University of California Berkeley
FROM THE ESTATE OF
JOAN WESCOTT
THE
DANCES OF DEATH,
THROUGH
THE VARIOUS STAGES OF HUMAN LIFE:
WHEREIN
The Capriciousness of that Tyrant is exhibited:
IN
JFortp^tj; Copperplates ;
DONE FROM
THE ORIGINAL DESIGNS,
WHICH WERE CUT IN WOOD, AND AFTERWARDS PAINTED,
BY
JOHN HOLBEIN,
IN THE TOWN-HOUSE OF BASIL.
TO WHICH ARE PREFIXED,
DESCRIPTIONS OF EACH PLATE IN FRENCH AND ENGLISH, WITH
THE SCRIPTURE TEXT FROM WHICH THE DESIGNS WERE TAKEN.
ETCHED BY D. DEUCHAR, F. A. S.
LONDON :
Printed by S. GOSNELL, Little Queen Street, Holborn,
FOR JOHN SCOTT, NO. 447, STRAND; AND THOMAS OSTELL, NO. 3,
AVE MARIA LANE.
1803.
PREFACE.
JOHN or HANS HOLBEIN was born at Basil in 1498, and died
at London of the plague in 1554, aged 56. This admirable
Painter was instructed in the art by his father JOHN HOLBEIN.
In the early part of his life, he pursued his studies with in-
cessant assiduity ; and being possessed of an elevated 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 surprisingly fruitful, and often
poetical ; his execution was remarkably quick, and his application
indefatigable. His pencil was exceedingly delicate; his colouring
had a wonderful degree of force; he finished his pictures with
exquisite neatness ; and his carnations were life itself. He ex-
celled all his cotemporaries in portrait, and his genuine works are
always distinguishable by the true, round, lively imitation 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 Condition of
Poverty: these two are universally admired for the richness 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, and even copied them
in Indian ink.
PREFACE,
In the town of Basil he painted a picture of onr 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 sufficient 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 his
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 More, the then Lord Chan-
cellor of England : and to this incident our country is indebted
for the many excellent performances with 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
and English, and a portrait of Holbein.
EXPLANATIONS
OF
THE SUBJECTS
OF
THE TRIUMPH OF DEATH
BY HANS HOLBEIN.
PLATE I. FRONTISPIECE.
AT the side of a stone table, placed vertically, Holbein ap-
pears behind a curtain, which Death opens to him, to place
before his eyes 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 ligonilus
cequat. Death coitfounds 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 with a garland
of flowers, the other lets fly a butterfly, whilst a third is amusing
himself with making soap bubbles. What these allegories mean
is easily understood,
B
PLANCHE I. LE FRONTISPIECE.
V
A COTE d'une table de pierre posee verticalement, Holbein
paroit derriere un rideau que la Mort lui ouvre, pour mettre sous
ses yeux le grand Spectacle des Scenes de la Vie humaine qu'il va
dessiner. Ce qui est encore designe par un amas d'attributs de la
grandeur, des dignites, des richesses, d'arts, de sciences, entre-
meles de tetes de morts, et que la Mort elle-meme foule a ses
pieds. On lit au bas cette epigraphe tiree de Lucain :
Mors sceptra ligonibus cequat.
La Mort confond le sceptre & la leche.
Cette table est surmontee d'un medaillon avec le portrait dc
Holbein. Deux Genies soutiennent ce medaillon ; Pun 1'entoure
d'une guirlande de fleurs, & Pautre laisse echapper un papillon,
tandis qu'un troisieme s'amuse a faire des bulles de savon. On
sent assez ce que signifient ces deux allegories.
PLATE II. SIN.
HOLBEIN has begun these scenes of life by that which had such
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 Eye, who shews him the one she has received.
Quia audisti vocem uxoris tuae, et comedisti de ligno, ex quo
pneceperam tibi, Ne comederes, &c. Gen. iii. 17.
PLANCHE II. LE PECIIE.
HOLBEIN a commence ces scenes de la vie par celle qui eut tant
d'influence sur toutes les autres* La Mere du genre humain,
tient dans sa main droite, la pomme fatale qu'elle vient de re-
cevoir du serpent a tete de jeune homme, & Adam en cueille en
meme terns une autre, excite par les sollicitations de la trop
credule Eve, qui lui montre celle qu'elle a recue.
B 2
PLATE III. PUNISHMENT.
OUR 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.
