat4 xxvi4 #ah4 ,,the ,,judge4 ,he is deciding a cause between a rich and a poor man4 ,from the former he is about to receive a bribe4 ,death behind him snatches his staff of office from one of his hands4 ,disperdam judicem de medio ejus4 ,amos ii4 #ai4 ,,the ,,advocate4 ,the rich client is putting a fee into the hands of the dishonest lawyer1 to which ,death also contributes1 but reminds him at the same time that his glass is run out4 ,to this admonition he seems to pay little regard1 fully occupied in counting the money4 ,behind this group is the poor suitor1 wringing his hands1 and lamenting that his poverty disables him from coping with his wealthy adversary4 ,callidus vidit malum1 et abscondit se3 innocens pertransiit1 et afflictus est damno4 ,prover4 xxii4 #bj4 ,,the ,,magistrate4 ,a ,demon is blowing corruption into the ear of a magistrate1 who has turned his back on a poor man1 whilst he is in close conversation with another person1 to whose story he seems emphatically attentive4 ,death at his feet with an hour-glass and spade4 ,qui obturat aurem suam ad clamorem pauperis1 et ipse clamabit1 et non exaudietur4 ,prover4 xxi4 #ba4 ,,the ,,preacher4 ,death with a stole about his neck stands behind the preacher1 and holds a jaw-bone over his head1 typifying perhaps thereby that he is the best preacher of the two4 ,vae qui dicitis malum bonum1 et bonum malum3 ponentes tenebras lucem1 et lucem tenebras3 ponentes amarum in dulce1 et dulce in amarum4 ,isaiae v4 #bb4 ,,the ,,priest4 ,he is carrying the viaticum1 or sacrament1 to some dying person4 ,attendants follow with tapers and holy water4 ,death strides on before1 with bell and lanthern1 to announce the coming of the priest4 ,sum quidem et ego mortalis homo4 ,sap4 vii4 #bc4 ,,the ,,mendicant ,,friar4 ,he is just entering his convent with his money box and wallet4 ,death seizes him by the cowl1 and forcibly drags him away4 ,sedentes in tenebris1 et in umbra mortis1 vinctos in mendicitate4 ,psal4 cvi4 #bd4 ,,the ,,nun4 ,here is a mixture of gallantry and religion4 ,the young lady has admitted her lover into her apartment4 ,she is kneeling before an altar1 and hesitates whether to persist in her devotions or listen to the amorous music of the young man1 who1 seated on a bed1 touches a theorbo lute4 ,death extinguishes the candles on the altar1 by which the designer of the subject probably intimates the punishment of unlawful love4 ,est via quae videtur homini justa3 novissima autem ejus deducunt hominem ad mortem4 ,prover4 iv4 #be4 ,,the ,,old ,,woman4 ,she is accompanied by two ,deaths1 one of whom1 playing on a stickado1 or wooden psalter1 precedes her4 ,she seems more attentive to her rosary of bones than to the music1 whilst the other ,death impatiently urges her forward with blows4 ,melior est mors quam vita4 ,eccle4 xxx4 #bf4 ,,the ,,physician4 ,he holds out his hand to receive1 for inspection1 a urinal which ,death presents to him1 and which contains the water of a decrepid old man whom he introduces1 and seems to say to the physician1 ,canst thou cure this man who is already in my power8 ,medice cura te ipsum4 ,luc4 iv4 #bg4 ,,the ,,astrologer4 ,he is seen in his study1 looking attentively at a suspended sphere4 ,death holds out a skull to him1 and seems1 in mockery1 to say1 ,here is a better subject for your contemplation4 ,indica mihi si nosti omnia4 ,sciebas quod nasciturus esses1 et numerum dierum tuorum noveras8 ,job xxxviii4 #bh4 ,,the ,,miser4 ,death has burst into his strong room1 where he is sitting among his chests and bags of gold1 and1 seated on a stool1 deliberately collects into a large dish the money on the table which the ,miser had been counting4 ,in an agony of terror and despair1 the poor man seems to implore forbearance on the part of his unwelcome visitor4 ,stulte1 hac nocte repetunt animam tuam3 et quae parasti1 cujus erunt8 ,lucae xii4 #bi4 ,,the ,,merchant4 ,after having escaped the perils of the sea1 and happily reached the wished-for shore with his bales of merchandize2 this too secure adventurer1 whilst contemplating his riches1 is surprised by ,death4 ,one of his companions holds up his hands in despair4 ,qui congregat thesauros lingua mendacii1 vanus et excors est1 et impingetur ad laqueos mortis4 ,proverb4 xxi4 #cj4 ,,the ,,ship ,,in ,a ,,tempest4 ,death is vigorously employed in breaking the mast4 ,the owner of the vessel is wringing his hands in despair4 ,one man seems perfectly resigned to his impending fate4 ,qui volunt ditescere1 incidunt in tentationem et laqueum1 et cupiditates multas1 stultas ac noxias1 quae demergunt homines in exitium et interitum4 #a ad ,tim4 vi4 #ca4 ,,the ,,knight4 ,after escaping the perils in his numerous combats1 he is vanquished by ,death1 whom he ineffectually resists4 ,subito morientur1 et in media nocte turbabuntur populi1 et auferent violentum absque manu4 ,job xxxiv4 #cb4 ,,the ,,count4 ,death1 in the character of a ragged peasant1 revenges himself against his proud oppressor by crushing him with his own armour4 ,on the ground lie a helmet1 crest1 and flail4 ,quoniam cum interierit non sumet secum omnia1 neque cum eo descendet gloria ejus4 ,psal4 xlviii4 #cc4 ,,the ,,old ,,man4 ,death leads his aged victim to the grave1 beguiling him with the music of a dulcimer4 ,spiritus meus attenuabitur1 dies mei breviabuntur1 et solum mihi superest sepulchrum4 ,job xvii4 #cd4 ,,the ,,countess4 ,she receives from an attendant the splendid dress and ornaments with which she is about to equip herself4 ,on a chest are seen a mirror1 a brush1 and the hour-glass of ,death1 who1 standing behind her1 places on her neck a collar of bones4 ,ducunt in bonis dies suos1 et in puncto ad inferna descendant4 ,job xxi4 #ce4 ,,the ,,new-,,married ,,lady4 ,she is accompanied by her husband1 who endeavours to divert her attention from ,death1 who is insidiously dancing before them and beating a tambour4 ,me et te sola mors separabit4 ,ruth i4 #cf4 ,,the ,,duchess4 ,she is sitting up1 dressed1 in her bed1 at the foot of which are two ,deaths1 one of whom plays on a violin1 