{"collection":"philosophy-ethics","full_text_available":true,"graph_url":"https://unchartedknowledge.5gfusion.net/v2/api/page/gutenberg_58808/graph","html_url":"https://unchartedknowledge.5gfusion.net/v2/page/gutenberg_58808","id":"gutenberg_58808","license":"Public Domain (US)","rights_basis":"gutenberg_metadata_copyright_false","source":"gutenberg","source_url":"https://www.gutenberg.org/ebooks/58808","summary":null,"tags":["Category: Art","Category: Philosophy & Ethics","Dance of death","Dance of death in art"],"text":"Produced by Chris Curnow and the Online Distributed\nProofreading Team at http://www.pgdp.net (This file was\nproduced from images generously made available by The\nInternet Archive)\n\n\n\n\n\nTHE DANCES OF DEATH\n\n\n\n\n[Illustration]\n\n\n\n\n[Illustration: _Mors Sceptra ligonebus \u00e6quat._]\n\n\n\n\n                        _LE TRIOMPHE DE LA MORT_\n\n                       _Grav\u00e9 d\u2019apr\u00e9s les Dessins\n                              originaux de_\n\n                              JEAN HOLBEIN\n\n                                  _par_\n                              DAVID DEUCHAR\n                                  1786\n\n                             _Deuchar fecit_\n\n\n\n\n                                   THE\n                            DANCES OF DEATH,\n                                 THROUGH\n                    THE VARIOUS STAGES OF HUMAN LIFE:\n                                 WHEREIN\n                    THE CAPRICIOUSNESS OF THAT TYRANT\n                              IS EXHIBITED\n                      _IN FORTY-SIX COPPER PLATES_;\n                                DONE FROM\n                          The Original Designs,\n                                  WHICH\n                WERE CUT IN WOOD, AND AFTERWARDS PAINTED,\n\n                           _BY JOHN HOLBEIN_,\n\n                       IN THE TOWN HOUSE OF BASIL.\n\n                         TO WHICH ARE PREFIXED,\n\n       _Descriptions of each Plate in French and English, with the\n           Scripture Text from which the Designs were taken_.\n\n                      ETCHED BY D. DEUCHAR, F.A.S.\n\n                                 London:\n        PRINTED BY W. SMITH AND CO. KING STREET, SEVEN DIALS, FOR\n  JOHN SCOTT, NO. 447, STRAND; & THOMAS OSTELL, NO. 3, AVE MARIA LANE.\n                                  1803.\n\n\n\n\n[Illustration]\n\n\n\n\nPREFACE.\n\n\nJOHN or HANS HOLBEIN was born at Basil in 1498, and died at London of\nthe plague in 1554, aged 56. This admirable Painter was instructed in\nthe art by his father JOHN HOLBEIN. In the early part of his life, he\npursued his studies with incessant assiduity; and being possessed of an\nelevated genius, his progress was exceedingly rapid; so that he soon\nbecame far superior to his instructor. He painted equally well in oil,\nwater colours, and in fresco; and although he had never practised the art\nof painting in miniature till he resided in England, yet he afterwards\ncarried it to its highest perfection.\n\nThe invention of Holbein was surprisingly fruitful, and often poetical;\nhis execution was remarkably quick, and his application indefatigable.\nHis pencil was exceedingly delicate; his coloring had a wonderful\ndegree of force; he finished his pictures with exquisite neatness; and\nhis carnations were life itself. He excelled all his cotemporaries in\nportrait, and his genuine works are always distinguishable by the true,\nround, lively imitation of flesh visible in them, and also by the amazing\ndelicacy of his finishing.\n\nThe genius and excellence of this master were sufficiently shewn in the\nhistorical style, by two celebrated compositions which he painted in the\nHall of the Steel-yard Company; of which the subjects were the Triumph of\nRiches, and the condition of Poverty: these two are universally admired\nfor the richness of the colouring, as also for the strong character\nof the figures through the whole. Frederick Zucchero, on seeing these\npictures, expressed the highest esteem for Holbein, and even copied them\nin Indian ink.\n\nIn the town of Basil he painted a picture of our Saviour\u2019s Sufferings, as\nwell as a Dance of Peasants.\n\nAbb\u00e9 du Bos observes, that the altar-piece at Basil, painted by Holbein,\nmay be compared with the best productions of Raphael\u2019s disciples for\ncomposition, and preferred to them with respect to colouring; that he\nshews a greater degree of knowledge of the chiaro-scuro, and particular\nincidents of light that are truly marvellous. But that which contributed\nmost to raise and establish the reputation of this celebrated Painter was\nDeath\u2019s Dance, designed and painted by him in the town-house of Basil; a\nwork truly admirable, and which alone was sufficient to render the name\nof Holbein immortal.\n\nSandrart relates, that he heard Rubens acknowledge, that he had learned\na great deal from the pictures of Death\u2019s Dance; and he recommended them\nstrongly to the study of many of his own profession.\n\nThe learned Erasmus was so much struck by the wonderful display of genius\nexhibited in this great work, that he conceived a strong friendship\nfor Holbein; sat to him for his picture; and recommended him to Sir\nThomas Moore, the then Lord Chancellor of England: and to this incident\nour country is indebted for the many excellent performances which it\nafterwards received from the pencil of Holbein.\n\nThe designs for Death\u2019s Dance were cut in wood by Holbein, and published\nwith the original texts from which they were taken; from that work the\nfollowing plates were done. They contain the whole of Death\u2019s Dance, with\nborders and decorations; to which are added, a description of each plate\nin French and English, and a portrait of Holbein.\n\n\n\n\n[Illustration: _CREATIO MUNDI_\n\n_Formauit Dominus DEUS hominem de limo terr\u00e6, ad imaginem suam creauit\nillum, masculum & f\u00e6minam creauit eos. GEN. I. & II._]\n\n\n\n\n[Illustration]\n\n\n\n\nEXPLANATIONS\n\nOF\n\nTHE SUBJECTS\n\nOF\n\n_THE TRIUMPH OF DEATH_,\n\nBY HANS HOLBEIN.\n\n\nPLATE I.\u2014FRONTISPIECE.\n\nAt the side of a stone table, placed vertically, Holbein appears behind\na curtain, which Death opens to him, to place before his eyes the great\nSpectacle of the Scenes of human Life that he is going to sketch. This\nis also expressed by an heap of the attributes of grandeur, dignities,\nriches, arts, and sciences, mixed with death-heads, which Death is\ntrampling under his feet. Below is an epitaph from Lucan\u2014_Mors sceptra\nligonibus \u00e6quat. Death confounds the sceptre with the spade._ This table\nis topped with a medallion, with the portrait of Holbein. Two Genii\nsupport this medallion; the one surrounded with a garland of flowers, the\nother lets fly a butterfly, whilst a third is amusing himself with making\nsoap bubbles. What these allegories mean is easily understood.