Emisit eum Dominus Deus de Paradise voluptatis, ut operaretur
terram, de qua sumptus est. Gen. iii. 23.
PLANCHE III. LA PUNITION.
Nos premiers Parens chasses par PAnge, s'enfuyent du Paradis
terrestre precedes de la Mort, qui joue de la guitare, & demontre
en dansant la joie qu'elle ressent de son triomphe.
PLATE IV. CONDEMNATION TO LABOUR.
HOLBEIN, 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 with all his might; and at a little distance Eve
suckling her child, and holding a distaff.
Maledicta terram opere tuo in laboribus, comedes cunctis
diebus vitae tuae donee revertaris, &c. Gen. iii. 14.
PLANCHE IV. LA CONDEMNATION AU TRAVAIL.
HOLBEIN, pour marquer en mme terns le genre de travail qui
est le partage de 1'homme, & celui qui est lepartage de la femroe,
represente Adam occupe a deraciner tin arbre, avec la Mort
qui 1'aide de toutes ses forces, & un pen plus loin, Eve allaitant
son enfant & tenant une quenouille.
PLATE V. THE POPE CROWNING AN EMPEROR.
A CARDINAL 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.
UN cardinal 8c trois eveques assistent a cette ceremonie; la
Mort s'y trouve aussi sous la figure de deux squelettes, dont 1'un
est revetu des habits de cardinal ; Pautre embrasse le St. Pere de
la main droite, et s'appuie de la gauche sur une bequille.
PLATE VI. THE CARDINAL.
A MESSENGER has just presented to him, on his knees, the bull
that constitutes him a cardinal. 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,
tvhich the new-made cardinal holds in his right hand with the
seals appended to it.
Va qui justificatis impium pro muneribus, et justitiam justi
aufertis ab eo. Isa. v. 23.
PLANCHE VI. LE CARDINAL.
UN messager vient de lui remettre, en faisant une genuflexion,
la bulle qui le fait cardinal. La Mori saisit ce moment pour
paroitre, et semble vouloir lui faire tourner son chapeau sur la
tete. Le messager 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 cree tient a la main droite
avec les sceaux y affixe.
8
PLATE VI. THE ELECTOR.
1 HIS prince, as he is coming out of his palace with his cour-
tiers, is accosted by 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, ana
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 mcerore, et quiescere faciam superbiam po-
tentium. Ezek. vii. 24, 27.
PLANCHE VII. L'ELECTEUR.
CE prince sortant de son palais avec ses courtisans, est aborde
par une pauvre femme qui implore son secours, pour elle & pour
1'enfant qu'elle tient par la main ; mais insensible aux besoins
de la veuve .& de Porphelin, il refuse de 1'ecouter, & se tourne
d'un air dedaigneux du c6te de ses courtisans. La Mort paroit
dans c.et instant, & son air severe annonce qu'elle va le faire
repentir de la durete.
run retY. Ef quu/ffcn
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T lifts/ /// Push'/ r///, A 'f/fspetyenhir
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PLATE VIII. THE BISHOP.
WITH an air of tranquillity and resignation, this worthy Pastor
follows Death, who is leading him away laughing and dancing,
whilst some shepherds, forgetting their flocks, are wandering
here and there through the country, in despair for the loss 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 conductor,
will soon become the prey of wolves and other ravenous animals.
Perctitiam pastorem, etdispergenturovesgregis. Matt. xxvi. 31.
PLANCHE VIII. L' EVEQUE.
D'UN air de tranquillite 8c de resignation ce bon Pasteur suit la
Mort, qui 1'emmene en riant et en dansant, tandis que quelques
bergers, oubliant leur troupeau, errent ga & la dans la campagne,
dcsesperes de la perte de leur chef. Le soleil pret a se coucher,
va laisser dans les tenebres ce malheureux troupeau, qui n'ayant
plus de conducteur, sera bientot la proie du loup & des autres
betes feroces.
c
10
PLATE IX. THE CANON.
AT the moment he 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 fist, and a fool.
Ecce appropinquavit hora. Matth. xxvi. 45.
PLANCHE IX. LE CHANOINE.
Au moment ou il entre dans Peglise, la Mort Paborde, & 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'un bouflfon.
Sedenks in ////</Wi/V/,v /y /////?/
fax in HifHthfifati-. rs M..CVI.
II
PLATE X. THE FRIAR PROVISOR.
