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I/I B R.ARY OF THL UN IVLRSITY Of ILLINOIS The person charging this material is re- sponsible for its return on or before the Latest Date stamped below. Theft, mutilation and underlining of books are reasons for disciplinary action and may result in dismissal from the University. UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN j&ifiaB FEB h973 M T 21W3 JAN 2 3 L k 6 1983 JUL 14 973 jdwM NOVt884 AUG2 21975 t AUG2[3l979APRo|91997 MAY1 f 1979 |*1 W H0V21 ( 97 MAY JAN 2 81 L161 O-1096 THE DANCE OF DEATH Tins Kdition consists of 500 ordinary copies Imperial i6mv, and 100 numbered copies on Japanese Vellum ', Demy Fhe Dance of Death by Hans Holbein, with an introductory note by Austin Dobson London : George Bell & Sons, York Street, Covent Garden, & New York. Mdcccxcij. CHISWICK PRESS: c. WHITTINGHAM AND co., TOOKS COURT, CHANCERY LANE. THE DANCE OF DEATH. ES Simulachres sf Historiees Faces de la Mort avtant elegamment pourtraictes, que artificielle- The Book. ment imaginees." This may be Englished as follows: 'The Im- ages and Storied Aspects of Death y as '''elegantly delineated as \_they are\ ingeniously imagined. -Such is the literal title of the earliest edition of the /amous 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 quoted, a nondescript emblem with the legend Vsus me Genuity and on an open book, Gnothe seauton. Below this r comes again, " A Lyon^ Soubz I'escu de Coloigne : ^M. D. xxxvin," while at the end of the volume is the <> imprint " Excvdebant Lvgdvni Melchior et Gaspar ( A" ^rechsel fratres : 1 538," the Trechsels being printers of German origin, who had long been established at 3235S9 2 The Dance of Death. Lyons. There is a verbose " Epistre " or Preface in French to the " moult reuerende Abbesse du re- ligieux conuent S. Pierre de Lyon, Madame lehanne de Touszele" otherwise the Abbess of Saint Pierre les Nonnains, a religious house containing many noble and wealthy ladies, and the words " Salut dun vray Zele" which conclude the dedicatory heading, are supposed to reveal indirectly the author of the " Epistre " itself, namely, Jean de Vauzelles, Pastor of St. Remain and Prior of Monrottier, one of three famous literary brothers in the city on the Rhone, whose motto was I 554> and 1562. To the issues of 1545 and 1562 a few supplementary designs were added, some of which have no special bearing upon the general theme, The Dance of Death. 3 although attempts, more or less ingenious, have been made to connect them with the text. After 1562 no addition was made to the plates. From the date of the editio prtnceps it might be supposed that the designs were executed at or about 1 538 the year of its publication. But The Artist. this is not the case ; and there is good evi- dence that they were not only designed but actually cut on the wood some eleven years before 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 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 mono- gram 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 u 1527," we get a date before which both the woodcuts, 4 The Dance of Death. and the designs for the woodcuts, must have been pre- pared. 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 pre- sently refer, led some of the earlier writers on the sub- ject 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 tradi- tionally assigned, to wit, Hans Holbein the younger. He 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, more- over, 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. But besides revealing an inventor of the highest order, the 'Dance of Death also discloses an interpreter in wood of signal, and even superlative, ability. The designs are cut to use the word which implies the employment of the knife as opposed to that of the graver in a manner which has never yet been excelled. In this matter there can 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 The Dance of Death. 