ADDITIONS AND CORRECTIONS.

P. 59. After No. 17 add “La Danse Macabre.” Paris, Nicole de la Barre, 1523, 4to. with very different cuts, and some characters omitted in former editions.

P. 77, last line of the text. There is a German work intitled “The process or law-suit of Death,” printed, and perhaps written, by Conrad Fyner in 1477; but as it is not noticed in Panzer’s list of German books, no further account of it can be given than that it is briefly mentioned by Joseph Heller, in a German work on the subject of engraving on wood, in which one cut from it is introduced, that exhibits Death conversing with a husbandman who holds a flail in one of his hands. It is probable that the book would be found to contain other figures relating to a Macaber Dance.

P. 112, l. ult. There is another work by Glissenti, intitled “La Morte innamorata.” Venet. 1608, 24mo. with a dedication to Sir Henry Wotton, the English ambassador at Venice, by Elisabetta Glissenti Serenella, the author’s niece; in which, after stating that Sir Henry had seen it represented, she adds, that she had ventured to have it printed for the purpose of offering it to him as a very humble donation, &c. It is a moral, dramatic, and allegorical fable of five acts, in whichMan, to avoidDeath, who has fallen in love with him, retires with his family to the country ofLong Life, where he takes up his abode in the house ofthe World, by whom and his wifeFraud, who is in strict friendship withFortune, he is apparently made much of, and calculates on being very happy.Deathfollows theMan, and being unknown in the above region, contrives, with the aid ofInfirmity, theMan’snurse, to make him fall sick. TheWorldbeing tired of his guest, and very desirous to get rid of, and plunder him of his property, under pretence of introducing him toFortune, and consequent happiness, enters into a plot withTimeto disguiseDeath, who is lodged in the same house with him, asFortune, and thus to give him possession of theMan, who imagines that he is just about to secureFortune. Each act of this piece is ornamented with some wood-cut that had been already introduced into the other work of Glissenti.

P. 118, line 32. Ebert, in his “Bibliographisches Lexicon,” Leipsig. 1821, 4to. has mentioned some later editions of Denneker’s engravings. See the article Denecker, p. 972.

P. 126, l. 14. It is not impossible that Hollar may have copied a bust carved in wood, or some other material, by Holbein, as Albert Durer and other great artists are known to have practised sculpture in this manner.

P. 135, l. 25. These four prints are in the author’s possession.

P. 137, l. ult. Other imitations of the Lyons cuts are, 1. A wood engraving of Adam digging and Eve spinning, by Corn. Van Sichem in the “Bibel’s tresor,” Amst. 1646, 4to. 2. The Astrologer, a small circular print on copper by Le Blond. 3. The Bridegroom, an anonymous modern engraving on wood. 4. The Miser, a small modern and anonymous print on copper.

P. 147, l. 19. In the library at Lambeth palace, No. 1049, there is a copy of this book in Greek, Latin, Italian, Spanish, English, and French, printed by J. Day, 1569, 8vo. It was given by Archb. Tillotson, and from a memorandum in it supposed to have been the Queen’s own copy. The cut of the Queen kneeling was used solate as 1652, in Benlowes’ Theophila. Some of the cuts have the unexplained mark[monogram].

P. 164, Article xii. This print is a copy, with a few variations, of a much older one engraved on wood, and probably unique, in the very curious collection of single sheets and black letter ballads, belonging to George Daniel, Esquire, of Islington. The figures are executed in a style of considerable merit, and each of them is described in a stanza of four lines. It may probably be the same as No. 1 or No. 2, mentioned in p.76, or either of Nos. x. or xi. described in p.163.

P. 226, line 12. Another drawing by Rowlandson, intitled “Death and the Drunkards.” Five topers are sitting at a table and enjoying their punch. Death suddenly enters and violently seizes one of them. Another perceives the unwelcome and terrific intruder, whilst the rest are too intent on their liquor to be disturbed at the moment. It is a very spirited and masterly performance. 11 by 9. In the author’s possession.