\n\n\nPLANCHE I.\u2014LE FRONTISPIECE.\n\n\u00c0 c\u00f4t\u00e9 d\u2019une table de pierre pos\u00e9e verticalement, Holbein paro\u00eet derri\u00e8re\nun rideau que la Mort lui ouvre, pour mettre sous ses yeux le grand\nSpectacle des Sc\u00e8nes de la Vie humaine qu\u2019il va dessiner. Ce qui est\nencore d\u00e9sign\u00e9 par un amas d\u2019attributs de la grandeur, des dignit\u00e9s, des\nrichesses, d\u2019arts, de sciences, entrem\u00eal\u00e9s de t\u00eates de morts, et que la\nMort elle-m\u00eame foule \u00e0 ses pieds. On lit au has cette \u00e9pigraphe tir\u00e9e\nde Lucain:\u2014_Mors sceptra ligonibus \u00e6quat, La Mort confond la sceptre &\nla b\u00eache._ Cette table est surmount\u00e9e d\u2019un m\u00e9daillon avec le portrait\nde Holbein. Deux G\u00e9nies soutiennent ce m\u00e9daillon; l\u2019un l\u2019entoure d\u2019une\nguirlan de defleurs, & l\u2019autrelaisse \u00e9chapper un papillon, tandis qu\u2019un\ntroisi\u00e8me s\u2019amuse \u00e0 faire des bulles de savon. On sent assez ce que\nsignifient ces deux all\u00e9gories.\n\n\nPLATE II.\u2014SIN.\n\nHolbein has begun the scenes of life by that which had such influence on\nall the rest. The Mother of the human race holds in her right hand, the\nfatal apple, which she has just received from the serpent with a young\nman\u2019s head; and Adam, at the same time, is plucking another, enticed by\nthe solicitations of the too credulous Eve, who shews him the one she has\nreceived.\n\n\n[Illustration: _Quia audisti vocem uxoris tu\u00e6, et comedisti de ligno, ex\nquo pr\u00e6ceperam tibi ne comederes, &c. Gen. iii. 17._]\n\n\nPLANCHE II.\u2014LE PECHE.\n\nHolbein a commenc\u00e9 ces sc\u00e8nes de la vie par celle qui eut tant\nd\u2019influence sur toutes les autres. La M\u00e8re du genre humain, tient dans sa\nmain droite, la pomme fatale qu\u2019elle vient de recevoir du serpent \u00e0 t\u00eate\nde jeune homme, & Adam en cueille en m\u00eame tems une autre, excit\u00e9 par les\nsollicitations de la trop cr\u00e9dule Eve, qui lui montre celle qu\u2019elle a\nre\u00e7ue.\n\n\nPLATE III.\u2014PUNISHMENT.\n\nOur first parents, driven out by the Angel, are flying from the\nterrestrial Paradise, preceded by Death, who is playing on the fiddle,\nand shews by dancing the joy he feels for his triumph.\n\n\n[Illustration: _Emisit eum Dominus Deus de Paradiso voluptatis, ut\noperaretur terram, de qua sumptus est. Gen. iii. 23._]\n\n\nPLANCHE III.\u2014LA PUNITION.\n\nNos premiers Parens chass\u00e9s par l\u2019Ange, s\u2019enfuyent du Paradis terrestre\npr\u00e9c\u00e9d\u00e9s de la Mort, qui joue de la guitare, & d\u00e9montre en dansant la\njoie qu\u2019elle ressent de son triomphe.\n\n\nPLATE IV.\u2014CONDEMNATION TO LABOUR.\n\nHolbein, to mark at once the species of labour which is the lot of man,\nand that which falls to the share of the woman, represents Adam employed\nin rooting up a tree, along with Death, who helps him with all his might;\nand at a little distance Eve suckling her child, and holding a distaff.\n\n\n[Illustration: _Maledicta terram in opere tuo, in laboribus comedes\ncunctis diebus vit\u00e6 tu\u00e6 donet revertaris, &c. Gen. iii. 14._]\n\n\nPLANCHE IV.\u2014LA CONDEMNATION AU TRAVAIL.\n\nHolbein, pour marquer en m\u00eame tems le genre de travail qui est le\npartage de l\u2019homme, & celui qui est le partage de la femme, repr\u00e9sente\nAdam occup\u00e9 \u00e0 d\u00e9raciner un arbre, avec la Mort qui l\u2019aide de toutes\nses forces, & un peu plus loin, Eve allaitant son enfant & tenant une\nquenouille.\n\n\nPLATE V.\u2014THE POPE CROWNING AN EMPEROR.\n\nA cardinal and three bishops are assisting at the ceremony; Death is\nthere also under the figure of two skeletons, one of which is dressed\nin cardinal\u2019s robes, the other embraces the holy Father, with the right\nhand, and is leaning on a crutch with the left.\n\n\n[Illustration: _Moriatur sacerdos magnus. Josh. xx. 6._\n\n_Et episcopatum ejus accipiat alter. Psal. cviii. 8._]\n\n\nPLANCHE V.\u2014LE PAPE COURONNANT UN EMPEREUR.\n\nUn cardinal & trois ev\u00eaques assistent \u00e0 cette c\u00e9r\u00e9monie; la Mort s\u2019y\ntrouve aussi sous la figure de deux squelettes, dont l\u2019un est rev\u00eatu des\nhabits de cardinal; l\u2019autre embrasse le St. P\u00e8re de la main droite, et\ns\u2019appuie de la gauche sur une b\u00e9quille.\n\n\nPLATE VI.\u2014THE CARDINAL.\n\nA messenger has just presented to him, on his knees, the bull that\nconstitutes him a cardinal. Death seizes this moment to make his\nappearance, and seems to want to turn his hat upon his head. The\nmessenger is holding in his right hand a tin box, hung by a strap, in\nwhich he had, no doubt, carried the bull, which the new made cardinal\nholds in his right hand with the seals appended to it.\n\n\n[Illustration: _V\u00e6 qui justificatis impium pro muneribus, et justitiam\njusti aufertis ab eo. Isa. v. 23._]\n\n\nPLANCHE VI.\u2014LE CARDINAL.\n\nUn messager vient de lui remettre, en faisant une g\u00e9nuflexion, la\nbulle qui le fait cardinal. La Mort saisit ce moment pour paro\u00eetre, et\nsemble vouloir lui faire tourner son chapeau sur la t\u00eate. Le messager\ntient de la main droite une bo\u00eete de fer-blanc, pendu \u00e0 une courroie,\net dans laquelle il avoit sans doute apport\u00e9 la bulle, que le cardinal\nnouvellement cr\u00e9\u00e9 tient \u00e0 la main droite avec les sceaux y affix\u00e9.\n\n\nPLATE VII.\u2014THE ELECTOR.\n\nThis prince, as he is coming out of his palace with his courtiers, is\naccosted by a poor woman, who implores his help for herself and the\ninfant she holds by the hand; but he, insensible to the distresses of\nthe widow and orphan, refuses to listen, and is turning aside with a\ndisdainful air to his courtiers. Death at this instant appears; and his\nsevere aspect announces, that he is just about to make him repent his\nhard-heartedness.\n\n\n[Illustration: _Princeps induetur m\u0153rore, et quiescere faciam superbiam\npotentium. Ezek. vii. 24, 27._]\n\n\nPLANCHE VII.\u2014L\u2019ELECTEUR.\n\nCe prince sortant de son palais avec ses courtisans, est abord\u00e9 par\nune pauvre femme qui implore son secours, pour elle & pour l\u2019enfant\nqu\u2019elle tient par la main; mais insensible aux besoins de la veuve & de\nl\u2019orphelin, il refuse de l\u2019\u00e9couter, & se tourne d\u2019un air d\u00e9daigneux du\nc\u00f4t\u00e9 de ses courtisans. La Mort paro\u00eet dans cet instant, & son air s\u00e9v\u00e8re\nannonce qu\u2019elle va le faire r\u00e9pentir de la duret\u00e9.\n\n\nPLATE VIII.\u2014THE BISHOP.