LIBRARY OF THE UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN Rare Book & Spec. Collections Library term 1 ;=: t Digitized by the Internet Archive in 2009 with funding from University of Illinois Urbana-Champaign http://www.archive.org/details/dancesofdeaththrOOholb THE DANCES OF DEATH, THROUGH THE VARIOUS STAGES OF HUMAN LIFE: WHEREIN THE CAPRICIOUSNESS OF THAT TYRANT IS EXHIBITED IN FORTY-SIX COPPER PLATES; DONE FROM Ci^e Original Designs, WHICH WERE CUT IN W^OOD, AND AFTERWARDS PAINTED, BY JOHN HOLBEIN, IN THE TOWN HOUSE OF BASIL. TO WHICH ARE PREFIXED, Descriptions of each, Plate in French and Enylish, with the Scripture Text from which the Designs were taken. ETCHED BY D. DEUCHAR, F.A.S. Hantion: PRINTED BV W. smith AND CO. KING STREET, SEVEN DIAL.S, FOR JOHN SCOTT, NO. 447, STRAND ; & THOMAS OSTELL, NO. 3, AVE MARIA LANK, 1803. /C^ZJ^. y^^'i^ /^(^2^-*^ PREFACE. John or HANS HOLBEIN was born at Basil in 1498, and died at London of the plague in 1554, aged 56. This ad- mirable Painter was instructed in the art by his father JOHN HOLBEIN. In the early part of his life, iie pursued his stu- dies with incessant assiduity ; and being possessed of an ele- vated genius, his progress was exceedingly rapid ; so that he soon became far superior to his instructor. He painted equally well in oil, water colours, and in fresco ; and although he had never practised the art of painting in miniature till he resided in England, yet he afterwards carried it to its highest perfection. The invention of Holbein was suprisingly fruitful, and often poetical ; his execution was remarkably quick, and his applica- tion indefatigable. His pencil was exceedingly delicate ; his coloring had a wonderful degree of force ; he imished his pic- tures with exquisite neatness; and his carnations were life itself. He excelled all his cotemporaries in portrait, and his genuine works are always distinguishable by the true, round, lively imi- tation of flesh visible in them, and also by the amazing delicacy of his finishing. The genius and excellence of this master were sufficiently shewn in the historical style, by two celebrated compositions which he painted in the Hall of the Steel-yard Company ; of which the subjects were the Triumph of Riches, and the condi- tion of Poverty : these two are universally admired for the rich- ness of the colouring, as also for the strong character of the figures through the whole. Frederick Zucchero, on seeing these pictures, expressed the highest esteem for Holbein, an4 even copied them in Indian ink. PREFACE. In the town of Basil he painted a picture of our Saviour's Sufferings, as well as a Dance of Peasants. Abbe du Bos observes, that the altar-piece at Basil, painted by Holbein, may be compared with the best productions of Ra- phael's disciples for composition, and preferred to them with respect to colouring: that he'shews a greater degree of know- ledge of the chiaro-scuro, and particular incidents of light that are truly marvellous. But that which contributed most to raise and establish the reputation of this celebrated Painter was Death's Dance, designed and painted by him in the town-house of Basil ; a work truly admirable, and which alone was suffi- cient to render the name of Holbein immortal. Sandrart relates, that he heard Rubens acknowledge, that he had learned a great deal from the pictures of Death's Dance ; and he recommended them strongly to the study of many of hia own profession. The learned Erasmus was so much struck by the wonderful display of genius exhibited in this great work, that he conceived a strong friendship for Holbein ; sat to him for his picture; and recommended him to Sir Thomas Moore, the then Lord Chan- cellor of England : and to this incident our country is indebted for the many excellent performances which it afterwards received from the pencil of Holbein. The designs for Death's Dance were cut in wood by Holbein, and published with the original texts from which they were taken ; from that work the following plates were done. They contain the whole of Death's Dance, with borders and decora- tions ; to which are added, a description of each plate in French •nd English, and a portrait of Holbein. j III/ /ll'/J///////l //I// HI l/llll/l/ '//ill. /ff//i/ nil t/i iiiiiili/ 11 s <,'/:'.\' / \ -7rr,i,r/i, ■Slll/ll/ll .\' EXPLANATIONS OF THE SUBJECTS OF THE TRIU3IPH OF DEATH, BY HANS HOLBEIN. PLATE I.