P. 239, l. 12. There is likewise in the “Biographie Universelle” an article intitled “Macaber, poete Allemand” by M. Weiss, and it is to be regretted that a writer whose learning and research are so eminently conspicuous in many of the best lives in the work, should have permitted himself to be misled in much that he has said, by the errors of Champollion Figeac in the Magazin Encyclopedique. He certainly doubts the existence of Macaber as a writer, but inclines to M. Van Praet’s ArabicMagbarah. He states, that the English version of the Macaber Dance belongs to John Porey,a poet who remains unknown even to his countrymen, and is inserted in the Monasticon Anglicanum. Now thisunknown poet, who is likewise adopted by M. Peignot, is merely the person who contributed Hollar’s plate in the Monasticon, already mentioned in p.52, and whose coat of arms is at the top of that plate, with the following inscription, “Quo præsenteset posteri Mortis, ut vidimus, omni Ordini comunis, sint magis memores, posuitIOHANNES POREY.” Mr. Weiss has likewise inadvertently adopted the error that Holbein painted the old Dance of Macaber in the convent of the Augustines at Basle.

Two recently published Dances of Death have come to hand too late to have been noticed in their proper places.

1. “Der Todtentantz. Ein Gedicht von Ludwig Bechstein, mit 48 kupfern in treuen Conturen nach H. Holbein. Leipzig bei Friedrich August Leo, 1831.” 8vo. These prints are executed in a faithful and elegant outline, and accompanied with modern German verses.

2. “Hans Holbein’s Todtentanz in 53 getreu nach den Holz schnitten lithographirten Blattern. Heraus gegeben von J. Schlotthaver k. Professor Mit erklärendem Texte. Munchen, 1832, Auf Rosten des Heraus gegebers.” 12mo. The prints are most accurately and elegantly lithographed in imitation of wood engraving. The descriptions are in German verse, and accompanied with some brief prefatory matter by Dr. H. F. Massmann, which is said to have been amplified in one of the German journals or reviews.

I. The frontispiece is a design for the sheath of a dagger, probably made by Holbein for the use of a goldsmith or chaser. The original drawing is in the public library at Basle. See some remarks on it in p.133.II. These circular engravings by Israel Van Meckenen are mentioned in p.160.III. Copy of an ancient drawing, 1454, of Death and the Beggar. See p.223.IV. Figures of Death and the Lady, sculptured on a monument of the Delawars, in Boxgrove church, Sussex. See p.226.V. A fac-simile of one of the cuts to a very early edition, printed without date at Troyes by Nicolas le Rouge. It represents the story of thetrois morts et trois vifs, and the vision of Saint Macarius. See pp.33,34, and59.VI. A fac-simile of another cut from the edition of a Danse Macabre, mentioned in No. V.

II. These circular engravings by Israel Van Meckenen are mentioned in p.160.

III. Copy of an ancient drawing, 1454, of Death and the Beggar. See p.223.

IV. Figures of Death and the Lady, sculptured on a monument of the Delawars, in Boxgrove church, Sussex. See p.226.

V. A fac-simile of one of the cuts to a very early edition, printed without date at Troyes by Nicolas le Rouge. It represents the story of thetrois morts et trois vifs, and the vision of Saint Macarius. See pp.33,34, and59.

VI. A fac-simile of another cut from the edition of a Danse Macabre, mentioned in No. V.

The Copies have been made byMr. Bonnerfrom the Cuts belonging to the “Imagines Mortis, Lugduni sub scuto Coloniensi, 1547,” 12mo. and which have been usually ascribed to Holbein.

1. THE CREATION OF ALL THINGS. The Deity is seen taking Eve from the side of Adam. “Formavit Dominus Deus hominem de limo terræ, &c.” Gen. i.

2. THE TEMPTATION. Eve has just received the forbidden fruit from the serpent, who, on the authority of venerable Bede, is here, as well as in most ancient representations of the subject, depicted with a female human face. She holds it up to Adam, and entices him to gather more of it from the tree. “Quia audisti vocem uxoris tuæ, et comedisti de ligno, &c.” Gen. iii.

