Further examination of Holbein’s title.—Borbonius.—Biographical notice of Holbein.—Painting of a Dance of Death at Whitehall by him.
Further examination of Holbein’s title.—Borbonius.—Biographical notice of Holbein.—Painting of a Dance of Death at Whitehall by him.
It may be necessary in the next place to make some further enquiry respecting the connection that Holbein is supposed to have hadat any timewith the subject of the Dance of Death.
The numerous errors that have been fallen into in making Holbein a participator in any manner whatever with the old Basle Macaber Dance, have been already noticed, and are indeed not worth the trouble of refuting. It is wholly improbable that he would interfere with so rude a piece of art; nor has his name been recorded among the artists who are known to have retouched or repaired it. The Macaber Dance at Basle, or any where else, is, therefore, with respect to Holbein, to be altogether laid aside; and if the argument before deduced from the important dedication to the edition of the justly celebrated wood-cuts published at Lyons in 1538 be of any value, his claim to their invention, at least to those in the first edition, must also be rejected.[124]There is indeed but very slight evidence, and none contemporary, that he painted any Dance of Death at Basle. The indefinite statements of Bishop Burnet and M. Patin, together with those of the numerous andcareless travellers who have followed blind leaders, and too often copied each other without the means or inclination of obtaining correct information, are deserving of very little attention. The circumstance of Holbein’s having painted a Dance of Peasants somewhere in the above city, in conjunction with the usual mistake of ascribing to him the old Macaber Dance, seems to have occasioned the above erroneous statements as to a Dance of Death by his pencil. It is hardly possible that Zuinger, almost a contemporary, when describing the Dance of Peasants and other paintings by Holbein at Basle would have omitted the mention of any Dance of Death:[125]but even admitting the former existence of such a painting, it would not constitute him the inventor of the designs in the Lyons work. He might have imitated or copied those designs, or the wood-cuts themselves, or perhaps have painted subjects that were different from either.
We are now to take into consideration some very clear and important evidence that Holbein actuallydid paint a Dance of Death. This is to be found in theNugæof Borbonius in the following verses:
De morte picta à Hanso pictore nobili.Dum mortis Hansus pictor imaginum exprimit,Tanta arte mortem retulit, ut mors vivereVideatur ipsa: et ipse se immortalibusParem Diis fecerit, operis hujus gloria.[126]
It has been already demonstrated that these lines could not refer to the old painting of the Macaber Dance at the Dominican convent, whilst, from the important dedication to the edition of the wood-cuts first published at Lyons in 1538, it is next to impossible that that work could then have been in Borbonius’scontemplation. It appears from several places in his Nugæ that he was in England in 1535, at which time Holbein drew his portrait in such a manner as to excite his gratitude and admiration in another copy of verses.[127]This was probably the chalk drawing still preserved in the fine collection of portraits of the eminent persons in the court of Henry VIII. formerly at Kensington, and thence removed to Buckingham House, and which has been copied in an elegant wood-cut, that first appeared in the edition of the Paidagogeion of Borbonius, Lyons, 1536, and afterward in two editions of his Nugæ. It is inscribedNIC. BORBONIVS VANDOP. ANNO ÆTATIS XXXII. 1535. He returned to Lyons in 1536, and it is known that he was there in 1538, when he probably wrote the complimentary lines in Holbein’s Biblical designs a short time before their publication, either out of friendship to the painter, or at the instance of the Lyons publisher with whom he was certainly connected.
Now if Borbonius, during his residence at Lyons, had been assured that the designs in the wood-cuts of the Dance of Death were the production of Holbein, would not his before-mentioned lines on that subject have been likewise introduced into the Lyons edition of it, or at least into some subsequent editions, in none of which is any mention whatever made of Holbein, although the work was continued even after the death of that artist? The application, therefore, of Borbonius’s lines must be sought for elsewhere; but it is greatly to be regretted that he has not adverted to the place where the painting, as he seems to call it, was made.
Very soon after the calamitous fire at Whitehall in 1697, which consumed nearly the whole of that palace, a person calling himself T. Nieuhoff Piccard, probably belonging to the household of William the Third, and aman who appears to have been an amateur artist, made the etchings in the article IX. already described in p.130. Copies of them were presented to some of his friends, with manuscript dedications to them. Three of these copies have been seen by the author of this Dissertation, and as the dedications differ from each other, and are of very considerable importance on the present occasion, the following extracts from them are here translated and transcribed:
“To Mynheer Heymans.“Sir,—The costly palace of Whitehall, erected by Cardinal Wolsey, and the residence of King Henry VIII. contains, among other performances of art, aDance of Death, painted by Holbein in its galleries, which, through an unfortunate conflagration, has been reduced to ashes; and even the little work which he has engraved with his own hand, and which I have copied as near as possible, is so scarce, that it is known only to a few lovers of art. And since the court has thought proper, in consideration of your singular deserts, to cause a dwelling to be built for you at Whitehall, I imagined it would not be disagreeable to you to be made acquainted with the former decorations of that palace. It will not appear strange that the artist should have chosen the above subject for ornamenting theroyalwalls, if we consider that the founder of the Greek monarchy directed that he should be daily reminded of the admonition, ‘Remember, Philip, that thou art a man.’ In like manner did Holbein with his pencil give tongues to these walls to impress not only the king and his court, but every one who viewed them with the same reflection.â€
“To Mynheer Heymans.
“Sir,—The costly palace of Whitehall, erected by Cardinal Wolsey, and the residence of King Henry VIII. contains, among other performances of art, aDance of Death, painted by Holbein in its galleries, which, through an unfortunate conflagration, has been reduced to ashes; and even the little work which he has engraved with his own hand, and which I have copied as near as possible, is so scarce, that it is known only to a few lovers of art. And since the court has thought proper, in consideration of your singular deserts, to cause a dwelling to be built for you at Whitehall, I imagined it would not be disagreeable to you to be made acquainted with the former decorations of that palace. It will not appear strange that the artist should have chosen the above subject for ornamenting theroyalwalls, if we consider that the founder of the Greek monarchy directed that he should be daily reminded of the admonition, ‘Remember, Philip, that thou art a man.’ In like manner did Holbein with his pencil give tongues to these walls to impress not only the king and his court, but every one who viewed them with the same reflection.â€
He then proceeds to describe each of the subjects, and concludes with some moral observations.
In another copy of these etchings the dedication is to
“The high, noble, and wellborn Lord William Benting, Lord of Rhoon, Pendreght, &c.â€â€œSir,—In the course of my constant love and pursuit of works of art, it has been my good fortune to meet with that scarce little work of Hans Holbein neatly engraved on wood, and which he himself had painted as large as life in fresco on the walls of Whitehall. In the copy which I presume to lay before you, as being born in the same palace, I have followed the original as nearly as possible, and considering the partiality which every one has for the place of his birth, a description of what is remarkable and curious therein and now no longer existing on account of its destruction by a fatal fire, must needs prove acceptable, as no other remains whatever have been left of that once so famous court of King Henry VIII. built by Cardinal Wolsey, than your own dwelling.â€
“The high, noble, and wellborn Lord William Benting, Lord of Rhoon, Pendreght, &c.â€
“Sir,—In the course of my constant love and pursuit of works of art, it has been my good fortune to meet with that scarce little work of Hans Holbein neatly engraved on wood, and which he himself had painted as large as life in fresco on the walls of Whitehall. In the copy which I presume to lay before you, as being born in the same palace, I have followed the original as nearly as possible, and considering the partiality which every one has for the place of his birth, a description of what is remarkable and curious therein and now no longer existing on account of its destruction by a fatal fire, must needs prove acceptable, as no other remains whatever have been left of that once so famous court of King Henry VIII. built by Cardinal Wolsey, than your own dwelling.â€
He then repeats the story of Philip of Macedon, and the account of the subjects of his etchings.