— FRONTISPIECE. jttLt the side of a stone table, placed vertically, Holbein ap- pears behind a curtain, which Death opens to him, to place before his ejes the great Spectacle of the Scenes of human Life that he is going to sketch. This is also expressed by an heap of the attributes of grandeur, dignities, riches, arts, and sciences, mixed with death-heads, which Death is trampling under his feet. Below is an epitaph from Lucan — Mors sceptra ligonibus cequat. Death confounds the sceptre with the spade. This table is topped with a medallion, with the portrait of Holbein. Two Genii support this medallion ; the one surrounded w itli a garland of flowers, the other lets fly a butterfly, whilst a third is amus- ing himself with making soap bubbles. What these allegories mean is easily understoqd. PLANCIIE I — LE FRONTISPIECE. A. COTE d'une table de pierre posee verticalement, Holbein paroit derriere un rideau que la Mortlui oiivre, pour niettr^ ous ses yeux le grand Spectacle des Scenes de la Vie humaine qui'l va dessiner. Ce qui est encore designe par un amas d'attributs de la giandeur, des dignites, des richesses, d'arts, de sciences, entremeles de tetes de morts, et que la Mort elle-m6me foule u ses pieds. On lit au bas cette epigraphe tiree de Lucain : — 3Iors sceptra Ugonibus cequat, La Mort confond la sceptre S; la beche. Cette table est surraomitee d'un inedaillon avec le portrait de Holbein. Deux Grenies soutiennent ce medallion ; Tun Fentoure d'une guirlan de defleurs, & Tautrelaisse echapper un papillon, tandis qu'un troisieme s'amuse a faire desbuUes de savon. On sent assez ce que signifient ces deux allegories. PLATE II.— SIN. JtxcJLBEiN lias begun the scenes of life by that which hadsuch influence on all the rest. The Mother of the human race holds in her right hand, the fatal apple, which she has just received from the serpent with a young man's head ; and Adam, at the same time, is plucking another, enticed by the solicitations of the too credulous Eve, who shews him the one she has received. Quia audisti vocera uxoris tua?, et comedisti de ligno, ex quo praeceperam tibi, Ne comederes, &c. Gen. iii. 17. PLANCHE II.—LE PECHE. JrloLBEiN a commence ces scenes de la viepar celle quieuttant d'influence sur toutes les autres. La Mere du genre humain, tient dans sa main droitc, la pomme fatale qu'elle vient de re- cevoir du serpent a tete de jeunehomme, & Adam en cueille en meme terns une autre, excite par les sollicitations de la trop credule Eve, qui lui montre celle qu'elle a re^ue. fi 2 PLATE lU.— PUNISHMENT. Olh first parents, driven out by the Angel, are flying from the terrestrial Paradise, preceded by Death, who is playing on the fiddle, and shews by dancing the joy he feels for his triumph. Eniisit eum Dominus Deus de Paradiso voluptatis, ut opera' retur terram, de qua sumptus est. Gen. iii. 23. PLANCIIE III.— LA PUNITION, j^ OS premiers Parens (;hasses par I'Ange, s'enfuyent du Paradis terrestre precedes de la Mort, qui joue de la guitare, & demontrQ en dansant la joie qu'elle ressent de son triomphe. K /HI /U mill IJ ptaflu, I't: t//jt/r/ref(irfrrr'i ui.i/' ifiui /if j/tfj ■- J oicy. rrf . ' ' ^ t//h 1 t' ^^ V 3 ■• JtmSk i Jp^^^jImSi =— ^ i w^y ■mS^'^fESP! ^H ri v ImSScV^^sS ^^^^ 1 n^^9 ^^^. ^I^^JJHJ i ^^^H 1 ^^g PLATE IV.— CONDEMNATION TO LABOUR. OLBEIN, to mark at once the species of labour which is the lot of man, and that which falls to the share of the woman, re- presents Adam employed in rooting up a tree, along with Death, who helps him w ith all his might ; and at a little distance Eve suckling her child, and holding a distaff. Maledicta terram opere tuo in laboribus, comedos cunctis die-^ bus vitas tuae donee revertaris, &c. Gen. iii. 14. PLANCHE IV.— LA CONDEMNATION AU TRAVAIL. xloLBEix, pour marquer en meme terns le genre de travail qui estle part age de I'homme, & celui quiest le partage de la femme, represente Adam occupe a deraciner un arbre, avec la Mori qui I'aide de toutes ses forces, & un peu plus loin, Eve al* laitant son enfant & tenant une quenouille, 6 PLATE v.— THE POPE CROWNING AN EMPEROR. A CAHDiNAT. and three bishops are assisting at the ceremony; Death is there also under the figure of two skeletons, one of which is dressed in cardinal's robes, the other embraces the holy Father, with the right hand, and is leaning on a crutch with the left. Moriatur sacerdos magnus. Josh. xx. 6. Et episcopatum ejus accipiat alter. Psal. cviii. 8. PLANCHE v.— LE PAPE COURONNANT UN EMPEREUR. U s cardinal &; trois eveques assistent a cette ceremonie ; la Mort s'j trouve aussi sous la figure de deux squelettes, dont Tun est revetu des habits de cardinal ; I'autre cmbrasse le St. Pere de la main droite, et s'appuie de la gauche sur unc be- quille. UNIVERSITY 0fl ILLINOIS LIBRARJt Virtjiii /iistijjriiti.s impiun/ vrr mi/mniits. \' iitxlilf'ani 'ill si/ anfe^iix nfi tf. EXALilf.V ' PLATE VI.— THE CARDINAL. A MESSENGER Iias just presented to him, on his knees, the bull that constitutes him a cardinaJ. Death seizes this moment to make his appearance, and seems to want to turn his hat upon his head. The messenger is holding in his right hand a tin box, hung by a strap, in which he had, no doubt, carried the bull, w hich the new made cardinal holds in his right hand with the seals appended to it. Vae qui justificatis impiura pro muneribus, et justitiara justi aufertis ab eo. Isa. v. 23 PLANCHE VI.— LE CARDINAL. \j N messager vient de lui remettre, en faisantune genuflexion, la bulle qui le fait cardinal. La Mort saisit ce moment pour paroitre, et semble vouloir lui faire tourner son chapeau sur la tete. Lemessager tient de la main droite une boite de fer-blanc, pendu a une courroie, et dans laquelle il avoit sans doute apporte la bulle, que le cardinal nouvellement crec tient a la main droite avec les sceaux y affixe. PLATE VII.