\n\nWith an air of tranquillity and resignation, this worthy Pastor follows\nDeath, who is leading him away laughing and dancing, whilst some\nshepherds, forgetting their flocks, are wandering here and there through\nthe country, in despair for the loss of their chief. The sun, now ready\nto set, is just about to leave in darkness the ill-fated flocks, who,\nhaving no longer a conductor, will soon become the prey of wolves and\nother ravenous animals.\n\n\n[Illustration: _Percutiam pastorem, et dispergentur oves gregis. Matt.\nxxvi. 31._]\n\n\nPLANCHE VIII.\u2014L\u2019EVEQUE.\n\nD\u2019un air de tranquillit\u00e9 & de r\u00e9signation ce bon Pasteur suit la Mort,\nqui l\u2019emm\u00e8ne en riant et en dansant, tandis que quelques bergers,\noubliant leur troupeau, errent \u00e7\u00e0 & l\u00e0 dans la campagne, d\u00e9sesp\u00e9r\u00e9s de\nla perte de leur chef. Le soleil pr\u00eat \u00e0 se coucher, va laisser dans les\nt\u00e9n\u00e8bres ce malheureux troupeau, qui n\u2019ayant plus de conducteur, sera\nbient\u00f4t la proie du loup & des autres b\u00eates f\u00e9roces.\n\n\nPLATE IX.\u2014THE CANON.\n\nAt the moment he is entering the church, Death accosts him; and, shewing\nhim an hour-glass run down, announces that his hour is come. He appears\nto be a dignitary of the first rank; for he is followed by a page, a\nhuntsman, who carries a falcon on his fist, and a fool.\n\n\n[Illustration: _Ecce appropinquat hora. Matth. xxvi. 45._]\n\n\nPLANCHE IX.\u2014LE CHANOINE.\n\nAu moment o\u00f9 il entre dans l\u2019\u00e9glise, la Mort l\u2019aborde, & en lui montrant\nun sable \u00e9coul\u00e9, lui annonce que son heure est venue. Il paro\u00eet que c\u2019est\nun dignitaire du premier rang, puis qu\u2019il est suivi d\u2019un page, d\u2019un\nveneur qui porte un faucon sur le poing, & d\u2019un bouffon.\n\n\nPLATE X.\u2014THE FRIAR PROVISOR.\n\nAs he is just stepping into his convent, with his Christmas-box and\nwallet, Death stops him at the door; and deaf to his cries, as well as\nregardless of the fright he throws him into, drags him with all his might\nby the cloak, and renders all the good Friar\u2019s attempts to disengage\nhimself ineffectual.\n\n\n[Illustration: _Sedentes in tenebris & umbra Mortis: vinctos in\nmendicitate. Psal. cvi. 10._]\n\n\nPLANCHE X.\u2014LE FRERE QUETEUR.\n\nPret \u00e0 rentrer dans son couvent avec sa tire-lire & sa besace, la Mort\nl\u2019arr\u00eate \u00e0 la porte, & toute aussi sourde \u00e0 ses cris, qu\u2019insensible \u00e0\nl\u2019effroi qu\u2019elle lui cause, elle le tire de toutes ses forces par son\ncapuchon, & rend impuissans les efforts du bon Fr\u00e8re pour se d\u00e9rober de\nses mains.\n\n\nPLATE XI.\u2014THE ABBE.\n\nDeath, not contented with stripping this fat Prelate of his crosier,\nwhich he is carrying in triumph on his shoulder, and his mitre, with\nwhich he is dressing himself, is dragging him away without pity. He\nraises his breviary with one hand, and with the other is making some vain\nefforts to push him off.\n\n\n[Illustration: _Ipse morietur, quia non habuit disciplinam, et in\nmultitudine stultiti\u00e6 decipietur. Prov. v. 23._]\n\n\nPLANCHE XI.\u2014L\u2019ABB\u00c9.\n\nLa Mort non contente d\u2019avoir arrach\u00e9 \u00e0 ce gros Pr\u00e9lat sa crosse, qu\u2019elle\nporte en triomphe sur son \u00e9paule, & sa mitre, dont elle s\u2019est affubl\u00e9e,\nle tire encore impitoyablement apr\u00e8s elle; il \u00e9l\u00e8ve d\u2019une main son\nbreviaire, & fait de l\u2019autre de vains efforts pour la repousser.\n\n\nPLATE XII.\u2014THE ABBESS.\n\nDeath ludicrously hooded with several flowing plumes, and robed in a\nkind of gown, carries out of her convent an Abbess, whom he is dragging\nwith all his might by her scapulary. The reverend Mother with regret is\nleaving life and the honours she enjoys; and expresses, by the alteration\nof her features and by her cries, the fright that Death has produced in\nher soul. Behind her, under the gate of the convent, appears a young Nun,\nstrangely agitated with terror and grief.\n\n\n[Illustration: _Laudavi magis mortuos, quam viventes. Eccl. iv. 2._]\n\n\nPLANCHE XII.\u2014L\u2019ABBESSE.\n\nLa Mort ridiculement coiff\u00e9e de diverses plumes flottantes, & v\u00eatue d\u2019une\nesp\u00e8ce de mante, emm\u00e8ne hors de son couvent une Abbesse qu\u2019elle tire de\ntoutes ses forces par son scapulaire. La r\u00e9v\u00e9rendissime M\u00e8re quitte \u00e0\nregret la vie & les honneurs dont elle jouit, & exprime par l\u2019alt\u00e9ration\nde ses traits & par ses cris, l\u2019effroi que la Mort a jet\u00e9 dans son\n\u00e2me. On voit derri\u00e8re elle, sous la porte de l\u2019abbaye, une jeune Nonne\nvivement agit\u00e9e par la crainte & par la douleur.\n\n\nPLATE XIII.\u2014THE PREACHER.\n\nAs he is preaching to his congregation, Death, who is behind him with a\nstole about his neck, holds over his head the bone of a dead body, and\nby shewing it to the assembly, preaches to them, undoubtedly, the most\neloquent of all sermons.\n\n\n[Illustration: _V\u00e6 qui dicitis malum bonum, et bonum malum: ponentes\ntenebras lucem, et lucem tenebras: ponentes amarum in dulce, & dulce in\namarum. Esai\u00e6 v. 20._]\n\n\nPLANCHE XIII.\u2014LE PREDICATEUR.\n\nTandis qu\u2019il pr\u00eache son auditoire, la Mort qui est derri\u00e8re lui, une\n\u00e9tole au cou, \u00e9l\u00e8ve par-dessus sa t\u00eate un os de mort, & en la montrant \u00e0\nl\u2019assembl\u00e9e lui fait sans doute le plus \u00e9loquent de tous les sermons.\n\n\nPLATE XIV.\u2014THE PRIEST.\n\nHe appears carrying the Holy Sacrament along the street to a dying man.\nDeath marches before him, carrying the lantern and a little bell. He is\nfollowed by a boy, who carries the holy water and a taper, and by a young\nwoman with a mournful aspect, who seems to have come in quest of him.\n\n\n[Illustration: _Sum quidem & ego mortalis homo. Sap. vii. 1._]\n\n\nPLANCHE XIV.\u2014LE PRETRE.\n\nOn le voit dans la rue porter le St. Sacrement \u00e0 un moribond. La Mort\nmarche devant lui, et porte la lanterne & la clochette. Il est suivi d\u2019un\ngar\u00e7on qui porte l\u2019eau b\u00e9nite & un cierge, & d\u2019une jeune femme afflig\u00e9e\nqui paro\u00eet \u00eatre venue le chercher.\n\n\nPLATE XV.\u2014THE PHYSICIAN.\n\nDeath is leading to him a sick old man, whose urine he is presenting to\nhim in a phial, and appears saying, in a jeering manner, Dost thou think\nthat thou art able to save a man whom I have already in my power?\n\n\n[Illustration: _Medice curate ipsum. Luc\u00e6 iv. 23._]\n\n\nPLANCHE XV.\u2014LE MEDECIN.\n\nLa Mort lui am\u00e8ne un vieillard malade dont elle lui pr\u00e9sente l\u2019urine dans\nune phiole, & paro\u00eet lui dire d\u2019un air moqueur; Crois-tu pouvoir sauver\nun homme que je tiens d\u00e9j\u00e0 en ma puissance?