At the end of this dedication there is a fragment of another, the beginning of which is lost. The following passages only in it are worthy of notice. “The residence of King William.†“I flatter myself with a familiar acquaintance with Death, since I have already lived long enough to seem to be buried alive, &c.†In other respects, the same, in substance, as the preceding.
It is almost needless to advert to M. Nieuhoff Piccard’s mistake in asserting that Holbein made the engravings which he copied; but it would have been of some importance if, instead of his pious ejaculations, he had described all the subjects that Holbein painted on the walls of the galleries at Whitehall. He must have used some edition of the wood-cuts posterior to that of 1545, which did not contain the subjects of the Germansoldier, the fool, and the blind man, all of which he has introduced. It is possible, however, that he has given us all the subjects that were then remaining, the rest having become decayed or obliterated from dampness and neglect, and even those which then existed would soon afterwards perish when the remains of the old palace were removed. His copies are by no means faithful, and seem to be rather the production of an amateur than of a regular artist. For his greater convenience, he appears to have preferred using the wood engravings instead of the paintings; and it is greatly to be regretted that we have no better or further account of them, especially of the time at which they were executed. The lives of Holbein that we possess are uniformly defective in chronological arrangement. There seems to be a doubt whether the Earl of Arundel recommended him to visit England; but certain it is that in the year 1526 he came to London with a letter of that date addressed by Erasmus to Sir Thomas More, accompanied with his portrait, with which More was so well satisfied that he retained him at his house at Chelsea upwards of two years, until Henry VIII. from admiration of his works, appointed him his painter, with apartments at Whitehall. In 1529 he visited Basle, but returned to England in 1530. In 1535 he drew the portrait of his friend Nicholas Bourbon or Borbonius at London, probably the before-mentioned crayon drawing at Buckingham House, or some duplicate of it. In 1538 he painted the portrait of Sir Richard Southwell, a privy counsellor to Henry VIII. which was afterwards in the gallery of the Grand Duke of Tuscany.[128]About this time the magistrates of the city of Basle settled an annuity on him, but conditionally that he should return in two years to his native place andfamily, with which terms he certainly did not comply, preferring to remain in England. In the last-mentioned year he was sent by the king into Burgundy to paint the portrait of the Duchess of Milan, and in 1539 to Germany to paint that of Anne of Cleves. In some household accounts of Henry VIII. there are payments to him in 1538, 1539, 1540, and 1541, on account of his salary, which appears to have been thirty pounds per annum.[129]From this time little more is recorded of him till 1553, when he painted Queen Mary’s portrait, and shortly afterwards died of the plague in London in 1554.
In the absence of positive evidence it may surely be allowed to substitute probable conjecture; and as it cannot be clearly proved that Holbein painted a Dance of Death at Basle, may not the before-mentioned verses of Borbonius refer to his painting at Whitehall, and which the poet must himself have seen? It is no objection that Borbonius remained a year only in England, when his portrait was painted by his friend Holbein in 1535, or that the verses did not make their appearance till 1538, for they seem rather to fix the date of the painting, if really belonging to it, between those years; and it is not unreasonable to suppose that Borbonius would hold some intercourse with the painter, even after leaving England, as is indeed apparent from other compliments bestowed on him in his Nugæ, the contents of which are by no means chronologically arranged, and many of the poems known to have been written long before their publication. The lines in question might have been written any where, and at any time, and this may be very safely stated until the real time in which the Whitehall painting was made shall be ascertained.
In one of Vanderdort’s manuscript catalogues of the pictures and rarities transported from St. James’s toWhitehall, and placed there in the newly erected cabinet room of Charles I. and in which several works by Holbein are mentioned, there is the following article: “A little piece where Death with a green garland about his head, stretching both his arms to apprehend a Pilate in the habit of one of the spiritual Prince Electors of Germany. Copied by Isaac Oliver from Holbein.â€[130]There cannot be a doubt that this refers to the subject of the Elector, as painted by Holbein in the Dance of Death at Whitehall, proving at the same time the identity of the painting with the wood-cuts, whatever may be the inference.
Sandrart, after noticing a remarkable portrait of Henry VIII. at Whitehall, states, that “there yet remains in that palaceanother workby Holbein that constitutes him the Apelles of the time.â€[131]This is certainly very like an allusion to a Dance of Death.
It is by no means improbable that Mathew Prior may have alluded to Holbein’s painting at Whitehall, as it is not likely that he would be acquainted with any other.
Our term of life depends not on our deed,Before our birth our funeral was decreed,Nor aw’d by foresight, nor misled by chance,Imperious death directs the ebon lance,Peoples great Henry’s tombs, and leads up Holbein’s Dance.Ode to the Memory of George Villiers.
Other Dances of Death.
Having thus disposed of the two most ancient and important works on the subject in question, others of a similar nature, but with designs altogether different, and introduced into various books, remain to be noticed, and such are the following:
I. “Les loups ravissans fait et composé par maistre Robert Gobin prestre, maistre es ars licencie en decret, doyen de crestienté de Laigny sur Marne au dyocese de Paris, advocat en court d’eglise. Imprimé pour Anthoine Verard a Paris, 4to.†without date, but about 1500. This is a very bitter satire, in the form of a dream, against the clergy in general, but more particularly against Popes John XXII. and Boniface VIII. A wolf, in a lecture to his children, instructs them in every kind of vice and wickedness, but is opposed, and his doctrines refuted, by an allegorical personage called Holy Doctrine. In a second vision Death appears to the author, accompanied by Fate, War, Famine, and Mortality. All classes of society are formed into a Dance, as the author chooses to call it, and the work is accompanied with twenty-one very singular engravings on wood, executed in a style perhaps nowhere else to be met with. The designs are the same as those in the second Dance of the Horæ, printed by Higman for Vostre, No. I. page 61.
II. “A booke of Christian prayers, collected out ofthe ancient writers, &c.†Printed by J. Day, 1569. 4to. Afterwards in 1578, 1581, 1590, and 1609. It is more frequently mentioned under the title of “Queen Elizabeth’s prayer-book,†a most unsuitable title, when it is recollected how sharply this haughty dame rebuked the Dean of Christchurch for presenting a common prayer to her which had been purposely ornamented with cuts by him.[132]This book was most probably compiled by the celebrated John Fox, and is accompanied with elegant borders in the margins of every leaf cut in wood by an unknown artist whose mark is[monogram], though they have been most unwarrantably ascribed to Holbein, and even to Agnes Frey, the wife of Albert Durer, who is not known with any certainty to have practised the art of engraving. At the end is a Dance of Death different from every other of the kind, and of singular interest, as exhibiting the costume of its time with respect to all ranks and conditions of life, male and female.
These are the characters. “The Emperor, the King, the Duke, the Marques, the Baron, the Vicount, the Archbishop, the Bishop, the Doctor, the Preacher, the Lord, the Knight, the Esquire, the Gentleman, the Judge, the Justice, the Serjeant at law, the Attorney, the Mayor, the Shirife, the Bailife, the Constable, the Physitian, the Astronomer, the Herauld, the Sergeant at arms, the Trumpetter, the Pursevant, the Dromme, the Fife, the Captaine, the Souldier, the Marchant, the Citizen, the Printers (in two compartments), the Rich Man, the Aged Man, the Artificer, the Husbandman, the Musicians (in two compartments), the Shepheard, the Foole, the Beggar, the Roge, of Youth, of Infancie.†Then the females. “The Empresse, the Queene, the Princes, the Duchesse, the Countesse, the Vicountesse,the Baronnesse, the Lady, the Judge’s Wife, the Lawyer’s Wife, the Gentlewoman, the Alderman’s Wife, the Marchantes Wife, the Citizen’s Wife, the Rich Man’s Wife, the Young Woman, the Mayde, the Damosell, the Farmar’s Wife, the Husbandman’s Wife, the Countriwoman, the Nurse, the Shepheard’s Wife, the Aged Woman, the Creeple, the Poore Woman, the Infant, the (female) Foole.†All these are designed in a masterly manner, and delicately engraved. The figures of the Deaths occasionally abound in much humour, and always with appropriate characters. The names of the unknown artists were worthy of being recorded.