5 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 be inferred from the "Epistre" of Jean de Vauzelles, since that cc Epistre" expressly refers to "la mort de celluy, qui nous en a icy imagine 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 de- ceased is elsewhere loosely called " fainctrc" this title cannot refer to Holbein, who was so far from being dead that he survived until 1543. The only indica- tion of the woodcutter's name is supplied by the monogram, " tL " upon the bedstead in No. 36 ("The Duchess"); and these initials have been sup- posed to indicate one Hans Lutzelburger, or Hans of Luxemburg, cc 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 en- graved 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. Edouard His have established the fact that a ''form- schneider " named Hans, who had business transac- tions 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 6 The Dance of Death. Holbein's designs upon the wood. In any case, un- less 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. The generally accepted supposition is that motives of timidity, arising from the satirical and fearlessly un- sparing 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. The Dance of Death has been frequently copied. other Mr- W. J. Linton enumerates a Venice re- Reproduc- production of 1 545 ; and a set (enlarged) by Jobst Dienecker of Augsburg in 1554. Then there is the free copy, once popular with our ?reat grandfathers, by Bewick's younger brother ohn, which Hodgson of Newcastle published in 1789 under the title of Emblems of Mortality. Wencelas 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 re-issued in this country in 1849 ^7 J onn Russell Smith. They have also been rendered in photo-lithography for an edition issued by H. Noel 'The Dance of Death. j Humphreys in 1868 ; and for the Holbein Society in 1879. ^ n I 886, 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. The copies given in the present issue are impres- sions from the blocks engraved in 1833 for The Douce's Holbein's Dance of Death. They are present 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 an original which has been cut with the knife, more espe- cially, 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 By field have one incontestable advantage : they are honest at- tempts to repeat by the same method, that is, in wood, the original and incomparable woodcuts of Hans Lutzelburger. THE DANCE OF DEATH. (CHANT ROYAL, AFTER HOLBEIN " Contra vim Mortis Non est medicamen in bortis" All must of his E is the despots' Despot. bide, Later or soon, the message might.; Princes and potentates their heads must hide, Touched by the awful sigil of his right ; Beside the Kaiser he at eve doth wait And pours a potion in his cup of state; The stately Queen his bidding must obey ; No keen eyed Cardinal shall him affray ; And to the Dame that wantoneth he saith "Let be, Sweet-heart, to junket and to play." There is no king more terrible than Death. 1 At the suggestion of the general editor of the present series, this Chant Royal of the King of Terrors is here reprinted from the eleventh edition of Old-World Idylls, 1892. It does not of course pretend to the rigorous exactitude of a commentary. C io T'he Dance of Death. The lusty Lord, rejoicing in his pride, He draweth down ; before the armed Knight With jingling bridle-rein he still doth ride ; He crosseth the strong Captain in the fight; The Burgher grave he beckons from debate ; He hales the Abbot by his shaven pate, Nor for the Abbess' wailing will delay; No bawling Mendicant shall say him nay ; E'en to the pyx the Priest he followeth, Nor can the Leech his chilling finger stay . . There is no king more terrible than Death. All things must bow to him. And woe betide The Wine-bibber, the Roisterer by night ; Him the feast-master, many