Chapter XVIII (1)

_Errors of various writers who have introduced the subject of the
Dance of Death._

To enumerate even a moiety of these mistakes would almost occupy a separate volume, but it may be as well to notice some of them which are to be found in works of common occurrence.

TRAVELLERS.--The erroneous remarks of Bishop Burnet and Mr. Coxe have been already adverted to. See pp. 79, 134, and 138.

Misson seems to regard the old Danse Macabre as the work of Holbein.

The Rev. Robert Gray, in "Letters during the course of a tour through Germany and Switzerland in the year 1791 and 1792," has stated that Mechel has engraved _Rubens's designs_ from the Dance of Death, now perishing on the walls of the church-yard of the Predicant convent, where it was sketched in 1431.

Mr. Wood, in his "View of the History of Switzerland," as quoted in the Monthly Review, Nov. 1799, p. 290, states, that "the Dance of Death in the church-yard of the Predicants has been falsely ascribed to Holbein, as it is proved that it was painted _long after the death of that artist, and not before he was born_, as the honourable Horace Walpole supposes." Here the corrector stands in need himself of correction, unless it be possible that he is not fairly quoted by the reviewer.

Miss Williams, in her Swiss tour, 1798, when speaking of the Basle Dance of Death, says it was painted by Kleber, a _pupil of Holbein_.

Those intelligent and amusing travellers, Breval, Keysler, and Blainville have carefully avoided the above strange mistakes.

WRITERS ON PAINTING AND ENGRAVING.--Meyssens, in his article for Holbein in "the effigies of the Painters," mentions his "Death's Dance, in the town-hall of Basle, the design whereof he first neatly cut in wood and afterwards painted, which appeared so fine to the learned Erasmus, &c." English edition, 1694, p. 15.

Felibien, in his "Entretiens sur les vies des Peintres," follows Meyssens as to the painting in the town-hall.

Le Comte places the supposed painting by Holbein in the fish-market, and in other respects copies Meyssens. "Cabinet des Singularites, &c." tom. iii. p. 323, edit. 1702, 12mo.

Bullart not only places the painting in the town-hall of Basle, but adds, that he afterwards engraved it in wood. "Acad. des Sciences et des Arts," tom. ii. p. 412.

Mr. Evelyn, in his "Sculptura," the only one of his works that does him no credit, and which is a meagre and extremely inaccurate compilation, when speaking of Holbein, actually runs riot in error and misconception. He calls him a Dane. He makes what he terms "the licentiousness of the friars and nuns," meaning probably Hollar's sixteen etchings after Holbein's satire on monks and friars and other members of the Romish church as the persecutors of Christ, and also the "Dance Machabre and Mortis imago," to have been cut in wood, and one or both of the latter to have been painted in the church of Basle. Mr. Evelyn's own copy of this work, with several additions in manuscript, is in the possession of Mr. Taylor, a retired and ingenious artist, of Cirencester-place. He probably intended to reprint it, and opposite the above-mentioned word "Dane," has inserted a query.

Sandrart places the Dance of Death in the fish-market at Basle, and makes Holbein the painter as well as the engraver. "Acad. artis pictoriae," p. 238, edit. 1683, folio.

Baldinucci speaks of twenty prints of the Dance of Death painted by Holbein in the Senate-house of Basle. "Notizie de professori del disegno, &c." tom. iii. 313 and 319.

M. Descamps inadvertently ascribes the old Dance of Death on the walls of the church-yard of Saint Peter to the pencil of Holbein. "Vie des Peintres Flamandi," &c. 1753. 8vo. Tom. i. p. 75.

Papillon, in his account of the Dance of Death, abounds with inaccuracies. He says, that a magistrate of Basle employed him to paint a Dance of Death in the fish-market, near a church-yard; that the work greatly increased his reputation, and made much noise in the world, although it has many anatomical defects; that he engraved this painting on small blocks of wood with unparalleled beauty and delicacy. He supposes that they first appeared in 1530 at Basle or Zuric, and as he thinks with a title and German verses on each print. Now he had never seen any edition so early as 1530, nor any of the cuts with German verses, and having probably been misled on this occasion, he has been the cause of misleading many subsequent writers, as Fournier, Huber, Strutt, &c. He adopts the error as to the mark [monogram: HL] on the thirty-sixth subject belonging to Holbein. He is entirely ignorant of the nature and character of the fool or idiot in No. xliii. whom he terms "un homme lascif qui a leve le devant de sa robbe:" and, to crown the whole, he makes the old Macaber Dance an _imitation_ of that ascribed to Holbein.

