C. WHITTINGHAM, TOOKS COURT, CHANCERY LANE.
Footnotes:
[1]Iliad, and after him Virgil, Æn. vi. 278.
[2]Iliad IX. On an ancient gem likewise in Ficoroni’s Gemmæ Antiquæ Litteratæ, Tab. viii. No. 1, a human scull typifies mortality, and a butterfly immortality.
[3]Lib. ii. 78.
[4]Diarium, p. 212.
[5]Lib. xiii. l. 474.
[6]Epist. xxiv.
[7]Apolog. p. 506, 507. edit. Delph. 4to.
[8]Lib. iii.
[9]Leg. Antiq. iii. 84.
[10]Folio clxxxvii.
[11]Folio ccxvii.
[12]Bibl. Reg. 20 B. xiv. and Harl. MS. 4657.
[13]Contest.
[14]Q. Cowick in Yorkshire?
[15]Leader.
[16]Glee.
[17]Called.
[18]A name borrowed from Merwyn, Abbess of Ramsey, temp. Reg. Edgari.
[19]Took.
[20]Leafy.
[21]Place.
[22]Went.
[23]Places.
[24]A falsehood.
[25]Whoever may be desirous of inspecting other authorities for the story, may consult Vincent of Beauvais Speculum Historiale, lib. xxv. cap. 10; Krantz Saxonia, lib. iv.; Trithemii Chron. Monast. Hirsaugensis; Chronicon Engelhusii ap. Leibnitz. Script. Brunsvicens. II. 1082; Chronicon. S. Ægidii, ap. Leibnitz. iii. 582; Cantipranus de apibus; & Cæsarius Heisterbach. de Miraculis; in whose works severalveraciousand amusing stories of other instances of divine vengeance against dancing in general may be found. The most entertaining of all the dancing stories is that of the friar and the boy, as it occurs among the popular penny histories, of which, in one edition at least, it is, undoubtedly, the very best.
[26]Lib. i. Eleg. iii.
[27]Æn. lib. vi. l. 44.
[28]Millin. Magaz. Encycl. 1813, tom. i. p. 200.
[29]Gori Mus. Florentin. tom. i. pl. 91, No. 3.
[30]Hist. Engl. Poetry, vol. ii. p. 43, edit. 8vo. and Carpentier. Suppl. ad Ducang. v. Machabæorum chorea.
[31]Id. ii. 364.
[32]Hist. des Ducs des Bourgogne, tom. v. p. 1821.
[33]Hist. de René d’Anjou, tom. i. p. 54.
[34]Dulaure. Hist. Physique, &c. de Paris, 1821, tom. ii. p. 552.
[35]Recherches sur les Danses des Morts. Dijon et Paris, 1826, 8vo. p. xxxiv. et seq.
[36]Mercure de France, Sept. 1742. Carpentier. Suppl. ad Ducang. v. Machabæorum chorea.
[37]Bibl. Reg. 8 B. vi. Lansd. MS. 397.
[38]Madrid. 1779, 8vo. p. 179.
[39]Bibl. Med. et Inf. Ætat. tom. v. p. 1.
[40]Recherches sur les Danses de Mort, pp. 79 80.
[41]Passim.
[42]Modern edition of the Danse Macabre.
[43]Journal de Charles VII.
[44]Lansd. MS. No. 397—20.
[45]Peignot Recherches, p. 109.
[46]Mélange d’une Grande Bibliothèque, tom. vii. p. 22.
[47]Bibl. Instruc. No. 3109.
[48]Catal. La Valliere No. 2736—22.
[49]Vasari vite de Pittori, tom. i. p. 183, edit. 1568, 4to.
[50]Baldinucci Disegno, ii. 65.
[51]Morona Pisa Illustrata, i. 359.
[52]Du Breul Antiq. de Paris, 1612, 4to. p. 834, where the verses that accompany the sculpture are given. See likewise Sandrart Acad. Picturæ, p. 101.
[53]Peignot Recherches, xxxvii-xxxix.
[54]Urtisii epitom. Hist. Basiliensis, 1522, 8vo.
[55]Peignot Recherches, xxvi-xxix.
[56]Travels, i. 376.
[57]Travels, i. 138, edit. 4to.
[58]Heinecken Dictionn. des Artistes, iii. 67, et iv. 595. He follows Keysler’s error respecting Hans Bock.
[59]Peintre graveur, ix. 398.
[60]Essai sur l’Orig. de la Gravure, i. 120.
[61]Heinecken Dictionn. des Artistes, i. 222.
[62]Recherches, &c. p. 71.
