Moirs Scwtrci IwoTiel/us cm r rat. Digitized by the Internet Archive in 2012 with funding from Duke University Libraries http://archive.org/details/dancesofdeaththr01holb THE • DANCES OF DEATH, THROUGH THE VARIOUS STAGES OF HUMAN LIFE: WHEREIN The Capriciousness of that Tyrant is exhibited: IN DONE FROM THE ORIGINAL DESIGNS, WHICH WERE CUT IN WOOD, AND AFTERWARDS PAINTED, BV 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. Go s NELL, Little Queen Street, Holborn, FOR JOHN SCOTT, NO. 447, STRAND; AND THOMAS OSTELL, NO. 3, AVE MARIA LANE. 1803. ¥^9 7^^:^ 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 j so that he so(bn 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 3 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 our Saviour's Sufferings, as well as a Dance of Peasants. , Abbe du Bos observes, that the altar-piece at Basil, painted by Holbein, may be compared with the best productions of Ra- phael's disciples for composition, and preferred to them with respect to colouring j 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 5 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. I r/// //iif/i/n///ii /////III /■/■/////i/////f///,////'Si ///////I fs tif />/f /////// n-i/r//// try •////, /'■■;tf i// //}/: PLATE 11. — 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 Eve, who shews hitn the one she has received. Quia audisti vocem uxoris tuae, et comedisti de ligno, ex quo praeceperam tibi, Ne comederes, &c. Gen. iii. ^7. PLANCHE II. — LE PECHE, XTOLBEiN a commence ces scenes de la vie par celle qui eut tant d'influence sur tontes 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, 8c Adam en cueille en meme terns une autre, excite par les sollicitations de la trop credule Eve, qui lui montre celle qu'elle a re^ue. 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 I'Ange, 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. . J^OR S. T^j nufU ea?n Donii?iusDer/s rle ai^ra^'so vo/u- ot/^h a.i'f^ tiu eraref" r h r/ri HK(li '/i(fi In //iptu^: ^ i-i-\-. rrr. I ■' J PLATE IV. — CONDEMNATION TO LABOUR. xJoLBEiNj 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 meme terns le genre de travail qui est le parlage de I'homme, & celui qui est lepartage de la femme, represente Adam occupe a deraciner un arbre, avec la Mort qui I'aide de toutes ses forces, & un peu plus loin, Eve allaitant son enfant Sc 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 & trois eveques assistent a cette ceremoniej la Mort s'y trouve aussi sous la figure de deux squelettes, dont I'un est revetu des habits de cardinal ; I'autre embrasse le St. Pere de la main droite, et s'appuie de la gauche sur une bequille. Vic ijiii /iist/firiifi^ i/iii>iii ,>ii iJ/( //nnii /il II s, -V imlifiii IN ' iiisli (III fi / lis I'l/' (/'. £,yALlE V. 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, which the new-made cardinal holds in his right hand with the seals appended to it. Vae qui justificatis impium pro muneribus, et justitiam justi aufertis ab eo. Isa. v. 23. PLAKCHE VI. -- LE CARDINAL. XJN messager vient de lui remettre, en faisant une genuflexion, la bulle qui le fait cardinal. La Mort sal sit ce moment pour paroitre, et semble vouloir lui faire tourner son chapeau sur la tete. Le messager tient de la main droifc ime boite de fer-blanc, pendu a une courroie, et dans laquelle il avoit sans doute apporte la buHe, que le cardinal nouveliement cree tii;nt a la main droite ^vec les sceaux y affixe. 2 PLATE VI. — THE ELECTOR. 