\n\n\nPLATE XVI.\u2014THE ASTROLOGER.\n\nHe has his eyes fixed on a sphere hanging from the ceiling, and appears\nprofoundly engaged in the vain chimeras of judicial astrology, while\nDeath comes to turn his attention upon a death-head, which he is\npresenting to him in a most grotesque attitude, seeming to say, in a\njeering tone, Could thy sublime art inform thee, that I was coming to pay\nthee this visit to-day?\n\n\n[Illustration: _Indica mihi, si nosti, omnia sciebas. Tunc quod\nnasciturus esses? & numerum dierum tuorum noveras? Job xxxviii. 18, 21._]\n\n\nPLANCHE XVI.\u2014L\u2019ASTROLOGUE.\n\nIl a les yeux fix\u00e9s sur une sph\u00e8re suspendue au plancher, & paro\u00eet\nprofond\u00e9ment occup\u00e9 des vaines chim\u00e8res de l\u2019astrologie judiciaire,\ntandis que la Mort vient tourner son attention sur une t\u00eate de mort,\nqu\u2019elle lui pr\u00e9sente dans l\u2019attitude la plus grotesque, & semble lui dire\nd\u2019un ton railleur; Ton art sublime a-t-il pu t\u2019apprendre que je viendrois\nte rendre aujourd\u2019hui cette visite?\n\n\nPLATE XVII.\u2014THE EMPEROR.\n\nSeated on a throne, and holding in his hand the sword of state, he is\nattentively listening to an advocate pleading in a soothing tone, against\nan unfortunate peasant, who trembling waits, in the most suppliant\nposture, the decree that is to determine his fate. Death at this moment\ndisplays all his power; he proudly takes possession of the bottom of\nthe throne, and is carelessly leaning his arm on the Monarch\u2019s crown.\nThe angry aspect, with which the Emperor views the advocate and his two\nclients, who are seen standing with their heads uncovered, is a happy\npresage for the poor oppressed peasant. At the foot of the throne are\nlying the sceptre and globe of the empire, placed on a cushion. Death has\nset down his fatal glass beside these attributes of grandeur, which he\ncan cause to vanish at his pleasure.\n\n\n[Illustration: _Dispone domui tu\u00e6, quia morieris tu, et non vives. Isai\u00e6\nxxxviii. 1._\n\n_Ibi morieris, et ibi erit currus glori\u00e6 tu\u00e6. Isai\u00e6 xxii. 18._]\n\n\nPLANCHE XVII.\u2014L\u2019EMPEREUR.\n\nAssis sur son tr\u00f4ne, & tenant dans sa main le glaive de l\u2019empire, il\n\u00e9coute attentivement un avocat qui plaide d\u2019un ton doucereux contre un\nmalheureux paysan, tandis que celui-ci attend en tremblant, & dans la\nposture la plus suppliante, l\u2019arr\u00eat qui doit d\u00e9cider de son sort. La Mort\nd\u00e9veloppe en ce moment toute sa puissance; elle occup\u00e9 fi\u00e8rement la fond\ndu tr\u00f4ne, & appuie nonchalemment son brass sur la couronne du Monarque.\nL\u2019air irrit\u00e9 avec lequel le Chef de l\u2019Empire regarde l\u2019avocat & ses deux\ncliens qu\u2019on voit, la t\u00eate d\u00e9couverte, \u00e0 c\u00f4t\u00e9 de leur d\u00e9fenseur, est\nd\u2019un heureux pr\u00e9sage pour le pauvre opprim\u00e9. On voit au bas du tr\u00f4ne le\nsceptre & le globe de l\u2019empire pos\u00e9s sur un coussin. La Mort a plac\u00e9 son\nsable fatal \u00e0 c\u00f4t\u00e9 de ces atributs d\u2019une grandeur qu\u2019elle peut faire\n\u00e9vanouir \u00e0 son gr\u00e9.\n\n\nPLATE XVIII.\u2014THE KING.\n\nHe is seen, eating in state, under a canopy, and served by the officers\nof the court. Death is come to put himself in the number, and is at this\ninstant performing the office of cupbearer. He is pouring out drink to\nthe Monarch, who holds out to him his great cup, which he is now probably\nto empty for the last time. The Prince holds in his left hand a paper,\nwithout doubt a petition, that has just been presented to him.\n\n\n[Illustration: _Sicut et Rex hodie est, et cras morietur. Eccle. x. 12._\n\n_Nemo enim ex regibus aliud habuit._]\n\n\nPLANCHE XVIII.\u2014LE ROI.\n\nOn le voit manger en c\u00e9r\u00e9monie, assis sous un dais & servi par ses grands\nofficiers; la Mort est venue se mettre du nombre, & fait en ce moment\nl\u2019office d\u2019echanson. Elle verse \u00e0 boire au Monarque qui lui tend sa large\ncoupe, qu\u2019il va vraisemblablement vuider pour la derni\u00e8re fois. Ce Prince\ntient de la main gauche un papier, sans doute un placet qu\u2019on vient de\nlui remettre.\n\n\nPLATE XIX.\u2014THE EMPRESS.\n\nIn the midst of a pompous march, in the court of a great palace, Death,\nwho seems here to do the office of gentleman-usher, leads this Princess\nto the brink of a grave, and shews her the bounds within which all her\ngrandeur is to be confined.\n\n\n[Illustration: _Gradientes in superbia potest Deus humiliare. Daniel iv.\n34._]\n\n\nPLANCHE XIX.\u2014L\u2019IMPERATRICE.\n\nAu milieu d\u2019une marche pompeuse, dans la cour d\u2019un vaste palais, la Mort\nqui paro\u00eet faire ici l\u2019office d\u2019ecuyer, am\u00e8ne cette Princesse jusqu\u2019au\nbord d\u2019une fosse s\u00e9pulcrale, pour lui faire voir le terme auquel ses\ngrandeurs viendront aboutir.\n\n\nPLATE XX.\u2014THE QUEEN.\n\nDeath, arrayed in the habits of folly, drags away violently this young\nPrincess, just as she is coming out of her palace to enjoy the pleasure\nof walking. With terror painted in her countenance, she is making the air\nresound with mournful cries; the maid of honour, who accompanies her,\nagitated with the most violent despair, is imploring the aid of Heaven,\nwhile the buffoon is making vain efforts to defend her against Death, who\nholds aloft his glass, to shew that the fatal hour is come.\n\n\n[Illustration: _Mulieres opulent\u00e6 surgite, & audite vocem meam: post dies\nenim & annum, vos conturbabimini confidentes. Isai\u00e6 xxxii. 9, 10._]\n\n\nPLANCHE XX.\u2014LA REINE.\n\nLa Mort rev\u00eatue des habits de la folie, entraine avec violence cette\njeune Princesse, au moment qu\u2019elle sort de son palais pour jou\u00efr du\nplaisir de la promenade; la terreur peinte sur le visage elle faite\nr\u00e9tentir les airs de ses cris douloureux; la dame d\u2019honneur qui\nl\u2019accompagne, agit\u00e9e du plus violent d\u00e9sespoir, implore le secours du\nCiel, tandis que le bouffon de la Reine fait de vains efforts pour la\nd\u00e9fendre contre la Mort, qui tient son sable \u00e9lev\u00e9 pour faire voir que\nl\u2019heure fatale est arriv\u00e9e.\n\n\nPLATE XXI.\u2014THE DUTCHESS.\n\nDeath, in the shape of two hideous skeletons, comes to surprise her\nas she is lying softly on an elegant bed. One of the skeletons awakes\nher with the sound of a violin, while the other is pulling off her\nbed-clothes, making frightful grimaces.\n\n\n[Illustration: _De lectulo, super quem ascendisti, non descendes, sed\nmorte morieris. 4 Reg. i. 4._]\n\n\nPLANCHE XXI.\u2014LA DUCHESSE.