the other is pulling the clothes from the bed4 ,de lectulo1 super quem ascendisti1 non descendes1 sed morte morieris4 #d ,reg4 i4 #cg4 ,,the ,,pedlar4 ,accompanied by his dog1 and heavily laden1 he is proceeding on his way1 when he is intercepted by ,death1 who forcibly pulls him back4 ,another ,death is playing on a trump-marine4 ,venite ad me omnes qui laboratis1 et onerati estis4 ,matth4 xi4 #ch4 ,,the ,,husbandman4 ,he is assisted by ,death1 who conducts the horses of his plough4 ,in sudore vultus tui vesceris pane tuo4 ,gen4 iii4 #ci4 ,,the ,,child4 ,a female cottager is preparing her family mess1 when ,death enters and carries off the youngest of her children4 ,homo natus de muliere1 brevi vivens tempore1 repletur multis miseriis3 qui quasi flos egreditur1 et conteritur1 et fugit velut umbra4 ,job xiv4 #dj4 ,,the ,,soldier4 ,he is engaged in unequal combat with ,death1 who simply attacks him with a bone4 ,on the ground lie some of his demolished companions4 ,in the distance1 ,death is beating a drum1 and leading on a company of soldiers to battle4 ,cum fortis armatus custodit atrium suum1 c4 ,si autem fortior eo superveniens vicerit eum1 universa ejus arma aufert1 in quibus confidebat4 ,luc4 xi4 #da4 ,,the ,,gamesters4 ,death and the ,devil are disputing the possession of one of the gamesters1 whom both have seized4 ,another seems to be interceding with the ,devil on behalf of his companion1 whilst a third is scraping together all the money on the table4 ,quid prodest homini1 si universum mundum lucretur1 animae autem suae detrimentum patiatur8 ,mat4 xvi4 #db4 ,,the ,,drunkards4 ,they are assembled in a brothel1 and intemperately feasting4 ,death pours liquor from a flaggon into the mouth of one of the party4 ,ne inebriemini vino1 in quo est luxuria4 ,ephes4 v4 #dc4 ,,the ,,ideot ,,fool4 ,he is mocking ,death1 by putting his finger in his mouth1 and at the same time endeavouring to strike him with his bladder-bauble4 ,death smiling1 and amused at his efforts1 leads him away in a dancing attitude1 playing at the same time on a bag-pipe4 ,quasi agnus lasciviens1 et ignorans1 nescit quod ad vincula stultus trahatur4 ,prover4 vii4 #dd4 ,,the ,,robber4 ,whilst he is about to plunder a poor market-woman of her property1 ,death comes behind and lays violent hands on him4 ,domine vim patior4 ,isaiae xxxviii4 #de4 ,,the ,,blind ,,man4 ,carefully measuring his steps1 and unconscious of his perilous situation1 he is led on by ,death1 who with one hand takes him by the cloak1 both parties having hold of his staff4 ,caecus caecum ducit3 et ambo in foveam cadunt4 ,matt4 xv4 #df4 ,,the ,,waggoner4 ,his cart1 loaded with wine casks1 has been overturned1 and one of his horses thrown down by two mischievous ,deaths4 ,one of them is carrying off a wheel1 and the other is employed in wrenching off a tie that had secured one of the hoops of the casks4 ,the poor affrighted waggoner is clasping his hands together in despair4 ,corruit in curru suo4 #a ,chron4 xxii4 #dg4 ,,the ,,beggar4 ,almost naked1 his hands joined together1 and his head turned upwards as in the agonies of death1 he is sitting on straw near the gate of some building1 perhaps an hospital1 into which several persons are entering1 and some of them pointing to him as an object fit to be admitted4 ,on the ground lie his crutches1 and one of his legs is swathed with a bandage4 ,a female is looking on him from a window of the building4 ,miser ego homo6 quis me liberabit de corpore mortis hujus8 ,rom4 vii4 #dh4 ,,the ,,last ,,judgment4 ,christ sitting on a rainbow1 and surrounded by a group of angels1 patriarchs1 c4 rests his feet on a globe of the universe4 ,below1 are several naked figures risen from their graves1 and stretching out their hands in the act of imploring judgment and mercy4 ,memorare novissima1 et in aeternum non peccabis4 ,eccle4 vii4 #di4 ,,the ,,allegorical ,,escutcheon ,,of ,,death4 ,the coat or shield is fractured in several places4 ,on it is a skull1 and at top the crest as a helmet surmounted by two arm bones1 the hands of which are grasping a ragged piece of stone1 and between them is placed an hour-glass4 ,the supporters are a gentleman and lady in the dresses of the times4 ,in the description of this cut ,papillon has committed some very absurd mistakes1 already noticed in p4 #aaj4 ,i ,,the ,,creation ,illustration ,formavit ,dominus ,deus hominem de limo terrae1 c4 ,gen4 i4 ,,ii ,,the ,,temptation ,illustration ,quia audisti vocem uxoris tuae1 et comedisti de ligno1 c4 ,gen4 iii4 ,,iii ,,the ,,expulsion ,illustration ,emisit eum ,dominum ,deus de ,paradiso voluptatis1 ut operaretur terram de qua sumptus est4 ,gen4 iii4 ,,iv ,,the ,,consequences ,,of ,,the ,,fall ,illustration ,maledicta terra in opere tuo1 in laboribus comedes cunctis diebus vitae tuae1 donec revertaris1 c4 ,gen4 iii4 ,v ,a ,,cemetery ,illustration ,vae1 vae1 vae habitantibus in terra4 ,apoc4 viii4 ,,vi ,,the ,,pope ,illustration ,moriatur sacerdos magnus4 ,josue xx4 ,,vii ,,the ,,emperor ,illustration ,dispone domui tuae1 morieris1 enim tu1 et non vives4 ,isaiae xxxviii4 ,,viii ,,the ,,king ,illustration ,sicut et ,rex hodie est1 et cras morietur2 nemo enim ex regibus aliud habuit4 ,eccles4 x4 et ,sapient4 vii4 ,,ix ,,the ,,cardinal ,illustration ,vae qui justificatis impium pro muneribus1 et justitiam justi aufertis ab eo4 ,isaiae v4 ,x ,,the ,,empress ,illustration ,gradientes in superbia potest ,deus humiliare4 ,dan4 iv4 ,,xi ,,the ,,queen ,illustration ,mulieres opulentae surgite1 et audite vocem meam3 post dies et annum1 et vos conturbemini4 ,isaiae xxxii4 ,,xii ,,the ,,bishop ,illustration ,percutiam pastorem1 et dispergentur oves gregis4 ,mat4 xxvi4 ,mar4 xiv4 ,,xiii ,,the ,,duke ,illustration ,princeps induetur moerore1 et quiescere faciam superbiam potentium4 ,ezech4 viii4 ,,xiv ,,the ,,abbot ,illustration ,ipse morietur1 quia non habuit disciplinam1 et in multitudine stultitiae suae decipietur4 ,,xv ,,the ,,abbess ,illustration ,laudavi magis mortuos quam viventes4 ,eccles4 iv4 ,,xvi ,,the ,,gentleman ,illustration ,quis est homo qui vivet1 et non videbit mortem1 eruet animam suam de manu inferi8 ,,xvii ,,the ,,canon ,illustration ,ecce appropinquat hora4 ,mat4 xxvi4 ,,xviii ,,the ,,judge ,illustration ,disperdam judicem de medio ejus4 ,amos ii4 ,,xix ,,the ,,advocate ,illustration ,callidus vidit malum1 et abscondit se3 innocens pertransiit1 et afflictus est damno4 ,prover4 xxii4 ,,xx ,,the ,,magistrate ,illustration ,qui obturat aurem suam ad clamorem pauperis1 et ipse clamabit1 et non exaudietur4 ,prover4 xxi4 ,,xxi ,,the ,,preacher ,illustration ,vae qui dicitis malum bonum1 et bonum malum3 ponentes tenebras lucem1 et lucem tenebras3 ponentes amarum in dulce1 et dulce in amarum4 ,isaiae v4 ,,xxii ,,the ,,priest ,illustration ,sum quidem et ego mortalis homo4 ,sap4 vii4 ,,xxiii ,,the ,,mendicant ,illustration ,sedentes in tenebris1 et in umbra mortis1 vinctos in mendicitate4 ,psal4 cvi4 ,,xxiv ,,the ,,nun ,illustration ,est via quae videtur homini justa3 novissima autem ejus deducunt hominem ad mortem4 ,prover4 iv4 ,,xxv ,,the ,,old ,,woman ,illustration ,melior est mors quam vita4 ,eccle4 xxx4 ,,xxvi ,,the ,,physician ,illustration ,medice1 cura te ipsum4 ,luc4 iv4 ,,xxvii ,,the ,,astrologer ,illustration ,indica mihi si nosti omnia4 ,sciebas quod nasciturus esses1 et numerum dierum tuorum noveras8 ,job xxxviii4 ,,xxviii ,,the ,,miser ,illustration ,stulte1 hac nocte repetunt animam tuam3 et quae parasti1 cujus erunt8 ,lucae xii4 ,,xxix ,,the ,,merchant ,illustration ,qui congregat thesauros lingua mendacii1 vanus et excors est1 et impingetur ad laqueos mortis4 ,proverb4 xxi4 ,,xxx ,,the ,,ship ,,in ,a ,,tempest ,illustration ,qui volunt ditescere1 incidunt in tentationem et laqueum1 et cupiditates multas1 stultas1 ac noxias1 quae demergunt homines in exitium et interitum4 #a ad ,tim4 vi4 ,,xxxi ,,the ,,knight ,illustration ,subito morientur1 et in media nocte turbabuntur populi1 et auferent violentum absque manu4 ,job xxxiv4 ,,xxxii ,,the ,,count ,illustration ,quoniam cum interierit1 non sumet secum omnia1 neque cum eo descendet gloria ejus4 ,psal4 xlviii4 ,,xxxiii ,,the ,,old ,,man ,illustration ,spiritus meus attenuabitur1 dies mei breviabuntur1 et solum mihi superest sepulchrum4 ,job xvii4 ,,xxxiv ,,the ,,countess ,illustration ,ducunt in bonis dies suos1 et in puncto ad inferna descendunt4 ,job xxi4 ,,xxxv ,,the ,,new-,,married ,,lady ,illustration ,me et te sola mors separabit4 ,ruth i4 ,,xxxvi ,,the ,,duchess ,illustration ,de lectulo super quem ascendisti1 non descendes1 sed morte morieris4 #d ,reg4 i4 ,,xxxvii ,,the ,,pedlar ,illustration ,venite ad me1 omnes qui laboratis1 et onerati estis4 ,matth4 xi4 ,,xxxviii ,,the ,,husbandman ,illustration ,in sudore vultus tui vesceris pane tuo4 ,gen4 iii4 ,,xxxix ,,the ,,child ,illustration ,homo natus de muliere1 brevi vivens tempore1 repletur multis miseriis3 qui quasi flos egreditur1 et conteritur1 et fugit velut umbra4 ,job xiv4 ,,xl ,,the ,,soldier ,illustration ,cum fortis armatus custodit atrium suum1 c4 ,si autem fortior eo superveniens vicerit eum1 universa ejus arma aufert1 in quibus confidebat4 ,luc4 xi4 ,,xli ,,the ,,gamesters ,illustration ,quid prodest homini1 si universum mundum lucretur1 animae autem suae detrimentum patiatur8 ,mat4 xvi4 ,,xlii ,,the ,,drunkards ,illustration ,ne inebriemini vino1 in quo est luxuria4 ,ephes4 v4 ,,xliii ,,the ,,ideot ,,fool ,illustration ,quasi agnus lasciviens1 et ignorans1 nescit quod ad vincula stultus trahatur4 ,prover4 vii4 ,,xliv ,,the ,,robber ,illustration ,domine1 vim patior4 ,isaiae xxxviii4 ,,xlv ,,the ,,blind ,,man ,illustration ,caecus caecum ducit3 et ambo in foveam cadunt4 ,matt4 xv4 ,,xlvi ,,the ,,waggoner ,illustration ,corruit in curru suo4 #a ,chron4 xxii4 ,,xlvii ,,the ,,beggar ,illustration ,miser ego homo6 quis me liberabit de corpore mortis hujus8 ,rom4 vii4 ,,xlviii ,,the ,,last ,,judgment ,illustration ,memorare novissima1 et in aeternum non peccabis4 ,eccle4 vii4 ,,xlix ,,allegorical ,,escutcheon ,,of ,,death ,illustration ,,marks ,,of ,,engravers4 monogram3 ,g ,s4 #da1 #aag monogram3 ,,hl #ic1 #ig1 #ih1 #ajj1 #aaa1 #aac1 #aad1 #bae1 #bce monogram3 ,h ,n #ajj monogram3 ,s4 #aac monogram3 ,,sa #aac1 #aad1 #aae1 #aaf1 #abg1 #acj1 #acf1 #agd monogram3 ,w #aag monogram3 cross #aag monogram #aah monogram3 ,a #abd monogram3 ,,uh #abe monogram3 ,,wh #abe monogram3 ,,hb #abf monogram3 ,,hh #abf monogram3 ,h,holbein inv4 #abf1 #abi ,h4 ,,holbein1 inv4 #abf4 monogram3 ,w4 #acj monogram3 ,l ,b4f4 #acj monogram3 ,,ci #adg1 #bdh monogram3 ,,ac #afj1 #aij monogram3 ,,hf #ahd monogram3 ,l #ahi monogram3 ,,vg #ahi monogram #aij monogram #aij monogram #aia monogram3 ,,hm #aia monogram #aia monogram3 ,,bad #aic monogram3 ,i4 ,f4 #bai monogram #bbc monogram3 ,,hs #bbf ,these are the marks erroneously given to ,holbein1 ,,bi4 ,hf4 monogram3 ,,hl monogram3 ,,hl ,b4 monogram3 ,,hb4 monogram3 ,,hh4 ,and these the marks which really belong to him1 ,,hh4 ,,hans ,,holb4 ,,hans ,,holbein4 monogram3 #aeai ,,hf monogram3 ,,hf ,,ii ,h4 ,,hans ,,holben4 monogram3 ,,ah #aeag monogram3 ,h symbol ,h monogram3 ,h-,h ,,index4 ,a4 ,a,emylius1 ,geo4 his verses1 #hd4 ,alciatus1 his emblems the earliest work of the kind1 #ahj4 ,aldegrever1 his ,dance of ,death1 #afj4 ,almanac1 a ,swiss one1 with a ,dance of ,death1 #gf1 #bji4 ,alphabets1 several curious1 #ajj1 #bad1 #bag4 ,amman1 ,jost1 a ,dance of ,death by him1 #da4 ,ars moriendi1 some account of the last edition of it1 #agc4 ,athyr1 ,stamm-und ,stechbuchlein1 a rare and singular book of emblems1 #ahj4 ,b4 ,baldinucci1 a mistake by him corrected1 #bce4 ,basle1 destruction of its celebrated painting of the ,dance of ,death1 #ci4 engravings of it1 #da4 ,beauclerc1 ,lady ,diana1 her ballad of ,leonora1 #baj4 ,bechstein1 ,ludwig1 his edition of the ,lyons' wood-cuts1 #acf4 ,beham1 ,barthol41 his ,dance of ,death1 #aij4 ,bernard1 le petit1 his fine wood-cuts to the ,old ,testament1 #agc4 ,berne almanac1 a ,dance of ,death in one of them1 #aed4 ,bock1 ,hans1 not the painter of the ,basle ,dance of ,death1 #ci4 ,bodenehr1 ,maurice1 a ,dance of ,death by him1 #afe4 ,boetius de consolatione1 a figure of ,death in an old edition of it1 #aga4 ,bonaparte1 ,napoleon1 a ,dance of ,death relating to him1 #afg4 ,books in which a ,dance of ,death is occasionally introduced1 #afh4 ,borbonius1 ,nicolas1 his portrait1 #adj4 his verses1 #ib1 #id1 #aci4 in ,england1 #adj4 ,bosman1 ,arent1 a singular old ,dutch legend relating to him1 #ahc4 ,bosse1 a curious engraving by him1 #aif4 ,boxgrove church in ,sussex1 sculpture in1 #bbf4 ,brant1 ,sebastian1 his stultifera navis1 #agj4 ,bromiard1 ,john ,de1 his ,summa predicantium1 a fine frontispiece to it1 #ahc4 ,buno1 ,conrad1 a book of emblems by him1 #aha4 ,burnet1 ,bishop1 his ambiguous account of a ,dance of ,death at ,basle1 #gi1 #ach4 ,c4 ,calendrier des ,bergers1 #agj4 ,callot1 drawings by him of a ,dance of ,death in the collection of ,sir ,tho4 ,lawrence1 #bbc4 ,camus1 ,m4 de1 a ludicrous mistake by him1 #afi4 ,catz's emblems1 #ahb4 ,cavallero determinado1 #agd4 ,centre de l'amour1 a singular book of emblems1 #ahb4 ,chertablon1 ,maniere de se bien preparer a la mort1 #agg4 ,chevalier de la tour1 a singular print from this curious romance1 #aga4 ,chodowiecki1 his engravings relating to the ,dance of ,death1 #aec1 #bjg1 #bjh4 ,chorier1 his ,antiquites de ,vienne1 #dh4 ,cogeler1 ,imagines elegantissimae1 c4 #agc4 ,coleraine1 ,i4 ,nixon1 his ,dance of ,death on a fan1 #aei4 ,colman's ,death's duell1 #ahe4 ,compan1 ,m4 his mistake about a ,dance of ,death1 #bcg4 ,coppa1 a poem ascribed to ,virgil1 #c4 ,cossiers1 ,john1 a curious print after him1 #aii4 ,coverdale's ,bible1 with initials of a ,dance of ,death1 #bag4 ,coxe's travels in ,switzerland1 some account in them of ,m4 ,crozat's drawings1 #acd4 ,crozat1 ,m4 ,de1 account of some supposed drawings by ,holbein in his collection1 #acd4 ,d4 ,dagger1 design for the sheath of one by ,holbein1 #acc4 ,dagley's ,death's doings1 #aeg1 #baj1 #bbd4 ,dance of ,death1 a pageant1 #e4 ,danish one1 #aei4 known to the ancients1 #ab4 one at ,pompeii1 #ac4 the term sometimes improperly used1 #ha4 verses belonging to it1 #ag4 where sculptured and painted1 #ag4 ,dance1 ,mr4 the painter1 his imitation of a subject in the ,dance of ,death in his portrait of ,mr4 ,garrick1 #acg4 ,dances of ,death1 with such text only as describes the subject1 #afj4 anonymous1 #afa1 #afb1 #afc1 #afd4 at the following places1 ,amiens1 #dg4 ,anneberg1 #dd4 ,avignon1 #bba4 ,basle1 #cf4 ,berlin1 #dh4 ,berne1 #de4 ,blois1 #dg4 ,croydon1 #ed4 ,dijon1 #ce4 ,dresden1 #dd4 ,erfurth1 #dd4 ,fescamp1 #dg4 ,hexham1 #ec4 ,holland1 #di4 ,italy1 #di4 ,klingenthal1 #db4 ,leipsic1 #dd4 ,lubeck1 #dc4 ,lucerne1 #df4 ,minden1 #ce4 ,nuremberg1 #de4 ,paris1 #ad1 #cc1 #ce4 ,rouen1 #dg4 ,salisbury1 #eb4 ,st4 ,paul's1 #ea1 #gf4 ,spain1 #ej4 ,strasburg1 #dg4 ,tower of ,london1 #ed4 ,vienne1 in ,dauphine1 #dh4 ,wortley ,hall1 #ec4 ,dancing in temples and churchyards1 #e1 #f4 ,daniel1 ,mr4 an unique print of a ,dance of ,death in his possession1 #bdh4 ,danse aux aveugles1 #bca4 ,death and the ,lady1 #bbf4 how personified by the ,ancients1 #a4 not in itself terrific1 #d4 to ,dr4 ,quackery1 #baa4 ,de ,bry1 prints by him1 #ahj1 #ahc1 #aie4 ,dedication to the first edition of the ,lyons wood-cuts1 #hf4 mistakes in it1 #hg4 ,de ,gheyn1 prints by him1 #aih1 #bje4 ,de la ,motte's fables1 #ahc4 ,della ,bella1 #afb4 ,de ,murr1 his mistake about the ,dance of ,death1 #bce ,dennecker1 or ,de ,necker1 ,jobst1 ,dances of ,death by him1 #dj1 #db1 #he1 #aah4 ,de ,pas1 ,crispin1 description of a singular engraving by him1 #aif4 ,descamps1 his mistake about the ,dance of ,death1 #bce4 ,deuchar1 ,david1 the ,scottish ,worlidge1 his etchings of the ,dance of ,death1 #ace4 ,deutch1 ,nicolas ,manuel1 the painter of a ,dance of ,death at ,berne1 #bbd4 ,devil's ruff-shop1 #bjj4 ,de ,vos1 ,martin1 print after him of the ,devil's ruff-shop1 #bjj4 ,diepenbecke1 ,abraham1 designer of the borders to ,hollar's etchings of the ,dance of ,death1 #abe4 ,dialogue of life and death1 in ,dialogues of creatures moralized1 #agj4 ,dominotiers1 venders of coloured prints for the common people1 #gg4 ,drawings of the ,dance of ,death1 #bbb4 ,druraei ,mors1 an excellent ,latin comedy1 #age4 ,dugdale1 his ,monasticon1 #abi4 his ,st4 ,paul's1 #abi4 ,durer1 ,albert1 some prints by or after him described1 #ahh1 #ahi4 ,e4 ,ear1 the seat of memory among the ,ancients1 #c4 swearing by1 #c4 ,edwards1 ,mr4 the bookseller1 the possessor of ,hollar's etchings of the ,dance of ,death1 #abh4 ,elizabeth1 her prayer-book with a ,dance of ,death1 #adg1 #bdg4 ,emblems and fables relating to the ,dance of ,death1 #agi4 ,engravings on wood1 the earliest impressions of them not always the best1 #he1 #ij4 commendations of them in books printed in ,france1 ,germany1 and ,italy1 #ig4 ,errors of miscellaneous writers on the ,dance of ,death1 #bcf4 of travellers concerning it1 #bcc4 of writers on painting and engraving concerning it1 #bcd4 ,evelyn1 ,mr4 his mistake concerning the ,dance of ,death1 #bce4 ,f4 ,fables relating to the ,dance of ,death1 #agi4 ,faut mourir1 le1 #bf4 ,felibien1 his mistake about the ,dance of ,death1 #bce4 ,figeac1 ,champollion1 his account of a ,macaber ,dance1 #bch4 ,fleischmann1 ,counsellor1 of ,strasburg1 drawings of a ,dance of ,death in his possession1 #acd4 ,fontenai1 ,abbe1 his mistake concerning the ,dance of ,death1 #bcf4 ,fool and ,death in old moralities1 #agg4 ,fournier1 his mistake concerning the ,dance of ,death1 #bcg4 ,fox1 ,john1 ,book of ,christian ,prayers1 compiled by him1 #adg4 ,francis ,i4 an importer of fine artists into ,france1 #ib4 ,francolin1 a rare work by him described1 #bag4 ,freidanck1 #aga4 ,friderich's emblems1 #ahj4 ,frontispieces connected with the ,dance of ,death1 described1 #ahc4 ,fulbert's vision of the dispute between the soul and the body1 #cb4 ,fuseli1 ,mr4 his opinion concerning the ,dance of ,death1 #hc4 ,fyner1 ,conrad1 his process or law-suit of ,death4 ,g4 ,gallitzin1 ,prince1 some supposed drawings by ,holbein of a ,dance of ,death in his possession1 #acd4 ,gem1 an ancient one1 with