1 HIS prince, as he is coming out of his palace with hia 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, and is turning aside with a disdainful air to his courtiers. Death at this instant appears ; and his severe aspect announces, that he is just about to make him repent his hard-heartedness. Princeps induetur rticerore, et quiescere faciam superbiam po- tentium. Ezek. vii. 24, 27 1 PLANCHE Vn. — L'ELECTEUR. Ce prince sortant de son palais avec ses courtisans, est aborde par une pauvre femme qui implore son secours, pour elle & pour I'enfant qu'elle tient par la main ; mais insensible aux besoins de la veuve & de I'orphelin, il refuse de Tecouter, & se toume d'un air dedaigneux du c6te de ses courtisans. La Mort paroit dans cet instant, & son air severe annonce qu'elle va le faire repentir de la durete. PLATE VIII. — THE BISHOP. yViTH an air of tranquillity and resignation, this worthy Pastgr 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. Percutiam pastorem, et dispergentur oves gregis. ]Vf att. xxvi. 31 . PLANCHE VIII. — L* EVEOUE. D'uN air de tranquillite & de resignation ce bon Pasteur suit la Mort, qui I'emmene en riant et en dansant, tandis que quelques bergers, oubliant leur troupeau, errent 9a & la dans la campagne, desesperes 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 feroccs. c lO 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 I'eglise, la Mort I'aborde, & en lui montrant un sable ecoule, lui annonce que son heure est venue. II paroit que c'est un dignitaire du premier rang, puis- qu'il est suivi d'un page, d'un veneur qui porte un faucon sur le poing, & d'un bouffon. Erre ^//y.y / vf.'/ r/quat /t{?ra. 2£^T. JOCVI. SMffihs I /I fnu:/'ns,kin in/i/nu ///r/i/s.rin. rtfs l/i /fi//N//(yh/h . FSALflY. 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 raendicitate. Psal. cvi. 10. PLANCHE X. — LE FRERE aUETEUR. Pret a rentrer dans son couvent avec sa tire-lire & sa besace, la Mort I'arrete a la porte, & toute aussi sourde a ses cris, qu'in- sensible a I'eiFroi qu*elle lui cause, elle le tire de toutes ses forces par son capuchon, & rend impuissans les eiforts du bon Frere pour se derober de ses mains. C 2 22 PLATE XI. — THE ABB^. 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 disciplinam, et in multitudine stultitiae suae decipietur. Prov. v. 23. PLANCHE 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 j il eleve d'une main son breviaire, & fait de I'autre de vains efforts pour la repousser. Ipse mf^nflaKQUta rwfihMiiildisapluumvM rn iw/ftdm/xfuflulfitkefiice eUcifiu.tn/r.PROVER'^ hs.JECCLE.JV: 13 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 di verses plumes flottantes, & 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 I'alteration de ses traits & par ses cris, I'efFroi que la Mort a jete dans son ame. On voit derriere elle, sous la porte de I'abbaye, une jeune Nonne vivement agitee par la crainte & par la douleur. 14 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. Vas qui dicitls malum bonum, et bonum malum : ponentes tenebras lucem, et lucem tenebras : ponentes amarum in dulce, & dulce in amarum. Esaiae v. 20. PLANCHE XIIT. — LE PREDICATEUR. Tandis qu'il preche son auditoire, la Mort qui est derriere lui, une etole au cou, eleve par-dessus sa tete im os de mort, & en la montrant a I'assemblee lui fait sans doute le plus eloquent de tous les sermons. ,/,f/,;. K-./u/r. /?v It. in. V. .SV//?/ f,Nu/'/" •< •'"■/■ "" rOff'S /"»"•■ 'SM/'. VTI «• ^5 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 volt 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 gar9on 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 is presenting to him in a phial, and appears saying, in a jeering manner. Dost thou think that thou art able to save a man 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 Purine dans une phiole, & paroit lui dire d'un air moqueur; Crois-tu pouvoir sauver un homme que je tiens deja en ma puis- sance ? ■^.■,^-^-.^^,^ 1 i 1 ^1 ni^ m ^SsaM I^^^^H KJ ^^ Wmi HKj^^t^M ^P m »^M^B s » fi WW 1 ^.i^^S i|ii ^9^& M 1^ 'M ^ mM ri ^m H ^|^?