{"collection":"Project Gutenberg Archive","html_url":"https://unchartedknowledge.5gfusion.net/browse/jbh2yr/21790-h.htm","path":"jbh2yr/21790-h.htm","source_url":"https://sacred-texts.com/jbh2yr/21790-h.htm","text":"The Project Gutenberg EBook of The Dance of Death, by Hans Holbein\n \n This eBook is for the use of anyone anywhere at no cost and with\n almost no restrictions whatsoever. You may copy it, give it away or\n re-use it under the terms of the Project Gutenberg License included\n with this eBook or online at www.gutenberg.org\n \n \n Title: The Dance of Death\n \n Author: Hans Holbein\n \n Commentator: Austin Dobson\n \n Release Date: June 10, 2007 [EBook #21790]\n \n Language: English\n \n Character set encoding: ISO-8859-1\n \n *** START OF THIS PROJECT GUTENBERG EBOOK THE DANCE OF DEATH ***\n \n \n \n \n Produced by David Garcia, Juliet Sutherland and the Online\n Distributed Proofreading Team at https://www.pgdp.net\n \n \n \n \n \n \n \nOf this edition Seven hundred and fifty copies have been printed, of which this is Number \u202671\u2026\n New York\n Scott-Thaw Company\n mcmiii\n \n Copyright, 1903, by\n Scott-Thaw Company\n \nThe Heintzemann Press, Boston\n\"Les Simulachres & Histori\u00e9es Faces de la Mort avtant elegamtment pourtraictes, que artificiellement imagin\u00e9es.\" This may be Englished as follows: The Images and Storied Aspects of Death, as elegantly delineated as [they are] ingeniously imagined. Such is the literal title of the earliest edition of the famous book now familiarly known as \"Holbein's Dance of Death.\" It is a small quarto, bearing on its title-page, below the French words above [6] quoted, a nondescript emblem with the legend Vsus me Genuit, and on an open book, Gnothe seauton. Below this comes again, \"A Lyon, Soubz l'escu de Coloigne: M. D. XXXVIII,\" while at the end of the volume is the imprint \"Excvdebant Lvgdvni Melchoir et Gaspar Trechsel fratres: 1538,\"\u2014the Trechsels being printers of German origin, who had long been established at Lyons. There is a verbose \"Epistre\" or Preface in French to the \"moult reuerende Abbesse du religieux conuent S. Pierre de Lyon, Madame Iehanne de Touszele,\" otherwise the Abbess of Saint Pierre les Nonnains, a religious house containing many noble and wealthy ladies, and the [7] words, \"Salut d'un vray Z\u00e8le,\" which conclude the dedicatory heading, are supposed to reveal indirectly the author of the \"Epistre\" itself, namely, Jean de Vauzelles, Pastor of St. Romain and Prior of Monrottier, one of three famous literary brothers in the city on the Rhone, whose motto was \"D'un vray Zelle.\" After the Preface comes \"Diuerses Tables de Mort, non painctes, mais extraictes de l'escripture saincte, color\u00e9es par Docteurs Ecclesiastiques, & umbrag\u00e9es par Philosophes.\" Then follow the cuts, forty-one in number, each having its text from the Latin Bible above it, and below, its quatrain in French, this latter being [8] understood to be from the pen of one Gilles Corozet. To the cuts succeed various makeweight Appendices of a didactic and hortatory character, the whole being wound up by a profitable discourse, De la Necessite de la Mort qui ne laisse riens estre pardurable. Various editions ensued to this first one of 1538, the next or second of 1542 (in which Corozet's verses were translated into Latin by Luther's brother-in-law, George Oemmel or Aemilius), being put forth by Jean and Fran\u00e7ois Frellon, into whose hands the establishment of the Trechsels had fallen. There were subsequent issues in 1545, 1547, 1549, 1554, and 1562. To the [9] issues of 1545 and 1562 a few supplementary designs were added, some of which have no special bearing upon the general theme, although attempts, more or less ingenious, have been made to connect them with the text. After 1562 no addition was made to the plates.