As he is just stepping into his convent, with his Christmas-box
and wallet, Death stops him at the door ; and deaf to his cries,
as well as regardless of the fright he throws him into, drags him
with all his might by the cloak, and renders all the good Friar's
attempts to disengage himself ineffectual.
Sedentes in tenebris & umbra Mortis : vinctos in mendicitate.
Psal. cvi. 10,
PLANCHE X. LE FRERE QUETEUR.
PRET a rentrer dans son couvcnt avec sa tire-lire & sa besace, la.
Mort Parrete a la porte, & toute aussi sourde a ses cris, qu'in-
sensible a Peffroi qu'elle lui cause, elle le tire de toutes ses forces
par son capuchon, & rend impuissans les efforts du bon Frere
pour se derober de ses mains.
C 2
12
PLATE XI. THE ABBE.
DEATH, not contented with stripping this fat Prelate of his
crosier, which he is carrying in triumph on his shoulder, and his
mitre, with which he is dressing himself, is dragging him away
without pity. He raises his breviary with one hand, and with
the other is making some vain efforts to push him off.
Ipse morietur, quia non habuit disciplinary et in multitudine
stultitiae suce decipietur. Prov. v. 23^
PLANCIIE XI. L' ABBE.
LA Mort non contente d'avoir arrache a ce gros Prelat sa
crosse, qu'elle porte en triomphe sur son epaule, & sa mitre, dont
elle s'est affublee, le tire encore impitoyablement apres elle ; il
eleve d'une main son breviaire, & fait de Pautre de vains efforts
pour la repousser.
PLATE XII. THE ABBESS.
DEATH ludicrously hooded with several flowing plumes, and
robed in a kind of gown, carries out of her convent an Abbess,
whom he is dragging with all his might by her scapulary. The
reverend Mother with regret is leaving life and the honours she
enjoys ; and expresses, by the alteration of her features and by
her cries, the fright that Death has produced in her soul. Be-
hind her, under the gate of the convent, appears a young Nun,
strangely agitated with terror and grief.
Laudavi magis mortuos, quam viventes. Eccl. iv. 2..
PLANCHE XII. L' ABBESSE.
LA Mort ridiculement coiffee de diverses plumes flottantes, 8c
vetue d'une espece de mante, emmene hors de son couvent une
Abbesse qu'elle tire de toutes ses forces par son scapulaire. La
reverendissime Mere quitte a regret la vie & les honneurs dont
elle jouit, & exprime par Palteration de ses traits & par ses cris,
Peffroi que la Mort a jete dans son ame. On voit derriere elle,
sous la porte de 1'abbaye, une jeune Nonne vivement agitee par
la crainte & par la douleur.
PLATE XIII. THE PREACHER.
As he is preaching to his congregation, Death, who is behind
him with a stole about his neck, holds over his head the bone of
a dead body, and by shewing it to the assembly, preaches to
them, undoubtedly, the most eloquent of all sermons.
Vae qui dicitis malum bonum, et bonum malum: ponentes
tenebras lucem, et lucem tenebras : ponentes amarum in dulce,
&, dulce in amarum. Esaise v. 20.
PLANCHE XIII. LE PREDICATEUR.
TANDIS qu'il preche son auditoire, la Mort qui est derriere lui,
une etole au cou, eleve par-dessus sa tete un os de mort, & en
la montrant a I'assemblee lui fait sans doute le plus eloquent de
tons les sermons.
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
aspect, who seems to have come in quest of him.
Sum quidem & ego mortalis homo. Sapi. vii. I
PLANCHE XIV. LE PRETRE.
ON le voit dans la rue porter le St. Sacrement a 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 femme affligee qui paroit etre venue le chercher.
i6
PLATE XV. THE PHYSICIAN.
DEATH is leading to him a sick old man, whose urine he i?
presenting to him in a phial, and appears saying, in a jeering
manner, Dost thou think that thou art able to save a man whom
I have already in my power ?
Medice cura teipsum. Lucae iv. 23.
PLANCHE XV. LE MEDECIN.
LA Mort lui amene un vieillard malade dont elle lui presente
1'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 ?
mfc ipsu m LVOAE. nn.
PLATE XVI. THE ASTROLOGER.
HE has his eyes fixed on a sphere hanging from the ceiling, and
appears profoundly engaged in the vain chimeras of judicial astro-
logy, while Death comes to turn his attention upon a death-head,
which he is presenting to him in a most grotesque attitude, seem-
ing 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. Tune quod nasciturus
esses ? & numerum dierum tuorum noveras ? Job xxxviii. 18, 21.