3. THE EXPULSION FROM PARADISE. Adam and Eve are preceded by Death, who plays on a vielle, or beggar’s lyre, as if demonstrating his joy at the victory he has obtained over man. “Emisit eum Dominum Deus de Paradiso voluptatis, ut operaretur terram de qua sumptus est.” Gen. iii.

4. THE CONSEQUENCES OF THE FALL OF MAN. Adam is digging the ground, assisted by Death. In the distance Eve is suckling her first-born and holding a distaff. Whence the proverb in many languages:

When Adam delv’d and Eve spanWhere was then the gentleman?

“Maledicta terra in opere tuo, in laboribus comedes cunctis diebus vitæ tuæ, donec revertaris, &c.” Gen. iii.

5. A CEMETERY, in which several Deaths are assembled, most of whom are playing on noisy instruments of music, as a general summons to mortals to attend them. “Væ, væ, væ habitantibus in terra.” Apoc. viii.

6. THE POPE. He is crowning an Emperor, who kneels before him, two Cardinals attending, one of whom is ludicrously personated by Death. In the back-ground are bishops, &c. Death embraces the Pope with one hand, and with the other leans on a crutch. Two grotesque Devils are introduced into the cut, one of whom hovers over the Pope, the other in the air holds a diploma, to which several seals are appended. “Moriatur sacerdos magnus.” Josue xx.

7. THE EMPEROR. Seated on a throne, and attended by his courtiers, he seems to be listening to, or deciding, the complaint of a poor man who is kneeling before him, against his rich oppressor, whom the Emperor, holding the sword of justice, seems to regard with an angry countenance. Behind him Death lays hands upon his crown. “Dispone domui tuæ, morieris, enim tu, et non vives.” Isaiæ xxxviii.

8. THE KING. He is sitting at his repast before a well-covered table, under a canopy studded with fleurs-de-lis. Death intrudes himself as a cupbearer, and presents the King with probably his last draught. The figure of the King seems intended as a portrait of Francis I. “Sicut et Rex hodie est, et cras morietur; nemo enim ex regibus aliud habuit.” Ecclesiast. x. et Sapient. vii.

9. THE CARDINAL. There is some difficulty in ascertaining the real meaning of the designer of this subject. It has been described as the Cardinal receiving the bull of his appointment, or as a rich man making a purchase of indulgences. The latter interpretation seems warranted by the Latin motto. Deathis twisting off the Cardinal’s hat. “Væ qui justificatis impium pro muneribus, et justitiam justi aufertis ab eo.” Isaiæ v.

10. THE EMPRESS. Gorgeously attired and attended by her maids of honour, she is intercepted in her walk by Death in the character of a shrivelled old woman, who points to an open grave, and seems to say, “to this you must come at last.” “Gradientes in superbia potest Deus humiliare.” Dan. iv.

11. THE QUEEN. She has just issued from her palace, when Death unexpectedly appears and forcibly drags her away. Her jester, in whose habiliments Death has ludicrously attired himself, endeavours in vain to protect his mistress. A female attendant is violently screaming. Death holds up his hour-glass to indicate the arrival of the fatal hour. “Mulieres opulentæ surgite, et audite vocem meam: post dies et annum, et vos conturbemini.” Isaiæ xxxii.

12. THE BISHOP. Quietly resigned to his fate he is led away by Death, whilst the loss of the worthy Pastor is symbolically deplored by the flight and terror of several shepherds in the distance amidst their flocks. The setting sun is very judiciously introduced. “Percutiam pastorem, et dispergentur oves gregis.” Mat. xxvi. Mar. xiv.

13. THE DUKE. Attended by his courtiers, he is accosted in the street for charity by a poor beggar woman with her child. He disdainfully turns aside from her supplication, whilst Death, fantastically crowned with leaves, unexpectedly lays violent hands upon him. “Princeps induetur moerore, et quiescere faciam superbiam potentium.” Ezech. viii.