\nFrom the date of the editio princeps it might be supposed that the designs were executed at or about 1538\u2014the year of its publication. But this is not the case; and there is good evidence that they were not only designed but actually cut on the wood some eleven years before [10] the book itself was published. There are, in fact, several sets of impressions in the British Museum, the Berlin Museum, the Basle Museum, the Imperial Library at Paris, and the Grand Ducal Cabinet at Carlsruhe, all of which correspond with each other, and are believed to be engraver's proofs from the original blocks. These, which include every cut in the edition of 1538, except \"The Astrologer,\" would prove little of themselves as to the date of execution. But, luckily, there exists in the Cabinet at Berlin a set of coarse enlarged drawings in Indian ink, on brownish paper, of twenty-three of the series. These are in circular form; and were [11] apparently intended as sketches for glass painting. That they are copied from the woodcuts is demonstrable, first, because they are not reversed as they would have been if they were the originals; and, secondly, because one of them, No. 36 (\"The Duchess\"), repeats the conjoined \"H.L.\" on the bed, which initials are held to be the monogram of the woodcutter, and not to be part of the original design. The Berlin drawings must therefore have been executed subsequently to the woodcuts; and as one of them, that representing the Emperor, is dated \"1527,\" we get a date before which both the woodcuts, and the designs for the woodcuts, [12] must have been prepared. It is generally held that they were so prepared circa 1524 and 1525, the date of the Peasants' War, of the state of feeling excited by which they exhibit evident traces. In the Preface to this first edition, certain ambiguous expressions, to which we shall presently refer, led some of the earlier writers on the subject to doubt as to the designer of the series. But the later researches of Wornum and Woltmann, of M. Paul Mantz and, more recently, of Mr. W. J. Linton leave no doubt that they were really drawn by the artist to whom they have always been traditionally assigned, to wit, Hans Holbein the younger. He [13] was resident in Basle up to the autumn of 1526, before which time, according to the above argument, the drawings must have been produced; he had already designed an Alphabet of Death; and, moreover, on the walls of the cemetery of the Dominican monastery at Basle there was a famous wall-painting of the Dance of Death, which would be a perpetual stimulus to any resident artist. Finally, and this is perhaps the most important consideration of all, the designs are in Holbein's manner.\nBut besides revealing an inventor of the highest order, the Dance [14] of Death also discloses an interpreter in wood of signal, and even superlative, ability. The designs are cut\u2014to use the word which implies the employment of the knife as opposed to that of the graver\u2014in a manner which has never yet been excelled. In this matter there could be no better judge than Mr. W. J. Linton; and he says that nothing, either by knife or by graver, is of higher quality than these woodcuts. Yet the woodcutter's very name was for a long time doubtful, and even now the particulars which we possess with regard to him are scanty and inconclusive. That he was dead when the Trechsels published the book in 1538, must [15] be inferred from the \"Epistre\" of Jean de Vauzelles, since that \"Epistre\" expressly refers to \"la mort de celluy, qui nous en a icy imagin\u00e9 si elegantes figures\"; and without entering into elaborate enquiry as to the exact meaning of \"imaginer\" in sixteenth-century French, it is obvious that, although the deceased is elsewhere loosely called \"painctre,\" this title cannot refer to Holbein, who was so far from being dead that he survived until 1543. The only indication of the woodcutter's name is supplied by the monogram, \"HL\" upon the bedstead in No. 36 (\"The Duchess\"); and these initials have been supposed to indicate one Hans Lutzelburger, or [16] Hans of Luxemburg, \"otherwise Franck,\" a form-cutter (\"formschneider\"), whose full name is to be found attached to the so-called \"Little Dance of Death,\" an alphabet