a skeleton as the representative of ,death1 #bjf4 ,gerard1 ,mark1 some etchings of fables by him1 #agi4 ,gesner's ,pandectae1 remarks on a passage in that work1 #hd4 ,ghezzi1 a figure of ,death among his caricatures1 #bjf4 ,glarus1 ,franciscus a1 his ,confusio disposita1 c4 noticed as a very singular work1 #agg4 ,glass1 painted1 with a ,dance of ,death1 #bbg4 ,glissenti1 his ,discorsi morali1 #aab4 his ,morte inamorata1 #bdf4 ,gobin le gay1 a name of one of the shepherds in an old print of the ,adoration1 #fi4 ,gobin1 ,robert1 his loups ravissans1 remarkable for a ,dance of ,death1 #adf4 ,goethe1 a ,dance of ,death in one of his works1 #agh1 #baa4 ,gole1 a mezzotinto by him of ,death and the ,miser1 #bjc4 ,goujet1 his mistake about the ,dance of ,death at ,basle1 #bcc4 ,graaf1 ,urs1 a print by him1 and his monogram described1 #ahi4 ,grandville1 ,voyage pour l'eternite1 #aeg4 ,gray1 ,rev4 ,robert1 his mistake about the ,dance of ,death at ,basle1 #bcc4 ,gringoire1 ,pierre1 his ,heures de ,notre ,dame1 #agb4 ,grosthead1 story from his ,manuel de ,peche1 #g4 ,guilleville1 ,pelerin de la vie humaine1 #age4 ,h4 ,harding1 an etching by him of ,death and the ,doctor1 #baa4 ,hawes's ,pastime of ,pleasure1 two prints from it described1 #agc4 ,heemskirk1 ,martin1 a print by him described1 #aic1 #aii4 ,hegner1 his life of ,holbein1 #bdj4 ,heymans1 ,mynheer1 a dedication to him1 #ada4 ,historia della ,morte1 a poem so called1 #agf4 ,holbein1 a ,german1 life of him by ,hegner1 #bdj4 ambiguity with respect to the paintings at ,basle ascribed to him1 #ha4 dance of peasants by him1 #hj4 engravings by him with his name1 #ie4 his ,bible prints1 #id4 his connexion with the ,dance of ,death1 #gh1 #ach4 his death1 in #aeed1 #add4 his name not in the early editions of the ,lyons wood-cuts1 #ib4 lives of him very defective1 #adc4 more particulars relating to him1 #adc4 not the painter of the ,dance of ,death at ,basle1 #ch1 #dc1 #add4 paints a ,dance of ,death at ,whitehall1 #ada4 satirical painting of ,erasmus by him1 #bba4 ,hollar1 his copies of the ,dance of ,death1 #abe4 ,hopfer1 ,david1 his print of ,death and the ,devil1 #aia4 ,horae1 manuscripts of this service book with the ,macaber ,dance1 #fj4 printed copies of it with the same1 and some similar designs1 #gb4 ,huber and ,rust1 their mistake concerning ,holbein1 #bcf4 ,i4 ,jacques1 ,maitre1 his le faut mourir1 #bf4 ,jansen1 his mistake concerning the ,dance of ,death1 #bcf4 ,imitations of and from the ,lyons wood-cuts1 #acg4 ,initial letters with a ,dance of ,death1 #bac1 #bad1 #bag4 ,innocent ,,iii4 ,pope1 his work de vilitate conditionis humanae1 #agb4 ,k4 ,karamsin1 ,nicolai1 his account of a ,dance of ,death1 #dd4 ,kauw1 his drawing of a ,dance of ,death1 at ,berne1 #bbd4 ,kerver1 ,thielman1 his editions of ,horae1 #agd4 ,klauber1 ,john ,hugh1 a painter of a ,dance of ,death at ,basle1 #cf1 #db4 ,l4 ,langlois1 an engraving by him described1 #aih4 ,larvae and lemures1 confusion among the ancients as to their respective qualities1 #d4 ,last drop1 an etching so intitled1 #baa4 a drawing of the same subject1 #bbd4 ,lavenberg calendar1 prints by ,chodowiecki in it1 #aec4 ,lawrence1 ,sir ,thomas1 drawings by ,callot of a ,dance of ,death in his possession1 #bbc4 ,lawyer's last circuit1 a caricature print1 #bji4 ,le ,blon1 a circular print by him described1 #aig4 ,le ,comte1 his mistake concerning the ,dance of ,death1 #bce4 ,lubeck1 a ,dance of ,death there1 #afc4 ,lutzenberger1 ,hans1 the engraver of the ,lyons wood-cuts of the ,dance of ,death1 #ih4 alphabets by him1 #ajj4 various prints by him1 #ii4 ,luyken's ,emblems1 #agg1 #agh4 ,lydgate1 his ,verses to the ,macaber ,dance1 #bi1 #eb4 ,lyons1 all the editions of the wood-cuts of the ,dance of ,death published there described1 #hb1 #ajc4 copies of them by ,hollar1 #abe4 copies of them on copper1 #aba4 copies of them on wood1 #aaa4 various imitations of some of them1 #acg4 ,lyvijus1 ,john1 a print by him of two card players1 #aig4 ,m4 ,macaber1 a word falsely applied as the name of a supposed ,german poet1 #bh1 #cd4 its etymology discussed1 #cj1 #cd4 ,macaber ,dance1 #ac1 #bh4 copies or engravings of it as painted at ,basle1 #dj4 destruction of the painting at ,basle1 #ci4 manuscripts in which it is represented1 #gb4 not painted by ,holbein1 #ch4 printed books1 in which it is represented1 #ee4 representations of it at the following places3-- ,amiens1 #dg4 ,anneberg1 #dd4 ,basle1 #cf4 ,berlin1 #dh4 ,berne1 #de4 ,burgos1 #ej4 ,croydon1 #ed4 ,dijon1 #ce4 ,dresden1 #dd1 #gf4 ,erfurth1 #dd4 ,hexham1 #ec4 ,holland1 #di4 ,klingenthal1 #db4 ,lubeck1 #dc4 ,lucerne1 #df4 ,minden1 #ce4 ,naples1 #di4 ,rouen1 #dg4 ,salisbury1 #eb4 ,st4 ,paul's1 #ea1 #gf4 ,strasburg1 #dg4 ,tower of ,london1 #ed4 ,vienne1 #dh4 ,wortley ,hall1 #ec4 ,macarius ,saint1 painting of a legend relating to him1 by ,orgagna1 at the ,campo ,santo1 #cb1 #cc4 ,malpe1 ,m41 his mistake concerning the ,dance of ,death1 #bcf4 ,mannichius1 #ahj4 ,manuel de ,peche1 by ,grosthead1 #g4 ,mapes1 ,walter de1 an allusion by him to a ,dance of ,death1 #bd4 vision of a dispute between the soul and the body1 ascribed to him1 #cc4 ,marks or monograms of engravers1 their uncertainty1 #ajb4 ,marmi1 ,gio4 ,battista1 his ,ritratte della ,morte1 #abi4 ,mechel1 ,chretien de1 #acb1 #bjh1 #bad4 ,meckenen1 ,israel ,van1 a ,dance of ,death by him1 #afj4 ,meisner1 his ,sciographia ,cosmica1 #ahj4 ,melidaeus1 ,jonas1 a satirical work under this disguised name1 intitled ,res mira1 #ahd4 ,meyers1 ,rodolph1 his ,dance of ,death1 #adh4 ,meyssens1 his mistake concerning the ,dance of ,death1 #bcd4 ,missal1 an undescribed one1 in the type of the psalter of #adeg1 #bac4 ,misson1 the traveller1 his mistake concerning the ,dance of ,death1 #bcc4 ,mitelli1 ,gio4 ,maria1 a kind of ,death's ,dance1 by him1 #afa4 ,moncrief1 his ,march of ,intellect1 quoted for a print after ,cruikshank1 #agh4 ,montenaye1 ,georgette de1 her emblems1 #agi4 ,mors1 an excellent ,latin comedy1 by ,william ,drury1 #age4 ,mortimer1 a sketch by him of ,death seizing several persons1 #bji4 ,mortilogus1 #aga4 ,n4 ,negro figure of ,death1 #bcj4 ,newton's ,dances of ,death1 #afe4 ,nieuhoff1 ,piccard1 #acj1 #adj4 ,nuremberg ,chronicle1 a cut from it described1 #agj4 a story from it1 #f4 ,o4 ,old ,franks1 a curious painting by him1 #bjd1 #bba4 ,oliver1 ,isaac1 his copy of a painting by ,holbein1 at ,whitehall1 #ade1 #bba4 ,orgagna1 ,andrea1 his painting at the ,campo ,santo1 #cb4 ,ortulus ,rosarum1 #agj4 ,otho ,vaenius1 a curious painting by him1 #bjd1 #bbb4 ,ottley1 ,mr4 his opinion in favour of ,holbein as the designer of the ,lyons wood-cuts1 #hh4 proof impressions of the ,lyons wood-cuts in his valuable collection1 #he4 ,p4 ,palingenius1 his ,zodiacus ,vitae1 a frontispiece to this work described1 #ahf4 ,panneels1 ,william1 a scholar of ,rubens1 mention of a painting by him1 #bjc4 ,papillon1 his ludicrous mistakes noticed1 #aaj1 #aad4 ,patin1 ,charles1 a traveller1 and a libeller of the ,english1 #gi1 #ach1 #bcg4 ,paulmy1 ,marquis de1 his mistake concerning the ,dance of ,death1 #bch4 ,paul's ,st41 mention of the ,dance of ,death formerly there1 #ea1 #afc4 ,peasants1 a dance of1 painted at ,basle1 by ,holbein1 #hj4 ,peignot1 ,m4 author of ,les ,danses de ,mort1 an interesting work1 preface4 his misconception relating to ,john ,porey1 #bdh4 ,perriere1 his ,morosophie1 #agi4 ,petrarch1 his triumph of ,death1 #age1 #bjg4 his work de remediis utriusque fortunae1 #age4 ,pfister1 ,albert1 his ,tribunal ,mortis1 #afh4 ,piccard1 ,nieuhoff1 #acj1 #adj4 ,piers ,plowman1 lines from1 #ed4 ,porey1 ,john1 a mistake concerning him corrected1 #bdh4 ,potter1 ,p4 an allegorical engraving after him1 #aii4 ,prints1 single1 relating to the ,dance of ,death1 list of1 #ahh4 ,prior1 ,matthew1 his lines on the ,dance of ,death1 #ade4 ,psalter of #adeg1 a beautiful initial letter in it noticed1 #bac4 of ,richard ,,ii41 a manuscript in the ,british ,museum1 #bbb4 ,r4 ,rabbi ,santo1 a ,jewish poet1 about #acfj1 #be4 ,ratdolt1 a ,venetian printer1 not1 as usually supposed1 the inventor of initial or capital letters1 #bac4 ,rembrandt1 drawing of a ,dance of ,death by him1 #bbc4 etching by him1 #aie4 ,rene1 of ,anjou1 painted a ,dance of ,death1 #bba4 ,reperdius1 ,geo4 an eminent painter at ,lyons1 #ic4 ,revelations1 prints of the1 #age4 ,reusner1 his emblems1 #agi4 ,rive1 ,abbe1 his bibliography of the ,macaber ,dance1 #ge4 ,rivoire1 his history of ,amiens commended1 #dg4 ,roderic1 bishop of ,zamora1 #ag1 #cb4 ,rolandini's emblems1 #ahj4 ,rollenhagius's emblems1 #ahb4 ,roll of the ,dance of ,death1 #aeig1 #afc4 ,rowlandson's ,dance of ,death1 #aef1 #bbe1 #bdh4 ,rusting1 ,salomon ,van1 his ,dance of ,death1 #aca4 ,s4 monogram3 ,,sa1 some account of this monogram1 #aae4 its owner employed by ,plantin1 the famous printer at ,antwerp1 #aaf4 ,salisbury missal1 singular cut in one1 #agb4 ,sallaerts1 an artist supposed to have been employed by ,plantin the celebrated printer1 #aae1 #aaf4 ,sancta ,clara1 ,abraham1 a description of his universal mirror of ,death1 #aea4 ,sandrart1 his notice of a work by ,holbein at ,whitehall1 #ade4 ,schauffelin1 ,hans1 a carving on wood by him described1 #bbf4 ,schellenberg1 ,i4 ,r4 a ,dance of ,death by him1 #aed4 ,schlotthaver1 his edition of a ,dance of ,death1 #bdi4 ,silvius1 or ,sylvius1 ,antony1 an artist at ,antwerp1 account of a monogram supposed to belong to him1 #aae4 ,skeleton1 use made of the human by the ancients1 #c4 ,spectriana1 a modern ,french work1 frontispiece to it described1 #ahg4 ,stelsius1 his edition of a spurious copy of ,holbein's ,bible cuts1 #ig4 ,stettler1 his drawings of the ,macaber ,dance of ,death at ,berne1 #bbd4 ,stotzinger symbolum1 description of a cut so intitled1 #agd4 ,stradanus1 an engraving after him described1 #aig4 ,susanna1 a ,latin play1 #ah4 ,symeoni1 ,imprese1 #agi4 ,t4 ,tapestry at the ,tower of ,london1 #bbg4 ,theatrum ,mortis1 a work with a ,dance of ,death described1 #abi4 ,tiepolo1 a clever etching by him described1 #aig4 ,title-pages connected with the ,dance of ,death1 list of1 #ahc4 ,tory1 ,geoffrey1 ,horae printed by him described1 #agb4 ,tower of ,london1 tapestry formerly there of a ,dance of ,death1 #bbg4 ,trois mors et trois vifs1 #ca1 #cc1 #bbh4 ,turner1 ,col41 a ,dance of ,death by him1 #bjg4 ,turnham ,green1 some account of chalk drawings of a ,dance of ,death on a wall there1 #baj1 #bbd4 ,typotii symbola1 #ahj1 #ahb4 ,u4 ,urs ,graaf1 his engravings noticed1 #bdc4 ,v4 ,vaenius1 ,otho1 some of his works mentioned1 #ahb1 #bjd4 ,valckert1 a clever etching by him described1 #bja4 ,van ,assen1 a ,dance of ,death by him1 #aeh4 ,van ,leyden1 ,lucas1 #ahi4 ,van ,meckenen1 ,israel1 his ,dance of ,death in circles1 #afj4 ,van ,sichem1 his prints to the ,bible1 #agg4 ,van ,venne1 prints after him1 #aeg1 #ahb1 #aii1 #bji4 ,verses that accompany the ,dance of ,death1 #ag4 ,von ,menzel1 #bjg4 ,voyage pour l'eternite1 a modern ,dance of ,death1 #aeg4 ,w4 ,walpole1 ,mr4 his mistake concerning the ,dance of ,death1 #bcf4 ,warton1 ,mr4 his remarks on the ,dance of ,death1 #bcg4 ,weiss1 ,mr4 author of some of the best lives in the ,biographie ,universelle1 misled in his article ,macaber by ,champollion ,figeac1 #bdi4 ,whitehall1 fire at1 #adj4 painting of a ,dance of ,death there by ,holbein1 #ada4 ,wierix1 ,john1 some prints by him described1 #aid1 #aie4 ,williams1 ,miss1 her mistake concerning the ,dance of ,death at ,basle1 in her ,swiss tour1 #bcc4 ,wolschaten1 ,geeraerdt ,van1 a ,dance of ,death by him1 #acj4 ,wood1 engravings on1 the first impressions of them not always the best1 #he4 ,wood1 ,mr4 his mistake concerning the ,dance of ,death in his ,view of ,switzerland1 #bcc4 ,y4 ,youth's ,tragedy1 a moral drama1 #afga1 #age4 ,z4 ,zani1 ,abbate1 of opinion that ,holbein had no concern in the ,lyons wood-cuts of the ,dance of ,death1 #ih1 #aja1 #ach4 ,zuinger1 his account of paintings at ,basle1 #aci4 ,c4 ,,whittingham1 ,,tooks ,,court1 ,,chancery ,,lane4 ,,footnotes3 #a ,iliad1 and after him ,virgil1 ,a,en4 vi4 #bgh4 #b ,iliad ,,ix4 ,on an ancient gem likewise in ,ficoroni's ,gemmae ,antiquae ,litteratae1 ,tab4 viii4 ,no4 #a1 a human scull typifies mortality1 and a butterfly immortality4 #c ,lib4 ii4 #gh4 #d ,diarium1 p4 #bab4 #e ,lib4 xiii4 l4 #dgd4 #f ,epist4 xxiv4 #g ,apolog4 p4 #ejf1 #ejg4 edit4 ,delph4 #dto4 #h ,lib4 iii4 #i ,leg4 ,antiq4 iii4 #hd4 #aj ,folio clxxxvii4 #aa ,folio ccxvii4 #ab ,bibl4 ,reg4 #bj ,b4 xiv4 and ,harl4 ,,ms4 #dfeg4 #ac ,contest4 #ad ,q4 ,cowick in ,yorkshire8 #ae ,leader4 #af ,glee4 #ag ,called4 #ah ,a name borrowed from ,merwyn1 ,abbess of ,ramsey1 temp4 ,reg4 ,edgari4 #ai ,took4 #bj ,leafy4 #ba ,place4 #bb ,went4 #bc ,places4 #bd ,a falsehood4 #be ,whoever may be desirous of inspecting other authorities for the story1 may consult ,vincent of ,beauvais ,speculum ,historiale1 lib4 xxv4 cap4 #aj2 ,krantz ,saxonia1 lib4 iv42 ,trithemii ,chron4 ,monast4 ,hirsaugensis2 ,chronicon ,engelhusii ap4 ,leibnitz4 ,script4 ,brunsvicens4 ,,ii4 #ajhb2 ,chronicon4 ,s4 ,a,egidii1 ap4 ,leibnitz4 iii4 #ehb2 ,cantipranus de apibus2 ,caesarius ,heisterbach4 de ,miraculis2 in whose works several veracious and amusing stories of other instances of divine vengeance against dancing in general may be found4 ,the most entertaining of all the dancing stories is that of the friar and the boy1 as it occurs among the popular penny histories1 of which1 in one edition at least1 it is1 undoubtedly1 the very best4 #bf ,lib4 i4 ,eleg4 iii4 #bg ,a,en4 lib4 vi4 l4 #dd4 #bh ,millin4 ,magaz4 ,encycl4 #ahac1 tom4 i4 p4 #bjj4 #bi ,gori ,mus4 ,florentin4 tom4 i4 pl4 #ia1 ,no4 #c4 #cj ,hist4 ,engl4 ,poetry1 vol4 ii4 p4 #dc1 edit4 #hvo4 and ,carpentier4 ,suppl4 ad ,ducang4 v4 ,machabaeorum chorea4 #ca ,id4 ii4 #cfd4 #cb ,hist4 des ,ducs des ,bourgogne1 tom4 v4 p4 #ahba4 #cc ,hist4 de ,rene d',anjou1 tom4 i4 p4 #ed4 #cd ,dulaure4 ,hist4 ,physique1 c4 de ,paris1 #ahba1 tom4 ii4 p4 #eeb4 #ce ,recherches sur les ,danses des ,morts4 ,dijon et ,paris1 #ahbf1 #hvo4 p4 xxxiv4 et seq4 #cf ,mercure de ,france1 ,sept4 #agdb4 ,carpentier4 ,suppl4 ad ,ducang4 v4 ,machabaeorum chorea4 #cg ,bibl4 ,reg4 #h ,b4 vi4 ,lansd4 ,,ms4 #cig4 #ch ,madrid4 #aggi1 #hvo4 p4 #agi4 #ci ,bibl4 ,med4 et ,inf4 ,a,etat4 tom4 v4 p4 #a4 #dj ,recherches sur les ,danses de ,mort1 pp4 #gi #hj4 #da ,passim4 #db ,modern edition of the ,danse ,macabre4 #dc ,journal de ,charles ,,vii4 #dd ,lansd4 ,,ms4 ,no4 #cig--bj4 #de ,peignot ,recherches1 p4 #aji4 #df ,melange d'une ,grande ,bibliotheque1 tom4 vii4 p4 #bb4 #dg ,bibl4 ,instruc4 ,no4 #caji4 #dh ,catal4 ,la ,valliere ,no4 #bgcf--bb4 #di ,vasari vite de ,pittori1 tom4 i4 p4 #ahc1 edit4 #aefh1 #dto4 #ej ,baldinucci ,disegno1 ii4 #fe4 #ea ,morona ,pisa ,illustrata1 i4 #cei4 #eb ,du ,breul ,antiq4 de ,paris1 #afab1 #dto4 p4 #hcd1 where the verses that accompany the sculpture are given4 ,see likewise ,sandrart ,acad4 ,picturae1 p4 #aja4 #ec ,peignot ,recherches1 xxxvii-xxxix4 #ed ,urtisii epitom4 ,hist4 ,basiliensis1 #aebb1 #hvo4 #ee ,peignot ,recherches1 xxvi-xxix4 #ef ,travels1 i4 #cgf4 #eg ,travels1 i4 #ach1 edit4 #dto4 #eh ,heinecken ,dictionn4 des ,artistes1 iii4 #fg1 et iv4 #eie4 ,he follows ,keysler's error respecting ,hans ,bock4 #ei ,peintre graveur1 ix4 #cih4 #fj ,essai sur l',orig4 de la ,gravure1 i4 #abj4 #fa ,heinecken ,dictionn4 des ,artistes1 i4 #bbb4 #fb ,recherches1 c4 p4 #ga4 #fc ,heller ,geschiche der holtzchein kunst4 ,bamberg1 #ahbc1 #abmo4 p4 #abf4 #fd ,basle ,guide ,book4 #fe ,recherches1 #aa et seq4 #ff ,more on the subject of the ,lubeck ,dance of ,death may be found in #a4 ,an anonymous work1 which has on the last leaf1 ,dodendantz1 anno domini ,,mccccxcvi4 ,lubeck4 #b4 ,de ,dodendantz fan ,kaspar ,scheit1 na der utgave fan1 #aeeh1 unde de ,lubecker fan1 #adfc4 ,this is a poem of four sheets in small #hvo4 without mention of the place where printed4 #c4 ,some account of this painting by ,ludwig ,suhl4 ,lubeck1 #aghc1 #dto4 #d4 ,a poem1 in rhyme1 with wood-cuts1 on #cd leaves1 in #hvo4 ,it is fully described from the ,helms4 library in ,brun's ,beitrage zu krit4 ,bearb4 alter handschr4 p4 #cba et seq4 #e4 ,jacob a ,mellen ,grundliche ,nachbricht von ,lubeck1 #agac1 #hvo4 p4 #hd4 #f4 ,schlott ,lubikischers ,todtentantz4 #agja4 #hvo4 #g4 ,berkenmeyer1 le curieux antiquaire1 #hvo4 p4 #ecj2 and1 #h4 ,nugent's ,travels1 i4 #ajb4 #hvo4 #fg ,biblioth4 ,med4 et inf4 aetat4 v4 #b4 #fh ,travels1 i4 #aie4 #fi ,recherches1 xlii4 #gj ,pilkington's ,dict4 of ,painters1 p4 #cjg1 edit4 ,fuseli1 who probably follows ,fuesli's work on the ,painters4 ,merian1 ,topogr4 ,helvetiae4 #ga ,peignot ,recherches1 xlv4 xlvi4 #gb ,rivoire descr4 de l'eglise cathedrale d',amiens4 ,amiens1 #ahjf4 #hvo4 #gc ,recherches1 xlvii4 #gd ,recherches1 xlviii4 #ge ,recherches sur les antiquites de ,vienne4 #afei4 #abmo1 p4 #ae4 #gf ,dr4 ,cogan's ,tour to the ,rhine1 ii4 #abg4 #gg ,travels1 iii4 #cbh1 edit4 #dto4 #gh ,survay of ,london1 p4 #fae1 edit4 #afah1 #dto4 #gi ,in ,tottel's edition these verses are accompanied with a single wood-cut of ,death leading up all ranks of mortals4 ,this was afterwards copied by ,hollar1 as to general design1 in ,dugdale's ,st4 ,paul's1 and in the ,monasticon4 #hj ,annales1 p4 #eif1 edit4 #afca4 folio4 ,sir ,thomas ,more1 treating of the remembrance of ,death1 has these words3 ,but if we not only here this word ,death1 but also let sink into our heartes1 the very fantasye and depe imaginacion thereof1 we shall parceive therby that we wer never so gretly moved by the beholding of the ,daunce of ,death pictured in ,poules1 as we shal fele ourself stered and altered by the feling of that imaginacion in our hertes4 ,and no marvell4 ,for those pictures expresse only ye lothely figure of our dead bony bodies1 biten away ye flesh1 c4--,works1 p4 #gg1 edit4 #aeeg1 folio4 #ha ,heylin's ,hist4 of the ,reformation1 p4 #gc4 #hb ,cotton ,,ms4 ,vesp4 ,a4 xxv4 fo4 #aha4 #hc ,leland's ,itin4 vol4 iv4 part i4 p4 #fi4--,meas4 for ,meas4 ,act iii4 sc4 #a4 #hd ,hutchinson's ,northumberland1 i4 #ih4 #he ,warton's ,h4 ,e4 ,poetry1 ii4 #dc1 edit4 #hvo4 #hf ,and see a portion of ,orgagna's painting at the ,campo ,santo at ,pisa1 mentioned before in p4 #cc4 #hg ,from the ,author's