[63]Heller Geschiche der holtzchein kunst. Bamberg, 1823, 12mo. p. 126.
[64]Basle Guide Book.
[65]Recherches, 11 et seq.
[66]More on the subject of the Lubeck Dance of Death may be found in 1. An anonymous work, which has on the last leaf, “Dodendantz, anno dominiMCCCCXCVI. Lubeck.” 2. “De Dodendantz fan Kaspar Scheit, na der utgave fan, 1558, unde de Lubecker fan, 1463.” This is a poem of four sheets in small 8vo. without mention of the place where printed. 3. Some account of this painting by Ludwig Suhl. Lubeck, 1783, 4to. 4. A poem, in rhyme, with wood-cuts, on 34 leaves, in 8vo. It is fully described from the Helms. library in Brun’s Beitrage zu krit. Bearb. alter handschr. p. 321 et seq. 5. Jacob à Mellen Grundliche Nachbricht von Lubeck, 1713, 8vo. p. 84. 6. Schlott Lubikischers Todtentantz. 1701. 8vo. 7. Berkenmeyer, le curieux antiquaire, 8vo. p. 530; and, 8. Nugent’s Travels, i. 102. 8vo.
[67]Biblioth. Med. et inf. ætat. v. 2.
[68]Travels, i. 195.
[69]Recherches, xlii.
[70]Pilkington’s Dict. of Painters, p. 307, edit. Fuseli, who probably follows Fuesli’s work on the Painters. Merian, Topogr. Helvetiæ.
[71]Peignot Recherches, xlv. xlvi.
[72]Rivoire descr. de l’église cathédrale d’Amiens. Amiens, 1806. 8vo.
[73]Recherches, xlvii.
[74]Recherches, xlviii.
[75]Recherches sur les antiquités de Vienne. 1659. 12mo, p. 15.
[76]Dr. Cogan’s Tour to the Rhine, ii. 127.
[77]Travels, iii. 328, edit. 4to.
[78]Survay of London, p. 615, edit. 1618, 4to.
[79]In Tottel’s edition these verses are accompanied with a single wood-cut of Death leading up all ranks of mortals. This was afterwards copied by Hollar, as to general design, in Dugdale’s St. Paul’s, and in the Monasticon.
[80]Annales, p. 596, edit. 1631. folio. Sir Thomas More, treating of the remembrance of Death, has these words: “But if we not only here this word Death, but also let sink into our heartes, the very fantasye and depe imaginacion thereof, we shall parceive therby that we wer never so gretly moved by the beholding of theDaunce of Death pictured in Poules, as we shal fele ourself stered and altered by the feling of that imaginacion in our hertes. And no marvell. For those pictures expresse only yelothely figure of our dead bony bodies, biten away yeflesh,” &c.—Works, p. 77, edit. 1557, folio.
[81]Heylin’s Hist. of the Reformation, p. 73.
[82]Cotton MS. Vesp. A. xxv. fo. 181.
[83]Leland’s Itin. vol. iv. part i. p. 69.—Meas. for Meas. Act iii. sc. 1.
[84]Hutchinson’s Northumberland, i. 98.
[85]Warton’s H. E. Poetry, ii. 43, edit. 8vo.
[86]And see a portion of Orgagna’s painting at the Campo Santo at Pisa, mentioned before in p. 33.
[87]From the Author’s own inspection.
[88]Recherches, p. 144, and see Catal. La Valliere, No. 295.
[89]Herbert’s typogr. antiq. p. 888.
[90]Traité hist. de la gravure en bois, i. 182, 336.
[91]Letters containing an account of what seemed most remarkable in Switzerland, Italy, &c. by G. Burnet, D. D. Rotterdam, 1686, 8vo. p. 265.
[92]Travels through Germany, &c. i. 138, edit. 4to.
[93]Relations historiques et curieuses de voyages en Allemagne, &c. Amst. 1695, 12mo. p. 124.
[94]See likewise Zuinger, Methodus Academica, Basle, 1577, 4to. p. 199.
[95]Remarks on several parts of Europe, 1738, vol. ii. p. 72.
[96]Peignot places the dance of peasants in the fish-market of Basle, as other writers had the Dance of Death. Recherches, p. 15.
[97]Manuel de l’Amateur d’estampes, ii. 131.
[98]Manuel des curieux, &c. i. 156.
[99]Some give it to the Abbé Baverel.
[100]Lib. ult. p. 86.