«Wilig g''*aa^l^^^'-^^g^^B^Kj| ^gf Medico ai?ate ipsu }n. LVCAE. mi. 17 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. Tunc quod nasciturus esses ? & numerum dierum tuorum noveras ? Job xxxviii. i8, 2i« PLANGHE XVr. •— L* ASTROLOGUE. XL a les yeux fixes sur une sphere suspendue au plancher, & paroit profondement occupe des vaines chimeres de I'astrologie judiciaire, tandis que la Mort vient tourner son attention sur une tete de mort, qu'elle lui presente dans I'attitude la plus grotesque, & semble lui dire d'un ton railleur ; Ton art sublime a-t-il pu 4'apprendre que je viendrois te rendre aujourd'hui cette visite ? D i8 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 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 tuas, quia morieris tu, et non vives. Isaias xxxviii. i. Ibi morieris, et ibi erit currus glorias tuae. Isaize xxii. i8. PLANCHE Xyil. — L'EMPEREUR. Assis sur son trone, & tenant dans sa main le glaive de I'em- pire, il ecoute attentivement un avocat qui plaide d'un ton doucc- reux contre un malheureux paysan, tandis que celui-ci attend en tremblant, & dans la posture la plus suppliante, I'arret qui doit decider de son sort. La Mort developpe en ce moment toute sa puissance ; elle occupe fierement la fond du trone, & appuie nonchalemment son bras sur la couronne du Monarque. L'air irrite avec lequel le Chef de I'Empire regarde I'avocat & ses deux cliens qu'on voit, la tete decouverte, a cote de leur defen- seur, est d'un heureux presage pour le pauvre opprime. On vait au bas du trone le sceptre & le globe de I'empire poses sur un coussin. La Mort a place son sable fatal a cote de ces attributs d'une grandeur qu'elle peut fair evanouir a son gre. Dispone d/zmta tii(K.^ru>n£j'is em?n tu. Sewn.' Svcut SCltex hodie est.kcms moruLa \ nemo tjuni' ex realbf4.s a/iud habi'it. 19 PLATE XVIII. — THE KING. JHe 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 out 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, 8c fait en ce moment I'office d'echanson. EUe verse a boire au Monarque qui lui tend sa large coupe, qu'il va vraisemblablement Yuider pour la derniere fois, Ce Prince tient de la main gauche un papier, sans doute un placet qu'on vient de lui remeltre. Da Id PLATE XIX. — THE EMPRESS. In the midst of a pompous march, in the court of a great palace. Death, who seems here to do the office of gentleman-usher, leads this Princess to the brink of a grave, and shews her the bounds within which all her grandeur is to be confined. Gradientes in superbia potest Deus humiliare. Daniel, iv. 34. PLANCHE XIX. — L'IMPERATRICE. Au milieu d'une marche pompeuse, dans la cour d'un vaste palais, la Mort qui paroit faire ici I'office d'ecuyer, amene cette Princesse jusqu'au bord d'une fosse sepulcrale, pour lui faire voir le terme auquel toutes ses grandeurs viendront aboutir. r-rflt/f/f'/m/ilf. r.f/iMrJ. wxjt. 21 PLATE XX. — THE QUEEN. DeatA, 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 surglte, & audita vocem meam : post dies enim & annum, vos conturbabimini confidentes. Isaias xxxii. 9, lo. PLANCHE XX. — LA REINE. La Mort revetue des habits de la folic, 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 I'accompagne, agltee 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 I'heure fatale est arrivee. 22 PLATE XXI. — THE DUTCHESS. Death, in the shape of two hideous skeletons, comes to sur-* prise her as she is lying softly on an elegant bed. One of the skeletons awakes her with the sound of a violin, while the other is pulling off her bed-clothes, making frightful grimaces. De lectulo, super quem ascendisti, non descendes, sed morte morierls. 