The Dance of Death

IV. A Dance of Death, extremely well executed on wood, the designs of which have been taken from a set of initial letters, that will hereafter be particularly described. They are upright, and measure two inches by one and a half. Each subject is accompanied with two German verses.

V. On the back of the title page to “Die kleyn furstlich Chronica,” Strasb. 1544, 4to. are three subjects that appear to be part of a series. 1. Death and the Pope, who has a book and triple crosier. Death kneels to him whilst he plays on a tabor and drum. 2. Death and the King. Death blows a trumpet. 3. Death shoots an arrow at a warrior armed with sword and battle-axe. All these figures are accompanied with German verses, and are neatly engraved on wood.

VI. A series of single figures, etched with great spirit by Giovanni Maria Mitelli. They are not accompanied by Death, but hold dialogues with him in Italian stanzas. The characters are, 1. The Astrologer. 2. The Doctor of universal science. 3. The Hunter. 4. The Mathematician. 5. The Idolater. They are not mentioned in Bartsch, nor in any other list of the works of engravers. It is possible that there are more of them.

VII. The five Deaths, etched by Della Bella. 1. A terrific figure of Death on a galloping horse. In his left hand a trumpet, to which a flag, agitated by the wind, is attached. In the back ground, several human skeletons, variously employed. 2. Death carrying off an infant in his arms. In the back-ground, the church-yard of the Innocents at Paris. 3. Death walking away with a young child on his back. In the distance, another view of the above cemetery. 4. Death carrying off a female on his shoulders, with her head downwards, followed at a distance by another Death holding a corpse in his arms. 5. Death dragging a reluctant old man towards a grave, in which another Death, with an hour-glass in his hand, awaits him. All these are extremely fine, and executed in the artist’s best time. There is a sixth of the series, representing Death throwing a young man into a well, but it is very inferior to the others. It was begun by Della Bella a short time before his death, and finished by his pupil Galestruzzi, about 1664. Della Bella likewise etched a long print of the triumph of Death.

VIII. A single anonymous French engraving on copper, 14½ by 6½, containing three subjects. 1. Death and the soldier. 2. Death standing with a pruning knife in his right hand, and a winged hour-glass in his left. Under him are three prostrate females, one plays on a violin; the next, who represents Pride, holds a peacock in one hand and a mirror in the other; the third has a flower in her left hand. 3. Death and the lady. He holds an hour-glass and dart, and she a flower in her right hand. Under each subject are French verses. This may perhaps be one only of a set.

IX. A German Dance of Death, in eight oblong engravings on copper, 11 by 8½, consisting of eight sheets and twenty-five subjects, as follow. 1. A fantastic figure of a Death, with a cap and feathers, in the attitude of dancing and playing on a flute. He is followed by another dancing skeleton carrying a coffin on his shoulder. 2. Pope. 3. Emperor. 4 Empress. 5. Cardinal. 6. King. 7. Bishop. 8. Duke or General. 9. Abbot. 10. Knight. 11. Carthusian. 12. Burgomaster. 13. Canon. 14. Nobleman. 15. Physician. 16. Usurer. 17. Chaplain. 18. Bailiff or Steward. 19. Churchwarden. 20. Merchant. 21. Hermit. 22. Peasant. 23. Young Man. 24. Maiden. 25. Child. This is a complete set of the prints, representing the Lubeck painting, already described in p. 43. In the translation of the inscriptions, as given by Dr. Nugent, two more characters are added at the end, viz. the Dancing Master and the Fencing Master. On the spectator’s left hand of No. 1. of these engravings, is a column containing the following inscription in German, in English as follows: “Silence, fool-hardy one, whoever thou art, who, with needless words, profanest this holy place. This is no chapel for talking, but thy sure place is in Death’s Dance. Silence then, silence, and let the painting on these silent walls commune with thee, and convince thee that man is and will be earth:” and on Nos. 4 and 5, the words “Zu finden in Lubeck by Christian Gotfried Donatius.”

X. The following entry is in the Stationers’ books:

XI. In the catalogue of the library of R. Smith, secretary of the Poultry Compter, which was sold by auction in 1682, is this article “Dance of Death in the cloyster of Paul’s, with figures, very old.” Probably a single sheet.