bouts defied, Him 'twixt the pledging and the cup shall smite ; Woe to the Lender at usurious rate, The hard Rich Man, the hireling Advocate ; Woe to the Judge that selleth right for pay ; Woe to the Thief that like a beast of prey With creeping tread the traveller harryeth : These, in their sin, the sudden sword shall slay . . There is no king more terrible than Death. He hath no pity, nor will be denied. When the low hearth is garnished and bright, Grimly he flingeth the dim portal wide, And steals the Infant in the Mother's sight; He hath no pity for the scorned of fate : He spares not Lazarus lying at the gate, Nay, nor the Blind that stumbleth as he may ; Nay, the tired Ploughman, at the sinking ray, In the last furrow, feels an icy breath, The Dance of Death. \ i And knows a hand hath turned the team astray . . There is no king more terrible than Death. He hath no pity. For the new-made Bride, Blithe with the promise of her life's delight, That wanders gladly by her Husband's side, He with the clatter of his drum doth fright ; He scares the Virgin at the convent grate ; The Maid half- won, the Lover passionate ; He hath no grace for weakness and decay : The tender Wife, the Widow bent and gray, The feeble Sire whose footstep faltereth, All these he leadeth by the lonely way . . There is no king more terrible than Death. ENVOY. YOUTH, for whose ear and monishing of late, I sang of Prodigals and lost estate, Have thou thy joy of living and be gay ; But know not less that there must come a day, Aye, and perchance e'en now it hasteneth, When thine own heart shall speak to thee and say, There is no king more terrible than Death. A. D. 1877. LIST OF ILLUSTRATIONS. N.B. The German titles are modernized from those which appear above the engraver's proofs. The numerals are those of the cuts. HE CREATION i Die Srbopfang aller Ding. Eve is taken from the side of Adam. THE TEMPTATION n Adam Eva im Paradies. Eve, having received an apple from the serpent, prompts Adam to gather more. THE EXPULSION in Austreibung Ade Eve. Adam and Eve, preceded by Death, playing on a beggar's lyre or hurdy-gurdy, are driven by the angel from Eden. THE CONSEQUENCES OF THE FALL iv Adam baut die Erden. Adam, aided by Death, tills the earth. Eve, with a distaff, suckles Cain in the background. A CEMETERY v Gebein aller Menscben. A crowd of skeletons, playing on horns, trum- pets, and the like, summon mankind to the grave. THE POPE vi Der Papst. 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. 1 4 List of Illustrations. THE EMPEROR vn Der Kaiser. The Emperor (Maximilian I.) rates his minister for injustice to a suitor. But even in the act Death discrowns him. THE KING vm Der Konig. The King (Francis I.) sits at feast under a bal- dachin sprinkled \v \\ fleurs-de-lis. Death, as a cup-bearer, pours his last draught. THE CARDINAL ix Der Cardinal. 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. THE EMPRESS x Die Kaiserinn. The Empress, walking with her women, is in- tercepted by a female Death, who conducts her to an open grave. THE QUEEN xi Die Koniginn. Death, in the guise of a court-jester, drags away the Queen as she is leaving her palace. THE BISHOP xn Der Biscbof. The sun is setting, and Death leads the aged Bishop from the sorrowing shepherds of his flock. THE DUKE xin Der Herzog. The Duke turns pitilessly from a beggar-woman and her child. Meanwhile Death, fantastically crowned, lays hands on him. THE ABBOT xiv Der Abt. Death, having despoiled the Abbot of mitre and crozier, hales him along unwilling, and threaten- ing his enemy with his breviary. List of Illustrations. 