4 Reg. i. 4. PLANCHE XXI. — LA DUCHESSE. Sous la figure de deux sequelettes hideux, la Mort vient la surprendre, moUement couchee sur un lit elegant. L'un des squelettes la reveille au son d'un violon, tandis que I'autre lui arrache sa couverture en faisant d'effroyables grimaces. Diuunt m hm (^fu/?s,icc?ip(/nde ad 23 PLATE XXII. — THE COUNTESS. She is wholly taken up with the care of her dresSj 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 infema descendunt. Job xxi. 13. PLANCHE XXII. — LA COMTESSE. Elle n'est occupee que du soin de sa parure, & revolt avec empressement, des mains d'une de ses femmes, un habillement tres-riche avec une chaine d'or. La Mort vient troubler sa toilette, & lui a deja passe autour du cou, sans qu'elle s'en soit encore apper^ue, un collier fait de petits os de mort. H PLATE XXIII. — THE NEW-MARRIED PAIR. 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 ihe et te separaverit. Ruth i. 17. PLANCHE XXIII. — LES NOUVEAUX MARIES. Dans les premiers transports d'une douce union, ces deux tendres epoux pafoisscnt tellement occupes Tun de Tautre, ils sont si enivres de leur bonheur 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 Kkfi la .Mcrsppa nihit. R Ttth.i. Estvui.qua I '(detu/'Ju>nvtujiista:ru)iisi/nu i'!fA/;emaus df/ifiomt /irmi/ihn nf/m/tf /•>/(. rnf'VKn.rr. ^5 PLATE XXIV. — THE CANONESS. 1 HERE appears in this young and beautiful recluse, a striking mixture of gallantry and devotion. On her knees before a little altar, with her rosary in her hand, she is amorously listening to the songs which a young man, seated on 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, quae videtur homini justa : novissima autem ejus de- ducunt hominem ad mortem. Prov. xiv. I2. PLANCHE XXIV. — LA CHANOINESSE. L'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 I'autel, & changer en amertume les douceurs de ce tete-a-tete. B i6 PLATE 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. Quorjiam cum jnterierit, non sumet omnia : neque descendet cum eo g'loria ejiis. Psal. xlvii. i8. PLANCHE XXV. -- LE COMTE. L/A Mort ajoute ici a Texercice de son emploi accoutume celui de vengeur de vassaux opprimes ; elie jette avec violence a la tete de ce Seigneur ses amioiries, I'objet 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 j on pent encore remarquer a terre, les debris du casque dont ces armoiries etoient surmontees avec d'autres ornemens qui les decoroient. % ' ■' ■ ./tit >:<.<■'■- •■ ' 27 V 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, &c 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 trouvef son maitre. La Mort I'a 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. E 2 28 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 scparer pour toujours de ses possessions, & de son beau chateau qui paroit dans le lointain ; mais la Mort inexorable a deja place pres de lui la biere fatale ou elle va le faire entrer. ud (i/ufji/rni siif//// f/r //I'll/" nifin p^sai. 88 m^ C'lt>/> /r'/ltis a f7/"rfuis riislmfit nhin,,i /iid //I. rrf, i'r ri'/fr/,, rr'',-^lo,rc/'ulje,li,/,i,)is I'li; ,il rll, ,'/nliril?i 29. PLATE XXVni. — 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 ffiving; 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. Lucaexi. 21, 22. PLANCHE XXVIII. — LE SOLD AT SUISSE. SuR un champ de bataille jonche de cadavres, la Mort armee d'un bouclier & d'lin grand javelot, atlaque 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 apper9oi^ una autre Mort qui bat du tambour en courrant, & qui est suivie de quelques soldats. 30 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. Il paroit que ce suppot de Themis, oubliant la dignite de sa place, s'abandonne sans pudeur a I'iniquite. II tend la main a I'or 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 craintivc 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. Disjji /y/r/i/t i//(//,w/// ,/( ,/1,,/u ,/,/ i^ Qui (i/itii f'tt nil /y/ii /(III //t 111/ r/rniinri /ii iji/i/ l.ii i-l.sA'l/J.lf r/il /I'll! 1 1 . \' III II i.viilullrhi ,: rnrt'K/i 31 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 louche doucement Tepaule, & demand© dans I'attitude la plus suppliante a etre ecoute. La Mort in- dignee semble sortir de terre, pour mettre fin a cette conversation interessee. 