The Dance of Death

76

Dr. Cogan’s Tour to the Rhine, ii. 127.

77

Travels, iii. 328, edit. 4to.

78

Survay of London, p. 615, edit. 1618, 4to.

79

In Tottel’s edition these verses are accompanied with a single wood-cut of Death leading up all ranks of mortals. This was afterwards copied by Hollar, as to general design, in Dugdale’s St. Paul’s, and in the Monasticon.

80

Annales, p. 596, edit. 1631. folio. Sir Thomas More, treating of the remembrance of Death, has these words: “But if we not only here this word Death, but also let sink into our heartes, the very fantasye and depe imaginacion thereof, we shall parceive therby that we wer never so gretly moved by the beholding of the Daunce of Death pictured in Poules, as we shal fele ourself stered and altered by the feling of that imaginacion in our hertes. And no marvell. For those pictures expresse only ye lothely figure of our dead bony bodies, biten away ye flesh,” &c. – Works, p. 77, edit. 1557, folio.

81

Heylin’s Hist. of the Reformation, p. 73.

82

Cotton MS. Vesp. A. xxv. fo. 181.

83

Leland’s Itin. vol. iv. part i. p. 69. – Meas. for Meas. Act iii. sc. 1.

84

Hutchinson’s Northumberland, i. 98.

85

Warton’s H. E. Poetry, ii. 43, edit. 8vo.

86

And see a portion of Orgagna’s painting at the Campo Santo at Pisa, mentioned before in p. 33.

87

From the Author’s own inspection.

88

Recherches, p. 144, and see Catal. La Valliere, No. 295.

89

Herbert’s typogr. antiq. p. 888.

90

Traité hist. de la gravure en bois, i. 182, 336.

91

Letters containing an account of what seemed most remarkable in Switzerland, Italy, &c. by G. Burnet, D. D. Rotterdam, 1686, 8vo. p. 265.

92

Travels through Germany, &c. i. 138, edit. 4to.

93

Relations historiques et curieuses de voyages en Allemagne, &c. Amst. 1695, 12mo. p. 124.

94

See likewise Zuinger, Methodus Academica, Basle, 1577, 4to. p. 199.

95

Remarks on several parts of Europe, 1738, vol. ii. p. 72.

96

Peignot places the dance of peasants in the fish-market of Basle, as other writers had the Dance of Death. Recherches, p. 15.

97

Manuel de l’Amateur d’estampes, ii. 131.

98

Manuel des curieux, &c. i. 156.

99

Some give it to the Abbé Baverel.

100

Lib. ult. p. 86.

101

The dedicator has apparently in this place been guilty of a strange misconception. The Death is not sucking the wine from the cask, but in the act of untwisting the fastening to one of the hoops. Nor is the carman crushed beneath the wheels: on the contrary, he is represented as standing upright and wringing his hands in despair at what he beholds. It is true that this cut was not then completed, and might have undergone some subsequent alteration. He likewise speaks of the rainbow in the cut of the Last Judgment, as being at that time unfinished, which, however, is introduced in this first edition.

102

It would be of some importance if the date of Lutzenberger’s death could be ascertained.

103

“An enquiry into the origin and early history of Engraving,” 1816, 4to. vol. ii. p. 759.

104

“An Enquiry,” &c. ii. 762.

105

The few engravings by or after Holbein that have his name or its initials are to be found in his early frontispieces or vignettes to books printed at Basle. In 1548, two delicate wood-cuts, with his name, occur in Cranmer’s Catechism. In the title-page to “a lytle treatise after the maner of an Epystle wryten by the famous clerk, Doctor Urbanus Regius, &c.” Printed by Gwalter Lynne, 1548, 24mo, there is a cut in the same style of art of Christ attended by his disciples, and pointing to a fugitive monk, whose sheep are scattered, and some devoured by a wolf. Above and below are the words “John x. Ezech. xxxiiii. Mich. v. I am the good shepehearde. A good shepehearde geveth his lyfe for the shype. The hyred servaunt flyeth, because he is an hered servaunt, and careth not for the shepe.” On the cut at bottom HANS HOLBEIN. There is a fourth cut of this kind in the British Museum collection with Christ brought before Pilate; and perhaps Holbein might have intended a series of small engravings for the New Testament; but all these are in a simple outline and very different from the cuts in the Dance of Death, or Lyons Bible. It might be difficult to refer to any other engravings belonging to Holbein after the above year.

106

Brulliot dict. de monogrammes, &c. Munich, 1817, 4to. p. 418, where the letter from De Mechel is given.

107

Essai sur l’origine de la gravure, &c. tom. i. p. 260.

108

Id. p. 261.

109

Dict. de monogrammes, &c. tom. i. pp. 418, 499.

110

Enciclop. metod. par ii. vol. vii. p. 16.

111

Enciclop. metod. par. i. vol. x. p. 467.

112

All the above prints are in the author’s possession, except No. 7, and his copy of No. 5 has not the tablets with the name, &c.

113

Edit. Javigny, iv. 559.

114

This edition is given on the authority of Peignot, p. 62, but has not been seen by the author of this work. In the year 1547, there were three editions, and it is not improbable that, by the transposition of the two last figures, one of these might have been intended.

115

Foppen’s Biblioth. Belgica, i. 363.

116

That of 1557 has a frontispiece with Death pointing to his hour-glass when addressing a German soldier.

117

Tom. i. p. 238, 525.

118

Dict. de Monogrammes, col. 528.

119

Biblioth. Belgica, i. 92.

120

See p. 40.

121

This is the same subject as that in the Augustan monastery described in p. 48.

122

See p. 34.

123

It has been stated that they were in the Arundelian collection whence they passed into the Netherlands, where forty-six of them became the property of Jan Bockhorst the painter, commonly called Long John. See Crozat’s catalogue.

124

On the same dedication are founded the opinions of Zani, De Murr, Meintel, and some others.

125

Zuinger methodus apodemica. Basil, 1557. 4to. p. 199.

126

P. 427, edit. Lugd. apud Gryphium, and p. 445, edit. Basil.

127

Nugæ, lib. vi. carm. 12.

128

Baldinucci notizie d’é professori del disegno, tom. iii. p. 317, 4to. edit. where the inscription on it is given.

129

Norfolk MS. 97, now in the Brit. Museum.

130

Harl. MS. 4718.

131

Acad. Pictur. 239.

132

Strype’s Annals, I. 272, where the curious dialogue that ensued on the occasion is preserved.

133

Catal. de la bibliothèque du Roi. II. 153.

134

These initial letters have already been mentioned in p. 101-102. The elegant initials in Dr. Henderson’s excellent work on modern wines, and those in Dr. Nott’s Bristol edition of Decker’s Gull’s horn-book, should not pass unnoticed on this occasion.

135

See before in p. 97.

136

Zani saw this alphabet at Dresden, and ascribes it likewise to Lutzenberger. See his Enciclop. Metodica, Par. I. vol. x. p. 467.

137

See before, in p. 46.

138

Biblioth. Franc. tom. x. p. 436.

139

Sandrart Acad. Pict. p. 241.

140

Obs. on Spenser, II. 117, 118, 119.