III. “Icones mortis, sexaginta imaginibus totidemque inscriptionibus insignitæ versibus quoque Latinis et novis Germanicis illustratæ. Norimbergæ Christ. Lockner, 1648, 8vo.â€[133]
IV. “Rudolph Meyers S: Todten dantz ergantz et und heraus gegeben durch Conrad Meyern Maalern in Zurich, im jahr 1650.†On an engraved title page, representing an angel blowing a trumpet, with a motto from the Apocalypse. Death or Time holds a lettered label with the above inscription or title. In the back ground groups of small figures allusive to the last judgment. Then follows a printed title “Sterbenspiegel das ist sonnenklare vorstellung menschlicher nichtigkeit durch alle Stand und Geschlechter: vermitlest 60 dienstlicher kupferblatteren lehrreicher uberschrifften und beweglicher zu vier stimmen auszgesetzter Todtengesangen, vor disem angefangen durch Rudolffen Meyern S. von Zurich, &c. Jetzaber zu erwekung nohtwendiger Todsbetrachtung verachtung irdischer eytelkeit; und beliebung seliger ewigkeit zuend gebracht und verlegt durch Conrad Meyern Maalern in Zurich und daselbsten bey ihme zufinden. Getruckt zu Zürich bey Johann Jacob Bodmer,MDCL.†4to. that is: The Mirrorof Death—that is—a brilliant representation of human nothingness in all ranks and conditions, by means of 60 appropriate Copperplates, spiritual superscriptions, and moving songs of Death, arranged for four voices, formerly commenced by Rudolph Meyer of Zurich, &c. but now brought to an end and completed, for the awaking of a necessary consideration of death, a contempt of earthly vanity, and a love of blissful eternity, byConradMeyer of Zurich, of whom they are to be had. Printed at Zurich, by John Jacob Bodmer,MDCL.
The subjects are the following:—1. The Creation. 2. The Fall. 3. Expulsion from Paradise. 4. Punishment of Man. 5. Triumph of Death. 6. An allegorical frontispiece relating to the class of the Clergy. 6. The Pope. 7. The Cardinal. 8. The Bishop. 9. The Abbot. 10. The Abbess. 11. The Priest. 12. The Monk. 13. The Hermit. 14. The Preacher. 15. An allegorical frontispiece to the class of Rulers and Governors. 15. The Emperor. 16. The Empress. 17. The King. 18. The Queen. 19. The Prince Elector. 20. The Earl and Countess. 21. The Knight. 22. The Nobleman. 23. The Judge. 24. The Steward, Widow, and Orphan. 25. The Captain. 26. An allegorical frontispiece to the Lower Classes. 26. The Physician. 27. The Astrologer. 28. The Merchant. 29. The Painter and his kindred: among these the old man is Dietrich Meyern; the painter resembles the portrait of Conrad Meyern in Sandrart, and the man at the table is probably Rudolph Meyern. 30. The Handcraftsman. 31. The Architect. 32. The Innkeeper. 33. The Cook. 34. The Ploughman. 35. The Man and Maid Servant. 36. The old Man. 37. The old Woman. 38. The Lovers. 39. The Child. 40. The Soldier. 41. The Pedler. 42. The Highwayman. 43. The Quack Doctor. 44. The Blind Man. 45. The Beggar. 46. The Jew. 47. The Usurer. 48. The Gamesters. 49. The Drunkards. 50. TheGluttons. 51. The Fool. 52. The Certainty of Death. 53. The Uncertainty of Death. 54. The Last Judgment. 55. Christ’s Victory. 56. Salvation. 57. True and False Religion.
The text consists chiefly of Death’s apostrophe to his victims, with their remonstrances, verses under each subject, and various other matters. At the end are pious songs and psalms set to music. This work was jointly executed by two excellent artists, Rodolph and Conrad Meyer or Meyern, natives of Zurich. The designs are chiefly by Rodolph, and the etchings by Conrad, consisting of sixty very masterly compositions. The grouping of the figures is admirable, and the versatile representations of Death most skilfully characterized. Many of the subjects are greatly indebted to the Lyons wood engravings.
In 1657 and 1759 there appeared other editions of the latter, with this title, “Die menschliche Sterblichkeit under dem titel Todten Tanz inLXIoriginal-kupfern, von Rudolf und Conrad Meyern beruhmten kunstmahlern in Zurich abermal herausgegeben, nebst neven, dazu dienenden, moralischen versen und veber schriften.†That is, “Human mortality, under the title of the Dance of Death, in 61 original copper prints of Rudolf and Conrad Meyern, renowned painters at Zurich, to which are added appropriate moral verses and inscriptions.†Hamburg and Leipsig, 1759, 4to. The prolegomena are entirely different from those in the other edition, and an elaborate preface is added, giving an account of several editions of the Dance of Death. Instead of the Captain, No. 25, the Ensign is substituted, and the Cook is newly designed. Some of the numbers of the subjects are misplaced. The etchings have been retouched, and on many the date of 1637 is seen, which had no where occurred in the first edition here described.
In 1704 copies of 52 of these etchings were publishedat Augsburg, under the title of “Tripudium mortis per victoriam super carnem universæ orbis terræ erectum. Ab A. C. Redelio S. C. M. T. P.†on a label held by Death as before. Then the German title “Erbaulicher Sterb-Spiegel dast ist sonnen-klahre vorstellung menschlicher nichtigkeit durch alle stande und geschlechter: vermittelst schoner kupffern, lehr-reicher bey-schrifften und hertz-beweglich angehangter Todten-lieder ehmahls herauss gegeben durch Rudolph und Conrad Meyern mahlern in Zurch Anjetzo aber mit Lateinischen unterschrifften der kupffer vermehret und aussgezieret von dem Welt-beruhmten Poeten Augustino Casimiro Redelio, Belg. Mech. Sac. Cæs. Majest. L. P. Augsburg zu finden bey Johann Philipp Steudner. Druckts, Abraham Gugger. 1704.†4to. That is, “An edifying mirror of mortality, representing the nullity of man through all stations and generations, by means of beautiful engravings in copper, instructive inscriptions, and heart-moving lays of Death, as an appendix to the work formerly edited by Rudolph and Conrad Meyern of Zurich, but now published with Latin inscriptions, and engravings augmented and renewed by the worldly renowned poet Augustin Casimir Redel, &c.â€
In this edition the Pope and all the other religious characters are omitted, probably by design. The etchings are very inferior to the fine originals, and without the name of the artist. The dresses are frequently modernised in the fashion of the time, and other variations are occasionally introduced.