34 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 3 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 of insult, his sand run out. Callidus vidit malum, & abscondit, sed innocens pertransiit & afflictus est damno. Prov. xxii. 3. PLANCHE XXXI. — L'AVOCAT. i^E sujet se rapporte au No. 29. L'exemple du Juge semble au- toriser I'Avocal a se faire payer cherement ses prevarications, & cela me me en presence de son pauvre client qui se tient dans un certain eloignement, & dont I'etat miserable feroit pitie a une ame moins dure que celle de I'homme de loi. Mais la Mort vengera I'opprime ; elle verse abondamment dans les mains de I'Avocat de I'argent dont il ne profitera guere, car elle lui montre en meme tems d'un air moqueur son sable ecoule. -Tm ('a-lliclits^^j.tlit maltrui.,'srj|jscojidi1 se luao- i\spertrans(it^,iffllptii, rsi j/d/~egaf f/jt/cnc?x?s li nam' tfi'/i'^tirt/, .\ronTT.s. riK<)\'Ki\.ycxT. 3i PLATE XXXII. — THE MERCHANT. Escaped from the dangers of the sea, and safely arrived in port, this rich Merchant believes himself now in perfect safety j 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 8c a traiter de leur vente, un mauvais chaland, la Mort elle-meme, ar- rive, & ce n'est que de sa personne qu'elle veut faire emplette. F 34 PLATE XXXIII. —THE HAWKER. Bending under the weight of his load, he is advancing, with a quick pace, to the neighbouring town, comforting himself with thinking on the gain he is to make there ; but Death, in the form of two skeletons, is come to put a sudden end to his labours and his hopes. One of the skeletons is dragging him forcibly by ihe 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. CouRBE sous le poids de sa charge, il avance a grands pas vers le lieu voisin, 8c 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. L'un des squelettes le tire avec force par le bras, tandis que I'autre joue derriere lui de la trorapette marine. C'est en vain que le pauvre Colporteur montre des doigts I'endroit ou ses affaires I'appellent, cette facheuse compagnie paroit vouloir lui faire prendre une autre route. \ Iniie rul. mt (rm.7us.qui labcrraUa ic on/- rah estia 'SfATT'TT IXTT 35 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 3 his head has all the features with which Socrates is usually re- presented. Qui volunt ditescere incidunt in tentationem & laqueum, & cupiditates multas stultas & noxias, quae 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 5 elle brise elle-meme le mat d'un vaisseau violemment agite 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, F 2 36 PLATE XXXV.— THE WAGGONER. We 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 : & ambo in foveam cadunt. Matth. xv. 14. PLANCHE XXXV. — LE VOITURIER. On voit Ici la Mort exercer ses bizarres fureurs sur un char de 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. Corrait in a^rmfi^. ICHR0M:SXZI. In^fudrrc fu/fustHi jj^/trr/s/u/ /// /"///■>. 37 PLATE XXXVI. — THE HUSBANDMAN. iVere 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 sudorevultus tul 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, 8c cette ennemie du genre humain ne sauroit lui porter des coups plus sensibles qu'en I'attaquant dans les sources de sa subsistance. s^ PLATE XXXVII. — 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 wheredf Death is snatching up before his eyes. This loss excites in him all the symptoms of the most violent desperation, and it plainly appears that his gold is an hundred times dearer to his heart than his life. Stulte, hac nocte repetunt animam tuam : & quae parasti, cuju3 erunt ? Lucje xii. 20.. PLANCHE XXXVII. — L'AVARE. LlL caractere de I'Avare est rendu dans ce dessein avec beau- coup d'energie. Renferme dans un