PLANCHE XVI. L' ASTROLOGUE.
IL a les yeux fixes sur une sphere suspendue au plancher, &
paroit profondement occupe des vaines chimeres de 1'astrologie
judiciaire, tandis que la Mort vient tourner son attention sur une
tete de mort, qu'elle lui presente dans Pattitude la plus grotesque,
& semble lui dire d'un ton railleur j Ton art sublime a-t-il pu
t'apprendre que je viendrois te rendre aujourd'hui cette visite ?
iS
PLATE XVII. THE EMPEROR.
SEATED 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
k the most suppliant 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 tuse, quia morieris tu, et non vives. Isaise xxxviii. i.
Ibi morieris, et ibi erit currus gloriae tuas. Isaiae xxii. 18.
PLANCHE XVII. L'EMPEREUR.
Assis sur son trone, & tenant dans sa main le glaive de Pem-
pire, il ecoute attentivement un avocat qui plaide d'un ton douce-
reux centre un malheureux paysan, tandis que celui-ci attend
en tremblant, & dans la posture la plus suppliante, 1'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 bras sur la couronne du Monarque.
L'air irrite avec lequel le Chef de PEmpire regarde 1'avocat & ses
deux cliens qu'on voit, la tete decouverte, a cote de leur defen-
seur, est d'un heureux presage pour le pauvre opprime. On vait
au has du trone le sceptre & le globe de 1'empire poses sur un
coussin. La Mort a place son sable fatal a cote de ces attributs
d'une grandeur qu'elle pent fair evanouir a son gre.
/Mt.if. vvriy//. ./ ,
v , /r/ titcrus <.!]/ rut. /////-./.> \n>
XCRex hoc&e est, fccras morieti
ne-mo emm ex re (fib us allied h&b
PLATE XVIII. THE KING.
HE is seen, eating in state, under a canopy, and served by the
officers of the court. Death is come to put himself in the num-
ber, and is at this instant performing the office of cupbearer. He
is pouring out drink to the Monarch, who holds but to him his
great cup, which he is now probably to empty for the last time.
The Prince holds in his left hand a paper, without doubt a peti-
tion, that has just been presented to him.
Sicut et Rex hodie est, et eras morietur. Eccle. x. 12.
Nemo enim ex regibus aliud habuit.
PLANCHE XVIII. LE ROI.
ON le voit manger en ceremonie, assis sous un dais & servi par
ses grands officiers $ la Mort est venue se mettre du nombre, &
fait en ce moment Poffice d'echanson. Elle verse a boire au
Monarque qui lui tend sa large coupe, qu'il va vraisemblablement
vuider pour la derniere fois. Ce Prince tient de la main gauche
un papier, sans doute un placet qu'on vient de lui remettre.
D 2
21
PLATE XX. THE QUEEN.
FEATH, 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 mournful cries ; the maid of
honour, who 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 conturbabimini confidentes. Isaias xxxii.
9, 10.
PLANCHE XX. LA REINE.
LA Mort revetue des habits de la folie, 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
elle faite retentir les airs de ses cris douloureux ; la dame d'honneur
qui Paccompagne, agitee du plus violent desespoir, implore le se-
cours du Ciel, tandis que le bouffon de la Reine fait de vains efforts
pour la defendre contre la Mort, qui tient son sable eleve pour
faire voir que 1'heure fatale est arrivee.
22,
PLATE XXL THE DUTCHESS.
DEATH, in the shape of two hideous skeletons, comes to stir->
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 XXL LA DUCHESSE* :
Sous la figure de deux sequelettes hideux, la Mort vient la
surprendre, mollement couchee sur im lit elegant. L'un de
squelettes la reveille au son d'un violon, tandis que 1'autre lui
arrache sa couverture en faisant d'effroyables grimaces.
HIV / //" sws y'sszJ. M7/. fij^ & J,
DIMM tit m wms dus/hcs, xinpufido ad
PLATE XXII. THE COUNTESS.
SHE 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.
i
ELLE n'est occupee que da soin de sa parure, & re9Oit ave'c
empressement, des mains d'une de ses femmes, un habillement
tres-riche avec une chaine d'or. La Mort vient troubler sa
toilette, & lui a deja passe autour du cou, sans qu'elle s'en soit
encore appercue, un collier fait de petits os de mort.
PLATE XXIII. THE NEW-MARRIED PAlft.
IN 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.