XII. “The Dance of Death;” a single sheet, engraved on copper, with the following figures. In the middle, Death leading the king; the beggar hand in hand with the king; Death leading the old man, followed by a child; the fool; the wise man, as an astrologer, led by Death. On the spectator’s left hand, Death bringing a man before a judge; with the motto, “The greatest judge that sits in honour’s seat, must come to grave, where’t boots not to intreate.” A man and woman in a brothel, Death behind; with the motto, “Leave, wanton youth, thou must no longer stay; if once I call all mortals must obey.” On the opposite side, the Miser and Death; the motto, “Come, worldling, come, gold hath no power to save, leave it thou shalt, and dance with me to grave.” Death and the Prisoner; the motto, “Prisoner arise, ile ease thy fetterd feet, and now betake thee to thy winding sheet.” In the middle of the print sits a minstrel on a stool formed of bones placed on a coffin with a pick-axe and spade. He plays on a tabor and pipe; with this motto, “Sickness, despaire, sword, famine, sudden death, all these do serve as minstrells unto Death; the beggar, king, fool, and profound, courtier and clown all dance this round.” Under the above figures is a poem of sixty-six lines on the power of Death, beginning thus:

Yea, Adam’s brood and earthly wights which breath now on the earth,Come dance this dance, and mark the song of this most mighty Death.Full well my power is known and seen in all the world about,When I do strike of force do yeeld both noble, wise, and stout, &c.

Printed cullored and sould by R. Walton at the Globe and Compasses at the West end of St. Paules church turning down towards Ludgate.

XIII. A large anonymous German engraving on copper, in folio. In the middle is a circular Dance of Death, with nine females, from the Empress to the Fool. In the four corners, two persons kneeling before a crucifix; saints in heaven; the temptation; and the infernal regions. At top, a frame with these verses:

Vulneris en nostri certam solamque medelamEn data divina præmia larga manu.Der Todt Christi Zunicht hat gmachtDen Todt und Sleben wider bracht.

At bottom in a similar frame:

Per unius peccatum Mors intravit in mundum.Den Todt und ewig hellisch peinHat veruhr sagt die Sund allein.

This is within a broad frame, containing a Dance of Death, in twelve ovals. The names of the characters are in German: 1. The Pope. 2. Emperor. 3. King. 4. Cardinal. 5. Bishop. 6. Duke. 7. Earl. 8. Gentleman. 9. Citizen. 10. Peasant. 11. Soldier and Beggar. 12. Fool and Child. Under each subject is an appropriate inscription in Latin and German. In the middle at top, a Death’s head and bones, an hour-glass and a dial. In the middle at bottom, a lamp burning on a Death’s head, and a pot of holy water with an aspergillum. On the sides, in the middle, funereal implements.

XIV. Heineken, in his “Dictionnaire des Graveurs,” iii. 77, mentions a Dance of Death engraved about 1740 by Maurice Bodenehr of Friburg, but without any further notice.

XV. Another very large print, 2 feet by 1½, in mezzotinto, the subject as in No. 10. but the figures varied, and much better drawn. At bottom, “Joh. El. Ridinger excud. Aug. Vindel.”

XVI. Newton’s Dances of Death. Published July 12, 1796, by Wm. Holland, No. 50, Oxford Street, consisting of the following grotesque subjects engraved on copper. The size 6 inches by 5. 1. Auctioneer. 2. Lawyer. 3. Old Maid on Death’s back. 4. Gamblers. 5. Scolding Wife. 6. Apple-woman. 7. Blind Beggar. 8. Distressed Poet and Bailiff. 9. Undertaker. 10. Sleeping Lady. 11. Old Woman and her Cats. 12. Gouty Parson feeding on a tythe pig. 12. Same subject differently treated. 13. Sailor and Sweetheart. 14. Physician, Gravedigger, and Death dancing a round. 15. Market-man. 16. Doctor, sick Patient, and Nurse. 17. Watchman. 18. Gravedigger putting a corpse into the grave. 19. Old maid reading, Death extinguishes the candle. 20. Gravedigger making a grave. 21. Old Woman. 22. Barber. 23. Lady and Death reflected in the mirror. 24. Waiter. 25. Amorous Old Man and Young Woman. 26. Jew Old Clothes-man. 27. Miser. 28. Female Gin-drinker.

XVII. The Dance of Death modernised. Published July 13, 1800, and designed by G. M. Woodward, Berners’ Street, Oxford Street. Contains the following caricatures. Size 5 by 4½.