\n\nSous la figure de deux sequelettes hideux, la Mort vient la surprendre,\nmollement couch\u00e9e sur un lit \u00e9l\u00e9gant. L\u2019un des squelettes la r\u00e9veille au\nson d\u2019un violon, tandis que l\u2019autre lui arrache sa couverture en faisant\nd\u2019effroyables grimaces.\n\n\nPLATE XXII.\u2014THE COUNTESS.\n\nShe is wholly taken up with the care of her dress, and is receiving with\neagerness, from the hands of one of her maids, a very rich robe with a\ngold chain. Death comes to derange her toilet, and has already, without\nbeing perceived, slipped round her neck a collar made of small bones.\n\n\n[Illustration: _Ducunt in bonis dies suos, et in puncto ad inferna\ndescendunt. Job xxi. 13._]\n\n\nPLANCHE XXII.\u2014LA COMTESSE.\n\nElle n\u2019est occup\u00e9e que du soin de sa parure, & re\u00e7oit avec empressement,\ndes mains d\u2019une de ses femmes, un habillement tr\u00e8s-riche avec une cha\u00eene\nd\u2019or. La Mort vient troubler sa toilette, & lui a d\u00e9j\u00e0 pass\u00e9 autour du\ncou, sans qu\u2019elle s\u2019en soit encore aper\u00e7ue, un collier fait de petits os\nde mort.\n\n\nPLATE XXIII.\u2014THE NEW-MARRIED PAIR.\n\nIn the first transports of an happy union, this tender couple appears\nso wholly taken up with each other, and so inebriated with their mutual\nhappiness, that they neither see nor hear. Death, who is marching before\nthem, beating furiously on a little drum, is soon to give a cruel\ninterruption to their enjoyments.\n\n\n[Illustration: _Sola mors me et te separaverit. Ruth i. 17._]\n\n\nPLANCHE XXIII.\u2014LES NOUVEAUX MARIES.\n\nDans les premiers transports d\u2019une douce union, ces deux tendres \u00e9poux\nparoissent tellement occup\u00e9s l\u2019un de l\u2019autre, ils sont si enivr\u00e9s de leur\nbonheur mutuel, qu\u2019ils ne voient ni n\u2019entendent la Mort qui marche devant\neux, en frappant vigoureusement sur un petit tambour, & qui va leur\ndonner bient\u00f4t un cruel trouble-f\u00eate.\n\n\nPLATE XXIV.\u2014THE CANONESS.\n\nThere appears in this young and beautiful recluse, a striking mixture\nof gallantry and devotion. On her knees before a little altar, with her\nrosary in her hand, she is amorously listening to the songs which a young\nman, seated on a bed, addresses to her, accompanying them with his lute.\nDeath comes to put out the tapers burning on the altar, and to change\ninto sadness the pleasures of this conversation.\n\n\n[Illustration: _Est via, qu\u00e6 videtur homini justa: novissima autem ejus\ndeducunt hominem ad mortem. Prov. xiv. 12._]\n\n\nPLANCHE XXIV.\u2014LA CHANOINESSE.\n\nL\u2019on voit dans cette jeune & belle recluse un m\u00e9lange frappant de\ngalanterie & de d\u00e9votion. Agenouill\u00e9e devant un petit autel, son rosaire\n\u00e0 la main, elle \u00e9coute amoureusement les chansons qu\u2019un jeune homme,\nassis sur son lit, lui adresse en les accompagnant de son luth. La Mort\nvient \u00e9teindre les cierges allum\u00e9s sur l\u2019autel, & changer en amertume les\ndouceurs de ce t\u00eate-\u00e0-t\u00eate.\n\n\nPLATE XXV.\u2014THE COUNT.\n\nDeath here adds to his usual employment that of avenger of oppressed\nvassals. He is throwing with violence at the head of this Lord, his\ncoat of arms, the dear object of his pride, under the weight of which\nhe is ready to make him fall. He appears trampling under foot a flail,\nto mark his inhumanity to labourers, a class of society so necessary\nand respectable. On the ground also are to be seen the remains of the\nhelmet which formed the crest of his arms, with the other ornaments that\ndecorated them.\n\n\n[Illustration: _Quoniam cum interierit, non sumet omnia: neque descendet\ncum eo gloria ejus. Psal. xlvii. 18._]\n\n\nPLANCHE XXV.\u2014LE COMTE.\n\nLa Mort ajoute ici \u00e0 l\u2019exercice de son emploi accoutum\u00e9 celui de vengeur\nde vassaux opprim\u00e9s; elle jette avec violence \u00e0 la t\u00eate de ce Seigneur\nses armoiries, l\u2019objet ch\u00e9ri de son orgueil, sous le poids desquelles\nelle va le faire p\u00e9rir. On le voit fouler \u00e0 ses pieds un fl\u00e9au, pour\nd\u00e9signer son inhumanit\u00e9 envers les laboureurs, cette classe de la soci\u00e9t\u00e9\nsi n\u00e9cessaire & si respectable; on peut encore remarquer \u00e0 terre, les\nd\u00e9bris du casque dont ces armoiries \u00e9toient surmont\u00e9es avec d\u2019autres\nornemens qui les d\u00e9coroient.\n\n\nPLATE XXVI.\u2014THE KNIGHT.\n\nThis worthy Cavalier, returned victorious from so many combats and\ntournaments, comes at length to meet his match. Death has run him through\nthe body with a furious stroke of the lance, and is laughing at the vain\nefforts he makes to defend himself.\n\n\n[Illustration: _Subito morientur, & in media nocte turbabuntur populi, &\nauferent violentum absque manu. Job xxxiv. 20._]\n\n\nPLANCHE XXVI.\u2014LE CHEVALIER.\n\nCe preux Chevalier sorti vainqueur de tant de combats & de tant de\ntournois, vient enfin de trouver son ma\u00eetre. La Mort l\u2019a perc\u00e9 de part en\npart d\u2019un furieux coup de lance, & se rit des vains efforts qu\u2019il met en\nusage pour se d\u00e9fendre contr\u2019elle.\n\n\nPLATE XXVII.\u2014THE GENTLEMAN.\n\nHe is doing every thing in his power to put off the moment that is to\nseparate him for ever from his possessions, and his fine seat, which\nappears in the back ground; but Death inexorable has already set down\nbeside him the fatal bier, into which he is about to make him enter.\n\n\n[Illustration: _Quis est homo, qui vivet, et non videbit mortem: eruet\nanimam suam de manu inferi? Psal. lxxxviii. 49._]\n\n\nPLANCHE XXVII.\u2014LE GENTILHOMME.\n\nIl fait tout ce qu\u2019il peut pour reculer le moment qui doit le s\u00e9parer\npour toujours de ses possessions, & de son beau ch\u00e2teau qui paro\u00eet dans\nle lointain; mais la Mort inexorable a d\u00e9j\u00e0 plac\u00e9 pr\u00e8s de lui la bi\u00e8re\nfatale o\u00f9 elle va le faire entrer.\n\n\nPLATE XXVIII.\u2014THE SWISS SOLDIER.\n\nOn a field of battle, covered with dead carcasses, Death, armed with a\nbuckler and a huge dart, attacks this warrior, in the bosom of victory,\nescaped alone from the carnage of the day, and is giving him some\nterrible blows. It is in vain that this brave Soldier, whose courage\nseems invincible, is obstinately attempting to dispute the victory with\nan irresistible adversary. In the back ground appears another Death,\nrunning, and beating on a drum, who is followed by several soldiers.\n\n\n[Illustration: _Cum fortis armatus custodit atrium suum, &c. Si autem\nfortior eo superveniens vicerit eum, universa ejus arma auferet, in\nquibus confidebat. Luc\u00e6 xi. 21, 22._]\n\n\nPLANCHE XXVIII.\u2014LE SOLDAT SUISSE.