UANS les premiers transports d'une douce union, ces deux
tendres epoux paroissent tellement occupes 1'un de Pautre, ils
sont si enivres de leur bonhenr mutuel, qu'ils ne voient ni n'en-
tendent la Mort qui marche devant eux, en frappant vigoureuse-
ment sur un petit tambour, & qui va leur donner bientot un cruel
trouble-fete.
Me nf< la Mcrsfepu nth it. R UTH.I.
Est via. qua / '//
aus dedumut hrr/utum adrrwrt
PLATE XXIV. THE CANONESS.
THERE 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 a bed, 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, quse videtur homini justa : novissima autem ejus de-
ducunt hominem ad mortem. Prov. xiv. 12.
PLANCHE XXIV. LA CHANOINESSE.
JL'oN voit dans cette jeune & belle recluse un melange frappant
de galanterie & de devotion. Agenouillee devant un petit autel,
son rosaire a la main, elle ecoute amoureusement les chansons
qu'un jeune homme, assis sur son lit, lui adresse en les accom-
pagnant de son luth. La Mort vient eteindre les cierges allumes
sur Tautel, & chajiger en amertume les douceurs de ce tete-a-tete.
E
26
JPLATE XXV. THE COUNT.
DEATH here adds to his usual employment that of avenger 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 : neque descendet
cum eo gloria ejus. Psal. xlvii. 18.
PLANCHE XXV. LE COMTE.
LA Mort ajoute ici a Pexercice de son emploi accoutume celui de
vengeur de vassaux opprimes ; elle jette avec violence a la tete de
ce Seigneur ses armoiries, Pobjet cheri de son orgueil, sous le
poids desquelles elle va le faire perir. On le voit fouler a 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 les decoroient.
..
*
PLATE XXVI. THE KNIGHT.
THIS worthy Cavalier, returned victorious from so many combats
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.
CE preux Chevalier sorti vainqueur de tant de combats & de tant
de tournois, vient enfin de trouver son maitfe. La Mort Pa
perce de part en part d'un furieux coup de lance, & se rit des
vains efforts qu'il met en usage pour se defencre contr'elle.
K 2
PLATE XXVII. THE GENTLEMAN.
HE is doing every thing in his power to put off 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 homo,, qui vivet, et non videbit mortem: eruet animam
suam de manu inferi ? Psal. Ixxxviii. 49.
PLANCHE XXVII. LE GENTILHOMME.
IL fait tout ce qu'il peut pour reculer le moment qui doit le
separer pour toujours de ses possessions, & de son beau chateau
qui paroxt dans le lointain ; mais la Mort inexorable a deja place
pies de lui la biere fatale ou elle va le faire entrer.
(^ff/s 6tt0M4fM vffut.cnon ^u/U
ttff ttti/>ti<ftn si/r/nt- f/f Hi/tt/u rnfirr. PSAL.88.
PLATE XXVIII. THE SWISS SOLDIER.
ON a field of battle, covered with dead carcasses, Death, armed
with a buckler and a huge dart, attacks this warrior, in the
bosom of victory, escaped alone from the carnage of the day,
and is giving him some terrible blows. It is in vain that this
brave Soldier, whose courage seems invincible, is obstinately at-
tempting to dispute the victory with an irresistible adversary. In
the back ground appears another Death, running, and beating
on a drum, who is followed by several soldiers.
Cum fortis armatus custodit atrium suum, &c. Si autem
fortior eo superveniens vicerit eum, universa ejus arma auferet, in
quibus confidebat. Lucae xi. 21, a2.
PLANCHE XXVIII. LE SOLDAT SUISSE.
SUR un champ de bataille jonche de cadavres, la Mort armee
d'un bouclier & d'un grand javelot, attaque dans le sein de la
victoire ce guerrier echappe seul au carnage, & lui porte des coups
terribles, C'est en vain que ce brave Soldat dont la valeur sem-
bloit indomptable, s'acharne a disputer la victoire a un adversaire
auquel rien ne sauroit resister. Dans le lointain on apper$oit
une autre Mort qui bat du tambour en courrant, & qui est suivie
de quelques soldats.
PLATE XXIX. THE JUDGE.
IT appears that this supporter of Justice, forgetting the dignity
of his station, abandons himself without shame to injustice. He
is stretching out his hand for the gold that the rich man is going
to give him, without doubt to obtain of him a favourable decision,
and to bear down the poor unfortunate man, who appears in a
trembling posture at the side of the Judge. Death comes to
surprise him in the midst of his prevarications, and is snatching
out of his hands the rod which is the mark of his dignity.