— THE ELECTOR. J. HIS prince, as he i^ coming out of his palace with his cour- tiers, is accosted bj a poor woman, who implores his help for herself and the infant she holds by the hand; but he, insensible to the distresses of the widow and orphan, refuses to listen, and is turning aside with a disdainful air to his courtiers. Death at this instant appears; and his severe aspect announces, that he is just about to make him repent his hard heartedness. Princeps induetur moerore, et quiescere faciam superbiara po- teutium. Ezek. vii. 24, 27. PLANCHE VII.— L'ELECTELK. \j E prince sortant de son palais avec ses courtisans, est aborde par une pauvre femmequi implore son secours, pourelle & pour I'enfant qu'elle tient par la main ; mais insensible aux besoins de la veuve & de I'orphelin, il refuse de I'ecouter, & se tourne d'un air dedaigneux du cote de ses courtisans. La Mort paroit dans cet instant, & son air severe annonce qu'elle va le faire repentir de la durete. P/f ncfj-'s uu///r/if//>n), eze ch. vtt Pi 1 77/ h// /// P//sf/'/ r/n. H 't//spef(/fntfir rj/r.s- i//i'///K.yf.\T.xx\-r.\f.\n.xnir. 9 PLATE VIII— THE BISHOP. W iTH an air of tranquillity and resignation, this worthy Pas- tor follows Death, who is leading him away laughing and danc- ing, whilst some shepherds, forgetting their flocks, are waoder" ing here and there through the country, in despair for the losi^ of their chief. The sun, now ready to set, is just about to leave in darkness the ill-fated flocks, who, having no longer a con- ductor, will soon become the prey of wolves and other ravenous animals. Percutiara pastorem, et dispergentur ovesgregis. Matt. xxvi. 31. PLANCHE Vm.— L'EVEQUE. XJ'uN jair de tranquillite & de resignation ce bon Pasteur suit la Mort, qui Temmene en riant et en dansant, tandis que quel- ques bergers, oubliant leur troupeau, errent ^a & la dans la campagne, desesperes de la perte de leur chef. Le soleil pret a se coucher, va laisser dans les tenebres ce malheureux trou- peau, qui n'ayant plus de conducteur, sera bienlOt la proie du loup & des autres betes feroces. 10 PLATE IX.— ^THE CANON. Ji^T the moment lie is entering the church, Death accosts him; and, shewing- him an hour-glass run down, announces that his hour is come. He appears to be a dignitary of the first rank; for he is followed by a page, a huntsman, who carries a falcon on his fistj and a fool. Ecce appropinquavit hora. Matth. xxvi. 45. PLANCHE IX.— LE CHANOINE. J\^v moment ou il entre dans I'eglise, la Mort I'aborde, &en lui montrant un sable ecoule, lui annonce que son heure est venue. II paroit que c'est un dignitaire du premier rang, puis qu'il est suivi d'un page, d'un veneur qui porte un faucon sur le poing, & d'unbouffon. UNfVERSlTY e>P ILLINOIS LIBRARY Err^ cffJJ^ /y /.'/// (ff//ff //f/y/. a/at. JOCVT. SfJfiifrs III hm/f //rr//// /// V<":> /Nr//f///s /// //n: S'JIP. T'7/ 15 PLATE XIV.— THE PRIEST. He appears carrying the Holy Sacrament along the street to a dying man. Death marches before him, carrying the lantern and a little bell. He is followed by a boy, who carries the holy water and a taper, and by a young woman with a mournful as- pect, who seems to have come in quest of him. Sum quidem & ego mortalis homo. Sapi. vii. 1. PLANCHE XIV.— LE PRETRE. kJh le voitdans la rue porter le St, Sacrementa un moribond. La Mort marche devant lui, et porte la lanterne & la clochette. II est suivi d'un gar^on qui porte I'eau benite & un cierge, & d'une jeune femrae affligee qui paroit etre venue le chercher. 16 PLATE XV.—THE PHYSICIAN. XJeath is leading to him a sick old man, whose urine he is presenting^ to him in a phial, and appears saying, in a jeering manner, Dost thou think that thou art able to save a man whora 1 have already in my power? Medice cura teipsum. Lucae iv. 23. PLANCHE XV.— LE MEDECIN. Xja Mort lui amene un vieillard malade dont elle lui presente I' urine dans une phiole, & paroit lui dire d'un air moqueur ; Crois-tu pouvoir sauver un homme que je tiens deja en ma puis- sance ? Medim aimti ipsa )ti. LVCAE. mr. Iii,/lr(r //iijif ^1 i/n.sti l>)H iilit Hi It / )/ s tji/' // /I '"\ //' \ \ /^Uf />i /• / II //I ,/i ,iiiiini^,ii 17 PLATE XVI.— THE ASTROLOGER. JlIe has his eyes fixed on a sphere hanging from the ceiling, and appears profoundly engaged in the vain chimeras of judicial astrology, while Death comes to turn his attention upon a death- head, wl'.ich he is presenting to him in a most gi'otesque attitude, seeming to say, in a jeering tone, Could thy sublime art inform thee, that I was coming to pay thee this visit to-day ? Indica mihi, si nosti, omnia sciebas. Tunc quod nasciturus esses? & numerum dierum tuorum noveras? Jobxxxviii. 18, 21. PLANCHE XVI.-^L'ASTROLOGUE. Xl a les yeux fixes sur une sphere suispendue au plancher, & paroit profondement occupe des vaines chimeres de I'astroicgie judiciaire, tandis que la Mort vient tourner son attention sur une tete de mort, qu'ellelui presents dans I'attitude la plus grotesque, & semble ]ui dire d'un ton raiileur; Ton art subliiyie a-t-il pu t'apprendre queje viendrois te rendre aujourd'hui cette visite? 18 PLATE XVII.