V. “Den Algemeynen dooden Spiegel van Pater Abraham à Sancta Clara,â€i. e.The universal mirror of Death of Father Abraham à Sancta Clara. On a frontispiece engraved on copper, with a medallion of the author, and various allegorical figures. Then the printed title, “Den Algemeynen Dooden spiegel ofte de capelle der Dooden waer in alle Menschen sich al lacchende oft al weenende op recht konnen beschouwen verciert meraerdige historien, Siu-rycke gedichten ende sedenleer-ende Beeldt-schetsen op gestelt door den eerweerdigen Pater Abraham à Sancta Clara Difinitor der Provincie van het order der ongeschoende Augustynen ende Predickant van syne Keyserlycke Majesteyt Leopoldus. Getrouwelyck overgeset vyt het hoogh-duyts in onse Nederduytsche Taele. Tot Brussel, by de Wed. G. Jacobs tegen de Baert-brugge in de Druckerye, 1730.†12mo.i. e.“The universal mirror of Death taken from the chapel of the dead; in which all men may see themselves properly, whether laughing or weeping, ornamented with pretty stories, spirited poems, and instructive prints, arranged by Father Abraham à Sancta Clara, of the Augustinian order, and preacher to his Imperial Majesty Leopold, and faithfully translated out of High Dutch into our Netherlandish language.â€
The work consists of sixty-seven engravings on wood within borders, and of very indifferent execution in all respects; the text a mixture of prose and poetry of a religious nature, allusive to the subjects, which are not uniformly a dance of Death. The best among them are the Painter, p. 45; the Drunkard, p. 75; the dancing Couple, Death playing the Flageolet, p. 103; the Fowler, p. 113; the hen-pecked Husband, p. 139; the Courtezan, p. 147; the Musician, p. 193; the Gamester, p. 221; and the blind Beggar, p. 289.
VI. “Geistliche Todts-Gedanchen bey allerhand semahlden und Tchildereyn in vabildung Interschiedlichen geschlechts, alters, standes, und wurdend perschnen sich des Todes zucrinneren ans dessen lehrdie tugende zuüben und die Tundzu meyden Erstlich in kupfer entworffen nachmaler durch sittliche erdrtherung und aberlegung unter Todten-farben in vorschem gebracht, dardurch zumheyl der seelen im gemuth des geneighten lesers ein lebendige forcht und embsige vorsorg des Todes zu erwecken. Cum permissu superiorum. Passau Gedrucht bey Frederich Gabriel Mangold, hochfurst,hof buchdruckern, 1753. Lintz, verlegts Frantz Anton Ilger, Burgerl, Buchhandlern allda.†Folio. In English, “The Spiritual Dance of Death in all kinds of pictures and representations, whereby persons of every age, sex, rank, and dignity, may be reminded of Death, from which lesson they may exercise themselves in virtue, and avoid sin. First put upon copper, and afterwards, through moral considerations and investigations brought to light in Death’s own colours, thereby for the good of the souls of the well inclined readers to awaken in them a lively fear and diligent anticipation of Death.â€
The subjects are: 1. The Creation. 2. Temptation. 3. Expulsion. 4. Punishment. 5. A charnel house, with various figures of Death, three in the back-ground dancing. 6. The Pope. 7. Cardinal. 8. Bishop. 9. Abbot. 10. Canon. 11. Preacher. 12. Chaplain. 13. Monk. 14. Abbess. 15. Nun. 16. Emperor. 17. Empress. 18. King. 19. Queen. 20. Prince. 21. Princess. 22. Earl. 23. Countess. 24. Knight. 25. Nobleman. 26. Judge. 27. Counsellor. 28. Advocate. 29. Physician. 30. Astrologer. 31. Rich man. 32. Merchant. 33. Shipwreck. 34. Lovers. 35. Child. 36. Old man. 37. Old woman. 38. Carrier. 39. Pedler. 40. Ploughman. 41. Soldier. 42. Gamesters. 43. Drunkards. 44. Murderer. 45. Fool. 46. Blind man. 47. Beggar. 48. Hermit. 49. Corruption. 50. Last Judgment. 51. Allegory of Death’s Arms, &c.
The designs and some of the engravings are by M. Rentz, for the most part original, with occasional hints from the Lyons wood-cuts.
Another edition with some variation was printed at Hamburg, 1759, folio.
VII. In the Lavenburg Calendar for 1792, are 12 designs by Chodowiecki for a Dance of Death. These are: 1. The Pope. 2. The King. 3. The Queen. 4. The General. 5. The Genealogist. 6. The Physician.7. The Mother. 8. The Centinel. 9. The Fish Woman. 10. The Beggar. 11. The fille de joye and bawd. 12. The Infant.
VIII. A Dance of Death in one of the Berne Almanacks, consisting of the 16 following subjects. 1. Death fantastically dressed as a beau, seizes the city maiden. 2. Death wearing a Kevenhuller hat, takes the housemaid’s broom from her. 3. Death seizes a terrified washerwoman. 4. He takes some of the apple-woman’s fruit out of her basket. 5. The cellar maid or tapster standing at the door of an alehouse is summoned by death to accompany him. 6. He lays violent hands upon an abusive strumpet. 7. In the habit of an old woman he lays hold of a midwife with a newly born infant in her hands. 8. With a shroud thrown over his shoulder he summons the female mourner. 9. In the character of a young man with a chapeau bras he brings a urinal for the physician’s inspection. 10. The life-guardsman is accompanied by Death also on horseback and wearing an enormous military hat. 11. Death with a skillet on his head plunders the tinker’s basket. 12. Death in a pair of jack-boots leads the postilion. 13. The lame beggar led by Death. 14. Death standing in a grave pulls the grave digger towards him by the leg. 15. Death seated on a plough with a scythe in his left hand, seizes the farmer, who carries several implements of husbandry on his shoulders. 16. The fraudulent inn-keeper in the act of adulterating his liquor in the cask, is throttled by Death who carries an ale vessel at his back. These figures are cut on wood in a free and masterly manner, by Zimmerman, an artist much employed in the decoration of these calendars. The prints are accompanied with dialogues between Death and the respective parties.
IX. “Freund Heins Erscheinungen in Holbeins manier von J. R. Schellenberg Winterthur, bey Heinrich Steiner und Comp. 1785, 8vo.†That is—“Friend Heinsappearance in the manner of Holbein, by J. R. Schellenberg.†The preface states that from the poverty of the German language in synonymous expressions for the allegorical or ideal Death, the author has ventured to coin the jocose appellation of Friend Hein, which will be understood from its resemblance to Hain or Hayn, a word signifying a grove. The sagacity of the German reader will perhaps discover the analogy. The subjects are 24 in number, as follow:
1. Love interrupted. The lovers are caught by Death in a net, and in no very decent attitude.
2. Suicide. A man shoots himself with a pistol, and falls into the arms of Death.
3. Death in the character of a beau visits a lady at her toilet.
4. The Aeronaut. The balloon takes fire, and the aeronaut is precipitated.
5. Death’s visit to the school. He enters at a door inscribedSILENTIUM, and puts the scholars to flight.
6. Bad distribution of alms.
7. Expectation deluded. Death disguised as a fine lady lays hands upon a beau, who seems to have expected a very different sort of visitor.
8. Unwelcome officiousness. Death feeding an infant with poison, the nurse wringing her hands in despair.
9. The dissolution of the monastery. The Abbot followed by his monks receives the fatal summons in a letter delivered to him by Death.
10. The company of a friend. An aged man near a grave wrings his hands. Death behind directs his attention to heaven.
11. The lottery gambler. Death presents him with the unlucky ticket.
12. The woman of Vienna and the woman of Rome. Death seizes one, and points to the other.
13. The Usurer. Death shuts him into his money chest.
14. The Glutton. Death seizes him at table, and forcibly pours wine down his throat.
15. The Rope-dancer. Death mounted on an ass, and fantastically apparelled, enters the circle of spectators, and seizes the performer by one of his legs.
16. The lodge of secrecy (freemasonry). Death introduces a novice blindfold to the lodge.
17. The recruiting Officer. Death enlists some country fellows, a fiddler preceding.
18. Berthold Swartz. Death ignites the contents of the mortar, and blows up the monk. In the usual representations of this story the Devil is always placed near the monk.