14. THE ABBOT. Death having despoiled him of his mitre and crosier, drags him away. The Abbot resists with all his might, and is about to throw his breviaryat his adversary. “Ipse morietur, quia non habuit disciplinam, et in multitudine stultitiæ suæ decipietur.”

15. THE ABBESS. Death, grotesquely crowned with flags, seizes the poor Abbess by her scapulary. A Nun at the convent gate, with uplifted hands, bewails the fate of her superior. “Laudavi magis mortuos quam viventes.” Eccles. iv.

16. THE GENTLEMAN. He vainly, with uplifted sword, endeavours to liberate himself from the grasp of Death. The hour-glass is placed on his bier. “Quis est homo qui vivet, et non videbit mortem, eruet animam suam de manu inferi?”

17. THE CANON. Death holds up his hour-glass to him as he is entering a cathedral. They are followed by a noble person with a hawk on his fist, his buffoon or jester, and a little boy. “Ecce appropinquat hora.” Mat. xxvi.

18. THE JUDGE. He is deciding a cause between a rich and a poor man. From the former he is about to receive a bribe. Death behind him snatches his staff of office from one of his hands. “Disperdam judicem de medio ejus.” Amos ii.

19. THE ADVOCATE. The rich client is putting a fee into the hands of the dishonest lawyer, to which Death also contributes, but reminds him at the same time that his glass is run out. To this admonition he seems to pay little regard, fully occupied in counting the money. Behind this group is the poor suitor, wringing his hands, and lamenting that his poverty disables him from coping with his wealthy adversary. “Callidus vidit malum, et abscondit se: innocens pertransiit, et afflictus est damno.” Prover. xxii.

20. THE MAGISTRATE. A Demon is blowing corruption into the ear of a magistrate, who has turned his back on a poor man, whilst he is in close conversationwith another person, to whose story he seems emphatically attentive. Death at his feet with an hour-glass and spade. “Qui obturat aurem suam ad clamorem pauperis, et ipse clamabit, et non exaudietur.” Prover. xxi.

21. THE PREACHER. Death with a stole about his neck stands behind the preacher, and holds a jaw-bone over his head, typifying perhaps thereby that he is the best preacher of the two. “Væ qui dicitis malum bonum, et bonum malum: ponentes tenebras lucem, et lucem tenebras: ponentes amarum in dulce, et dulce in amarum.” Isaiæ v.

22. THE PRIEST. He is carrying the viaticum, or sacrament, to some dying person. Attendants follow with tapers and holy water. Death strides on before, with bell and lanthern, to announce the coming of the priest. “Sum quidem et ego mortalis homo.” Sap. vii.

23. THE MENDICANT FRIAR. He is just entering his convent with his money box and wallet. Death seizes him by the cowl, and forcibly drags him away. “Sedentes in tenebris, et in umbra mortis, vinctos in mendicitate.” Psal. cvi.

24. THE NUN. Here is a mixture of gallantry and religion. The young lady has admitted her lover into her apartment. She is kneeling before an altar, and hesitates whether to persist in her devotions or listen to the amorous music of the young man, who, seated on a bed, touches a theorbo lute. Death extinguishes the candles on the altar, by which the designer of the subject probably intimates the punishment of unlawful love. “Est via quæ videtur homini justa: novissima autem ejus deducunt hominem ad mortem.” Prover. iv.

25. THE OLD WOMAN. She is accompanied by two Deaths, one of whom, playing on a stickado, orwooden psalter, precedes her. She seems more attentive to her rosary of bones than to the music, whilst the other Death impatiently urges her forward with blows. “Melior est mors quam vita.” Eccle. xxx.

26. THE PHYSICIAN. He holds out his hand to receive, for inspection, a urinal which Death presents to him, and which contains the water of a decrepid old man whom he introduces, and seems to say to the physician, “Canst thou cure this man who is already in my power?” “Medice cura te ipsum.” Luc. iv.

27. THE ASTROLOGER. He is seen in his study, looking attentively at a suspended sphere. Death holds out a skull to him, and seems, in mockery, to say, “Here is a better subject for your contemplation.” “Indica mihi si nosti omnia. Sciebas quod nasciturus esses, et numerum dierum tuorum noveras?” Job xxxviii.