by Holbein, impressions of which are in the British Museum. His signature (\"H. L. F. 1522\") is also found appended to another alphabet; to a cut of a fight in a forest, dated also 1522; and to an engraved title-page in a German New Testament of the year following. This is all we know with certainty concerning his work, though the investigations of Dr. \u00c9douard His have established the fact that a \"formschneider\" named Hans, who had business transactions [17] with the Trechsels of Lyons, had died at Basle before June, 1526; and it is conjectured, though absolute proof is not forthcoming, that this must have been the \"H. L.,\" or Hans of Luxemburg, who cut Holbein's designs upon the wood. In any case, unless we must assume another woodcutter of equal merit, it is probable that the same man cut the signed Alphabet in the British Museum and the initialed Dance of Death. But why the cuts of the latter, which, as we have shown above, were printed circa 1526, were not published at Lyons until 1538; and why Holbein's name was withheld in the Preface to the book of that year, are still unexplained. [18] The generally accepted supposition is that motives of timidity, arising from the satirical and fearlessly unsparing character of the designs, may be answerable both for delay in the publication and mystification in the \"Preface.\" And if intentional mystification be admitted, the doors of enquiry, after three hundred and fifty years, are practically sealed to the critical picklock.\nThe Dance of Death has been frequently copied. Mr. W. J. Linton enumerates a Venice reproduction of 1545; and a set (enlarged) by Jobst Dienecker of Augsburg in 1554. Then there [19] is the free copy, once popular with our great grandfathers, by Bewick's younger brother John, which Hodgson of Newcastle published in 1789 under the title of Emblems of Mortality. Wenceslaus Hollar etched thirty of the designs in 1651, and in 1788 forty-six of them were etched by David Deuchar. In 1832 they were reproduced upon stone with great care by Joseph Schlotthauer, Professor in the Academy of Fine Arts at Munich; and these were reissued in this country in 1849 by John Russell Smith. They have also been rendered in photo-lithography for an edition issued by H. Noel Humphreys, in 1868; and for the [20] Holbein Society in 1879. In 1886, Dr. F. Lippmann edited for Mr. Quaritch a set of reproductions of the engraver's proofs in the Berlin Museum; and the editio princeps has been facsimiled by one of the modern processes for Hirth of Munich, as vol. x. of the Liebhaber-Bibliothek, 1884.\nThe copies given in the present issue are impressions from the blocks engraved in 1833 for Douce's Holbein's Dance of Death. They are the best imitations in wood, says Mr. Linton. It is of course true, as he also points out, that a copy with the graver can never quite faithfully follow [21] an original which has been cut with the knife,\u2014more especially, it may be added, when the cutter is a supreme craftsman like him of Luxemburg. But against etched, lithographed, phototyped and otherwise-processed copies, these of Messrs. Bonner and John Byfield have one incontestable advantage: they are honest attempts to repeat by the same method,\u2014that is, in wood,\u2014the original and incomparable woodcuts of Hans Lutzelburger.\n \"Contra vim Mortis\n Non est medicamen in hortis.\"\n \nHe is the despots' Despot. All must bide,\nLater or soon, the message of his might;\nPrinces and potentates their heads must hide,\n[24]\nTouched by the awful sigil of his right;\nBeside the Kaiser he at eve doth wait\nAnd pours a potion in his cup of state;\nThe stately Queen his bidding must obey;\nNo keen-eyed Cardinal shall him affray;\nAnd to the Dame that wantoneth he saith\u2014\n\"Let be, Sweet-heart, to junket and to play.\"\nThere is no king more terrible than Death.