19. The Duel. A man strikes with a sword at Death, who is lifting up the valves of a window.
20. The plunder of the falling-trap. Death demolishes a student by throwing a bookcase filled with books upon him.
21. Silence surrendered. Death appears to a schoolmistress. The children terrified, escape.
22. The privilege of the strong. Death lays violent hands on a lady, whom her male companions in vain endeavour to protect.
23. The apothecary. Death enters his shop, and directs his attention to the poor patients who are coming in.
24. The Conclusion. Two anatomists joining hands are both embraced by Death.
The best of these subjects are Nos. 4, 13, 14, 15, and 18. The text is a mixture of prose and verse.
X. “The English Dance of Death, from the designs of Thomas Rowlandson, with metrical illustrations by the author of Doctor Syntax.†2 vols. 8vo. 1815-1816. Ackermann.
In seventy-two coloured engravings. Among these the most prominent and appropriate are, the last Chase; the Recruit; the Catchpole; the Death-blow; the Dramshop; the Skaiters; the Duel; the Kitchen; theToastmaster; the Gallant’s downfall; and the fall of four in hand. The rest are comparatively feeble and irrelevant, and many of the subjects ill-chosen, and devoid of that humour which might have been expected from the pencil of Rowlandson, whose grotesque predominates as usual in the groups.
XI. “Death’s Doings, consisting of numerous original compositions in prose and verse, the friendly contributions of various writers, principally intended as illustrations of 24 plates designed and etched by R. Dagley, author of “Select gems from the antique,†&c.†1826. 8vo.
From the intrinsic value and well deserved success of this work, a new edition was almost immediately called for, which received many important additions from the modest and ingenious author. Among these a new frontispiece, from the design of Adrian Van Venne, the celebrated Dutch poet and painter, is particularly to be noticed. This edition is likewise enriched with numerous elegant contributions, both in prose and verse, from some of the best writers of the age.
XII. A modern French Dance of Death, under the title of “Voyage pour l’Eternité, service général des omnibus accélérés, depart à tout heure et de tous les point du globe.†Par J. Grandville. No date, but about 1830. A series of nine lithographic engravings, including the frontispiece. Oblong 4to. These are the subjects:
1. Frontispiece. Death conducting passengers in his omnibus to the cemetery of Père la Chaise.
2. “C’est ici le dernier relai.†Death as a postilion gives notice to a traveller incumbered with his baggage, &c.
3. “Vais-je bien? ... vous avancez horriblement.†Death enters a watchmaker’s shop, and shews his hour-glass to the master and his apprentice.
4. “Monsieur le Baron, on vous demande.—Dites que je n’y suis pas.†Death having entered theapartment, the valet communicates his summons to his gouty master lying on a couch.
5. “Soyez tranquille, j’ai un garçon qui ne se trompe jamais.†The apothecary addresses these words to some cautious patients whilst he fills a vessel which they have brought to his shop. Death, as an apprentice in another room, pounds medicines in a mortar.
6. “Voila, Messieurs, un plat de mon metier.†A feast. Death as a waiter enters with a plate of poisonous fruit.
7. “Voulez vous monter chez moi, mon petit Monsieur, vous n’en serez pas fâché, allez.†Death, tricked out as a fille de joye with a mask, entices a youth introduced by a companion.
8. “—Pour une consultation, Docteur, j’en suis j’vous suis ...†Death in the character of an undertaker, his hearse behind, invites an old man to follow him.
9. “Oui, Madame, ce sera bien la promenade la plus delicieuse! une voiture dans le dernier goût! un cheval qui fend l’air, et le meilleur groom de France.†Death, habited as a beau, conducts a lady followed by her maid to a carriage in waiting.
XIII. The British Dance of Death, exemplified by a series of engravings from drawings by Van Assen, with explanatory and moral essays. Printed by and for George Smeeton, Royal Arcade, Pall Mall. 8vo. no date. With a frontispiece designed by Geo. Cruikshank, representing a crowned sitting Death, holding a scythe in one hand, and with the other leaning on a globe. This is circular in the middle. Over it two small compartments of Death striking an infant in the cradle, and a sick man. At bottom, two others of Death demolishing a glutton and a drunkard. A short preface states that the work is on the plan of “the celebrated designs of Holbein,†meaning of course the Lyons work, but to which it has not the smallest resemblance, and refers to Lord Orford for the mention of the Basle dance, which,as having two or sometimes three figures only, it does resemble. It then states that the late Mr. Van Assen had no intention of publishing these designs, which now appear in compliance with the wishes of many of his friends to possess them. They are very neatly engraved, and tinted in imitation of the original drawings, but are wholly destitute of that humour which might have been expected from the pencil of the ingenious inventor, and which he has manifested on many other occasions. The subjects are the following: 1. The Infant. 2. Juvenile piety. 3. The Student. 4. The Sempstress. 5. The musical Student. 6. The Dancer. 7. The female Student. 8. The Lovers. 9. The industrious Wife. 10. The Warrior. 11. The Pugilists. 12. The Glutton. 13. The Drunkard. 14. The Watchman. 15. The Fishwoman. 16. The Physician. 17. The Miser. 18. Old Age. Death with his dart is standing near all these figures, but does not seem to be noticed by any of them.
XIV. A Dance of Death in Danish rimes is mentioned in Nyerup’s “Bidragh til den Danske digtakunst historie.†1800. 12mo.
XV. John Nixon Coleraine, an amateur, and secretary to the original Beef Stake Club, etched a dance of Death for ladies’ fans. He died only a few years ago. Published by Mr. Fores, of Piccadilly, who had the copper-plates, but of which no impressions are now remaining.
Dances of Death, with such text only as describes the subjects.
I. Six small circles on a single sheet, engraved on copper by Israel Van Meckenen. 1. Christ sitting on his cross. 2. Three skulls on a table. 3. Death and the Pope. 4. Death riding on a lion, and the Patriarch. 5. Death and the Standard-bearer. 6. Death and the Lady. At top “memento mori,†at bottom “Israhel V. M.â€
II. A Dance of Death, engraved on copper, by Henry Aldegrever. 1. Creation of Eve. 2. Adam and Eve eating the forbidden fruit. 3. Expulsion from Paradise. 4. Adam digging, Eve spinning. 5. Death and the Pope. 6. Death and the Cardinal. 7. Death and the Bishop. 8. Death and the Abbot. All these have the date 1541, and with some variations follow the Lyons woodcuts. They have scriptural texts in Latin. 12mo. The whole were afterwards copied in a work by Kieser, already described, p.121.
III. A Dance of Death, consisting of eight subjects, engraved on copper by an unknown artist, whose mark is[monogram]. 1. Death beating a drum, precedes a lady and gentleman accompanied by a little dog. 2. Death playing on a stickado, precedes a lady and gentleman dancing back to back, below an hour-glass. 3. Death, with an hour-glass in his right hand, lays his left on the shoulder of a gentleman taking hold of a lady with his right hand, and carrying a hawk with his left.4. Death crowned with a garland, and holding an hour-glass in his left hand, stands between a lady and gentleman joining hands. 5. Death, with a fool’s cap and hood, a dagger of lath, and a bladder, holds up an hour-glass with his right hand; with his left he seizes the hand of a terrified lady accompanied by a gentleman, who endeavours to thrust away the unwelcome companion. 6. Another couple led by Death. 7. Death with a cap and feathers holds an hour-glass in his right hand, and with his left seizes a lady, whom a gentleman endeavours to draw away from him. All have the date 1562. 12mo. Size, three inches by two. They are described also in Bartsch, Peintre Graveur, ix. 482, and have been sometimes erroneously ascribed to Aldegrever.
Larger Image
IV. A Dance of Death, extremely well executed on wood, the designs of which have been taken from a set of initial letters, that will hereafter be particularly described. They are upright, and measure two inches by one and a half. Each subject is accompanied with two German verses.