Disperdam judicem de medio ejus. Amos ii. 3.
PLANCHE XXIX. LE JUGE.
J-L paroit que ce suppot de Themis, oubliant la dignite de sa
place, s'abandonne sans pudeur a Piniquite. II tend la main a
Tor que cet homme riche va lui .donner, sans doute pour en ob-
tenir un jugement favorable, & faire succomber le pauvre mal-
heureux qu'on voit dans une attitude craintive a cote du Juge.
La Mort vient le surprendre au milieu de ses prevarications, &
lui arrache des mains la baguette qui est la marque de sa dignite.
2
PLATE XXX. THE COUNSELLOR.
THIS 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 regard
to the poor man, who is tapping his shoulder, and in the most
suppliant posture asking to be heard. Death seems to be rising
from the earth, in indignation, to put an end to this interesting
conversation.
Qui obturat aurem suam ad clamorem pauperis, et ipse cla-
mabit, & non exaudietur. Prov. xxi. 13.
PLANCHE XXX. LE CONSEILLER.
CE magistral paroit fort occupe a donner en pleine rue a un
homme riche, des conseils qu'un petit diable a califourchon sur
son cou lui souffle aux oreilles, tandis qu'il ne fait aucune atten-
tion au pauvre qui lui touche doucement Tepaule, & demande
dans 1'attitude la plus suppliante a etre ecoute. La Mort in-
dignee semble sortir de terre, pour mettre fin a cette conversation
interessee.
PLATE XXXI. THE ADVOCATE*
THIS 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 any 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, with an air 6f insult, his sand run out.
Callidus vidit malum, & abscondit, sed innocens pertransiit &
afflictus est damno. Prov. xxii. 3.
PLANCHE XXXI. L'AVOCAT.
Cfi sujet se rapporte au No. g. L'exemple du Juge semble au-
toriser 1'Avocat a se faire payer cherement ses prevarications, &
cela me me en presence de son pauvre client qui se tient dans un
certain eloignement, & dont Petat miserable feroit pitie a une
ame moins dure que celle de Phomme de loi. Mais la Mort
vengera Popprime; elle verse abondamment dans les mains de
PAvocat de Pargent dont il ne profitera guere, car elle lui montre
en merae terns d'un air moqueur son sable ecoule.
(>ni ftifit /-ftr f>/'/-i t/i fuam tut ////>!//,/< //t ur/
i.'.irr/tt/tfftf'il. \'/n-f fXff-udUeturffiovzei
Qut. crvirfreGat. t^e/ai^rvs lingua, rru
ft* tuts fc-t -ccfra eat, ternyyityfetur ad loq
, \fORTTS. PM O^KR . 3TXT.
33
PLATE XXXI I. THE MERCHANT.
ESCAPED from the dangers 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.
ECHAPPE aux perils de la mer, arrive heureusement au port, ce
riche Marchand se croit en pleine securite ; il se trompe. Oc-
cupe a compter son argent, a examiner ses marchandises & a
traiter de leur vente, un mauvais chaland, la Mort elle-meme, ar-
rive, 8c ce n'est que de sa personne qu'elle veut faire emplette.
p
34
PLATE XXXIII. THE HAWKER.
BENDING under the weight of his load, he is advancing, with
& quick pace, to the neighbouring town, comforting himself with
thinking on the gain he is to make there 5 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.
COURSE sous le poids de sa charge, il avance a grands pas vers
le lieu voisin, & trouve du soulagement en revant au gain qu'il
pourroit y faire ; mais la Mort, sous la figure de deux squelettes,
est venue subitement mettre fin a ses peines & a ses esperances.
I/un des squelettes le tire avec force par le bras, tandis que
1'autre joue derriere lui de la trompette marine. C'est en vain
que le pauvre Colporteur montre des doigts Pendroit ou ses affaires
J'appellent, cette facheuse compagnie paroit vouloir lui faire
prendre une autre route.
t( cnt Hfx. r/ii tim^alts tC vn< rftti / xt
NJflfrr v,.
s>
PLATE XXXIV. THE SHIPWRECK.
DEATH 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 which, in the greatest
danger, a good conscience yields to firm and intrepid minds ;
his head has all the features with which Socrates is usually re-
presented.