De Murr, in tom. ii. p. 535 of his "Bibliotheque de Peinture, &c." servilely copies Papillon in all that he has said on the subject, with some additional errors of his own.

The Abbe Fontenai, in the article for Holbein in his "Dictionnaire des Artistes," Paris, 1776, 8vo. not only makes him the painter of the old Macaber Dance, but places it in the town-house at Basle.

Mr. Walpole, or rather Vertue, in the "Anecdotes of Painting in England," corrects the error of those who give the old Macaber Dance to Holbein, but inadvertently makes that which is usually ascribed to him to have been borrowed from the other.

Messrs. Huber and Rost make Holbein the engraver of the Lyons wood-cuts, and suppose the original drawings to be preserved in the public library at Basle. They probably allude to the problematical drawings that were used by M. de Mechel, and which are now in Russia. "Manuel des curieux et des amateurs de l'art." Tom. i. p. 155.

In the "Notices sur les graveurs," Besancon, 1807, 8vo. a work that has, by some writers, been given to M. Malpe, and by others to the Abbe Baverel, Papillon is followed with respect to the supposed edition of 1530, and its German verses.

Mr. Janssen is more inaccurate than any of his predecessors, some of whom have occasionally misled him. He makes Albert Durer the inventor of the designs, the greater part of which, he says, are from the Dance of Death at Berne. He adopts the edition of 1530, and the German verses. He condemns the title-page of the edition of 1562 for stating an addition of seventeen plates, whereas, says he, there are but five; but the editor meant only that there were seventeen more cuts than in the original, which had only forty-one.

MISCELLANEOUS WRITERS.--Charles Patin, a libeller of the English nation, has made Holbein the engraver on wood of a Dance of Death, which, he says, is "not much unlike that in the church-yard of the Predicants at Basle, painted, as some say, from the life, by Holbein." He ought to have known that this work was executed near a century before Holbein was born. "Erasmi stultitiae laus." Basileae, 1676, 8vo. at the end of the list of Holbein's works.

Martiniere, in his Geographical Dictionary, makes Holbein the inventor of the Macaber Dance at Basle.

Goujet, in his very useful "Bibliotheque Francoise," tom. x. p. 436, has erroneously stated that the Lyons engravings on wood were by the celebrated artist Salomon Bernard, usually called "Le petit Bernard." The mistake is very pardonable, as it appears that Bernard chiefly worked in the above city.

M. Compan, in his "Dictionnaire de Danse," 1787, 12mo. under the article _Macabree_, very gravely asserts that the author took his work from the Maccabees, "qui, comme tout le monde scait danserent, et en ont fait epoque pour les morts." He then quotes some lines from a modern edition of the "Danse Macabre," where the word _Machabees_ is ignorantly substituted for "Machabre."

M. Fournier states that Holbein painted a Dance of Death in the fish-market at Basle, reduced it, and engraved it. "Dissertation sur l'imprimerie," p. 70.

Mr. Warton has converted the imaginary Machabree into _a French poet_, but corrects himself in his "Hist. of Engl. Poetry." He supposes the single cut in Lydgate to represent _all_ the figures that were in St. Paul's cloister. He atones for these errors in referring to Holbein's cuts in Cranmer's Catechism, as entirely different in style from those published at Lyons, _but which he thinks, are probably the work of Albert Durer_, and also in his conjecture that the painter Reperdius might have been concerned in the latter. See "Observations on the Fairy Queen of Spenser," vol. ii. 116, &c. In his most elegant and instructive History of English Poetry he relapses into error when he states that Holbein painted a Dance of Death in the Augustine monastery at Basle in 1543, and that Georgius AEmylius published this Dance at Lyons, 1542, one year before Holbein's painting at Basle appeared. Hist. Engl. Poetry, vol. ii. p. 364, edit. Price.

The Marquis de Paulmy ascribes the old Macaber Dance at Basle to Holbein, and adds, "le sujet et l'execution en sont aussi singuliers que ridicules." "Melanges tires d'une grande bibliotheque," tom. Ff. 371.