V. On the back of the title page to “Die kleyn furstlich Chronica,†Strasb. 1544, 4to. are three subjects that appear to be part of a series. 1. Death and the Pope, who has a book and triple crosier. Death kneels to him whilst he plays on a tabor and drum. 2. Death and the King. Death blows a trumpet. 3. Death shoots an arrow at a warrior armed with sword and battle-axe. All these figures are accompanied with German verses, and are neatly engraved on wood.
VI. A series of single figures, etched with great spirit by Giovanni Maria Mitelli. They are not accompanied by Death, but hold dialogues with him in Italian stanzas. The characters are, 1. The Astrologer. 2. The Doctor of universal science. 3. The Hunter. 4. The Mathematician. 5. The Idolater. They are not mentioned in Bartsch, nor in any other list of theworks of engravers. It is possible that there are more of them.
VII. The five Deaths, etched by Della Bella. 1. A terrific figure of Death on a galloping horse. In his left hand a trumpet, to which a flag, agitated by the wind, is attached. In the back ground, several human skeletons, variously employed. 2. Death carrying off an infant in his arms. In the back-ground, the church-yard of the Innocents at Paris. 3. Death walking away with a young child on his back. In the distance, another view of the above cemetery. 4. Death carrying off a female on his shoulders, with her head downwards, followed at a distance by another Death holding a corpse in his arms. 5. Death dragging a reluctant old man towards a grave, in which another Death, with an hour-glass in his hand, awaits him. All these are extremely fine, and executed in the artist’s best time. There is a sixth of the series, representing Death throwing a young man into a well, but it is very inferior to the others. It was begun by Della Bella a short time before his death, and finished by his pupil Galestruzzi, about 1664. Della Bella likewise etched a long print of the triumph of Death.
VIII. A single anonymous French engraving on copper, 14½ by 6½, containing three subjects. 1. Death and the soldier. 2. Death standing with a pruning knife in his right hand, and a winged hour-glass in his left. Under him are three prostrate females, one plays on a violin; the next, who represents Pride, holds a peacock in one hand and a mirror in the other; the third has a flower in her left hand. 3. Death and the lady. He holds an hour-glass and dart, and she a flower in her right hand. Under each subject are French verses. This may perhaps be one only of a set.
IX. A German Dance of Death, in eight oblong engravings on copper, 11 by 8½, consisting of eight sheetsand twenty-five subjects, as follow. 1. A fantastic figure of a Death, with a cap and feathers, in the attitude of dancing and playing on a flute. He is followed by another dancing skeleton carrying a coffin on his shoulder. 2. Pope. 3. Emperor. 4 Empress. 5. Cardinal. 6. King. 7. Bishop. 8. Duke or General. 9. Abbot. 10. Knight. 11. Carthusian. 12. Burgomaster. 13. Canon. 14. Nobleman. 15. Physician. 16. Usurer. 17. Chaplain. 18. Bailiff or Steward. 19. Churchwarden. 20. Merchant. 21. Hermit. 22. Peasant. 23. Young Man. 24. Maiden. 25. Child. This is a complete set of the prints, representing the Lubeck painting, already described in p.43. In the translation of the inscriptions, as given by Dr. Nugent, two more characters are added at the end, viz. the Dancing Master and the Fencing Master. On the spectator’s left hand of No. 1. of these engravings, is a column containing the following inscription in German, in English as follows: “Silence, fool-hardy one, whoever thou art, who, with needless words, profanest this holy place. This is no chapel for talking, but thy sure place is in Death’s Dance. Silence then, silence, and let the painting on these silent walls commune with thee, and convince thee that man is and will be earth:†and on Nos. 4 and 5, the words “Zu finden in Lubeck by Christian Gotfried Donatius.â€
X. The following entry is in the Stationers’ books:
XI. In the catalogue of the library of R. Smith, secretary of the Poultry Compter, which was sold by auction in 1682, is this article “Dance of Death in the cloyster of Paul’s, with figures, very old.†Probably a single sheet.
XII. “The Dance of Death;†a single sheet, engraved on copper, with the following figures. In the middle, Death leading the king; the beggar hand in hand with the king; Death leading the old man, followed by a child; the fool; the wise man, as an astrologer, led by Death. On the spectator’s left hand, Death bringing a man before a judge; with the motto, “The greatest judge that sits in honour’s seat, must come to grave, where’t boots not to intreate.†A man and woman in a brothel, Death behind; with the motto, “Leave, wanton youth, thou must no longer stay; if once I call all mortals must obey.†On the opposite side, the Miser and Death; the motto, “Come, worldling, come, gold hath no power to save, leave it thou shalt, and dance with me to grave.†Death and the Prisoner; the motto, “Prisoner arise, ile ease thy fetterd feet, and now betake thee to thy winding sheet.†In the middle of the print sits a minstrel on a stool formed of bones placed on a coffin with a pick-axe and spade. He plays on a tabor and pipe; with this motto, “Sickness, despaire, sword, famine, sudden death, all these do serve as minstrells unto Death; the beggar, king, fool, and profound, courtier and clown all dance this round.†Under the above figures is a poem of sixty-six lines on the power of Death, beginning thus:
Yea, Adam’s brood and earthly wights which breath now on the earth,Come dance this dance, and mark the song of this most mighty Death.Full well my power is known and seen in all the world about,When I do strike of force do yeeld both noble, wise, and stout, &c.
Printed cullored and sould by R. Walton at the Globe and Compasses at the West end of St. Paules church turning down towards Ludgate.
XIII. A large anonymous German engraving on copper, in folio. In the middle is a circular Dance of Death, with nine females, from the Empress to the Fool. In the four corners, two persons kneeling beforea crucifix; saints in heaven; the temptation; and the infernal regions. At top, a frame with these verses:
Vulneris en nostri certam solamque medelamEn data divina præmia larga manu.Der Todt Christi Zunicht hat gmachtDen Todt und Sleben wider bracht.
At bottom in a similar frame:
Per unius peccatum Mors intravit in mundum.Den Todt und ewig hellisch peinHat veruhr sagt die Sund allein.
This is within a broad frame, containing a Dance of Death, in twelve ovals. The names of the characters are in German: 1. The Pope. 2. Emperor. 3. King. 4. Cardinal. 5. Bishop. 6. Duke. 7. Earl. 8. Gentleman. 9. Citizen. 10. Peasant. 11. Soldier and Beggar. 12. Fool and Child. Under each subject is an appropriate inscription in Latin and German. In the middle at top, a Death’s head and bones, an hour-glass and a dial. In the middle at bottom, a lamp burning on a Death’s head, and a pot of holy water with an aspergillum. On the sides, in the middle, funereal implements.
XIV. Heineken, in his “Dictionnaire des Graveurs,†iii. 77, mentions a Dance of Death engraved about 1740 by Maurice Bodenehr of Friburg, but without any further notice.
XV. Another very large print, 2 feet by 1½, in mezzotinto, the subject as in No. 10. but the figures varied, and much better drawn. At bottom, “Joh. El. Ridinger excud. Aug. Vindel.â€
XVI. Newton’s Dances of Death. Published July 12, 1796, by Wm. Holland, No. 50, Oxford Street, consisting of the following grotesque subjects engraved on copper. The size 6 inches by 5. 1. Auctioneer. 2. Lawyer. 3. Old Maid on Death’s back. 4. Gamblers. 5. Scolding Wife. 6. Apple-woman. 7. Blind Beggar.8. Distressed Poet and Bailiff. 9. Undertaker. 10. Sleeping Lady. 11. Old Woman and her Cats. 12. Gouty Parson feeding on a tythe pig. 12. Same subject differently treated. 13. Sailor and Sweetheart. 14. Physician, Gravedigger, and Death dancing a round. 15. Market-man. 16. Doctor, sick Patient, and Nurse. 17. Watchman. 18. Gravedigger putting a corpse into the grave. 19. Old maid reading, Death extinguishes the candle. 20. Gravedigger making a grave. 21. Old Woman. 22. Barber. 23. Lady and Death reflected in the mirror. 24. Waiter. 25. Amorous Old Man and Young Woman. 26. Jew Old Clothes-man. 27. Miser. 28. Female Gin-drinker.