\nThe lusty Lord, rejoicing in his pride,\n[25]\nHe draweth down; before the arm\u00e8d Knight\nWith jingling bridle-rein he still doth ride;\nHe crosseth the strong Captain in the fight;\nThe Burgher grave he beckons from debate;\nHe hales the Abbot by his shaven pate,\nNor for the Abbess' wailing will delay;\nNo bawling Mendicant shall say him nay;\nE'en to the pyx the Priest he followeth,\nNor can the Leech his chilling finger stay ...\nAll things must bow to him. And woe betide\nThe Wine-bibber,\u2014the Roisterer by night;\nHim the feast-master, many bouts defied,\nHim 'twixt the pledging and the cup shall smite;\nWoe to the Lender at usurious rate,\nThe hard Rich Man, the hireling Advocate;\nWoe to the Judge that selleth right for pay;\nWoe to the Thief that like a beast of prey\nWith creeping tread the traveller harryeth:\u2014\nThese, in their sin, the sudden sword shall slay ...\n[27]\nHe hath no pity,\u2014nor will be denied.\nWhen the low hearth is garnish\u00e8d and bright,\nGrimly he flingeth the dim portal wide,\nAnd steals the Infant in the Mother's sight;\nHe hath no pity for the scorned of fate:\u2014\nHe spares not Lazarus lying at the gate,\nNay, nor the Blind that stumbleth as he may;\nNay, the tired Ploughman,\u2014at the sinking ray,\u2014\n[28]\nIn the last furrow,\u2014feels an icy breath,\nAnd knows a hand hath turned the team astray ...\nHe hath no pity. For the new-made Bride,\nBlithe with the promise of her life's delight,\nThat wanders gladly by her Husband's side,\nHe with the clatter of his drum doth fright;\nHe scares the Virgin at the convent grate;\nYouth, for whose ear and monishing of late,\nI sang of Prodigals and lost estate,\nHave thou thy joy of living and be gay;\nBut know not less that there must come a day,\u2014\n[30]\nAye, and perchance e'en now it hasteneth,\u2014\nWhen thine own heart shall speak to thee and say,\u2014\n1877. A. D.\n 1 (return)\n This Chant Royal of the King of Terrors is\u2014with Mr.\n Austin Dobson's consent\u2014here reprinted from his Collected\n Poems, 1896.\n \nN.B.\u2014The German titles are in general modernized from those which appear above the engraver's proofs. The numerals are those of the cuts.\n| The Creation | I | \n| Die Sch\u00f6pfung aller Ding. | | \n| Eve is taken from the side of Adam. | | \n| The Temptation | II | \n| \"Adam Eua im Paradyss.\" | | \n| Eve, having received an apple from the serpent, prompts Adam to gather more. | | \n| The Expulsion | III | \n| \"Vsstribung Ade Eue.\" | | \n| Adam and Eve, preceded by Death, playing on a beggar's lyre or hurdy-gurdy, are driven by the angel from Eden. | | \n| [32] The Consequences of the Fall | IV | \n| Adam baut die Erden. | | \n| Adam, aided by Death, tills the earth. Eve, with a distaff, suckles Cain in the background. | | \n| A Cemetery | V | \n| Gebein aller Menschen. | | \n| A crowd of skeletons, playing on horns, trumpets, and the like, summon mankind to the grave. | | \n| The Pope | VI | \n| Der P\u00e4pst. | | \n| The Pope (Leo X.) with Death at his side, crowns an Emperor, who kisses his foot. Another Death, in a cardinal's hat, is among the assistants. | | \n| [33] The Emperor | VII | \n| Der Kaiser. | | \n| The Emperor (Maximilian I.) rates his minister for injustice to a suitor. But even in the act Death discrowns him. | | \n| The King | VIII | \n| Der K\u00f6nig. | | \n| The King (Francis I.) sits at feast under a baldachin sprinkled with fleurs-de-lis. Death, as a cup-bearer, pours his last draught. | | \n| The Cardinal | IX | \n| Der Cardinal. | | \n| Death lifts off the Cardinal's hat as he is handing a letter of indulgence to a rich man. Luther's opponent, Cardinal Cajetan, is supposed to be represented. | | \n| [34] The Empress | X | \n| Die Kaiserinn. | | \n| The Empress, walking with her women, is intercepted by a female Death, who conducts her to an open grave. | | \n| The Queen | XI | \n| Die K\u00f6niginn. | | \n| Death, in the guise of a court-jester, drags away the Queen as she is leaving her palace. | | \n| The Bishop | XII | \n| Der Bischof. | | \n| The sun is setting, and Death leads the aged Bishop from the sorrowing shepherds of his flock. | | \n| The Duke | XIII | \n| Der Herzog. | | \n| The Duke turns pitilessly from a beggar-woman and her child. Meanwhile