M. Champollion Figeac in Millin's "Magazin encyclopedique," 1811, tom. vi. has an article on an edition of the "Danse Macabre anterieure a celle de 1486." In this article he states that Holbein painted a fresco Dance of Death at Basle near the end of the 15th century (Holbein was not born till 1498!); that this Dance resembled the Danse Macabre, all the characters of which are in Holbein's style; that it is still more like the Dance in the Monasticon Anglicanum in a single print; and that the English Dance belongs to John Porey, an author who appears, however, to be unknown to all biographers. We should have been obliged to M. Figeac if he had mentioned where he met with this John Porey, whom he again mentions, but in such a manner as to leave a doubt whether he means to consider him as a poet or a painter. Even M. Millin himself, from whom more accuracy might have been expected, speaks of Holbein's work as at the Dominican convent at Basle.

The "Nouveau Dictionnaire Historique," 1789, 8vo. gives the painting on the walls of the cemetery of St. Peter at Basle, to Holbein, confounding the two works as some other French biographical dictionaries have done, especially one that has cited an edition of the Danse Macabre in 1486 as the first of Holbein's painting, though it immediately afterwards states that artist to have been born in 1498.

In that excellent work, the "Biographie universelle," in 42 vols. 8vo. 1811-1828, M. Ponce, under the article "Holbein," inaccurately refers to "the Dance of Death painted in 1543 on the walls of a cemetery at Basle," at the same time properly remarking that it was not Holbein's. He refers to the supposed original drawings of Holbein's work at Petersburg that were engraved by De Mechel, and concludes his brief note with a reference to a dissertation of M. Raymond in Millin's "Magazin encyclopedique," 1814, tom. v. which is nothing more than a simple notice of two editions of the Danse Macabre, described in the present dissertation.

And lastly--The Reviewer of the first edition of the present dissertation prefixed to Mr. Edwards's engravings or etchings by Wenceslaus Hollar, has displayed considerable ingenuity in his attempt to correct supposed errors, by a lavish substitution of many of his own, some of which are the following:

That the Dance of Death is found in _carvings in wood in the choirs of churches_. Not a single instance can be produced.

That Hollar's etchings are on _wood_.

"Black letter" is _corrected_ to "Black letters."

That the book would have been more _complete if Lydgate's stanzas_ had been quoted, in common with others in _Piers Plowman_. Now all the stanzas of Lydgate are given, and not a single one is to be found in Piers Plowman.

And they most _ingeniously and scientifically_ denominate the skeleton figure of Death "the Gothic monster of Holbein!"

* * * * *

A short time after the completion of the present Dissertation, the author accidentally became possessed of a recently published German life of Holbein, in which not a single addition of importance to what has been gleaned from preceding writers can possibly be found. It contains a general, but extremely superficial account of the works of that artist, including the Dance of Death, which, as a matter of course, is ascribed to him. As the author, a Mr. Ulrich Hegner, who is said to be a _Swiss gentleman and amateur_, has not conducted himself with that urbanity and politeness which might have been looked for from such a _character_, and has thought proper, in adverting to the slight Essay by the present writer, prefixed, at the instance of the late Mr. Edwards, to his publication of Hollar's etchings of the Dance of Death, to speak of it with a degree of contempt, which, even with all its imperfections, others may think it may not have deserved; the above _gentleman_ will have but little reason to complain should he meet with a somewhat uncourteous retort in the course of the following remarks on his compilation.

Had Mr. Hegner written with a becoming diffidence in his opinions, his work might have commanded and deserved respect, though greatly abounding in error and false conceit. He has undertaken a task for which he has shown himself wholly unqualified, and with much unseemly arrogance, and its usual concomitant, ignorance, has assumed to himself a monopoly of information on the subject which he discusses. His arguments, if worthy of the name, are, generally speaking, of a most weak and flimsy texture. In support of his dogmatical opinion that the original designs for the Lyons Dance of Death exclusively belong to Holbein he has not adduced a single fact. He has not been in possession of a tenth part of the materials that were necessary for the proper investigation of his subject, nor does he appear to have even seen them. The very best judges of whatever relates to the history and art of engraving are quite satisfied that most of the persons who have written on them, with the exception of Mr. Ottley, and of the modest and urbane Monsieur Peignot, are liable to the charge of extreme inaccuracy and imperfection in their treatment of the Dance of Death, and the list of such writers may now be closed with the addition of Herr Hegner.

Some of his positions are now to be stated and examined.