own inspection4 #hh ,recherches1 p4 #add1 and see ,catal4 ,la ,valliere1 ,no4 #bie4 #hi ,herbert's typogr4 antiq4 p4 #hhh4 #ij ,traite hist4 de la gravure en bois1 i4 #ahb1 #ccf4 #ia ,letters containing an account of what seemed most remarkable in ,switzerland1 ,italy1 c4 by ,g4 ,burnet1 ,d4 ,d4 ,rotterdam1 #afhf1 #hvo4 p4 #bfe4 #ib ,travels through ,germany1 c4 i4 #ach1 edit4 #dto4 #ic ,relations historiques et curieuses de voyages en ,allemagne1 c4 ,amst4 #afie1 #abmo4 p4 #abd4 #id ,see likewise ,zuinger1 ,methodus ,academica1 ,basle1 #aegg1 #dto4 p4 #aii4 #ie ,remarks on several parts of ,europe1 #agch1 vol4 ii4 p4 #gb4 #if ,peignot places the dance of peasants in the fish-market of ,basle1 as other writers had the ,dance of ,death4 ,recherches1 p4 #ae4 #ig ,manuel de l',amateur d'estampes1 ii4 #aca4 #ih ,manuel des curieux1 c4 i4 #aef4 #ii ,some give it to the ,abbe ,baverel4 #ajj ,lib4 ult4 p4 #hf4 #aja ,the dedicator has apparently in this place been guilty of a strange misconception4 ,the ,death is not sucking the wine from the cask1 but in the act of untwisting the fastening to one of the hoops4 ,nor is the carman crushed beneath the wheels3 on the contrary1 he is represented as standing upright and wringing his hands in despair at what he beholds4 ,it is true that this cut was not then completed1 and might have undergone some subsequent alteration4 ,he likewise speaks of the rainbow in the cut of the ,last ,judgment1 as being at that time unfinished1 which1 however1 is introduced in this first edition4 #ajb ,it would be of some importance if the date of ,lutzenberger's death could be ascertained4 #ajc ,an enquiry into the origin and early history of ,engraving1 #ahaf1 #dto4 vol4 ii4 p4 #gei4 #ajd ,an ,enquiry1 c4 ii4 #gfb4 #aje ,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 ,basle4 ,in #aedh1 two delicate wood-cuts1 with his name1 occur in ,cranmer's ,catechism4 ,in the title-page to a lytle treatise after the maner of an ,epystle wryten by the famous clerk1 ,doctor ,urbanus ,regius1 c4 ,printed by ,gwalter ,lynne1 #aedh1 #bdmo1 there is a cut in the same style of art of ,christ attended by his disciples1 and pointing to a fugitive monk1 whose sheep are scattered1 and some devoured by a wolf4 ,above and below are the words ,john x4 ,ezech4 xxxiiii4 ,mich4 v4 ,i am the good shepehearde4 ,a good shepehearde geveth his lyfe for the shype4 ,the hyred servaunt flyeth1 because he is an hered servaunt1 and careth not for the shepe4 ,on the cut at bottom ,,hans ,,holbein4 ,there is a fourth cut of this kind in the ,british ,museum collection with ,christ brought before ,pilate2 and perhaps ,holbein might have intended a series of small engravings for the ,new ,testament2 but all these are in a simple outline and very different from the cuts in the ,dance of ,death1 or ,lyons ,bible4 ,it might be difficult to refer to any other engravings belonging to ,holbein after the above year4 #ajf ,brulliot dict4 de monogrammes1 c4 ,munich1 #ahag1 #dto4 p4 #dah1 where the letter from ,de ,mechel is given4 #ajg ,essai sur l'origine de la gravure1 c4 tom4 i4 p4 #bfj4 #ajh ,id4 p4 #bfa4 #aji ,dict4 de monogrammes1 c4 tom4 i4 pp4 #dah1 #dii4 #aaj ,enciclop4 metod4 par ii4 vol4 vii4 p4 #af4 #aaa ,enciclop4 metod4 par4 i4 vol4 x4 p4 #dfg4 #aab ,all the above prints are in the author's possession1 except ,no4 #g1 and his copy of ,no4 #e has not the tablets with the name1 c4 #aac ,edit4 ,javigny1 iv4 #eei4 #aad ,this edition is given on the authority of ,peignot1 p4 #fb1 but has not been seen by the author of this work4 ,in the year #aedg1 there were three editions1 and it is not improbable that1 by the transposition of the two last figures1 one of these might have been intended4 #aae ,foppen's ,biblioth4 ,belgica1 i4 #cfc4 #aaf ,that of #aeeg has a frontispiece with ,death pointing to his hour-glass when addressing a ,german soldier4 #aag ,tom4 i4 p4 #bch1 #ebe4 #aah ,dict4 de ,monogrammes1 col4 #ebh4 #aai ,biblioth4 ,belgica1 i4 #ib4 #abj ,see p4 #dj4 #aba ,this is the same subject as that in the ,augustan monastery described in p4 #dh4 #abb ,see p4 #cd4 #abc ,it has been stated that they were in the ,arundelian collection whence they passed into the ,netherlands1 where forty-six of them became the property of ,jan ,bockhorst the painter1 commonly called ,long ,john4 ,see ,crozat's catalogue4 #abd ,on the same dedication are founded the opinions of ,zani1 ,de ,murr1 ,meintel1 and some others4 #abe ,zuinger methodus apodemica4 ,basil1 #aeeg4 #dto4 p4 #aii4 #abf ,p4 #dbg1 edit4 ,lugd4 apud ,gryphium1 and p4 #dde1 edit4 ,basil4 #abg ,nugae1 lib4 vi4 carm4 #ab4 #abh ,baldinucci notizie d'e professori del disegno1 tom4 iii4 p4 #cag1 #dto4 edit4 where the inscription on it is given4 #abi ,norfolk ,,ms4 #ig1 now in the ,brit4 ,museum4 #acj ,harl4 ,,ms4 #dgah4 #aca ,acad4 ,pictur4 #bci4 #acb ,strype's ,annals1 ,i4 #bgb1 where the curious dialogue that ensued on the occasion is preserved4 #acc ,catal4 de la bibliotheque du ,roi4 ,,ii4 #aec4 #acd ,these initial letters have already been mentioned in p4 #aja-ajb4 ,the elegant initials in ,dr4 ,henderson's excellent work on modern wines1 and those in ,dr4 ,nott's ,bristol edition of ,decker's ,gull's horn-book1 should not pass unnoticed on this occasion4 #ace ,see before in p4 #ig4 #acf ,zani saw this alphabet at ,dresden1 and ascribes it likewise to ,lutzenberger4 ,see his ,enciclop4 ,metodica1 ,par4 ,i4 vol4 x4 p4 #dfg4 #acg ,see before1 in p4 #df4 #ach ,biblioth4 ,franc4 tom4 x4 p4 #dcf4 #aci ,sandrart ,acad4 ,pict4 p4 #bda4 #adj ,obs4 on ,spenser1 ,,ii4 #aag1 #aah1 #aai4 ,transcriber's ,notes3 ,passages in italics are indicated by italics4 ,superscripted characters are indicated by superscript4 ,letters printed in reverse are indicated by ,x4 ,various printers' monograms are included throughout the original text4 ,these are represented by monogram or monogram3 description if a description could be provided4 ,the original text includes ,greek characters4 ,for this text version these letters have been replaced with transliterations4