28. THE MISER. Death has burst into his strong room, where he is sitting among his chests and bags of gold, and, seated on a stool, deliberately collects into a large dish the money on the table which the Miser had been counting. In an agony of terror and despair, the poor man seems to implore forbearance on the part of his unwelcome visitor. “Stulte, hac nocte repetunt animam tuam: et quæ parasti, cujus erunt?” Lucæ xii.

29. THE MERCHANT. After having escaped the perils of the sea, and happily reached the wished-for shore with his bales of merchandize; this too secure adventurer, whilst contemplating his riches, is surprised by Death. One of his companions holds up his hands in despair. “Qui congregat thesauros lingua mendacii, vanus et excors est, et impingetur ad laqueos mortis.” Proverb. xxi.

30. THE SHIP IN A TEMPEST. Death is vigorously employed in breaking the mast. The owner ofthe vessel is wringing his hands in despair. One man seems perfectly resigned to his impending fate. “Qui volunt ditescere, incidunt in tentationem et laqueum, et cupiditates multas, stultas ac noxias, quæ demergunt homines in exitium et interitum.” 1 ad Tim. vi.

31. THE KNIGHT. After escaping the perils in his numerous combats, he is vanquished by Death, whom he ineffectually resists. “Subito morientur, et in media nocte turbabuntur populi, et auferent violentum absque manu.” Job xxxiv.

32. THE COUNT. Death, in the character of a ragged peasant, revenges himself against his proud oppressor by crushing him with his own armour. On the ground lie a helmet, crest, and flail. “Quoniam cum interierit non sumet secum omnia, neque cum eo descendet gloria ejus.” Psal. xlviii.

33. THE OLD MAN. Death leads his aged victim to the grave, beguiling him with the music of a dulcimer. “Spiritus meus attenuabitur, dies mei breviabuntur, et solum mihi superest sepulchrum.” Job xvii.

34. THE COUNTESS. She receives from an attendant the splendid dress and ornaments with which she is about to equip herself. On a chest are seen a mirror, a brush, and the hour-glass of Death, who, standing behind her, places on her neck a collar of bones. “Ducunt in bonis dies suos, et in puncto ad inferna descendant.” Job xxi.

35. THE NEW-MARRIED LADY. She is accompanied by her husband, who endeavours to divert her attention from Death, who is insidiously dancing before them and beating a tambour. “Me et te sola mors separabit.” Ruth i.

36. THE DUCHESS. She is sitting up, dressed, in her bed, at the foot of which are two Deaths, one ofwhom plays on a violin, the other is pulling the clothes from the bed. “De lectulo, super quem ascendisti, non descendes, sed morte morieris.” 4 Reg. i.

37. THE PEDLAR. Accompanied by his dog, and heavily laden, he is proceeding on his way, when he is intercepted by Death, who forcibly pulls him back. Another Death is playing on a trump-marine. “Venite ad me omnes qui laboratis, et onerati estis.” Matth. xi.

38. THE HUSBANDMAN. He is assisted by Death, who conducts the horses of his plough. “In sudore vultus tui vesceris pane tuo.” Gen. iii.

39. THE CHILD. A female cottager is preparing her family mess, when Death enters and carries off the youngest of her children. “Homo natus de muliere, brevi vivens tempore, repletur multis miseriis: qui quasi flos egreditur, et conteritur, et fugit velut umbra.” Job xiv.

40. THE SOLDIER. He is engaged in unequal combat with Death, who simply attacks him with a bone. On the ground lie some of his demolished companions. In the distance, Death is beating a drum, and leading on a company of soldiers to battle. “Cum fortis armatus custodit atrium suum, &c. Si autem fortior eo superveniens vicerit eum, universa ejus arma aufert, in quibus confidebat.” Luc. xi.

41. THE GAMESTERS. Death and the Devil are disputing the possession of one of the gamesters, whom both have seized. Another seems to be interceding with the Devil on behalf of his companion, whilst a third is scraping together all the money on the table. “Quid prodest homini, si universum mundum lucretur, animæ autem suæ detrimentum patiatur?” Mat. xvi.