He makes Holbein the author of a new Dance of Death in the Crozat or Gallitzin drawings in Indian ink which have been already described in the present dissertation, adding that he also _engraved_ them, and suppressing any mention in this place of the monogram on one of the cuts which he _elsewhere admits not to belong to Holbein_. Soon afterwards, and with very good reason, he doubts the originality of the drawings, which he says M. de Mechel caused to be copied by Rudolph Schellenberg, a skilful artist, already mentioned as the author of a Dance of Death of his own invention; and proceeds to state, that from these copies De Mechel employed some inferior persons in his service to make engravings; advancing all this without the accompaniment of any proof whatever, and in direct contradiction to De Mechel's authority of having himself engraved them. An apparently bitter enemy to De Mechel, whose posthumous materials, now in the library at Basle, he nevertheless admits to have used for his work, he invidiously enlarges on the discrepancies between his engravings and the Lyons wood-cuts, both in size and manner; and then concludes that they were copied from the wood-cuts, the copyist allowing himself the privilege of making arbitrary variations, especially in the figure of the Eve in the second cut, which, he says, is of the family of Boucher, who, in spite of Hegner's opinion, is regarded by better judges as a clever painter. Whether the remarks on any deviations of De Mechel's prints from the Crozat drawings are just or otherwise can now be decided by comparison only, and Hegner does not appear to have seen them, or at least does not tell us so. His criticisms on the merit of the engravings in De Mechel's work cannot be justified, for though they may occasionally be faulty, they are very neatly, and many will think beautifully executed.

What Hegner has said respecting the alphabets of initial letters, is at once futile and inaccurate; but his comment on Hans Lutzenberger deserves the severest censure. Adverting to the inscription with the name of this fine artist on one of the sets of the initials, he terms him "an itinerant _bookseller_, who had bought the blocks and put his name on them;" and this after having himself referred to a print on which Lutzenberger is called FORMSCHNEIDER, _i. e._ woodcutter: making in this instance a clumsy and dishonest effort to get rid of an excellent engraver, who stands so recorded in opposition to his own untenable system.

The very important and indelible expressions in the dedication to the first known edition of the Lyons wood-cuts, he very modestly terms "a play upon words," and endeavours to account for the death of the painter by supposing Holbein's absence in England would warrant the language of the dedication. This is indeed a most desperate argument. Frellon, the publisher and proprietor of the work, must have known better than to have permitted the dedication to accompany his edition had it been susceptible of so silly a construction.

He again adheres to the improbable notion that _Holbein engraved_ the cuts to the Lyons book, and this in defiance of the mark or monogram [monogram: HL] which this painter never used; nor will a single print with Holbein's accredited name be found to bear the slightest resemblance to the style of the wood-cuts. Even those in Cranmer's catechism, which approach the nearest to them, are in a different manner. His earlier engravings on wood, whether in design only, or as the engraver, resemble those by Urs Graaf, who, as well as Holbein, decorated the frontispieces or titles to many of the books printed at Basle. It is not improbable that Urs Graaf was at that time a pupil of Holbein.

Hegner next endeavours to annihilate the painting at Whitehall recorded in Nieuhoff's etchings and dedications, but still by arguments of an entirely negative kind. He lays much stress on this painting not being specifically mentioned by Sandrart or Van Mander, who were in England; but where does it appear that the latter, during his short stay in this country, had visited Whitehall? Even admitting that both these persons had seen that palace, it is most probable that the fresco painting of the Dance of Death, would, from length of time, dampness of the walls, and neglect, have been in a condition that would not warrant the exhibition of it, and it was, moreover, placed in a gallery which scarcely formed, at that time, a part of Whitehall, and which was, probably, not shown to visitors. It must not, however, be omitted to mention that Sandrart, in p. 239 of his Acad. Pict. states, though ambiguously, that "there was still remaining at Whitehall a work by Holbein that would constitute him the Apelles of his time," an expression which we may remember had been also applied to Holbein by his friend Borbonius in the complimentary lines on a Dance of Death.

The Herr Hegner has thought fit to speak of Mr. T. Nieuhoff in terms of indecorous and unjust contempt, describing him as "an unknown and unimportant Dutch copper-plate engraver," and arraigning his evidence as being in manuscript only; as if manuscripts that have never been printed were of no authority. But where has Hegner discovered that Nieuhoff was a Dutch copper-plate engraver, by which is meant a professed artist; or even though he had been such, would that circumstance vitiate his testimony? In his dedication to Lord William Benting the expressions allusive to his ardent love of the arts, seem to constitute him an amateur attempter of etching; for what he has left us in that way is indeed of a very subordinate character, and unworthy of a professed artist. He appears to have been one of the Dutchmen who accompanied King William to England, and to have had apartments assigned to him at Whitehall. At the end of his dedication to Lord W. Benting, he calls himself an old servant of that person's father, and subscribes himself "your and your illustrious family's most obedient and humble servant."