15 THE ABBESS xv Die Abtissin. Death, in a wreath of flags, pulls away the Abbess by her scapulary in sight of a shrieking nun. THE NOBLEMAN xvi Der Edelmann. Death drags the resisting Nobleman towards a bier in the background. THE CANON, OR PREBENDARY xvn Der Domherr. The Canon, with his falconer, page, and jester, enters the church door. Death shows him that his sands have run. THE JUDGE xvm Der Ricbter. Death withdraws the Judge's staff as he takes a bribe from a rich suitor. THE ADVOCATE xix Der Furspracb. Death comes upon him in the street while he is being feed by a rich client. THE COUNSELLOR, OR SENATOR xx Der Ratbsberr. The Counsellor, prompted by a devil, is ab- sorbed by a nobleman, and turns unheeding from a poor suppliant. But Death, with glass and spade, is waiting at his feet. THE PREACHER xxi Der Predicant. Death, in a stole, stands in the pulpit behind the fluent Preacher, and prepares to strike him down with a jaw-bone. THE PRIEST, OR PASTOR xxn Der Pfarrberr. He carries the host to a sick person. But Death precedes him as his sacristan. 1 6 List of Illustrations. THE MENDICANT FRIAR xxm Der Moncb. Death seizes him just as his begging box and bag are filled. THE NUN xxiv Die Nonnc. 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. THE OLD WOMAN xxv Das Altweib. " Melior est mors quam vita" to the aged woman who crawls gravewards with her bone rosary while Death makes music in the van. THE PHYSICIAN xxvt Der Arzt. Death brings him a hopeless patient, and bids him cure himself. THE ASTROLOGER . . . .' xxvn (Seep. 3, /. 17-) He contemplates a pendent sphere. But Death thrusts a skull before his eyes. THE RICH MAN xxvm Der Reicbman. Death finds him at his pay-table and seizes his money. THE MERCHANT xxix Der Kaufmann. Death arrests him among his newly-arrived bales. THE SHIPMAN xxx Der Schiffmann. Death breaks the mast of the ship, and the crew are in extremity. List of Illustrations. \ 7 THE KNIGHT xxxi Der Ritter. Death, in cuirass and chain-mail, runs him through the body. THE COUNT xxxn Der Graf. Death, as a peasant with a flail, lifts away his back-piece. THE OLD MAN xxxm Der Altmann. Death, playing on a dulcimer, leads him into his grave. THE COUNTESS t xxxiv Die Grafnn. Death helps her at her tiring by decorating her with a necklet of dead men's bones. THE NOBLE LADY, OR BRIDE xxxv Die Edelfrau. "Me et te sola mors separabit" says the motto. And Death already dances before her. THE DUCHESS xxxvi Die Herzoginn. Death seizes her in bed, while his fellow plays the fiddle. THE PEDLAR . xxxvn Der Kramer. Death stops him on the road with his wares at his back. THE PLOUGHMAN xxxvin Der Acker rnann. Death runs at the horses' sides as the sun sinks, and the furrows are completed. THE YOUNG CHILD xxxix Das Junge Kind. As the meagre cottage meal is preparing, Death steals the youngest child. D 1 8 List of Illustrations. THE LAST JUDGMENT ............ XL Das Jungs te Gericbt. " Omnes stabimus ante tribunal Domini T THE ESCUTCHEON OF DEATH ......... XLI Die Wappen des Todef. The supporters represent Holbein and his wife. in later editions^ THE SOLDIER . ........... XLII Death, armed only with a bone and shield, fights with the Soldier on the field of battle. THE GAMESTER . ............. XLIII Death and the Devil seize upon the Gambler at his cards. THE DRUNKARD ......... .... XLIV Men and women carouse ; down the throat of one bloated fellow Death pours the wine. THE FOOL ... ............ XLV The Fool dances along the highway with Death who plays the bagpipes. THE ROBBER ............... XLVI Death seizes the Robber in the act of pillage. THE BLIND MAN ............. XLVII Death leads the Blind Man by his staff. THE WAGGONER ............. . XLVIII The waggon is overturned; one Death carries off a wheel, the other loosens the fastening of a cask. THE BEGGAR ............... XLIX The Beggar, lying on straw outside the city, cries in vain for Death. [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.] Lcs fimulaclires & HISTORIBES FACES DE LA MORT, AVTANT ELE gammet potntrai&es,que artifw cidlemcnt imaginees,. Vfusme A LYON, Soubz Tcfcu dc C O L O I G N E. 1 xx x v in. Formauit DOMINVS DEVS homi- nem de limo