42. THE DRUNKARDS. They are assembled in a brothel, and intemperately feasting. Death poursliquor from a flaggon into the mouth of one of the party. “Ne inebriemini vino, in quo est luxuria.” Ephes. v.

43. THE IDEOT FOOL. He is mocking Death, by putting his finger in his mouth, and at the same time endeavouring to strike him with his bladder-bauble. Death smiling, and amused at his efforts, leads him away in a dancing attitude, playing at the same time on a bag-pipe. “Quasi agnus lasciviens, et ignorans, nescit quod ad vincula stultus trahatur.” Prover. vii.

44. THE ROBBER. Whilst he is about to plunder a poor market-woman of her property, Death comes behind and lays violent hands on him. “Domine vim patior.” Isaiæ xxxviii.

45. THE BLIND MAN. Carefully measuring his steps, and unconscious of his perilous situation, he is led on by Death, who with one hand takes him by the cloak, both parties having hold of his staff. “Cæcus cæcum ducit: et ambo in foveam cadunt.” Matt. xv.

46. THE WAGGONER. His cart, loaded with wine casks, has been overturned, and one of his horses thrown down by two mischievous Deaths. One of them is carrying off a wheel, and the other is employed in wrenching off a tie that had secured one of the hoops of the casks. The poor affrighted waggoner is clasping his hands together in despair. “Corruit in curru suo.” 1 Chron. xxii.

47. THE BEGGAR. Almost naked, his hands joined together, and his head turned upwards as in the agonies of death, he is sitting on straw near the gate of some building, perhaps an hospital, into which several persons are entering, and some of them pointing to him as an object fit to be admitted. On the ground lie his crutches, and one of his legs is swathed with abandage. A female is looking on him from a window of the building. “Miser ego homo! quis me liberabit de corpore mortis hujus?” Rom. vii.

48. THE LAST JUDGMENT. Christ sitting on a rainbow, and surrounded by a group of angels, patriarchs, &c. rests his feet on a globe of the universe. Below, are several naked figures risen from their graves, and stretching out their hands in the act of imploring judgment and mercy. “Memorare novissima, et in æternum non peccabis.” Eccle. vii.

49. THE ALLEGORICAL ESCUTCHEON OF DEATH. The coat or shield is fractured in several places. On it is a skull, and at top the crest as a helmet surmounted by two arm bones, the hands of which are grasping a ragged piece of stone, and between them is placed an hour-glass. The supporters are a gentleman and lady in the dresses of the times. In the description of this cut Papillon has committed some very absurd mistakes, already noticed in p.110.

THE CREATION

Formavit Dominus Deus hominem de limo terræ, &c.Gen.i.

THE TEMPTATION

Quia audisti vocem uxoris tuæ, et comedisti de ligno, &c.Gen.iii.

III

THE EXPULSION

Emisit eum Dominum Deus de Paradiso voluptatis,ut operaretur terram de qua sumptus est.Gen.iii.

THE CONSEQUENCES OF THE FALL

Maledicta terra in opere tuo, in laboribus comedes cunctisdiebus vitæ tuæ, donec revertaris, &c.Gen.iii.

A CEMETERY

Væ, væ, væ habitantibus in terra.Apoc.viii.

THE POPE

Moriatur sacerdos magnus.Josuexx.

VII

THE EMPEROR

Dispone domui tuæ, morieris, enim tu, et non vives.Isaiæxxxviii.

VIII

THE KING

Sicut et Rex hodie est, et cras morietur; nemo enim exregibus aliud habuit.Eccles.x.et Sapient.vii.

THE CARDINAL

Væ qui justificatis impium pro muneribus, et justitiamjusti aufertis ab eo.Isaiæv.

THE EMPRESS

Gradientes in superbia potest Deus humiliare.Dan.iv.

THE QUEEN

Mulieres opulentæ surgite, et audite vocem meam:post dies et annum, et vos conturbemini.Isaiæxxxii.