1. King. “Return the diadem and I’ll follow you.”

2. Cardinal. “Zounds, take care of my great toe, or I shall never rise higher than a cardinal.”

3. Bishop. “I cannot go, I am a bishop.”

4. Old Man. “My good friend, I am too old, I assure you.”

5. Dancing-master. “I never practised such an Allemande as this since I have been a dancing-master.”

6. Alderman. “If you detain me in this way my venison will be quite cold.”

7. Methodist Preacher. “If you wo’nt take I, I’ll never mention you or the Devil in my sarmons as long as I lives.”

8. Parson. “I can’t leave my company till I’ve finish’d my pipe and bottle.”

9. Schoolmaster. “I am only a poor schoolmaster, and sets good examples in the willage.”

10. Miser. “Spare my money, and I’ll go contented.”

11. Politician. “Stay till I have finished the newspaper, for I am told there is great intelligence from the continent.”

12. Press-gang Sailor. “Why d – me I’m one of your apprentices.”

13. Beggar. “This is the universal dance from a king to a beggar.”

14. Jockey. “I assure you I am engaged at Newmarket.”

15. Undertaker. “A pretty dance this for an undertaker.”

16. Gouty Man. “Buzaglo’s exercise was nothing to this.”

17. Poet. “I am but a poor poet, and always praised the ode to your honour written by the late King of Prussia.”

18. Physician. “Here’s fine encouragement for the faculty.”

19. Lawyer. “The law is always exempt by the statutes.”

20. Old Maid. “Let me but stay till I am married, and I’ll ask no longer time.”

21. Fine Lady. “Don’t be so boisterous, you filthy wretch. I am a woman of fashion.”

22. Empress. “Fellow, I am an empress.”

23. Young Lady. “Indeed, Sir, I am too young.”

24. Old Bawd. “You may call me old bawd, if you please, but I am sure I have always been a friend to your worship.”

XVIII. Bonaparte’s Dance of Death. Invented, drawn, and etched by Richard Newton, 7 by 5.

1. Stabb’d at Malta. 2. Drown’d at Alexandria. 3. Strangled at Cairo. 4. Shot by a Tripoline gentleman. 5. Devoured by wild beasts in the desert. 6. Alive in Paris.

CHAPTER XII

Books in which the subject is occasionally introduced

To offer any thing in the shape of a perfect list of these, would be to attempt an impossibility, and therefore such only as have come under the author’s immediate inspection are here presented to the curious reader. The same remark will apply to the list of single prints that follows.

There is a very singular book, printed, as supposed, about 1460, at Bamberg, by Albert Pfister. It is in German, and a sort of moral allegory in the shape of complaints against Death, with his answers to these accusations. It is very particularly described from the only known perfect copy in the royal library at Paris, by M. Camus, in vol. ii. of “Memoires de l’institut. national des sciences et arts: litterature et beaux arts,” p. 6 et seq. It contains five engravings on wood, the first of which represents Death seated on a throne. Before him stands a man with an infant to complain that Death has taken the mother, who is seen wrapped in a shroud upon a tomb. The second cut represents Death also on a throne with the same person as before, making his complaint, accompanied by several other persons at the feet of Death, sorrowfully deposing the attributes of their respective conditions, and at the head of them a Pope kneeling with one knee on the ground. The third cut has two figures of Death, one of which, on foot, mows down several boys and girls; the other is on horseback, and pursues some cavaliers, against whom he shoots his arrows. The fourth cut is in two compartments, the upper representing, as before, a man complaining to Death seated on a throne with a crown on his head. Below, on the spectator’s left hand, is a convent whence several monks are issuing towards a garden encircled with hurdles, in which is a tree laden with fruit by the side of a river; a woman is seen crowning a child with a chaplet, near whom stands another female in conversation with a young man. M. Camus, in the course of his description of this cut, has fallen into a very ludicrous error. He mistakes the very plain and obvious gate of the garden, for a board, on which, he says, several characters are engraved which may be meant to signify the arts and sciences, none of which are competent to protection against the attacks of Death. These supposed characters, however, are nothing more than the flowered hinges, ring or knocker, and lock of the door, which stands ajar. The fifth cut is described as follows, and probably with greater accuracy than in M. Camus, by Dr. Dibdin, from a single leaf of this very curious work in the Bibliotheca Spenceriana, vol. i. p. 104, accompanied with a copy of part of it only. “Above the figures there seen sits the Almighty upon a throne, with an attendant angel on each side. He is putting the forefinger of his left hand into the centre of his right, and upon each of the hands is an eye, denoting, I presume, the omniscience of the Deity.” The fac-simile cut partly corresponds with M. Camus’s description of Death, and the complainant before Christ seated on a throne in a heaven interspersed with stars. The above fourth cut among these is on a single leaf in the possession of the author, which had Dr. Dibdin seen, he would not have introduced M. Camus’s erroneous account of it, who has also referred to Heineken’s Idée, &c. p. 276, where it certainly is not in the French edition of 1771. 8vo.