Qui volunt ditescere incidunt in tentationem & laqueum, &
cupiditates multas stultas & nxo^fc quse demergunt homines in
exitum & interitum. I ad Timo. vi. 9.
PLANCHE XXXIV. LE NAUFRAGE.
LA Mort exerce ici son empire sur un de ses plus fertiles do-
maines ; elle brise elle-meme le mat d'un vaisseau violemment
agit par la tempete, & jette tous les passagers dans le plus af-
freux desespoir. On en distingue un seul place pres du mat, qui
a conserve cette tranquillite d'ame qu'une bonne conscience ac-
corde dans les plus, grands perils aux esprits fermes & courageux ;
sa tete a tous les traits sous lesquels on represente ordinairement
Socrate,
PLATE XXXV. THE WAGGONER.
see 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 effec-
tually finish his despair.
Caecus caecum ducit ; &c ambo in foveam cadunt. Matth. xv. 14.
PLANCHE XXXV. LE VOITURIER.
ON voit ici la Mort exercer ses bizarres fureurs sur un char dc
vin que conduit un pauvre Voiturier. Sans doute que lui-meme
va devenir a son tour le jouet de ses caprices, & que la meme
cause qui vient d'occasionner son desespoir ne tardera pas a le
terminer.
('< rruit m rr,'" /it*. 7 .
In. ///s/r/'t t'///ft/stw vy cer
GEy. m.
37
PLATE XXXVI. THE HUSBANDMAN.
VTERE Death capable of consideration, what class of society
would better deserve to be exempted from his ravages, than the
labourers; incontestably the most useful, most laborious, and
most productive of real opulence ? But he is now striking the
horses harnessed to this Husbandman's plough ; and this enemy
of the human race can strike no blow more severely felt, than by
thus attacking it in the source of its subsistence.
In sudore vultus tui vesceris pane tuo. Gen. iii. 19.
PLANCHE XXXVI. LE LABOUREUR.
Si la Mort pouvoit user de quelque consideration, qu'elle classe
de la societe meriteroit mieux d'en etre menagee que celle du
laboureur. sans contredit la plus utile, la plus laborieuse, & la
plus productive des veritables richesses? Mais elle frappe deja
.
les chevaux atteles a la charrue de ce Cultivateur, & cette ennemie
du genre humain ne sauroit lui porter des coups plus sensibles
qu'en Pattaquant dans les sources de sa subsistance.
PLATE XXXVlf. THE MISER.
THE 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 lip before his eyes. This loss excites
in him all the symptoms of the most violent desperation, and ft
plainly appears that his gold is an hundred times dearer to his
heart than his life.
Stulte, hac nocte repetunt animam tuam : & quse parasti, cujus
trunt ? Lucae xii. 20.
PLANCHE XXXVII. L'AVAftE.
L caracter-e de 1'Avare est rendu dans ce dessein avec beau*-
coup d'energie. Renferme dans un caveau qui ne recoit 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 tres-considerable. Cette pertc
excite en lui tons les symptomes du plus violent desespoir, & Ton
voit bien que son or lui tient cent fois plus a cceur que la vie,
I
$tult,hct jirffi ,Y/></t*f ftniw
39
PLATE XXXVIII. THE HIGHWAY ROBBER.
1 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.
CE malheureux attaque dans une foret une paysanne qui revient
de la foire, & veut lui enlever ce quelle en rapporte; mais
heurensement pour la pauvre femme, la Mort vient a son se-
cours, & en se saisissant du Voleur elle ne previent peut-8tre que
de quelques jours le bourreau, qui lui auroit fait porter sur un
echaflfaut la peine de ses crimes.
4 o
PLATE XXXIX. THE DRUNKARDS.
DEBAUCHERY, 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 beastly drunken-
ness reigns in these disgusting orgies.
Et nolite inebriari vino, in quo est luxuria. Eph. v. 18.
PLANCHE XXXIX. LES YVROGNES.
LA debauche & surtout les exces de la boisson fournissent sans
cesse a la Mort des armes puissantes pour exercer ses ravages.
On la voit ici qui entonne le vin a grands flots dans le gozier
d'un de ces Yvrognes, & la plus grossiere crapule preside a cette
degoutante orgie.
l-nebrierru-ni vine, in, q ue> eat Uucunz.
EFHES. V: ,
fern Put (ietrimtnfMrr>paJurtw.
rr " '
PLATE XL. THE GAMESTERS.
HERE 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 losing 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 moment 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.