The identification of William Benting must be left to the sagacity of others. He could not have been the Earl of Portland created in 1689, or he would have been addressed accordingly. He is, moreover, described as a youth born at Whitehall, and then residing there, and whose dwelling consisted of nearly the whole of the palace that remained after the fire.

Again,--We have before us a person living in the palace of Whitehall anterior to its destruction, testifying what he had himself seen, and addressing one who could not be imposed upon, as residing also in the palace. There seems to be no possible motive on the part of Nieuhoff for stating an untruth, and his most clear and unimpeachable testimony is opposed by Hegner's wild and weak conjectures, and chiefly by the negative argument that a few strangers who visited England in a hasty manner have not mentioned the painting in question at Whitehall, amidst those inaccurate and superficial accounts of England which, with little exception, have been given by foreign travellers. Among these Hegner has selected Patin and Sandrart. Before adducing the former, he would have done well to have looked at his very imperfect and erroneous account of Holbein's works, in his edition of the [Greek: MORIAS EGKOMION] of Erasmus; and, with respect to the latter, the stamp of inaccuracy has been long affixed to most of the works he has published. He has mentioned, that being in company with Rubens in a Dutch passage boat "the conversation fell upon Holbein's book of cuts, representing the Dance of Death; that Rubens gave them the highest encomiums, advising him, who was then a young man, to set the highest value upon them, informing him, at the same time, that he in his youth had copied them."[139] On this passage Mr. Warton has well remarked that if Rubens styled these prints Holbein's, in familiar conversation, it was but calling them by the name which the world had given them, and by which they were generally known; and that Sandrart has, in another place, confounded them with the Basle painting.[140]

To conclude,--Juvenal's "hoc volo, sic jubeo, sit pro ratione voluntas," may be regarded as Herr Hegner's literary motto. He has advocated the vague traditions of unauthenticated Dances of Death by Holbein, and has made a most unjustifiable attempt to deprive that truly great artist of the only painting on the subject which really appears to belong to him. Yet, if by fair and candid argument, supported by the necessary proofs, the usual and long standing claim on the part of Holbein can be substantiated, no one will thereby be more highly gratified than the author of this dissertation.

ADDITIONS AND CORRECTIONS.

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

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

P. 112, l. ult. There is another work by Glissenti, intitled "La Morte innamorata." Venet. 1608, 24mo. with a dedication to Sir Henry Wotton, the English ambassador at Venice, by Elisabetta Glissenti Serenella, the author's niece; in which, after stating that Sir Henry had seen it represented, she adds, that she had ventured to have it printed for the purpose of offering it to him as a very humble donation, &c. It is a moral, dramatic, and allegorical fable of five acts, in which _Man_, to avoid _Death_, who has fallen in love with him, retires with his family to the country of _Long Life_, where he takes up his abode in the house of _the World_, by whom and his wife _Fraud_, who is in strict friendship with _Fortune_, he is apparently made much of, and calculates on being very happy. _Death_ follows the _Man_, and being unknown in the above region, contrives, with the aid of _Infirmity_, the _Man's_ nurse, to make him fall sick. The _World_ being tired of his guest, and very desirous to get rid of, and plunder him of his property, under pretence of introducing him to _Fortune_, and consequent happiness, enters into a plot with _Time_ to disguise _Death_, who is lodged in the same house with him, as _Fortune_, and thus to give him possession of the _Man_, who imagines that he is just about to secure _Fortune_. Each act of this piece is ornamented with some wood-cut that had been already introduced into the other work of Glissenti.

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

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

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

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

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

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

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

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

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

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

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

DESCRIPTION OF THE CUTS GIVEN IN THE DISSERTATION.

I. The frontispiece is a design for the sheath of a dagger, probably made by Holbein for the use of a goldsmith or chaser. The original drawing is in the public library at Basle. See some remarks on it in p. 133.

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

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

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

V. A fac-simile of one of the cuts to a very early edition, printed without date at Troyes by Nicolas le Rouge. It represents the story of the _trois morts et trois vifs_, and the vision of Saint Macarius. See pp. 33, 34, and 59.