In the celebrated Nuremberg Chronicle, printed in that city, 1493, large folio, there is at fo. cclxiiii. a fine wood-cut of three Deaths dancing hand in hand, another playing to them on a haut-boy. Below is a skeleton rising from a grave. It is inscribed IMAGO MORTIS.

In the “Stultifera navis” of Sebastian Brant, originally printed in German at Basle and Nuremberg, 1494, are several prints, finely cut on wood, in which Death is introduced. In an edition printed at Basle, 1572, 12mo. with elegant wood engravings, after the designs of Christopher Maurer, and which differ very materially from those in the early editions, there is a cut of great merit to the verses that have for their title, “Qui alios judicat.” It represents a man on his death bed; and as the poet’s intention is to condemn the folly of those who, judging falsely or uncharitably of others, forget that they must die themselves, Death is introduced as pulling a stool from under a fool, who sits by the bed-side of the dying man. In the original cut the fool is tumbling into the jaws of hell, which, as usual, is represented by a monstrous dragon.

In the “Calendrier des Bergers,” Paris, 1500, folio, at sign. g. 6, is a terrific figure of Death on the pale horse; and at sign. g. 5. Death in a cemetery, with crosses and monuments; in his left hand the lid of a coffin in which his left foot is placed. These cuts are not in the English translation.

“Ortulus Rosarum,” circa 1500, 12mo. A wood-cut of Death bearing a coffin on his shoulder, leads a group consisting of a pope, a cardinal, &c.

In the dialogue “Of lyfe and death,” at the end of “the dialoges of creatures moralysed,” probably printed abroad without date or printer’s name soon after 1500, are two engravings in wood, one representing Death appearing to a man with a falcon on his fist, the other Death with his spade leading an emperor, a king, and a duke. The latter is not found in the Latin editions of this work, and has probably formed a part of some very old Dance of Death.

In an edition of “Boetius de consolatione,” Strasburg, 1501, folio, is a figure of Death on a lean horse throwing his dart at a group of warriors.

In the “Freidanck,” Strasburg, 1508, 4to, near the end is a wood-cut of a garden, in which two men and two women are feasting at a table. They are interrupted by the unexpected appearance of Death, who forcibly seizes one of the party, whilst the rest make their escape.

In the “Mortilogus” of Conrad Reitter, Prior of Nordlingen, printed at Augsbourg by Erhard Oglin and Geo. Nadler, 1508, 4to. there is a wood-cut of Death in a church-yard, holding a spade with one hand and with the other showing his hour-glass to a young soldier; and another of Death shooting an arrow at a flying man.

In “Heures à l’usaige de Sens,” printed at Paris by Jean de Brie, 1512, 8vo. the month of December in the calendar is figured by Death pulling an old man towards a grave; a subject which is, perhaps, nowhere else to be found as a representation of that month. It is certainly appropriate, as being at once the symbol of the termination of the year and of man’s life.

In the “Chevalier de la Tour,” printed by Guillaume Eustace, Paris, 1514, folio, there is an allegorical cut, very finely engraved on wood, at fo. xxii. nearly filling the page. The subject is the expulsion of Adam and Eve from Paradise, the gate of which exhibits a regular entrance, with round towers and portcullis. Behind this gate is seen the forbidden tree, at the bottom of which is the Devil, seemingly rejoicing at the expulsion, with an apple in his hand. Near the gate stands the angel with his sword, and a cross on his head. Between him and the parties expelled is a picturesque figure of Death with a scythe ready for action.

“Horæ ad usum Romanum,” printed for Geoffrey Tory of Tours, 1525. Before the Vigiliæ Mortuorum is a wood-cut of a winged Death holding a clock in one hand; with the other he strikes to the ground and tramples on several men and women. Near him is a tree with a crow uttering CRAS CRAS. In another edition, dated 1527, is a different cut of a crowned figure of Death mounted on a black mule and holding a scythe and hour-glass. He is trampling on several dead bodies, and is preceded by another Death, armed also with a scythe, whilst a third behind strikes the mule, who stops to devour one of the prostrate figures. Above is a crow.

In a beautiful Officium Virg. printed at Venice, 1525, 12mo. is a vignette of Death aiming an arrow at a group consisting of a pope, cardinal, &c. Another Death is behind, on the spectator’s left.

In “Heures de Notre Dame mises en reyne, &c.” par Pierre Gringoire, 1527, 8vo. there is a cut at fo. lx. before the vigilles de la mort, of a king lying on a bier in a chapel with tapers burning, several mourners attending, and on the ground a pot of holy water. A hideous figure of Death holding a scythe in one hand and a horn in the other, tramples on the body of the deceased monarch.