— THE EMPEROR. Heated on a throne, and holding in his hand the sword of state, he is attentively listening to an advocate pleading in a soothing tone, against an unfortunate peasant, who trembling waits, in the most snppliant posture, the decree that is to determine his fate. Death at this moment displays all his power ; he proudly takes possession of the bottom of the throne, and is carelessly leaning his arm on the Monarch's crown. The angry aspect, with which the Emperor views the advocate and his two clients, who are seen standing with their heads uncovered, is a happy presage for the poor oppressed peasant. At the foot of the throne are lying the sceptre and globe of the empire, placed on a cushion. Death has set down his fatal glass beside these attributes of gran- deur, which he can cause to vanish at his pleasure. Dispone domui tuaB,quia morieristu, etnon vives. Isaiaexxxviii.l. Ibi morieris, et ibi erit currus gloriae tuse. Isaiae xxii. 18. PLANCHE XVII.— L'EMPEREUR. A.SSIS sur son trone, & tenant dans sa main le glaive de I'em- pire, il ecoute attentiveraent un avocat qui plaide d'un ton douce- reux contre un malheureux paysan, tandis que celui-ci attend en tremblant, & dans la posture la plus suppliante, I'arret qui doit decider de son sort. La Mort developpe en ce moment toute sa puissance; elle occupe fierement la fond du trone, & appuie nonchalemment son brass sur la couronne du Monarque. L'air irrite avec lequel le Chef de I'Empire regarde I'avocat & ses deux cliens qu'on voit, la tete decouverte, a cote de leur de- fenseur, est d'un heureux presage pour le pauvre opprime. On vait au bas du trone le sceptre & le globe de I'empire poses sur un coussin. La Mort a place son sable fatal a cote de ces at- ributs d'une grandeur qu'elle peut fair evanouir a son gre. IHl B H nraHH MM mj H Wm O^^SMi 1 1 I^P i I^hK^^Sb SPl ^i ^P 'f^^i Im H ^ bp# K Ig B ^B mn^^ p^^ oM igF^f s M -*-^ 1 1%"-^ -"S^^ bS^^m? B^^, ■^flsl r^T^ fiM ////'/rtrt.H f7ttfW'/'m/-7ff. r.f/tr^K. XXX7T. 21 PLATE XX.— THE QUEEN. jJeath, arrayed in the habits of folly, drags away violently this young Princess, just as she is coming out of her palace to enjoy the pleasure of walking. With terror painted in her countenance, she is making the air resound with mounifui cries; the maid pf honour, Avho accompanies her, agitated with the most violent despair, is imploring the aid of Heaven, while the buffoon is making vain efforts to defend her against Death, who holds aloft his glass, to shew that the fatal hour is come. Mulieres opulentae surgite, & audite vocem meam : post dies enim & annum, vos conturbabiraini confidentes. Isaiae xxxii. 9, 10. PLANCHE XX.— LA REINE. JLiA Mort revetue des habits de lafolie, entraine avec violence cette jeune Princesse, au moment qu'elle sort de son palais pour jouir du plaisir de la promenade ; la terreur peinte sur le visage ellefaite retentirles airs de ses oris douloureux; la dame d'hon- neur qui I'accompagne, agitee du plus violent desespoir, implore le secours du Ciel, tandis que le bouffon de la Reine fait de vains efforts pour la defendre contre la Mort, qui tient son sable elevc pour faire voir que I'heure fatale est arrivee. t^ PLATE XXI. -THE DUTCHESS. I/EATH, in the shape of two hideous skeletons, comes to sur* prise her as she is lying softly on an elegant bed. One of the skeletons awakes her with the sound of a violin, while the other is pulling off her bed-clothes, making frightful grimaces. De lectulo, super quem ascendisti, non descendes, sed morte morieris. 4 Reg. i. 4. PLANCHE XXI.— LA DXJCHESSE. Oous la figure de deux sequelettes hideux, la Mort vient la surprendre, moUement couchee sur un lit elegant. L'un des squelettes la reveille au son d'un violon, tandis que Tautre lui arrache sa couverture en fiiisant d'effroyables grimaces. 23 PLATE XXII— .THE COUNTESS. OHE is wholly taken up with the care of her dress, and is receiv- ing with eagerness, from the hands of one of her maids, a very rich robe with a gold chain. Death comes to derange her toilet, and has already, without being perceived, slipped round her neck a collar made of small bones. Ducunt in bonis dies suos, et in puncto ad inferna descendunt. Job xxi. 13. PLANCHE XXII.— LA COMTESSE. JiiLLE n'est occupee que du soin de sa parure, & regoit avec empressement, des mains d'une de ses femmes, un habillement tres-riche avec une chaine d'or. La Mort vient troubler sa toilette, &lui adejapass6 autour du cou, sans qu'elle s'en soit encore aper9ue, un collier fait de petits osde noort. 24 PLATE XXIII.—THE NEW-MARllIED PAIR. Jln the first transports of an happy union, this tender couple appears so wholly taken up with each other, and so inebriated with their mutual happiness, that they neither see nor hear. Death, who is marching before them, beating furiously on a little drum, is soon to give a cruel interruption to their enjoy- ments. , Sola mors me et te separaverit. Ruth i. 17. PLANCHE XXIII.