\n\nSur un champ de bataille jonch\u00e9 de cadavres, la Mort arm\u00e9e d\u2019un bouclier\n& d\u2019un grand javelot, attaque dans le sein de la victoire ce guerrier\n\u00e9chapp\u00e9 seul au carnage, & lui port des coups terribles. C\u2019est en vain\nque ce brave Soldat dont la valeur sembloit indomptable, s\u2019acharne \u00e0\ndisputer la victoire \u00e0 un adversaire auquel rien ne sauroit r\u00e9sister.\nDans le lointain on apper\u00e7oit une autre Mort qui bat du tambour en\ncourrant, & qui est suivie de quelques soldats.\n\n\nPLATE XXIX.\u2014THE JUDGE.\n\nIt appears that this supporter of Justice, forgetting the dignity of his\nstation, abandons himself without shame to injustice. He is stretching\nout his hand for the gold that the rich man is going to give him, without\ndoubt to obtain of him a favourable decision, and to bear down the poor\nunfortunate man, who appears in a trembling posture at the side of the\nJudge. Death comes to surprise him in the midst of his prevarications,\nand is snatching out of his hands the rod which is the mark of his\ndignity.\n\n\n[Illustration: _Disperdam judicem de medio ejus. Amos ii. 3._]\n\n\nPLANCHE XXIX.\u2014LE JUGE.\n\nIl paro\u00eet que ce supp\u00f4t de Th\u00e9mis, oubliant la dignit\u00e9 de sa place,\ns\u2019abandonne sans pudeur \u00e0 l\u2019iniquit\u00e9. Il tend la main \u00e0 l\u2019or que cet\nhomme riche va lui donner, sans doute pour en obtenir un jugement\nfavorable, & faire succomber le pauvre malheureux qu\u2019on voit dans une\nattitude craintive \u00e0 c\u00f4t\u00e9 du Juge. La Mort vient le surprendre au milieu\nde ses pr\u00e9varications, & lui arrache des mains la baguette qui est la\nmarque de sa dignit\u00e9.\n\n\nPLATE XXX.\u2014THE COUNSELLOR.\n\nThis magistrate appears deeply engaged in giving, in the open street, to\na rich man, the advices which a little devil, astride on his neck, is\nblowing into his ears, while he pays no sort of regard to the poor man,\nwho is tapping his shoulder, and in the most suppliant posture asking to\nbe heard. Death seems to be rising from the earth, in indignation, to put\nan end to this interesting conversation.\n\n\n[Illustration: _Qui obturat aurem suam ad clamorem pauperis, et ipse\nclamabit, & non exaudietur. Prov. xxi. 13._]\n\n\nPLANCHE XXX.\u2014LE CONSEILLER.\n\nCe magistrat paro\u00eet fort occup\u00e9 \u00e0 donner en pleine rue \u00e0 un homme riche,\ndes conseils qu\u2019un petit diable \u00e0 califourchon sur son cou lui souffle\naux oreilles, tandis qu\u2019il ne fait aucune attention au pauvre qui lui\ntouche doucement l\u2019\u00e9paule, & d\u00e9mande dans l\u2019attitude la plus suppliante \u00e0\n\u00eatre \u00e9cout\u00e9. La Mort indign\u00e9e semble sortir de terre, pour mettre fin \u00e0\ncette conversation int\u00e9ress\u00e9e.\n\n\nPLATE XXXI.\u2014THE ADVOCATE.\n\nThis subject answers to No. 29. The example of the Judge seems to\nauthorize the Advocate to get himself well paid for his prevarication,\nand that even in the presence of his poor client, whose wretched\ncondition would raise compassion in any breast less obdurate than that of\nthe lawyer. But Death will avenge the oppressed; he is pouring into the\nhands of the Advocate money in abundance, of which he will have little\nuse, for he is, at the same instant, shewing him, with an air of insult,\nhis sand run out.\n\n\n[Illustration: _Callidus vidit malum, & abscondit, sed innocens\npertransiit & afflictus est damno. Prov. xxii. 3._]\n\n\nPLANCHE XXXI.\u2014L\u2019AVOCAT.\n\nCe sujet se rapporte au No. 29. L\u2019exemple du Juge semble autoriser\nl\u2019Avocat \u00e0 se faire payer ch\u00e8rement ses pr\u00e9varications, & cela m\u00eame en\npr\u00e9sence de son pauvre client qui se tient dans un certain \u00e9loignement,\n& dont l\u2019\u00e9tat mis\u00e9rable feroit piti\u00e9 \u00e0 une \u00e2me moins dure que celle de\nl\u2019homme de loi. Mais la Mort vengera l\u2019opprim\u00e9; elle verse abondamment\ndans les mains de l\u2019Avocat de l\u2019argent dont il ne profitera gu\u00e8re, car\nelle lui montre en m\u00eame tems d\u2019un air moqueur son sable \u00e9coul\u00e9.\n\n\nPLATE XXXII.\u2014THE MERCHANT.\n\nEscaped from the dangers of the sea, and safely arrived in port, this\nrich Merchant believes himself now in perfect safety; but he is mistaken.\nEmployed in counting his money, examining his goods, and treating about\ntheir disposal, a bad customer, Death himself, comes up, and it is his\nperson only that he wants to bargain for.\n\n\n[Illustration: _Qui congregat thesauros lingua mendacii, vanus et excors\nest, & impingetur ad laqueos Mortis. Prov. xxi. 6._]\n\n\nPLANCHE XXXII.\u2014LE MARCHAND.\n\nEchapp\u00e9 aux p\u00e9rils de la mer, arriv\u00e9 heureusement au port, ce riche\nMarchand se croit en pleine s\u00e9curit\u00e9; il se trompe. Occup\u00e9 \u00e0 compter son\nargent, \u00e0 examiner ses marchandises & \u00e0 traiter de leur vente, un mauvais\nchaland, la Mort elle-m\u00eame, arrive, & ce n\u2019est que de sa personne qu\u2019elle\nveut faire emplette.\n\n\nPLATE XXXIII.\u2014THE HAWKER.\n\nBending under the weight of his load, he is advancing, with a quick pace,\nto the neighbouring town, comforting himself with thinking on the gain\nhe is to make there; but Death, in the form of two skeletons, is come to\nput a sudden end to his labours and his hopes. One of the skeletons is\ndragging him forcibly by the arm, while the other behind him is playing\non a marine trumpet. It is in vain that the poor Hawker points with his\nfinger to the place where his business calls him; this disagreeable\ncompany appears desirous of making him take another road.\n\n\n[Illustration: _Venite ad me omnes, qui laboratis, et onerati estis.\nMatth. xi. 28._]\n\n\nPLANCHE XXXIII.\u2014LE COLPORTEUR.\n\nCourb\u00e9 sous le poids de sa charge, il avance \u00e0 grands pas vers le lieu\nvoisin, & trouve du soulagement en r\u00eavant au gain qu\u2019il pourroit y faire;\nmais la Mort, sous la figure de deux squelettes, est venue subitement\nmettre fin \u00e0 ses peines & \u00e0 ses esp\u00e9rances. L\u2019un des squelettes le\ntire avec force par le bras, tandis que l\u2019autre joue derri\u00e8re lui de\nla trompette marine. C\u2019est en vain que le pauvre Colporteur montre des\ndoigts l\u2019endroit o\u00f9 ses affaires l\u2019appellent, cette f\u00e2cheuse compagnie\nparo\u00eet vouloir lui faire prendre une autre route.\n\n\nPLATE XXXIV.\u2014THE SHIPWRECK.\n\nDeath here is exercising his power on one of his most fertile domains. He\nhimself is breaking the mast of a ship violently tossed by the tempest,\nand throws all the passengers into the most fearful despair. One alone\nwe can distinguish, near the mast, who preserves the tranquillity of\nmind which, in the greatest danger, a good conscience yields to firm and\nintrepid minds; his head has all the features with which Socrates is\nusually represented.