Death, fantastically crowned, lays hands on him. | | \n| [35] The Abbot | XIV | \n| Der Abt. | | \n| Death, having despoiled the Abbot of mitre and crozier, hales him along unwilling, and threatening his enemy with his breviary. | | \n| The Abbess | XV | \n| Die Abtissin. | | \n| Death, in a wreath of flags, pulls away the Abbess by her scapulary in sight of a shrieking nun. | | \n| The Nobleman | XVI | \n| Der Edelmann. | | \n| Death drags the resisting Nobleman towards a bier in the background. | | \n| The Canon, or Prebendary | XVII | \n| Der Domherr. | | \n| The Canon, with his falconer, page, and jester, enters the church door. Death shows him that his sands have run. | | \n| [36] The Judge | XVIII | \n| Der Richter. | | \n| Death withdraws the Judge's staff as he takes a bribe from a rich suitor. | | \n| The Advocate | XIX | \n| Der F\u00fcrsprach. | | \n| Death comes upon him in the street while he is being feed by a rich client. | | \n| The Counsellor, or Senator | XX | \n| Der Rathsherr. | | \n| The Counsellor, prompted by a devil, is absorbed by a nobleman, and turns unheeding from a poor suppliant. But Death, with glass and spade, is waiting at his feet. | | \n| The Preacher | XXI | \n| Der Predicant. | | \n| Death, in a stole, stands in the pulpit behind the fluent [37] Preacher, and prepares to strike him down with a jaw-bone. | | \n| The Priest, or Pastor | XXII | \n| Der Pfarrherr. | | \n| He carries the host to a sick person. But Death precedes him as his sacristan. | | \n| The Mendicant Friar | XXIII | \n| Der M\u00f6nch. | | \n| Death seizes him just as his begging box and bag are filled. | | \n| The Nun | XXIV | \n| Die Nonne. | | \n| The young Nun kneels at the altar, but turns to her lover who plays upon a lute. Death meantime, as a hideous old hag, extinguishes the altar candles. | | \n| [38] The Old Woman | XXV | \n| Das Altweib. | | \n| \"Melior est mors quam vita\" to the aged woman who crawls gravewards with her bone rosary while Death makes music in the van. | | \n| The Physician | XXVI | \n| Der Arzt. | | \n| Death brings him a hopeless patient, and bids him cure himself. | | \n| The Astrologer | XXVII | \n| (See p. 10, l. 12.) | | \n| He contemplates a pendent sphere. But Death thrusts a skull before his eyes. | | \n| The Rich Man | XXVIII | \n| Der Reichmann. | | \n| Death finds him at his pay-table and seizes the money. | | \n| [39] The Merchant | XXIX | \n| Der Kaufmann. | | \n| Death arrests him among his newly-arrived bales. | | \n| The Shipman | XXX | \n| Der Schiffmann. | | \n| Death breaks the mast of the ship, and the crew are in extremity. | | \n| The Knight | XXXI | \n| Der Ritter. | | \n| Death, in cuirass and chain-mail, runs him through the body. | | \n| The Count | XXXII | \n| Der Graf. | | \n| Death, as a peasant with a flail, lifts away his back-piece. | | \n| [40] The Old Man | XXXIII | \n| Der Altmann. | | \n| Death, playing on a dulcimer, leads him into his grave. | | \n| The Countess | XXXIV | \n| Die Grafinn. | | \n| Death helps her at her tiring by decorating her with a necklet of dead men's bones. | | \n| The Noble Lady, or Bride | XXXV | \n| Die Edelfrau. | | \n| \"Me et te sola mors separabit\"\u2014says the motto. And Death already dances before her. | | \n| The Duchess | XXXVI | \n| Die Herzoginn. | | \n| Death seizes her in bed, while his fellow plays the fiddle. | | \n| [41] The Pedlar | XXXVII | \n| Der Kramer. | | \n| Death stops him on the road with his wares at his back. | | \n| The Ploughman | XXXVIII | \n| Der Ackermann. | | \n| Death runs at the horses' sides as the sun sinks, and the furrows are completed. | | \n| The Young Child | XXXIX | \n| Das Junge Kind. | | \n| As the meagre cottage meal is preparing, Death steals the youngest child. | | \n| The Last Judgment | XL | \n| Das j\u00fcngste Gericht. | | \n| \"Omnes stabimus ante tribunal Domini.