[101]The dedicator has apparently in this place been guilty of a strange misconception. The Death is not sucking the wine from the cask, but in the act of untwisting the fastening to one of the hoops. Nor is the carman crushed beneath the wheels: on the contrary, he is represented as standing upright and wringing his hands in despair at what he beholds. It is true that this cut was not then completed, and might have undergone some subsequent alteration. He likewise speaks of the rainbow in the cut of the Last Judgment, as being at that time unfinished, which, however, is introduced in this first edition.
[102]It would be of some importance if the date of Lutzenberger’s death could be ascertained.
[103]“An enquiry into the origin and early history of Engraving,” 1816, 4to. vol. ii. p. 759.
[104]“An Enquiry,” &c. ii. 762.
[105]The few engravings by or after Holbein that have his name or its initials are to be found in his early frontispieces or vignettes to books printed at Basle. In 1548, two delicate wood-cuts, with his name, occur in Cranmer’s Catechism. In the title-page to “a lytle treatise after the maner of an Epystle wryten by the famous clerk, Doctor Urbanus Regius, &c.” Printed by Gwalter Lynne, 1548, 24mo, there is a cut in the same style of art of Christ attended by his disciples, and pointing to a fugitive monk, whose sheep are scattered, and some devoured by a wolf. Above and below are the words “John x. Ezech. xxxiiii. Mich. v. I am the good shepehearde. A good shepehearde geveth his lyfe for the shype. The hyred servaunt flyeth, because he is an hered servaunt, and careth not for the shepe.” On the cut at bottomHANS HOLBEIN. There is a fourth cut of this kind in the British Museum collection with Christ brought before Pilate; and perhaps Holbein might have intended a series of small engravings for the New Testament; but all these are in a simple outline and very different from the cuts in the Dance of Death, or Lyons Bible. It might be difficult to refer to any other engravings belonging to Holbein after the above year.
[106]Brulliot dict. de monogrammes, &c. Munich, 1817, 4to. p. 418, where the letter from De Mechel is given.
[107]Essai sur l’origine de la gravure, &c. tom. i. p. 260.
[108]Id. p. 261.
[109]Dict. de monogrammes, &c. tom. i. pp. 418, 499.
[110]Enciclop. metod. par ii. vol. vii. p. 16.
[111]Enciclop. metod. par. i. vol. x. p. 467.
[112]All the above prints are in the author’s possession, except No. 7, and his copy of No. 5 has not the tablets with the name, &c.
[113]Edit. Javigny, iv. 559.
[114]This edition is given on the authority of Peignot, p. 62, but has not been seen by the author of this work. In the year 1547, there were three editions, and it is not improbable that, by the transposition of the two last figures, one of these might have been intended.
[115]Foppen’s Biblioth. Belgica, i. 363.
[116]That of 1557 has a frontispiece with Death pointing to his hour-glass when addressing a German soldier.
[117]Tom. i. p. 238, 525.
[118]Dict. de Monogrammes, col. 528.
[119]Biblioth. Belgica, i. 92.
[120]See p.40.
[121]This is the same subject as that in the Augustan monastery described in p.48.
[122]See p.34.
[123]It has been stated that they were in the Arundelian collection whence they passed into the Netherlands, where forty-six of them became the property of Jan Bockhorst the painter, commonly called Long John. See Crozat’s catalogue.
[124]On the same dedication are founded the opinions of Zani, De Murr, Meintel, and some others.
[125]Zuinger methodus apodemica. Basil, 1557. 4to. p. 199.
[126]P. 427, edit. Lugd. apud Gryphium, and p. 445, edit. Basil.
[127]Nugæ, lib. vi. carm. 12.
[128]Baldinucci notizie d’é professori del disegno, tom. iii. p. 317, 4to. edit. where the inscription on it is given.
[129]Norfolk MS. 97, now in the Brit. Museum.
[130]Harl. MS. 4718.
[131]Acad. Pictur. 239.
[132]Strype’s Annals, I. 272, where the curious dialogue that ensued on the occasion is preserved.
[133]Catal. de la bibliothèque du Roi. II. 153.
[134]These initial letters have already been mentioned in p.101-102. The elegant initials in Dr. Henderson’s excellent work on modern wines, and those in Dr. Nott’s Bristol edition of Decker’s Gull’s horn-book, should not pass unnoticed on this occasion.
[135]See before in p.97.
[136]Zani saw this alphabet at Dresden, and ascribes it likewise to Lutzenberger. See his Enciclop. Metodica, Par. I. vol. x. p. 467.
[137]See before, in p.46.
[138]Biblioth. Franc. tom. x. p. 436.
[139]Sandrart Acad. Pict. p. 241.
[140]Obs. on Spenser, II. 117, 118, 119.