^LES NOUVEAUX MARIES. ANs les premiers transports d'une douce union, ces deux tendres epoux paroissent telletnent occupes I'un de I'autre, ils sont si enivres de leur bonheuf mutuel, qu'ils ne voient ni n'en- tendenl la Mort qui marchedevanteux, en frappant vigoureuse- ment >iur un petit tambour, & qui va leur donner bientot un cruel trouble-fete. J/^ \ 7/ // /// . M< rsjijm t v// //. R i 'TH. J Est i'Ui.qiia r/f(tf//r/u>trii/ifjiistfi:tuiiisuno 25 PLATE XXIV.— THE CANONESS. JL HERE appears in this young and beautiful recluse, a striking mixture of gallantry and devotion. On her knees before a little altar, with her rosary in her hand, she is amorously listening to the songs which a young man, seated on abed, addresses to her, accompanying them with his lute. Death comes to put out the tapers burning on the altar, and to change into sadness the plea- sures of this conversation. Est via, quaB videtur homini justa : novissima autem ejus de- ducunt hominem ad mortem. Prov. xiv. 12. PLANCHE XXIV.— LA CHANOINESSE. Xj'on voit dans cette jeune & belle recluse un melange frappant de galanterie & de devotion. Agenouiilee devantun petit autelj son rosaire a la main, elle ecoute amoureusement les chansons qu'un jeune homme, assis sur son lit, lui adresse en les accom- pagnant deson luth. La Mortvient eteindre les cierges allumes sur I'autel, & changer en amerturae les douceurs de ce tete- a-tete. 26 PLATE XXV.— THE COUNT. I J EATH here adds to his usual employment that of avengt^r of oppressed vassals. He is throwing with violence at the head of this Lord, his coat of arms, the dear object of his pride, under the weight of which he is ready to make him fall. He appears trampling under foot a flail, to mark his inhumanity to labourers, a class of society so necessary and respectable. On the ground also are to be seen the remains of the helmet which formed the crest of his arms, with the other ornaments that decorated them. Quoniam cum interierit, non sumet omnia : heque descendet cum eo gloria ejus. Psal. xlvii. 18. PLANCHE XXY.— LE COMTE J JA Mort ajoute ici al'exercice de son emploi accoutumd celui de vengeur de vassaux opprimes ; ellejette avec violence a la tete de ce Seigneur ses armoiries, I'objet cheri de son orgueil, sous le poids desquelles elle va le faire perir. On le voit fouler 'k ses pieds un fleau, pour designer son inhumanite envers les laboureurs, cette classe de la societe si necessaire & si respectable ; on peut encore remarquer a terre, les debris du casque dont ces armoiries etoient surmontees avec d'autres ornemens qui l?s decoroient. iu^pep/fdi. SCa^d^fVfit i/u^l^iii4/nt' aJ^/'f/ti f^na^f^/ PLATE XXVI.—TIIE KNIGHT, X HIS worthy Cavalier, returned victorious from so many com- bats and tournaments, comes at length to meet his match. Death has run him through the body with a furious stroke of the lance, and is laughing at the vain efforts he makes to defend himself. Subito morientur, & in media nocte turbabuntur populi, & auferent violentum absque manu. Job xxxiv. 20. PLANCHE XXVI.— LE CHEVALIER, \jE preux Chevalier sorti vainqueur de tant de combats & de tant de tournois, vient enfin de trouver son maitre. La Mort Va perce de part en part d'un furieux coup de lance, & se rit dee vains efforts qu'il met en usage pour se defendre contr'elle* LU 28 PLATE XXVII.— THE GENTLE .\1 AN. JlIe is doing every thing in his power to put oflf the moment that is to separate him for ever from his possessions, and his fine seat, which appears in the back ground ; but Death inexorable has already set down beside him the fatal bier, into which he is about to make him enter. Quis est homa, qui vivet, et non videbit mortem : eniet animam Ruam de manu inferi ? Psal. Ixxxviii. 49. PLANCIIE XXVIL— LE GENTILHOMME. XL fait tout ce qu'il peut pour reculer le moment qui doit le separer pour toujours de ses possessions, & de son beau chateau qui paroit dans le lointain ; mais la Mort inexorable a deja plaott pres de lui la biere fatale ou elle va le faire entrer* Qnjs tsf /u'/f/r, ijiii /'/////. Ky/f'/f ruU/'i/ Alf'i'fun'er: ud (i/u/zittDi sii(f/ji (k //uniN //i/i n I's'.vL.s'S, St rcwc^9i' /dftiot'ec/tt/if/S-ie^^iem t/irfrifrii. ty?u'ue7yZf '^if, a arm ft at_rf>rtit> ffiiif,ii.i rt,/9f/erf/-am u/c/ice^n e^e mtt^n e(U SiAMoxjj Qui nffturaf au n >)i /iirt /// 1/ r//r)i//>rf //■■ ;)i PLANCHE XXX.-.THE COUNSELLOR. jI. HIS magistrate appears deeply engaged in giving, in the open street, to a rich man, the advices which a little devil, astride on his neck, is blowing into his ears, while he pays no sort of reo-ard to the poor man, who is tapping his shoulder, and in the most suppliant posture asking to be heard. Death seems to be risin"- from the earth, iu indignation, to put an end to this interesting conversation. Qui obturat aurem suam ad clamorem pauperis, et ipse cla- mabit, & noa exaudietur. Prov. xxi. 13. PLANCHE XXX.—LE CONSEILLER. V^E magistrat paroit fort occupe a donner en pleine rue u uu homme riclie, des conseils qu'un petit diable u califourchon sur son cou lui souffle aux oreilles, tandis qu'il ne fait aucune atten- tion au pauvre qui lui touche doucenient Tepaule, & demande dans I'attitude la plus suppliante u ctre ccoule. La Mort in- dignee semble sortir de terre, pour mettre fin a cette conversation int^ressee. 