Voici 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 ce que le Diable & la Mort se disputent qui des deux
emportera le Joueurqui a perdu. C'est un combat, s'il est perm is
de le dire, aussi effroyable que comique, d'autant plus que le
second Joueur, s'interessant au sort du premier, addresse de
ferventes prieres au Diable en sa faveur; mais le troisi erne fait
encore mieux, & profite de ce moment de trouble & d'effroi, pour
ramasser 1'argent qui se trouve sur la table,
G
PLATE XLI. THE OLD MAN.
HERE 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 tranquillity,
which are the effects of wisdom, and the fruits of a good con-
science.
Spiritus meus attenuabitur, dies mei breviabuntur, &, solum
raihi superest sepulchrum. Job xvii. i.
PLANCHE XLI. LE VIEILLARD.
L'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 1'apanage de
la sagesse & les fruits d'une bonne conscience.
Mea0r est . Won s,
E CCLE. XXT.
43
PLATE XL1I. THE OLD WOMAN.
THE grim countenance of this good old Dame does not indicate
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 which 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.
LE 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 Time de ses conductrices. L'autre sque-
lette impatient de la lenteur que la bonne Vieille met dans sa
marche, emploie les menaces & les coup* pour la faire avancer.
G 2
44
PLATE XLIII. THE BLIND MAN.
THIS poor Blind Man is following, with an air of chagrin,
his new conductor, who, without pity, is leading him through
wretched roads. In vain does 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, and
which will be the only termination of his evils.
Domine vim patior. Isaiae xxxviii. 14.
Cseci sunt, & duces caecorum. Cascus autem si caeco ducatum
praestet, ambo in foveam cadunt. Matth. xv. 14.
PLANCHE XLIII. L'AVEUGLE.
CE pauvre Aveugle suit d'un air chagrin sonnouveau conducteur
qui le mene impitoyablement par les plus mauvais chemins j en
vain veut-il eviter, enjltonnant, les obstacles qui s'opposent a
sa marche forcee; il n'evitera pas le terme fatal ou la Mort le
conduit, et qui ne sera dans le fond que celui de ses niaux.
4
ISA TTir. JfV
*"g0CP0ntO. Qit/s n if Uv0TfWt cfa c#r~~
45
PLATE XLIV. THE BEGGAR.
IN 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 thinking 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 who
think themselves happy, or are attached to it by the strongest ties.
Corruit in curru suo. Chron. xxii.
PLANCHE XLIV. LE MENDIANT.
DANS Petat le plus deplorable, estropie, expose presque mid aux
injures du terns, il est assis devant la maison d'un homme opu-
lent, dans laquelle il a la douleur de voir entrer plusieurs per-
sonnes qui le regardent sans songer a soulager ses peines. La
Mort non m'oins cruelle que bizarre, dont lui seul implore le
secours, & qui pourroit faire son bonheur, sourde a ses prieres,
le laisse gemir sous le poids des maux qui 1'accablent, tandis
qu'elle se plait a arracher de cette vie ceux qui s'y croient heureux,
ou qui y tiennent par les liens les plus puissans.
PLATE XLV. THE CHILD.
IF 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 with 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 tern pore, repletur multis
miseriis : qui quasi flos egreditur & conteritur, & fugit velut
umbra. Job xiv. -I, 2,
PLANCHE XLV. L'ENFANT.
Si sous le toit de la pauvrete il y a quelque consolation, c'est
d'avoir des enfans dont on peut esperer d'etre un jour soulagc.
C'est le cas de cette pauvre veuve, niais la Mort n'est point de
cet avis, & vient de lui enlever le plus petit sans se laisser flechir,
ni par see prieres ni par ses lamentations.
sflf iitiilirw. I'm// I'tiifns te^ifcrr,
inlt/x i>t//tn/s:<fiii n'Htst 'firs fytrdtltir.
\ r/i'l'f 'I'ltiit inn/'rti JOnXJV:
I
fi ////>w//vv/ .> ,vV
c/f //it <>//(/// /'/ t/r/t/</ //////// .y ftYtfaff
/ ntiVF.H-' Ml.
47
PLATE XLVI.
DEATH is leading him away p
sound of a bagpipe. The Fc
catastrophe that awaits him,
of mischief, which will prob;
This dancing couple finish
has had the skill to unite a s
liveliest sallies that form a si
the subject.
Quasi agnus lasciviens, &
trahatur. Prov. vii. 22.
H772.0