\" | | \n| The Escutcheon of Death | XLI | \n| Die Wappen des Todes. | | \n| The supporters represent Holbein and his wife. | | \n| [42] [Added in later editions] | | \n| The Soldier | XLII | \n| Death, armed only with a bone and shield, fights with the Soldier on the field of battle. | | \n| The Gamester | XLIII | \n| Death and the Devil seize upon the Gambler at his cards. | | \n| The Drunkard | XLIV | \n| Men and women carouse: down the throat of one bloated fellow Death pours the wine. | | \n| The Fool | XLV | \n| The Fool dances along the highway with Death, who plays the bagpipes. | | \n| The Robber | XLVI | \n| Death seizes the Robber in the act of pillage. | | \n| [43] The Blind Man | XLVII | \n| Death leads the Blind Man by his staff. | | \n| The Waggoner | XLVIII | \n| The waggon is overturned; one Death carries off a wheel, the other loosens the fastening of a cask. | | \n| The Beggar | XLIX | \n| The Beggar, lying on straw outside the city, cries in vain for Death. | | \n| [Two others, not found in the earlier editions, \"The Young Wife,\" and \"The Young Husband,\" are not included in the Douce reprint for which the foregoing blocks were engraved.] | | \nFormauit Dominvs Devs hominem de limo terr\u00e6, ad imagin\u0113 suam creauit illum, masculum & f\u0153minam creauit eos.\nGenesis i. & ii.\nDIEV, Ciel, Mer, Terre, procrea\nDe rien demonstrant sa puissance\nEt puis de la terre crea\nL'homme, & la femme a sa semblance.\nQuia audisti vocem vxoris tu\u00e6, & comedisti de ligno ex quo preceperam tibi ne comederes, &c.\nGenesis iii.\nADAM fut par EVE deceu\nEt contre DIEV mangea la pomme,\nDont tous deux ont la Mort receu,\nEt depuis fut mortel tout homme.\nEmisit eum Dominvs Devs de Paradiso voluptatis, vt operaretur terram de qua sumptus est.\nDIEV chassa l'homme de plaisir\nPour uiure au labeur de ses mains:\nAlors la Mort le uint saisir,\nEt consequemment tous humains.\nMaledicta terra in opere tuo, in laboribus comedes cunctis diebus vit\u00e6 tu\u00e6, donec reuertaris, &c.\nMauldicte en ton labeur la terre.\nEn labeur ta uie useras,\nIusques que la Mort te soubterre.\nToy pouldre en pouldre tourneras.\nV\u00e6 v\u00e6 v\u00e6 habitantibus in terra.\nApocalypsis viii.\nCuncta in quibus spiraculum vit\u00e6 est, mortua sunt.\nGenesis vii.\nMalheureux qui uiuez au monde\nTousiours remplis d'aduersitez,\nPour quelque bien qui uous abonde,\nSerez tous de Mort uisitez.\nMoriatur sacerdos magnus.\nIosve xx.\nEt episcopatum eius accipiat alter.\nPsalmista cviii.\nQui te cuydes immortel estre\nPar Mort seras tost depesch\u00e9,\nEt combien que tu soys grand prebstre,\nVng aultre aura ton Euesch\u00e9.\nDispone domui tu\u00e6, morieris enim tu, & non viues.\nIsai\u00e6 xxxviii.\nIbi morieris, & ibi erit currus glori\u00e6 tu\u00e6.\nIsai\u00e6 xxii.\nDe ta maison disposeras\nComme de ton bien transitoire,\nCar l\u00e0 ou mort reposeras,\nSeront les chariotz de ta gloire.\nSicut & rex hodie est, & cras morietur, nemo enim ex regibus aliud habuit.\nEcclesiastici x.\nAinsi qu'auiourdhuy il est Roy,\nDemain sera en tombe close.\nCar Roy aulcun de son arroy\nN'a sceu emporter aultre chose.\nV\u00e6 qui iustificatis impium pro muneribus, & iustitiam iusti aufertis ab eo.\nEsai\u00e6 v.\nMal pour uous qui iustifiez\nL'inhumain, & plain de malice\nEt par dons le sanctifiez,\nOstant au iuste sa iustice.\nGradientes in superbia potest Deus humiliare.\nDanie iiii.\nQui marchez en pompe superbe\nLa Mort vng iour uous pliera.\nC\u00f5me soubz uoz piedz ployez l'herbe\nAinsi uous humiliera.\nMulieres opulent\u00e6 surgite, & audite vocem meam. Post dies, & annum, & vos conturbemini.\nIsai\u00e6 xxxii.\nLeuez uous dames opulentes.\nOuyez la uoix des trespassez.\nApres maintz ans & iours passez,\nSerez troubl\u00e9es & doulentes.\nPercutiam pastorem, & dispergentur oues.\nxxvi. Mar. xiiii.\nLe pasteur aussi frapperay,\nMitres & crosses renuers\u00e9es.\nEt lors quand ie l'attrapperay,\nSeront ses brebis dispers\u00e9es.\nPrinceps induetur m\u0153rore. Et quiescere faciam superbi\u00e3 potentium.\nEzechie. vii.\nVien, prince, auec moy, & delaisse\nHonneurs mondains tost finissantz.\nSeule suis qui, certes, abaisse\nL'orgueil & pompe des puissantz.\nIpse morietur. Quia n\u00f5 habuit disciplinam, & in multitudine stultiti\u00e6 su\u00e6 decipietur.