32 PLATE XXXI. -THE ADVOCATE. A. ills subject answers to No. 29. The example of the Judge seems to authorize the Advocate to get himself well paid for his prevarication, and that even in the presence of his poor client, whose wretched condition would raise compassion in anj breast less obdurate than that of the lawyer. But Death will avenge the oppressed ; he is pouring into the hands of the Advocate money in abundance, of which he will have little use, for he is, at the same instant, shewing him, wiUi an air of insult, his sand run out. Callidus vidit malum, & abscondit, sed iunocens pertransiit & afflictus est darano. Prov. xxii. 3, PLANCHE XXXI.— L'AYOCAT. Vy E sujet se rapporte au No. 29. L'exemple du Juge semble au- toriser I'Avocat a se faire payer cherement ses prevarications, & cela nieme en presence de son pauvre client qui se tient dans un certain eloignement, & dont Tetat miserable feroit pitie a une ame moins dure que celle de I'homme de loi. Mais la Mort vengera ropprimc ; elle verse abondamment dans les mains de I'Avocat de I'argent dont il ne profitera guere, car elle lui montre en memo tems d'un air moqueur son sable ecoule. • CaJilrltrs-v'iitlit inaltrni.^Cabscondit se.uiaocf I Qui ty?i0regat t/ie/ctitivs iinaua j-nett/Z/u-c/. S3 PLATE XXXII— THE MERCHANT. Jcjscaped from the clangers of the sea, and safely arrived in port, this rich Merchant believes himself now in perfect safety ; but he is mistaken. Employed in counting his money, examining his goods, and treating about their disposal, a bad customer, Death himself, comes up, and it is his person only that he wants to bargain for. Qui congregat thesauros lingua mendacii, vanus et excors est, ^ impingetur ad laqueos Mortis. Prov. xxi. 6. PLANCHE XXXII.— LE MARCHAND. JCjchappe aux perils de la mer, arrive heureusement au portj ce riche Marchand se croit enpleine securite; il se trompe, Oc* cupe a compter son argent, a examiner ses marchandises 6^ a traiter de leur vente, un mauvais chaland, la Mort elle-roeine, ar* rive, & ce n'est que de sa personne qu'elle veut faire emplette, a4 PLATE XXXIII.— THE HAWKER. Jti ENDING under the weiglit of his load, he is advancing, with a quick pace, to the neighbouring town, comforting himself with thinking on the gain he is to make there ; but Death, in the form of two skeletons, is come to put a sudden end to his labours and his hopes. One of the skeletons is dragging him forcibly by the arm, while the other behind him is playing on a marine trumpet. It is in vain that the poor Hawker points with his finger to the place where his business calls him; this disagreeable company appears desirous of making him take another road. Venite ad me omnes, qui laboratis, et onerati estis. Matth. xi.28. PLANCHE XXXIII.-^LE COLPORTEUR. V^ouRBE sous le poids de sa charge, il avance a grands pas vers le lieu voisin, & trouve du soulagement en revant au gain qu'il pourroity faire; maislaMort, sous la figure de deux squelettes, est venue subitement mettre fin a ses peines & a ses esperances. L'un des squelettes le tire avec force par le bras, tandis que Fautre joue derriere lui de la trompette marine. C'est en vain que le pauvre Colporteur montre des doigts I'endroit ou ses affaires I'appellent, cette facheuse compagnie paroit vouloir lui feire prendre une autre route. \7/uU ad me emnes.qiu Inhnraiis K: mf rati rsti :\ r.i T T' '^T. s-r. ^5 PLATE XXXIV.— THE SHIPWRECK. jJeath here is exercising his power on one of his most fertile domains. He himself is breaking the mast of a ship violently tossed by the tempest, and throws all the passengers into the most fearful despair. One alone we can distinguish, near the mast, who preserves the tranquillity of mind w^iich, in the greatest danger, a good conscience yields to firm and intrepid minds ; his head has all the features with which Socrates is usually represented. Qui volunt ditescere incidunt in tentationem & laqueum, & cupiditates multas stultas & noxias, quae demergunt homines in exitum & interitum. 1 ad Timo. vi. 9. PLANCHE XXXIV. — LE NAUFRAGE. JLiA Mort exerce ici son empire sur un de ses plus fertiles do- maines ; elle brise elle-meme le mat d'un vaisseau violemment agite par la tempete, & jette tons les passagers dans le plus af- freux desespoir. On en distingue un seul place pr^s du mat, qui a conserve cette tranquillite d'ame qu'une bonne conscience accorde dans les plus grands perils aux esprits fermes & coura- geux ; sa tete a tous les traits sous lesquels on represente ordi- nairement Socrate. F2 86 PLATE XXXV.-THE WAGGONER. W E seo Death here venting his capricious fury on a cart of wine that a poor Waggoner is conducting. Without doubt, the man himself will soon come, in his turn, to be the sport of his caprice ; and the same cause that has now produced, will ere long effectually finish his despair. Cfficus caecum ducit : & ambo in foveam cadunt. Matth. xv. 14. PLANCHE XXXV.