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

DESCRIPTION OF THE LYONS WOOD-CUTS OF THE DANCE OF DEATH.

_The Copies have been made by MR. BONNER from the Cuts belonging to
the "Imagines Mortis, Lugduni sub scuto Coloniensi, 1547," 12mo. and
which have been usually ascribed to Holbein._

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

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

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

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

When Adam delv'd and Eve span
Where was then the gentleman?

"Maledicta terra in opere tuo, in laboribus comedes cunctis diebus vitae tuae, donec revertaris, &c." Gen. iii.

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

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

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

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

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

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

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

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

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

14. THE ABBOT. Death having despoiled him of his mitre and crosier, drags him away. The Abbot resists with all his might, and is about to throw his breviary at his adversary. "Ipse morietur, quia non habuit disciplinam, et in multitudine stultitiae suae decipietur."

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I

THE CREATION

Formavit Dominus Deus hominem de limo terrae, &c. _Gen._ i.

II

THE TEMPTATION

Quia audisti vocem uxoris tuae, et comedisti de ligno, &c. _Gen._ iii.

III

THE EXPULSION

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

IV

THE CONSEQUENCES OF THE FALL

Maledicta terra in opere tuo, in laboribus comedes cunctis diebus vitae tuae, donec revertaris, &c. _Gen._ iii.

V

A CEMETERY

Vae, vae, vae habitantibus in terra. _Apoc._ viii.

VI

THE POPE

Moriatur sacerdos magnus. _Josue_ xx.

VII

THE EMPEROR

Dispone domui tuae, morieris, enim tu, et non vives. _Isaiae_ xxxviii.

VIII

THE KING

Sicut et Rex hodie est, et cras morietur; nemo enim ex regibus aliud habuit. _Eccles._ x. _et Sapient._ vii.

IX

THE CARDINAL

Vae qui justificatis impium pro muneribus, et justitiam justi aufertis ab eo. _Isaiae_ v.

X

THE EMPRESS

Gradientes in superbia potest Deus humiliare. _Dan._ iv.

XI

THE QUEEN

Mulieres opulentae surgite, et audite vocem meam: post dies et annum, et vos conturbemini. _Isaiae_ xxxii.

XII

THE BISHOP

Percutiam pastorem, et dispergentur oves gregis. _Mat._ xxvi. _Mar._ xiv.

XIII

THE DUKE

Princeps induetur moerore, et quiescere faciam superbiam potentium. _Ezech._ viii.

XIV

THE ABBOT

Ipse morietur, quia non habuit disciplinam, et in multitudine stultitiae suae decipietur.

XV

THE ABBESS

Laudavi magis mortuos quam viventes. _Eccles._ iv.

XVI

THE GENTLEMAN

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

XVII

THE CANON

Ecce appropinquat hora. _Mat._ xxvi.

XVIII

THE JUDGE

Disperdam judicem de medio ejus. _Amos_ ii.

XIX

THE ADVOCATE

Callidus vidit malum, et abscondit se: innocens pertransiit, et afflictus est damno. _Prover._ xxii.

XX

THE MAGISTRATE

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

XXI

THE PREACHER

Vae qui dicitis malum bonum, et bonum malum: ponentes tenebras lucem, et lucem tenebras: ponentes amarum in dulce, et dulce in amarum. _Isaiae_ v.

XXII

THE PRIEST

Sum quidem et ego mortalis homo. _Sap._ vii.

XXIII

THE MENDICANT

Sedentes in tenebris, et in umbra mortis, vinctos in mendicitate. _Psal._ cvi.

XXIV

THE NUN

Est via quae videtur homini justa: novissima autem ejus deducunt hominem ad mortem. _Prover._ iv.

XXV

THE OLD WOMAN

Melior est mors quam vita. _Eccle._ xxx.

XXVI

THE PHYSICIAN

Medice, cura te ipsum. _Luc._ iv.

XXVII

THE ASTROLOGER

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

XXVIII

THE MISER

Stulte, hac nocte repetunt animam tuam: et quae parasti, cujus erunt? _Lucae_ xii.

XXIX

THE MERCHANT

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

XXX

THE SHIP IN A TEMPEST

Qui volunt ditescere, incidunt in tentationem et laqueum, et cupiditates multas, stultas, ac noxias, quae demergunt homines in exitium et interitum. _1 ad Tim._ vi.