XVII. The Dance of Death modernised. Published July 13, 1800, and designed by G. M. Woodward, Berners’ Street, Oxford Street. Contains the following caricatures. Size 5 by 4½.
1. King. “Return the diadem and I’ll follow you.â€
2. Cardinal. “Zounds, take care of my great toe, or I shall never rise higher than a cardinal.â€
3. Bishop. “I cannot go, I am a bishop.â€
4. Old Man. “My good friend, I am too old, I assure you.â€
5. Dancing-master. “I never practised such an Allemande as this since I have been a dancing-master.â€
6. Alderman. “If you detain me in this way my venison will be quite cold.â€
7. Methodist Preacher. “If you wo’nt take I, I’ll never mention you or the Devil in my sarmons as long as I lives.â€
8. Parson. “I can’t leave my company till I’ve finish’d my pipe and bottle.â€
9. Schoolmaster. “I am only a poor schoolmaster, and sets good examples in the willage.â€
10. Miser. “Spare my money, and I’ll go contented.â€
11. Politician. “Stay till I have finished thenewspaper, for I am told there is great intelligence from the continent.â€
12. Press-gang Sailor. “Why d— me I’m one of your apprentices.â€
13. Beggar. “This is the universal dance from a king to a beggar.â€
14. Jockey. “I assure you I am engaged at Newmarket.â€
15. Undertaker. “A pretty dance this for an undertaker.â€
16. Gouty Man. “Buzaglo’s exercise was nothing to this.â€
17. Poet. “I am but a poor poet, and always praised the ode to your honour written by the late King of Prussia.â€
18. Physician. “Here’s fine encouragement for the faculty.â€
19. Lawyer. “The law is always exempt by the statutes.â€
20. Old Maid. “Let me but stay till I am married, and I’ll ask no longer time.â€
21. Fine Lady. “Don’t be so boisterous, you filthy wretch. I am a woman of fashion.â€
22. Empress. “Fellow, I am an empress.â€
23. Young Lady. “Indeed, Sir, I am too young.â€
24. Old Bawd. “You may call me old bawd, if you please, but I am sure I have always been a friend to your worship.â€
XVIII. Bonaparte’s Dance of Death. Invented, drawn, and etched by Richard Newton, 7 by 5.
1. Stabb’d at Malta. 2. Drown’d at Alexandria. 3. Strangled at Cairo. 4. Shot by a Tripoline gentleman. 5. Devoured by wild beasts in the desert. 6. Alive in Paris.
Books in which the subject is occasionally introduced.
To offer any thing in the shape of a perfect list of these, would be to attempt an impossibility, and therefore such only as have come under the author’s immediate inspection are here presented to the curious reader. The same remark will apply to the list of single prints that follows.
There is a very singular book, printed, as supposed, about 1460, at Bamberg, by Albert Pfister. It is in German, and a sort of moral allegory in the shape of complaints against Death, with his answers to these accusations. It is very particularly described from the only known perfect copy in the royal library at Paris, by M. Camus, in vol. ii. of “Memoires de l’institut. national des sciences et arts: litterature et beaux arts,†p. 6 et seq. It contains five engravings on wood, the first of which represents Death seated on a throne. Before him stands a man with an infant to complain that Death has taken the mother, who is seen wrapped in a shroud upon a tomb. The second cut represents Death also on a throne with the same person as before, making his complaint, accompanied by several other persons at the feet of Death, sorrowfully deposing the attributes of their respective conditions, and at the head of them a Pope kneeling with one knee on the ground. The third cut has two figures of Death, one of which, on foot, mows down several boys and girls; the other is onhorseback, and pursues some cavaliers, against whom he shoots his arrows. The fourth cut is in two compartments, the upper representing, as before, a man complaining to Death seated on a throne with a crown on his head. Below, on the spectator’s left hand, is a convent whence several monks are issuing towards a garden encircled with hurdles, in which is a tree laden with fruit by the side of a river; a woman is seen crowning a child with a chaplet, near whom stands another female in conversation with a young man. M. Camus, in the course of his description of this cut, has fallen into a very ludicrous error. He mistakes the very plain and obvious gate of the garden, for a board, on which, he says,several characters are engraved which may be meant to signify the arts and sciences, none of which are competent to protection against the attacks of Death. These supposed characters, however, are nothing more than the flowered hinges, ring or knocker, and lock of the door, which stands ajar. The fifth cut is described as follows, and probably with greater accuracy than in M. Camus, by Dr. Dibdin, from a single leaf of this very curious work in the Bibliotheca Spenceriana, vol. i. p. 104, accompanied with a copy of part of it only. “Above the figures there seen sits the Almighty upon a throne, with an attendant angel on each side. He is putting the forefinger of his left hand into the centre of his right, and upon each of the hands is an eye, denoting, I presume, the omniscience of the Deity.†The fac-simile cut partly corresponds with M. Camus’s description of Death, and the complainant before Christ seated on a throne in a heaven interspersed with stars. The above fourth cut among these is on a single leaf in the possession of the author, which had Dr. Dibdin seen, he would not have introduced M. Camus’s erroneous account of it, who has also referred to Heineken’s Idée, &c. p. 276, where it certainly is not in the French edition of 1771. 8vo.
In the celebrated Nuremberg Chronicle, printed in that city, 1493, large folio, there is at fo. cclxiiii. a fine wood-cut of three Deaths dancing hand in hand, another playing to them on a haut-boy. Below is a skeleton rising from a grave. It is inscribedIMAGO MORTIS.
In the “Stultifera navis†of Sebastian Brant, originally printed in German at Basle and Nuremberg, 1494, are several prints, finely cut on wood, in which Death is introduced. In an edition printed at Basle, 1572, 12mo. with elegant wood engravings, after the designs of Christopher Maurer, and which differ very materially from those in the early editions, there is a cut of great merit to the verses that have for their title, “Qui alios judicat.†It represents a man on his death bed; and as the poet’s intention is to condemn the folly of those who, judging falsely or uncharitably of others, forget that they must die themselves, Death is introduced as pulling a stool from under a fool, who sits by the bed-side of the dying man. In the original cut the fool is tumbling into the jaws of hell, which, as usual, is represented by a monstrous dragon.
In the “Calendrier des Bergers,†Paris, 1500, folio, at sign. g. 6, is a terrific figure of Death on the pale horse; and at sign. g. 5. Death in a cemetery, with crosses and monuments; in his left hand the lid of a coffin in which his left foot is placed. These cuts are not in the English translation.
“Ortulus Rosarum,†circa 1500, 12mo. A wood-cut of Death bearing a coffin on his shoulder, leads a group consisting of a pope, a cardinal, &c.
In the dialogue “Of lyfe and death,†at the end of “the dialoges of creatures moralysed,†probably printed abroad without date or printer’s name soon after 1500, are two engravings in wood, one representing Death appearing to a man with a falcon on his fist, the other Death with his spade leading an emperor, a king, and aduke. The latter is not found in the Latin editions of this work, and has probably formed a part of some very old Dance of Death.
In an edition of “Boetius de consolatione,†Strasburg, 1501, folio, is a figure of Death on a lean horse throwing his dart at a group of warriors.
In the “Freidanck,†Strasburg, 1508, 4to, near the end is a wood-cut of a garden, in which two men and two women are feasting at a table. They are interrupted by the unexpected appearance of Death, who forcibly seizes one of the party, whilst the rest make their escape.