caveau qui ne re^oit du jour que par une lucarne garnie d'une double grille d'epais barreaux de fer, il n'est occupe que de son cher tresor, dont la Mort lui enleve a ses yeux un portion tres-consjderable. Cette perte excite en lui tons les symptomes du plus violent desespoir, Sc Ton Voit bien que son or lui ticnt cent fois plus a coeur que la vie. l^OM^nsrE, ,.c,t/ /.jaf,,',: ESAlAE.X3CKVnj: 39 PLATE XXXVIII. — THE HIGHWAY ROBBER. jLhis 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 3 but, fortunately for the poor woman. Death comes to her assistance ; and laying bold 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 bis crimes. ...... Quasi agnus lasciviens 8c ignorans, nescit c^uod 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 heureusement pour la pauvre femme, la Mort vient a son se- cours, & en se saisissant du Voleur elle ne previent peut-etre que de quelques jours le bourreau, qui lui auroit fait porter sur un echaffaut la peine de ses crimes. 40 PLATE XXXIX. — THK DRUNKARDS. JDebaucherv, 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. i8. PLANCHE XXXIX. — LES YVROGNES. LiA debauche & surtout les exces de la boisson fournissent sans ccsse a la Mort des amies puissantes pour exercer ses ravages. On la voit ici qui entonne le vin a grands flots dans le gozier d'un de ces Yvrognes, 8c la plus grossiere crapule preside a cette degoutante orgic. 2V.fi.inqu; H f^ w ^\ ^;JI % L\ H^'i^ES % ffl fe ^9^0 jHSj^H jH 1 1 1 ^J^ ^SB^H^^s 1 1 1 ^^^^S l^^^^^^^^^p§-gij ^^IM^^ II ^ f^y ' Me/m' fst . MoR s. qua /// T 'tea . E CCLK.XKK. 43 PLATE XLII. — 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 XLIL — LA VIEILLE. L.E visage rechignc de cette bonne Vieille n'annonce pas la meme resignation que dans le sujet precedent. Toute occupee a marmotter son rosaire, elle ne prete aucune attention au son du timpanon dont joue I'une de ses conductrices. L'autre sque- lette impatient de la lenteur que la bonne Vieille met dans sa marche, emploie les menaces & les coups pour la faire avancer. G 2 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. • • • • » k Domine vim patidr. Isaiaexxxviii, 14. Caeci sunt, & duces cascorum. Caecus autem si caeco ducatum prasstet, ambo in foveam cadunt. Matth. xv. 14. PLANCHE XLIII. — L'AVEUGLE. Ce pauvre Aveugle suit d'un air chagrin son nouveau conducteur qui le mene impitoyablement par les plus mauvais chemins j en vain veut-il eviter, en tatonnant, les obstacles qui s'opposent a sa marche forcee ; il n'evitera pas le terme fatal ou la Mort le fconduit, et qui ne sera dans le fond que celui de ses niaux. f porr /jwrt/.! /////' f/.s-.R r'M.VTI. 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 iat him without ever thinking of relieving his distress. Death, hot less cruel thai^ 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 I'etat le plus deplorable, estropie, expose ptesque nud 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 moins 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 I'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. 4'6 PLATE XLV. — THE CHILD. If under the roof of poverty there isany comfort, it Is in having children, by whom we may hope one day to be solaced. This Is the case with this poor widow j but Death Is of a different opinion, and is come to carry off her youngest Child, unmoved by her prayers and lamentations. Homo liatus de muliere, brevi vivens tempore, repletur multls miseriis : qui quasi flos egreditur & conterilur, & fugit velut timbra. 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 soulage. d'est le cas de cette pauvre veuve, mais la Mort n'est point de •cet avis, & vient de lui enlever le plus petit sans se laisser flechir, ni par ses prieres ni par ses lamentations. Hivn/i natas ({f viulien , hni/ riiuns teniprrf, irpktiir midbs m^i/s.qiu quusi fifs t/jmlitiir. k'rfnt