In a folio missal for the use of Salisbury, printed at Paris by Francis Regnault, 1531, there is a singular cut prefixed to the Officium Mortuorum, representing two Deaths seizing a body that has the horrible appearance of having been some time in its grave.

In a Flemish metrical translation of Pope Innocent III.’s work, “De vilitate conditionis humanæ,” Ghend, 1543, 12mo. there is a wood-cut of Death emerging from hell, armed with a dart and a three-pronged fork, with which he attacks a party taking their repast at a table.

In the cuts to the Old Testament, beautifully engraved on wood by Solomon or le petit Bernard, Lyons, 1553, 12mo. Death is introduced in the vision of Ezekiel, ch. xxxvii. In this work the expulsion from Paradise is imitated from the same subject in the Lyons wood-cuts.

In “Hawes’s History of Graund Amoure and la bel Pucell, called the Pastime of Pleasure,” printed by R. Tottel, 1555, 4to. are two prints; the first exhibits a female seated on a throne, in contemplation of several men and animals, some of whom are lying dead at her feet; behind the throne Death is seen armed with a dart, which he seems to have been just making use of: there is no allusion to it in the text, and it must have been intended for some other work. The second print has two figures of Death and a young man, whom he threatens with a sort of mace in his right hand, whilst he holds a pickaxe with his left.

“Imagines elegantissimæ quæ multum lucis ad intelligendos doctrinæ Christianæ locos adferre possunt, collectæ à Johann Cogelero verbi divini ministro, Stetini.” Viteberg, 1560, 12mo. It contains a wood-print, finely executed, of the following subject. In the front Death, armed with a hunting-spear, pushes a naked figure into the mouth of hell, in which are seen a pope and two monks. Behind this group, Moses, with a pair of bulls’ horns, and attended by two Jews, holds the tables of the law. In the distance the temptation, and the brazen serpent.

A German translation of the well known block book, the “Ars Moriendi,” was printed at Dilingen, 1569, 12mo. with several additional engravings on wood. It is perhaps the last publication of the work. On the title-page is an oval cut, representing a winged boy sleeping on a scull, and Death shooting an arrow at him. The first cut exhibits a sort of Death’s dance, in eight small compartments. 1. A woman in bed just delivered of a child, with which Death is running away. 2. A man sitting at a table, Death seizes him behind, and pulls him over the bench on which he is sitting. 3. Death drowning a man in a river. 4. Flames of fire issue from a house, Death tramples on a man endeavouring to escape. 5. Two men fighting, one of whom pierces the other with his sword. The wounded man is seized by Death, the other by the Devil. 6. A man on horseback is seized by Death also mounted behind. 7. Death holds his hour-glass to a man on his death-bed. 8. Death leading an aged man to the grave. At the end of this curious volume is a singular cut, intitled “Symbolum M. Joannis Stotzinger Presbyteri Dilingensis.” It exhibits a young man sitting at a table, on which is a violin, music books, and an hour-glass. On the table is written RESPICE FINEM. Near him his guardian angel holding a label, inscribed ANGELVS ASTAT. Behind them Death about to strike the young man with his dart, and over him MORS MINATVR. At the end of the table Conscience as a female, whom a serpent bites, with the label CONSCIENTIA MORDET, and near her the Devil, with the label DIABOLVS ACCVSAT. Above is the Deity looking down, and the motto DEVS VIDET.

“Il Cavallero Determinado,” Antwerp, 1591, 4to. A translation from the French romance of Olivier de la Marche, with etchings by Vander Borcht. The last print represents Death, armed with a coffin lid as a shield, attacking a knight on horseback. In several of the other prints Death is represented under the name of Atropos, as president in tournaments. In other editions the cuts are on wood by the artist with the mark

.

In the margins of some of the Horæ, printed by Thielman Kerver, there are several grotesque figures of Death, independently of the usual Dance.

In many of the Bibles that have prints to the Revelations, that of Death on the pale horse is to be noticed.

In Petrarch’s work “de remediis utriusque fortunæ,” both in the German and Latin editions, there are several cuts that relate materially to the subject. It may be as well to mention that this work has been improperly ascribed to Petrarch.

In many of the old editions of Petrarch’s works which contain the triumphs, that of Death is usually accompanied with some terrific print of Death in a car drawn by oxen, trampling upon all conditions of men from the pope to the beggar.

“Guilleville, Pelerin de la vie humaine.” The pilgrim is conducted by Abstinence into a refectory, where he sees many figures of Death in the act of feeding several persons sitting at table. These are good people long deceased, who during their lives have been bountiful to their fellow-creatures. At the end, the pilgrim is struck by Death with two darts whilst on his bed.