XII

THE BISHOP

Percutiam pastorem, et dispergentur oves gregis.Mat.xxvi.Mar.xiv.

XIII

THE DUKE

Princeps induetur moerore, et quiescere faciamsuperbiam potentium.Ezech.viii.

XIV

THE ABBOT

Ipse morietur, quia non habuit disciplinam,et in multitudine stultitiæ suæ decipietur.

THE ABBESS

Laudavi magis mortuos quam viventes.Eccles.iv.

XVI

THE GENTLEMAN

Quis est homo qui vivet, et non videbit mortem,eruet animam suam de manu inferi?

XVII

THE CANON

Ecce appropinquat hora.Mat.xxvi.

XVIII

THE JUDGE

Disperdam judicem de medio ejus.Amosii.

XIX

THE ADVOCATE

Callidus vidit malum, et abscondit se: innocenspertransiit, et afflictus est damno.Prover.xxii.

THE MAGISTRATE

Qui obturat aurem suam ad clamorem pauperis,et ipse clamabit, et non exaudietur.Prover.xxi.

XXI

THE PREACHER

Væ qui dicitis malum bonum, et bonum malum: ponentestenebras lucem, et lucem tenebras: ponentes amarumin dulce, et dulce in amarum.Isaiæv.

XXII

THE PRIEST

Sum quidem et ego mortalis homo.Sap.vii.

XXIII

THE MENDICANT

Sedentes in tenebris, et in umbra mortis,vinctos in mendicitate.Psal.cvi.

XXIV

THE NUN

Est via quæ videtur homini justa: novissima autemejus deducunt hominem ad mortem.Prover.iv.

XXV

THE OLD WOMAN

Melior est mors quàm vita.Eccle.xxx.

XXVI

THE PHYSICIAN

Medice, cura te ipsum.Luc.iv.

XXVII

THE ASTROLOGER

Indica mihi si nosti omnia. Sciebas quod nasciturus esses,et numerum dierum tuorum noveras?Jobxxxviii.

XXVIII

THE MISER

Stulte, hac nocte repetunt animam tuam:et quæ parasti, cujus erunt?Lucæxii.

XXIX

THE MERCHANT

Qui congregat thesauros lingua mendacii, vanus et excors est,et impingetur ad laqueos mortis.Proverb.xxi.

XXX

THE SHIP IN A TEMPEST

Qui volunt ditescere, incidunt in tentationem et laqueum,et cupiditates multas, stultas, ac noxias, quæ demergunthomines in exitium et interitum.1 ad Tim.vi.

XXXI

THE KNIGHT

Subito morientur, et in media nocte turbabuntur populi,et auferent violentum absque manu.Jobxxxiv.

XXXII

THE COUNT

Quoniam cum interierit, non sumet secum omnia,neque cum eo descendet gloria ejus.Psal.xlviii.

XXXIII

THE OLD MAN

Spiritus meus attenuabitur, dies mei breviabuntur,et solum mihi superest sepulchrum.Jobxvii.

XXXIV

THE COUNTESS

Ducunt in bonis dies suos, et in puncto ad infernadescendunt.Jobxxi.

XXXV

THE NEW-MARRIED LADY

Me et te sola mors separabit.Ruthi.

XXXVI

THE DUCHESS

De lectulo super quem ascendisti, non descendes,sed morte morieris.4 Reg.i.

XXXVII

THE PEDLAR

Venite ad me, omnes qui laboratis, et onerati estis.Matth.xi.

XXXVIII

THE HUSBANDMAN

In sudore vultus tui vesceris pane tuo.Gen.iii.

XXXIX

THE CHILD

Homo natus de muliere, brevi vivens tempore,repletur multis miseriis: qui quasi flos egreditur,et conteritur, et fugit velut umbra.Jobxiv.

THE SOLDIER

Cum fortis armatus custodit atrium suum, &c.Si autem fortior eo superveniens vicerit eum,universa ejus arma aufert, in quibusconfidebat.Luc.xi.

XLI

THE GAMESTERS

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