\n\n\n[Illustration: _Qui volunt ditescere incidunt in tentationem & laqueum,\n& cupiditates multas stultas & noxias, qu\u00e6 demergunt homines in exitum &\ninteritum. 1 ad Timo. vi. 9._]\n\n\nPLANCHE XXXIV.\u2014LE NAUFRAGE.\n\nLa Mort exerce ici son empire sur un de ses plus fertiles domaines; elle\nbrise elle-m\u00eame le m\u00e2t d\u2019un vaisseau violemment agit\u00e9 par la temp\u00eate, &\njette tous les passagers dans le plus affreux d\u00e9sespoir. On en distingue\nun seul plac\u00e9 pr\u00e8s du m\u00e2t, qui a conserv\u00e9 cette tranquillit\u00e9 d\u2019\u00e2me qu\u2019une\nbonne conscience accorde dans les plus grands p\u00e9rils aux esprits fermes\n& courageux; sa t\u00eate a tous les traits sous lesquels on repr\u00e9sente\nordinairement Socrate.\n\n\nPLATE XXXV\u2014THE WAGGONER.\n\nWe see Death here venting his capricious fury on a cart of wine that a\npoor Waggoner is conducting. Without doubt, the man himself will soon\ncome, in his turn, to be the sport of his caprice; and the same cause\nthat has now produced, will ere long effectually finish his despair.\n\n\n[Illustration: _C\u00e6cus c\u00e6cum ducit: & ambo in foveam cadunt. Matth. xv.\n14._]\n\n\nPLANCHE XXXV.\u2014LE VOITURIER.\n\nOn voit ici la Mort exercer ses bizarres fureurs sur un char de vin\nque conduit un pauvre Voiturier. Sans doute que lui-m\u00eame va devenir\n\u00e0 son tour le jouet de ses caprices, & que la m\u00eame cause qui vient\nd\u2019occasionner son d\u00e9sespoir ne tardera pas \u00e0 le terminer.\n\n\nPLATE XXXVI.\u2014THE HUSBANDMAN.\n\nWere Death capable of considerations, what class of society would\nbetter deserve to be exempted from his ravages, than the labourers;\nincontestably the most useful, most laborious, and most productive of\nreal opulence? But he is now striking the horses harnessed to this\nHusbandman\u2019s plough; and this enemy of the human race can strike no\nblow more severely felt, than by thus attacking it in the source of its\nsubsistence.\n\n\n[Illustration: _In sudore vultus tui vesceris pane tuo. Gen. iii. 19._]\n\n\nPLANCHE XXXVI.\u2014LE LABOUREUR.\n\nSi la Mort pouvoit user de quelque consid\u00e9ration, quelle classe de la\nsoci\u00e9t\u00e9 m\u00e9riteroit mieux d\u2019en \u00eatre m\u00e9nag\u00e9e que celle du laboureur, sans\ncontredit la plus utile, la plus laborieuse, & la plus productive des\nv\u00e9ritables richesses? Mais elle frappe d\u00e9j\u00e0 les chevaux attel\u00e9s \u00e0 la\ncharrue de ce Cultivateur, & cette ennemie du genre humain ne sauroit lui\nporter des coups plus sensibles qu\u2019en l\u2019attaquant dans les sources de sa\nsubsistance.\n\n\nPLATE XXXVII.\u2014THE MISER.\n\nThe character of the Miser is very forcibly expressed in this sketch.\nShut up in a vault, which receives the light only through a wicket,\nsecured with a double grate of thick iron bars, he is entirely taken up\nwith his beloved treasure, a considerable part whereof Death is snatching\nup before his eyes. This loss excites in him all the symptoms of the most\nviolent desperation, and it plainly appears that his gold is an hundred\ntimes dearer to his heart than his life.\n\n\n[Illustration: _Stulte, hac nocte repetunt animam tuam: & qu\u00e6 parasti,\ncujus erunt? Luc\u00e6 xii. 20._]\n\n\nPLANCHE XXXVII.\u2014L\u2019AVARE.\n\nLe caract\u00e8re de l\u2019Avare est rendu dans ce dessein avec beaucoup\nd\u2019\u00e9nergie. Renferm\u00e9 dans un caveau qui ne re\u00e7oit du jour que par une\nlucarne garnie d\u2019une double grille d\u2019\u00e9pais barreaux de fer, il n\u2019est\noccup\u00e9 que de son cher tr\u00e9sor, dont la Mort lui enl\u00e8ve \u00e0 ses yeux un\nportion tr\u00e8s-consid\u00e9rable. Cette perte excite en lui tous les sympt\u00f4mes\ndu plus violent d\u00e9sespoir, & l\u2019on voit bien que son or lui tient cent\nfois plus \u00e0 c\u0153ur que la vie.\n\n\nPLATE XXXVIII.\u2014THE HIGHWAY ROBBER.\n\nThis ill-fated man attacks in a forest, a country girl returning from\nthe fair, and is endeavouring to take from her what she is bringing\nfrom thence; but, fortunately for the poor woman, Death comes to her\nassistance; and laying hold of the Robber, prevents, probably only by a\nfew days, the hangman, who would have made him bear on a scaffold the\npunishment due to his crimes.\n\n\n[Illustration: _Quasi agnus lasciviens & ignorans, nescit quod ad vincula\nstultus trahatur. Prov. vii. 22._]\n\n\nPLANCHE XXXVIII.\u2014LE VOLEUR DE GRAND CHEMIN.\n\nCe malheureux attaque dans une for\u00eat une paysanne qui revient de la\nfoire, & veut lui enlever ce qu\u2019elle en rapporte; mais heureusement pour\nla pauvre femme, la Mort vient \u00e0 son secours, & en se saisissant du\nVoleur elle ne pr\u00e9vient peut-\u00eatre que de quelques jours le bourreau, qui\nlui auroit fait porter sur un \u00e9chaffaut la peine de ses crimes.\n\n\nPLATE XXXIX.\u2014THE DRUNKARDS.\n\nDebauchery, and, above all, excess in drinking, undoubtedly furnish Death\nwith powerful arms for committing his ravages. Here he appears pouring\nthe wine in great abundance into the throat of one of these Drunkards,\nand the most beastly drunkenness reigns in these disgusting orgies.\n\n\n[Illustration: _Et nolite inebriari vino, in quo est luxuria. Eph. v.\n18._]\n\n\nPLANCHE XXXIX.\u2014LES YVROGNES.\n\nLa d\u00e9bauche & surtout les exc\u00e8s de la boisson fournissent sans cesse \u00e0 la\nMort des armes puissantes pour exercer ses ravages. On la voit ici qui\nentonne le vin \u00e0 grands flots dans le gozier d\u2019un de ces Yvrognes, & la\nplus grossi\u00e8re crapule pr\u00e9side \u00e0 cette d\u00e9go\u00fbtante orgie.\n\n\nPLATE XL.\u2014THE GAMESTERS.\n\nHere is another company well worthy of the former; and the fate of\nthose who compose it is nearly the same; it only differs in this, that\nthe Devil and Death are disputing which of them shall carry off the\nlosing Gamester. It is a contest, if we may say so, frightful as well as\nludicrous, so much the more so, that the second Gamester, interesting\nhimself in the fate of the first, is addressing fervent prayers to the\nDevil on his behalf; but the third is doing still better, taking the\nadvantage of this moment of trouble and terror, to gather in the money\nthat is lying on the table.\n\n\n[Illustration: _Quid enim prodest homini, si mundum universum lucretur,\nanim\u00e6 vero su\u00e6 detrimentum patiatur? Matth. xvi. 26._]\n\n\nPLANCHE XL.\u2014LES JOUEURS.\n\nVoici une autre compagnie bien digne de la pr\u00e9c\u00e9dente; aussi le sort de\nceux qui la composent est-il \u00e0 peu pr\u00e8s le m\u00eame; il ne diff\u00e8re qu\u2019en ce\nque le Diable & la Mort se disputent qui des deux emportera le Joueur qui\na perdu. C\u2019est un combat, s\u2019il est permis de le dire, aussi effroyable\nque comique, d\u2019autant plus que le second Joueur, s\u2019int\u00e9ressant au sort\ndu premier, adresse de ferventes pri\u00e8res au Diable en sa faveur; mais\nle troisi\u00e8me fait encore mieux, & profite de ce moment de trouble &\nd\u2019effroi, pour ramasser l\u2019argent qui se trouve sur la table.