\nProver. v.\nIl mourra. Car il n'a receu\nEn soy aulcune discipline,\nEt au nombre sera deceu\nDe folie qui le domine.\nLaudaui magis mortuos qu\u00e0m viuentes.\nEccle. iiii.\nI'ay tousiours les mortz plus lou\u00e9\nQue les uisz, esquelz mal abonde,\nToucesfoys la Mort ma nou\u00e9\nAu ranc de ceulx qui sont au monde.\nQuis est homo qui viuet, & non videbit mortem, eruet anim\u00e3 suam de manu inferi?\nPsal. lxxxviii.\nQui est celluy, tant soit grande homme,\nQui puisse uiure sans mourir?\nEt de la Mort, qui tout assomme,\nPuisse son Ame recourir?\nEcce appropinquat hora.\nMat. xxvi.\nTu uas au choeur dire tes heures\nPaiant Dieu pour toy, & ton proche.\nMais il fault ores que tu meures.\nVoy tu pas l'heure qui approche?\nDisperdam iudicem de medio eius.\nAmos ii.\nDu mylieu d'eulx uous osteray\nIuges corrumpus par presentz.\nPoint ne serez de Mort exemptz.\nCar ailleurs uous transporteray.\nCallidus vidit malum, & absc\u00f5dit se innocens, pertransijt, & afflictus est damno.\nProver. xxii.\nL'homme cault a ueu la malice\nPour l'innocent faire obliger,\nEt puis par uoye de iustice\nEst uenu le pauure affliger.\nQui obturat aurem suam ad clamorem pauperis, & ipse clamabit, & non exaudietur.\nProver. xxi.\nLes riches conseillez tousiours,\nEt aux pauures clouez l'oreille.\nVous crierez aux derniers iours,\nMais Dieu uous fera la pareille.\nV\u00e6 qui dicitis malum bonum, & bonum mal\u016b, ponentes tenebras lucem, & lucem tenebras, ponentes amarum dulce, & dulce in amarum.\nIsai\u00e6 xv.\nMal pour uous qui ainsi osez\nLe mal pour le bien nous blasmer,\nEt le bien pour mal exposez,\nMettant auec le doulx l'amer.\nSum quidem & ego mortalis homo.\nSap. vii.\nIe porte le sainct sacrement\nCuidant le mourant secourir,\nQui mortel suis pareillement.\nEt comme luy me fault mourir.\nSedentes in tenebris, & in vmbra mortis, vinctos in mendicitate.\nPsal. cvi.\nToy qui n'as soucy, ny remord\nSinon de ta mendicit\u00e9,\nTu fierras a l'umbre de Mort\nPour t'ouster de necessit\u00e9.\nEst via qu\u00e6 videtur homini iusta: nouissima autem eius deducunt hominem ad mortem.\nProver. iiii.\nTelle uoye aux humains est bonne,\nEt a l'homme tresiuste semble.\nMais la fin d'elle a l'homme donne,\nLa Mort, qui tous pecheurs assemble.\nMelior est mors qu\u00e0m vita.\nEccle. xxx.\nEn peine ay uescu longuement\nTant que nay plus de uiure enuie,\nMais bien ie croy certainement,\nMeilleure la Mort que la uie.\nMedice, cura teipsum.\nLvc\u00e6 iiii.\nTu congnoys bien la maladie\nPour le patient secourir,\nEt si ne scais teste estourdie,\nLe mal dont tu deburas mourir.\nIndica mihi si nosti omnia. Sciebas qu\u00f2d nasciturus esses, & numerum dierum tuorum noueras?\nIob xxviii.\nTu dis par Amphibologie\nCe qu'aux aultres doibt aduenir.\nDy moy donc par Astrologie\nQuand tu deburas a moy uenir?\nStulte hac nocte repetunt animam tuam, & qu\u00e6 parasti cuius erunt?\nLvc\u00e6 xii.\nCeste nuict la Mort te prendra,\nEt demain seras enchass\u00e9.\nMais dy moy, fol, a qui uiendra\nLe bien que tu as amass\u00e9?\nQui congregat thesauros mendacij vanus & excors est, & impingetur ad laqueos mortis.\nVain est cil qui amassera\nGrandz biens, & tresors pour mentir,\nLa Mort l'en fera repentir.\nCar en ses lacz surpris sera.\nQui volunt diuites fieri incidunt in laqueum diaboli, & desideria multa, & nociua, qu\u00e6 mergunt homines in interitum.\nI. Ad Timo. vi.\nPour acquerir des biens mondains\nVous entrez en tentation,\nQui uous met es perilz soubdains,\nEt uous maine a perdition.\nSubito morientur, & in media nocte turbabuntur populi, & auferent violentum absqe manu.\nIob xxxiiii.\nPeuples soubdain s'esleuront\nA lencontre de l'inhumain,\nEt le uiolent osteront\nD'auec eulx sans force de main.\nQuoniam c\u00f9m interiet non sumet secum omnia, neqe cum eo desc\u1ebddet gloria eius.\nPsal. xlviii.\nAuec soy rien n'emportera,\nMais qu'une foys la Mort le tombe,\nRien de sa gloire n'ostera,\nPour mettre auec soy en sa tombe.\nSpiritus meus attenuabitur, dies mei breuiabuntur, & solum mihi superest sepulchrum.\nIob xvii.