In the “Mortilogus†of Conrad Reitter, Prior of Nordlingen, printed at Augsbourg by Erhard Oglin and Geo. Nadler, 1508, 4to. there is a wood-cut of Death in a church-yard, holding a spade with one hand and with the other showing his hour-glass to a young soldier; and another of Death shooting an arrow at a flying man.
In “Heures à l’usaige de Sens,†printed at Paris by Jean de Brie, 1512, 8vo. the month of December in the calendar is figured by Death pulling an old man towards a grave; a subject which is, perhaps, nowhere else to be found as a representation of that month. It is certainly appropriate, as being at once the symbol of the termination of the year and of man’s life.
In the “Chevalier de la Tour,†printed by Guillaume Eustace, Paris, 1514, folio, there is an allegorical cut, very finely engraved on wood, at fo. xxii. nearly filling the page. The subject is the expulsion of Adam and Eve from Paradise, the gate of which exhibits a regular entrance, with round towers and portcullis. Behind this gate is seen the forbidden tree, at the bottom of which is the Devil, seemingly rejoicing at the expulsion, with an apple in his hand. Near the gate stands the angel with his sword, and a cross on his head. Betweenhim and the parties expelled is a picturesque figure of Death with a scythe ready for action.
“Horæ ad usum Romanum,†printed for Geoffrey Tory of Tours, 1525. Before the Vigiliæ Mortuorum is a wood-cut of a winged Death holding a clock in one hand; with the other he strikes to the ground and tramples on several men and women. Near him is a tree with a crow utteringCRAS CRAS. In another edition, dated 1527, is a different cut of a crowned figure of Death mounted on a black mule and holding a scythe and hour-glass. He is trampling on several dead bodies, and is preceded by another Death, armed also with a scythe, whilst a third behind strikes the mule, who stops to devour one of the prostrate figures. Above is a crow.
In a beautiful Officium Virg. printed at Venice, 1525, 12mo. is a vignette of Death aiming an arrow at a group consisting of a pope, cardinal, &c. Another Death is behind, on the spectator’s left.
In “Heures de Notre Dame mises en reyne, &c.†par Pierre Gringoire, 1527, 8vo. there is a cut at fo. lx. before the vigilles de la mort, of a king lying on a bier in a chapel with tapers burning, several mourners attending, and on the ground a pot of holy water. A hideous figure of Death holding a scythe in one hand and a horn in the other, tramples on the body of the deceased monarch.
In a folio missal for the use of Salisbury, printed at Paris by Francis Regnault, 1531, there is a singular cut prefixed to the Officium Mortuorum, representing two Deaths seizing a body that has the horrible appearance of having been some time in its grave.
In a Flemish metrical translation of Pope Innocent III.’s work, “De vilitate conditionis humanæ,†Ghend, 1543, 12mo. there is a wood-cut of Death emerging from hell, armed with a dart and a three-pronged fork,with which he attacks a party taking their repast at a table.
In the cuts to the Old Testament, beautifully engraved on wood by Solomon or le petit Bernard, Lyons, 1553, 12mo. Death is introduced in the vision of Ezekiel, ch. xxxvii. In this work the expulsion from Paradise is imitated from the same subject in the Lyons wood-cuts.
In “Hawes’s History of Graund Amoure and la bel Pucell, called the Pastime of Pleasure,†printed by R. Tottel, 1555, 4to. are two prints; the first exhibits a female seated on a throne, in contemplation of several men and animals, some of whom are lying dead at her feet; behind the throne Death is seen armed with a dart, which he seems to have been just making use of: there is no allusion to it in the text, and it must have been intended for some other work. The second print has two figures of Death and a young man, whom he threatens with a sort of mace in his right hand, whilst he holds a pickaxe with his left.
“Imagines elegantissimæ quæ multum lucis ad intelligendos doctrinæ Christianæ locos adferre possunt, collectæ à Johann Cogelero verbi divini ministro, Stetini.†Viteberg, 1560, 12mo. It contains a wood-print, finely executed, of the following subject. In the front Death, armed with a hunting-spear, pushes a naked figure into the mouth of hell, in which are seen a pope and two monks. Behind this group, Moses, with a pair of bulls’ horns, and attended by two Jews, holds the tables of the law. In the distance the temptation, and the brazen serpent.
A German translation of the well known block book, the “Ars Moriendi,†was printed at Dilingen, 1569, 12mo. with several additional engravings on wood. It is perhaps the last publication of the work. On the title-page is an oval cut, representing a winged boy sleeping on a scull, and Death shooting an arrow at him. Thefirst cut exhibits a sort of Death’s dance, in eight small compartments. 1. A woman in bed just delivered of a child, with which Death is running away. 2. A man sitting at a table, Death seizes him behind, and pulls him over the bench on which he is sitting. 3. Death drowning a man in a river. 4. Flames of fire issue from a house, Death tramples on a man endeavouring to escape. 5. Two men fighting, one of whom pierces the other with his sword. The wounded man is seized by Death, the other by the Devil. 6. A man on horseback is seized by Death also mounted behind. 7. Death holds his hour-glass to a man on his death-bed. 8. Death leading an aged man to the grave. At the end of this curious volume is a singular cut, intitled “Symbolum M. Joannis Stotzinger Presbyteri Dilingensis.†It exhibits a young man sitting at a table, on which is a violin, music books, and an hour-glass. On the table is writtenRESPICE FINEM. Near him his guardian angel holding a label, inscribedANGELVS ASTAT. Behind them Death about to strike the young man with his dart, and over himMORS MINATVR. At the end of the table Conscience as a female, whom a serpent bites, with the labelCONSCIENTIA MORDET, and near her the Devil, with the labelDIABOLVS ACCVSAT. Above is the Deity looking down, and the mottoDEVS VIDET.
“Il Cavallero Determinado,†Antwerp, 1591, 4to. A translation from the French romance of Olivier de la Marche, with etchings by Vander Borcht. The last print represents Death, armed with a coffin lid as a shield, attacking a knight on horseback. In several of the other prints Death is represented under the name of Atropos, as president in tournaments. In other editions the cuts are on wood by the artist with the mark[monogram].
In the margins of some of the Horæ, printed by Thielman Kerver, there are several grotesque figures of Death, independently of the usual Dance.
In many of the Bibles that have prints to theRevelations, that of Death on the pale horse is to be noticed.
In Petrarch’s work “de remediis utriusque fortunæ,†both in the German and Latin editions, there are several cuts that relate materially to the subject. It may be as well to mention that this work has been improperly ascribed to Petrarch.
In many of the old editions of Petrarch’s works which contain the triumphs, that of Death is usually accompanied with some terrific print of Death in a car drawn by oxen, trampling upon all conditions of men from the pope to the beggar.
“Guilleville, Pelerin de la vie humaine.†The pilgrim is conducted by Abstinence into a refectory, where he sees many figures of Death in the act of feeding several persons sitting at table. These are good people long deceased, who during their lives have been bountiful to their fellow-creatures. At the end, the pilgrim is struck by Death with two darts whilst on his bed.
Death kicking at a man, his wife, and child. From some book printed at Strasburg in the 16th century.
Death, as an ecclesiastic, sitting on the ground and writing in a book. Another Death holding an inscribed paper in one hand, seizes with the other a man pointing to a similar paper. The Deity in a cloud looking on. From the same book.
“Mors,†a Latin comedy, by William Drury, a professor of poetry and rhetoric in the English college at Douay. It was acted in the refectory of the college and elsewhere, and with considerable applause, which it very well deserved. There is as much, and sometimes more, wit and humour in it than are found in many English farces. It was printed at Douay, 1628, 12mo. with two other Latin plays, but not of equal interest.