XXXI

THE KNIGHT

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

XXXII

THE COUNT

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

XXXIII

THE OLD MAN

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

XXXIV

THE COUNTESS

Ducunt in bonis dies suos, et in puncto ad inferna descendunt. _Job_ xxi.

XXXV

THE NEW-MARRIED LADY

Me et te sola mors separabit. _Ruth_ i.

XXXVI

THE DUCHESS

De lectulo super quem ascendisti, non descendes, sed morte morieris. _4 Reg._ i.

XXXVII

THE PEDLAR

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

XXXVIII

THE HUSBANDMAN

In sudore vultus tui vesceris pane tuo. _Gen._ iii.

XXXIX

THE CHILD

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

XL

THE SOLDIER

Cum fortis armatus custodit atrium suum, &c. Si autem fortior eo superveniens vicerit eum, universa ejus arma aufert, in quibus confidebat. _Luc._ xi.

XLI

THE GAMESTERS

Quid prodest homini, si universum mundum lucretur, animae autem suae detrimentum patiatur? _Mat._ xvi.

XLII

THE DRUNKARDS

Ne inebriemini vino, in quo est luxuria. _Ephes._ v.

XLIII

THE IDEOT FOOL

Quasi agnus lasciviens, et ignorans, nescit quod ad vincula stultus trahatur. _Prover._ vii.

XLIV

THE ROBBER

Domine, vim patior. _Isaiae_ xxxviii.

XLV

THE BLIND MAN

Caecus caecum ducit: et ambo in foveam cadunt. _Matt._ xv.

XLVI

THE WAGGONER

Corruit in curru suo. _1 Chron._ xxii.

XLVII

THE BEGGAR

Miser ego homo! quis me liberabit de corpore mortis hujus? _Rom._ vii.

XLVIII

THE LAST JUDGMENT

Memorare novissima, et in aeternum non peccabis. _Eccle._ vii.

XLIX

ALLEGORICAL ESCUTCHEON OF DEATH

MARKS OF ENGRAVERS.

[monogram: G S.] 41, 117

[monogram: HL] 93, 97, 98, 100, 111, 113, 114, 215, 235

[monogram: H =N=] 100

[monogram: S.] 113

[monogram: SA] 113, 114, 115, 116, 127, 130, 136, 174

[monogram: W] 117

[monogram: cross] 117

[monogram] 118

[monogram: A] 124

[monogram: UH] 125

[monogram: WH] 125

[monogram: HB] 126

[monogram: HH] 126

[monogram: HHolbein] inv. 126, 129

H. HOLBEIN, inv. 126.

[monogram: W.] 130

[monogram: L B.f.] 130

[monogram: CI] 147, 248

[monogram: AC] 160, 190

[monogram: HF] 184

[monogram: L] 189

[monogram: VG] 189

[monogram] 190

[monogram] 190

[monogram] 191

[monogram: HM] 191

[monogram] 191

[monogram: BAD] 193

[monogram: I. F.] 219

[monogram] 223

[monogram: HS] 226

These are the marks erroneously given to Holbein,

BI.
Hf.
[monogram: HL]
[monogram: HL B.]
[monogram: HB.]
[monogram: HH.]

And these the marks which really belong to him,

HH.
HANS HOLB.
HANS HOLBEIN.
[monogram: 1519 HF]
[monogram: HF]
II H.
HANS HOLBEN.
[monogram: AH 1517]
[monogram: H [symbol] H]
[monogram: H-H]

INDEX.

A.

AEmylius, Geo. his verses, 84.

Alciatus, his emblems the earliest work of the kind, 180.

Aldegrever, his Dance of Death, 160.

Almanac, a Swiss one, with a Dance of Death, 76, 209.

Alphabets, several curious, 100, 214, 217.

Amman, Jost, a Dance of Death by him, 41.

Ars moriendi, some account of the last edition of it, 173.

Athyr, "Stamm-und Stechbuchlein," a rare and singular book of emblems,
180.

B.

Baldinucci, a mistake by him corrected, 235.

Basle, destruction of its celebrated painting of the Dance of Death, 39.
engravings of it, 41.

Beauclerc, Lady Diana, her ballad of Leonora, 210.

Bechstein, Ludwig, his edition of the Lyons' wood-cuts, 136.

Beham, Barthol., his Dance of Death, 190.

Bernard, le petit, his fine wood-cuts to the Old Testament, 173.

Berne almanac, a Dance of Death in one of them, 154.

Bock, Hans, not the painter of the Basle Dance of Death, 39.