\nMes esperitz sont attendriz,\nEt ma uie s'en ua tout beau.\nLas mes longziours sont amoindriz,\nPlus ne me reste qu'un tombeau.\nDucunt in bonis dies suos, & in puncto ad inferna descendunt.\nIob xxi.\nEn biens m\u00f5dains leurs iours despend\u1ebdt\nEn uoluptez, & en tristesse,\nPuis soubdain aux Enfers descendent\nOu leur ioye passe en tristesse.\nMe & te sola mors separabit.\nRvth. i.\nAmour qui unyz nous faict uiure,\nEn foy noz cueurs preparera,\nQui long temps ne nous pourra suyure,\nCar la Mort nous separera.\nDe lectulo super quem ascendisti non descendes, sed morte morieris.\niiii. Reg. i.\nDu lict sus lequel as mont\u00e9\nNe descendras a ton plaisir.\nCar Mort t'aura tantost dompt\u00e9,\nEt en brief te uiendra saisir.\nVenite ad me qui onerati estis.\nMatth. xi.\nVenez, & apres moy marchez\nVous qui estes par trop charge.\nCest assez suiuy les marchez:\nVous serez par moy decharge.\nIn sudore vultus tui vesceris pane tuo.\nGene. i.\nA la sueur de ton uisaige\nTu gaigneras ta pauure uie.\nApres long trauail, & usaige,\nVoicy la Mort qui te conuie.\nHomo natus de muliere, breui viuens tempore repletur multis miserijs, qui quasi flos egreditur, & conteritur, & fugit velut vmbra.\nIob xiiii.\nTout homme de la femme yssant\nRemply de misere, & d'encombre,\nAinsi que fleur tost finissant.\nSort & puis fuyt comme faict l'umbre.\nOmnes stabimus ante tribunal domini.\nRoma. xiiii.\nVigilate, & orate, quia nescitis qua hora venturus sit dominus.\nMatt. xxiiii.\nDeuante le trosne du grand iuge\nChascun de soy compte rendra\nPourtant ueillez, qu'il ne uous iuge.\nCar ne scauez quand il uiendra.\nMemorare nouissima, & in \u00e6ternum non peccabis.\nEccle. vii.\nSi tu ueulx uiure sans pech\u00e9\nVoy ceste imaige a tous propos,\nEt point ne seras empesch\u00e9,\nQuand tu t'en iras a repos.\nCum fortis armatus custodit atri\u0169 su\u0169, &c. Si autem fortior eo superueniens vicerit eum, uniuersa eius arma aufert, in quibus confidebat.\nLe sort arm\u00e9 en jeune corps\nPense auoir seure garnison;\nMais Mort plus forte, le met hors\nDe sa corporelle maison.\nQuid prodest homini, si vniuersum Mundum lucretur, anim\u00e6 autem su\u00e6 detrimentum patiatur?\nMatt. xvi.\nQue vault \u00e0 l'homme tout le Monde\nGaigner d'hazard, & chance experte,\nS'il recoit de sa uie immonde\nPar Mort, irreparable perte?\nNe inebriemini vino, in quo est luxuria.\nEphes. v.\nDe vin (auquel est tout exces)\nNe vous enyurez pour dormir\nSommeil de Mort qui au deces\nVous face l'ame, & sang vomir.\nQuasi agnus lasciuiens, & ignorans, nescit qu\u00f2d ad vincula stultus trahatur.\nProverb vii.\nLe Fol vit en ioye, & deduict\nSan scavoir qu'il s'en va mourant,\nTant qu'\u00e0 sa fin il est conduict\nAinsi que l'agneau ignorant.\nDomine, vim patior.\nLa foible femme brigand\u00e9e\nCrie, O seigneur on me fait force.\nLors de Dieu la mort est mand\u00e9e,\nQui les estrangle \u00e0 dure estorce.\nC\u00e6cus c\u00e6cum ducit: & ambo in foueam cadunt.\nMatth. xv.\nL'aueugle un autre aueugle guide,\nL'un par l'autre en la fosse tombe:\nCar quand plus oultre aller il cuide,\nLa Mort l'homme iecte en la tombe.\nCorruit in curru suo.\ni Chron. xxii.\nAu passage de Mort peruerse\nRaison, chartier tout esperdu,\nDu corps le char, & cheuaux verse,\nLe vin (sang de vie) espandu.\nMiser ego homo! Quis nie liberabit de corpore mortis huius?\nRom. vii.\nQui hors la chair veult en Christ viure\nNe craint mort, mais dit un mortel,\nHelas, qui me rendra deliure\nPouure homme de ce corps mortel?\nOf this edition of Holbein's \"The Dance of Death,\" seven hundred and fifty copies have been printed on Japan vellum, for the Scott-Thaw Co., by the Heintzemann Press, July, MCMIII.\nTranscriber's Note: In the work used for this digitization, each pair of facing pages has the Latin biblical quotation at the top of the left page printed in red, the French quatrain at the bottom of the left page printed in black, and the illustration (numbered above, and captioned below) on the right page, opposite the text. 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