^LE VOITURIER. \Jv voit ici la Mort exercer ses bizarres fureurs sur un char de Tin que conduit un pauvre Voiturier. Sans doute que lui-meme va devenir k son tour le jouet de ses caprices, & que la meme cause qui vient d'occasionn^ son d^sespoir ne tardera pas a le terminer. CrrrniX in currir /tir. J . ' MIi-TIIE MISER. X HE character of the Miser is very forcibly expressed in this sketch. Shut up in a vault, which receives the light only through a wicket, secured with a double grate of thick iron bars, he is entirely taken up with his beloved treasure, a considerable part whereof Death is snatching up before his eyes. This loss excites in him all the symptoms of the most violent desperation, and it plainly appears that his gold is an hundred times dearer to his heart than his life. Stulte, hac nocte repetunt animam tuara : & qua; parasti, cujus erunt ? Lucae xii. 20. PLANCHE XXXVII.— L'AVARE. Xje caractere de I'Avare est rendu dans ce dessein avec beau- coup d'energie. Renferme dans un caveau qui ne re^oit du jour que par une lucarne garnie d'une double grille d'epais barreaux de fer, il n'est occupe que de son cher tresor, dont la Mort lui enleve a ses yeux un portion tr^s-considerable. Cette perte excite en lui tousles symptomes duplus violent desespoir, &ron voit bien ques on or lui tient cent fois plus a coeur que la vie. l/l'IJ- flU/YIStt. cut ; wf DOMINTS, vcneyoatfo): E SAJAEJOCJLVJJJ- ao PLATE XXXVIII.— THE HIGHWAY ROBBER. X HIS ill-fated man attacks in a forest, a country girl returning from the fair, and is endeavouring to take from her what she is bringing from thence ; but, fortunately for the poor woman, Death comes to her assistance ; and laying hold of the Robber, prevents, probably only by a few days, the hangman, who would have made him bear on a scaffold the punishment due to his crimes. Quasi agnus lasciviens & ignorans, nescit quod ad vincula stultus trahatur. Prov. vii. 22. PLANCHE XXXVIII.— LE VOLEUR DE GRAND CHEMIN. \j E malheureux attaque dans une foret une paysanne qui revient de la foire, & veut lui enlever ce quelle en rapporte; mais heureusement pour la pauvre femme, la Mort vient a son se- cours, & en se saisissant du Voleur elle ne previent peut-etre que de quelques jours le bourreau, qui lui auroit fait porter sur un echaffaut la peine de ses crimes. 40 PLATE XXXIX,— THE DRUNKARDS. XJebauciiery, and, above all, excess in drinking, undoubtedly furnish Death with powerful arms for committing his ravages. Here he appears pouring the wine in great abundance into the throat of one of these Drunkards, and the most beastlj drunken-- ness reigns in these disgusting orgies. ^t nolite inebriari vino, in (juo est luxuria. Eph, v. 18, PLANCHE XXXIX,— LES YVROGNES, Xja debauche & surtout les exc6s de la boisson fournissent sans cesse a la Mort des armes puissantes pour exereer ses ravages. On la voit ici qui entonne le vin a grands flots dans le gozier d'un de ces Y vrognes, &; la plus grossiere crapule preside k cette degoutante orgie, ETMES. V. Qiitr/ uror/ejl./joiiii ni/i ii /n rrr/iim ^Xfunr/i' >n h'r refit n anifnce (Uiffrit f)ire detrinuntu>nP»ft(itin. 41 IPLATE XL.— THE GAMESTERS. Xl ER E is another company well worthy of the former ; and the fate of those who compose it is nearly the same; it only differs in this, that the Devil and Death are disputing- which of them shall carry off the losincf Gamester. It is a contest, if we may say so, frightful as well as ludicrous, so much the more so, that the second Gamester, interesting himself in the fate of the first, is addressing fervent prayers to the Devil on his behalf; but the third is doing still better, taking the advantage of this mo- ment of trouble and terror, to gather in the money that is lying on the table* Quid enim prodest homini, si mundum universum lucretur, Animae vero suae detrimentum patiatur ? Matth. xvi. 26. PLANCHE XL.— LES JOUEURS. V oici une autre compagnie bien digne de la precedente ; aussi le sort de ceux qui la composent est-il a peu pres le meme; il ne deffere qu'en cs <{ue le Diable & la Mort se disputent qui des deux emportera le Joueur qui a perdu. C'est uu combat, s'il est permis de le dire, aussi effroyable que comique, d'autant plus que le second Joueur, s'interessant au sort du premier, Jiddresse de ferventes prieres au Diable en sa faveur ; mais le troisieme fait encore mieux, & profite de ce moment de trouble & d'effroi, pour ramasser I'argent qui se trouve sur la table. Q 42 PLATE XLI.--THE OLD MAN. JlI.ere we see Death leading away, playing on a psaltery, an, ' /^^^ ^ Old Man to the brink of the grave, bent under the load of years, and verging to the last degree of frailty. The Old Man allows himself to be carried off, with that calmness and tran- quillity, which are the eflects of wisdom, and the fruits of a good conscience. Spiritus meus attenuabitur, dies mei breviabuntur, & solum mihi superest sepulchrura. Job xvii. 1. PLANCHE XLL— LE VIEILLARD. Xj'on voit ici la Mort qui conduit sur le bord de sa fosse, en jouant du psalterion, un Vieillard courbe sous le poids des annees, & parvenu au dernier degre de la caducite. Le Vieillard se laisse emmener avec ce calme & cette tranquillite qui sont I'apanage de la sagesse & les I'ruits d'une bonne conscience til/.-Kji/iini fftihi/iijjerest /ifjii/,i4,n . ,TOB. ^ VTJ. . Mf/ipr i:st . Mors, qnfi)n Vita . 13 PLATE XLII.