\n\n\nPLATE XLI.\u2014THE OLD MAN.\n\nHere we see Death leading away, playing on a psaltery, an Old Man to the\nbrink of the grave, bent under the load of years, and verging to the last\ndegree of frailty. The Old Man allows himself to be carried off, with\nthat calmness and tranquillity, which are the effects of wisdom, and the\nfruits of a good conscience.\n\n\n[Illustration: _Spiritus meus attenuabitur, dies mei breviabuntur, &\nsolum mihi superest sepulchrum. Job xvii. 1._]\n\n\nPLANCHE XLI.\u2014LE VIEILLARD.\n\nL\u2019on voit ici la Mort qui conduit sur le bord de sa fosse, en jouant du\npsalterion, un Vieillard courb\u00e9 sous le poids des ann\u00e9es, & parvenu au\ndernier degr\u00e9 de la caducit\u00e9. Le Vieillard se laisse emmener avec ce\ncalme & cette tranquillit\u00e9 qui sont l\u2019apanage de la sagesse & les fruits\nd\u2019une bonne conscience.\n\n\nPLATE XLII.\u2014THE OLD WOMAN.\n\nThe grim countenance of this good old Dame does not indicate the same\nresignation as appears in the former subject. Wholly occupied in mumbling\nher rosary, she pays no attention to the sound of a dulcimer, on which\none of her conductors is playing. The other skeleton, impatient of the\nslowness of the Old Woman\u2019s march, is employing menaces and blows to make\nher advance.\n\n\n[Illustration: _Melior est mors quam vita. Eccle. xxx. 17._]\n\n\nPLANCHE XLII.\u2014LA VIEILLE.\n\nLe visage rechign\u00e9 de cette bonne Vieille n\u2019annonce pas la m\u00eame\nr\u00e9signation que dans le sujet pr\u00e9c\u00e9dent. Toute occup\u00e9e \u00e0 marmotter son\nrosaire, elle ne pr\u00eate aucune attention au son du timpanon dont joue\nl\u2019une de ses conductrices. L\u2019autre squelette impatient de la lenteur que\nla bonne Vieille met dans sa marche, emploie les menaces & les coups pour\nla faire avancer.\n\n\nPLATE XLIII.\u2014THE BLIND MAN.\n\nThis poor Blind Man is following, with an air of chagrin, his new\nconductor, who, without pity, is leading him through wretched roads. In\nvain does he attempt, by groping his way, to avoid the obstacles that\noppose his reluctant march; he will not avoid that fatal goal to which\nDeath is conducting him, and which will be the only termination of his\nevils.\n\n\n[Illustration: _Domine vim patior. Isai\u00e6 xxxviii. 14._\n\n_C\u00e6ci sunt, & duces c\u00e6corum. C\u00e6cus autem si c\u00e6co ducatum pr\u00e6stet, ambo in\nfoveam cadunt. Matth. xv. 14._]\n\n\nPLANCHE XLIII.\u2014L\u2019AVEUGLE.\n\nCe pauvre Aveugle suit d\u2019un air chagrin son nouveau conducteur qui le\nm\u00e8ne impitoyablement par les plus mauvais chemins; en vain veut-il\n\u00e9viter, en t\u00e2tonnant, les obstacles qui s\u2019opposent \u00e0 sa marche forc\u00e9e; il\nn\u2019\u00e9vitera pas le terme fatal o\u00f9 la Mort le conduit, et qui ne sera dans\nle fond que celui de ses maux.\n\n\nPLATE XLIV.\u2014THE BEGGAR.\n\nIn the most deplorable situation, lame, and exposed almost naked to the\ninjuries of the weather, he is set down before a rich man\u2019s house, into\nwhich he has the mortification to see several enter, who look at him\nwithout ever thinking of relieving his distress. Death, not less cruel\nthan capricious, whose aid alone he implores, and in whose power it is to\nmake him happy, deaf to his prayers, allows him to groan under the load\nof evils which overwhelm him, whilst he delights to tear from this life\nthose who think themselves happy, or are attached to it by the strongest\nties.\n\n\n[Illustration: _Corruit in curru suo. Chron. xxii._]\n\n\nPLANCHE XLIV.\u2014LE MENDIANT.\n\nDans l\u2019\u00e9tat le plus d\u00e9plorable, estropi\u00e9, expos\u00e9 presque nud aux injures\ndu tems, il est assis devant la maison d\u2019un homme opulent, dans laquelle\nil a la douleur de voir entrer plusieurs personnes qui le regardent sans\nsonger \u00e0 soulager ses peines. La Mort non moins cruelle que bizarre, dont\nlui seul implore le secours, & qui pourroit faire son bonheur, sourde\n\u00e0 ses pri\u00e8res, le laisse g\u00e9mir sous le poids des maux qui l\u2019accablent,\ntandis qu\u2019elle se pla\u00eet \u00e0 arracher de cette vie ceux qui s\u2019y croient\nheureux, ou qui y tiennent par les liens les plus puissans.\n\n\nPLATE XLV.\u2014THE CHILD.\n\nIf under the roof of poverty there is any comfort, it is in having\nchildren, by whom we may hope one day to be solaced. This is the case\nwith this poor widow; but death is of a different opinion, and is come to\ncarry off her youngest Child, unmoved by her prayers and lamentations.\n\n\n[Illustration: _Homo natus de muliere, brevi vivens tempore, repletur\nmultis miseriis: qui quasi flos egreditur & conteritur, & fugit velut\numbra. Job xiv. 1, 2._]\n\n\nPLANCHE XLV.\u2014L\u2019ENFANT.\n\nSi sous le toit de la pauvret\u00e9 il y a quelque consolation, c\u2019est d\u2019avoir\ndes enfans dont on peut esp\u00e9rer d\u2019\u00eatre un jour soulag\u00e9. C\u2019est le cas de\ncette pauvre veuve, mais la Mort n\u2019est point de cet avis, & vient de lui\nenlever le plus petit sans se laisser fl\u00e9chir, ni par ses pri\u00e8res ni par\nses lamentations.\n\n\nPLATE XLVI.\u2014THE FOOL.\n\nDeath is leading him away gaily, making him dance to the sound of a\nbagpipe. The Fool, ignorant without doubt of the catastrophe that awaits\nhim, seems to be meditating some piece of mischief, which will probably\nbe his last.\n\nThis dancing couple finish the procession, wherein HOLBEIN has had the\nskill to unite a salutary moral with the gayest and liveliest sallies\nthat form a singular contrast with the sadness of the subject.\n\n\n[Illustration: _Quasi agnus lasciviens, & ignorans quod ad vincula\nstultus trahatur. Prov. vii. 22._]\n\n\nPLANCHE XLVI.\u2014LE FOU.\n\nLa Mort l\u2019emm\u00e8ne gaiement en le faisant danser au son d\u2019une cornemuse;\nle Fou qui ne sait pas sans doute la catastrophe qui l\u2019attend, paro\u00eet\nm\u00e9diter une malice qui sera vraisemblablement la derni\u00e8re.\n\nCe couple dansant termine la marche de cette suite o\u00f9 HOLBEIN a su r\u00e9unir\nune morale salutaire, aux sallies les plus gaies & les plus plaisantes\nqui contrastent singuli\u00e8rement avec la tristesse du sujet.\n\n\nTHE END.\n\nW. SMITH AND CO. Printers, KING STREET, SEVEN DIALS.","title":"The Dances of Death: Through the Various Stages of Human Life: Wherein the Capriciousness of that Tyrant is Exhibited","tradition":"philosophy-ethics","translated_text":null,"word_count":8025}