— THE OLD WOMAN. J. HE grim countenance of this good old Dame does not indi- cate the same resignation as appears in the former subject. Wholly occupied in mumbling her rosary, she pays no attention to the sound of a dulcimer, on whicli one of her conductors is playing. The other skeleton, impatient of the slowness of the Old Woman's march, is employing menaces and blows to make her advance. Melior est mors quam vita. Eccle. xxx. 17. PLANCHE XLII.-LA VIEILLE. X^E visage rechigne de cette bonne Vieille n'annonce pas la meme resignation que dans le sujet precedent. Toute occupee a marmotter son rosaire, elle ne prete aucune attention au son du timpanon dont joue I'une de ses conductrices. L'autre sque- lette impatient de la lenteur que la bonne Vieille met dans sa marche, emploie les menaces & les coups pour la faire avancer. G 2 4't PLATE XLIII.— THE BLIND INLIN. J. HIS poor Blind Man is following,, with an air of chagrin, his new conductoF, who, without pity, is leading him through wretched roads. In vain dees he attempt, by groping his way, to avoid the obstacles that oppose his reluctant march ; he will not avoid that fatal goal to which Death is conducting him, ajid. which w ill be the only termination of hjs evils.. Domine vim patior. IsaiaB xxxviii. 14. Caeci sunt, & duces caecorum. Caecus autem si cascoducatum praestet, ambo in foveam cadunt. Matth. xv. 14. PLANCHE XLIIL—L^AVEUGLE. v>E pauvre Aveugle suit d'un air chagrin son nouveau conducteur qui le niene impitoyablement par les plus mauvais chemius; en vain veut-il eviter, en tatonnant, les obstacles qui s'opposent a sa marche forcee ; il n'evitera pas le terme fatal oii la Mort le conduit, et qui ne sera dans le fond que celui de S£a Oiaux. rrrr/uri/.MATTH XV. ^iijrr fi^f bcijif. Qii/s iiu Ii7'/ /•'//'if' i/t (('/•_ porf, /jn>/-f/.'i///////.s:R OM.'^II . 45 PLATE XLIV.— ^THE BEGGAK. Xn the most deplorable situation, lame, and exposed almost naked to the injuries of the weather, he is set down before a rich man's house, into which he has the mortification to see several enter, who look at him without ever tliinking of relieving his distress. Death, not less cruel than capricious, whose aid alone he implores, and in whose power it is to make him happy, deaf to his prayers, allows him to groan under "the load of evils which overwhelm him, whilst he delights to tear from this life those wliQ think themselves happy, or are attached to it by the strongest ties. Corruit in curru suo. Chron. xiqu PLANCHE XLIV.— LE MENDIANT. JLf ANS I'etat le plus deplorable, estropie, expose presque nud aux injures du terns, il est assis devant la maison d'un homme opulent, dans laquelle il a la douleur de voir entrer plusieura personnes qui le regardent sans songer a, soulager ses peines. La Mort non moins cruelle que bizarre, dont lui seul implore lo secours, & qui pourroit faire sonbonheur, sourde a ses pri^res, le laisse gemir sous le poids des maux qui I'accablent, tandis qu'elle se plait a arracher de cette vie ceux qui s'y croient Ueureux, ou qui y tiennent par les liens les plus puissans. 46 PLATE XLV.— THE CHILD. J.F under the roof of poverty there is any comfort, it is in having children, by whom we may hope one day to be solaced. This is the case %vith this poor widow; but death is of a different opinion, and is come to carry off her youngest Child, unmoved by her prayers and lamentations. Homo natus de muliere, brevi vivens tempore, repletur mul- tis niiseriis : qui quasi flos egreditur & conteritur, & fugit velut umbra. Job xiv. 1, 2. PLANCHE XLV.— L'ENFANT. t5i sous le toit de la pauvrete il y a quelque consolation, c'est d'avoir des enfans dont on pcut esperer d'etre uu jour soulage. C'est le cas de cette pauvre veuve, mais la Mort n'est point de cet avis, & vient de lui enlevcr le plus petit sans se lalsser flechir^ ni par ses prieres ni par ses lamentations. Hrm/^ iiti/i/s (It iiiiilirre. hrm ////ffs tiwjjrir. rijjl4iii milltts iiN/hvyi/i" q'"'-'" A'-*' >'l'>"i'. f^'rrnf.rifii; K-ft'tit 'rdiit ii„i/'m jr'/i xrv (■luum (/^jj/z/a /a./ru4U /hi. A u/ Hh/yf/hs\ /u/ c/fnifodaJ i^imyi/a fh////(.-i //(//?(/////: 47 PLATE XLVI.-TIIE FOOL. JLf EATH is leading him away gaily, making him dance to the sound of a bagpipe. The Fool, ignorant without doubt of the catastrophe that awaits him, t;eems to be meditating some piece of mischief, which will probably be his last. This dancing couple finish the procession, wherein Holbein has had the skill to unite a salutary moral with the gayest and liveliest sallies that form a singular contrast with the sadness of the subject. Quasi agnus lasciviens, & ignorans quod ad vincula stultus trahatur. Prov. vii. 22. PLANCHE XLVI. LE FOU. ii A Mort Teram^ne gaiement en le fuisant danser au son d'une cornemuse ; le Fou qui ne sait pas sans doute la catastrophe qui I'attend, paroit mediter une malice qui sera vraisemblablement la derni6re. Ce couple dansant termine la marche de cette suite ou Holbein a su reunir une morale salutaire, aux sallies les plus gaies & les plus plaisantes qui coiitrastent singuliercmcnt avec la tristesse du sujet. W. SMITH AND CO, KiyC STREET, SEVEN DIALS.