terrae, ad imagine fuam creauit ilium, mafculum & foeminam creauit eos. GENESIS i. & n. DIEV, Ciel, Mer, Terre, procrea De rien demonftrant fa puiflance Et puis de la terre crea L'homme, & la femme a fa fem- blance. THE CREATION. Quia audifti vocem vxoris tuae, & comedifti de ligno ex quo precepe- ram tibi ne comederes &c. GENESIS in. ADAM fut par EVE deceu Et contre DIE V mangea la pomme, Dont tous deux ont la Mort receu, Et depuis fut mortel tout homme. II THE TEMPTATION. Emifit eum DOMINVS DEVS de Paradifo voluptatis, vt operaretur terram de qua fumptus eft. GENESIS in. DIEV chaiTa 1'homme de plaifir Pour uiure au labeur de fes mains : Alors la Mort le uint faifir, Et confequemment tous humains. III. THE EXPULSION. Maledi&a terra in opere tuo, in laboribus comedes cundtis diebus vilae tuae, donee reuertaris &c. GENESIS in. Mauldi&e en ton labeur la terre. En labeur ta uie uferas, lufques que la Mort te foubterre. Toy pouldre en pouldre tourneras. IV. THE CONSEQUENCES OF THE FALL. vae vae habitantibus in terra. APOCALYPSIS vm. CuncSta in quibus fpiraculum vitae st, mortua funt. GENESIS vn. Malheureux qui uiuez au monde Toufiours remplis d'ad uerfitez, Pour quelque bien qui nous abonde, Serez tous de Mort uifitez. V. A CEMETERY. Moriatur facerdos magnus. IOSVE xx. Et epifcopatum eius accipiat alter. PSALMISTA CVIII. Qui te cuydes immortel eftre Par Mort feras toft depefche, Et combien que tu foys grand prebftre, Vng aultre aura ton Euefche. VI. THE POPE. Difpone domui tuae, morieris enim tu, & non viues. xxxviu. Ibi morieris, & ibi erit currus gloriae tuae. ISAIJE xxn. De ta maifon difpoferas Comme de ton bien tranfitoire, Car la ou mort repoferas, Seront les chariotz de ta gloire. VII. THE EMPEROR. Sicut & rex hodie eft, & eras morie- tur, nemo enim ex regibus aliud habuit. ECCLESIASTICI X. Ainfi qu'auiourdhuy il eft Roy, Demain fera en tombe clofe. Car Roy aulcun de fon arroy N'a fceu emporter aultre chofe. VIII. THE KING. Vae qui iuftificatis impium pro mu neribus, & iuftitiam iufti aufertis ab eo. ESAIE v. Mai pour uous qui iuftifiez L'inhumain, & plain de malice, Et par dons le fan&ifiez, Oftant au iufte fa iuftice. IX. THE CARDINAL. Gradientes in fuperbia poteft Deus humiliare. DANIE. mi. Qui marchez en pompe fuperbe La Mort vng iour uous pliera. Comefoubzuozpiedzployezrherbe, Ainfi uous humiliera. THE EMPRESS. Mulieres opulentae furgite, & audite vocem meam. Poft dies, & annum, & vos conturbemini. ISAI^E xxxii. Leuez uous dames opulentes. Ouyez la uoix des trefpaffez. Apres maintz ans & iours paflez, Serez troublees & doulentes. THE QUEEN. Percutiam paftorem, & difpergentur oues. xxvi. MAR. xiiii. Le pafteur auffi frapperay, Mitres & crofles renuerfees. Et lors quand ie Pattrapperay, Seront fes brebis difperfees. XII. THE BISHOP. Princeps induetur mcerore. Et quiefcere faciam fuperbia potentium. EZECHIE. vu. Vien, prince, auec moy, & delaifle Honneurs mondains toft fmifTantz. Seule fuis qui, certes, abaifTe L'orgueil & pompe des puiflantz. XIII. THE DUKE. Ipfe morietur. Quia no habuit dif- ciplinam, & in multitudine llultitiae fuae dccipietur. PROVER. v. II mourra. Car il n'a receu En foy aulcune difcipline, Et au nombre fera deceu De folie qui le domine. XIV. THE ABBOT. Laudaui magis mortuos quam viuentes. ECCLE. ii ii. I'ay toufiours les mortz plus loue Que les uifz, efquelz mal abonde, Toucesfoys la Mort ma noue Au ranc de ceulx qui font au monde. XV. THE ABBESS. Quis eft homo qui viuet, & non videbit mortem, eruet anima fuam de manu inferi ? PSAL. LXXXVIII. Qui eftcelluy, tant foit grand homme, Qui puifle uiure fans mourir ? Et de la Mort, qui tout aflbmme, Puifle fon Ame recourir ? XVI. THE NOBLEMAN. Ecce appropinquat hora. MAT. xxvi. Tu uas au choeur dire tes heures Paiant Dieu pour toy, & ton proche. Mais il fault ores que tu meures. Voy tu pas 1'heure qui approche ? XVII. THE CANON. Difperdam iudicem de medio eius. AMOS ii. Du mylieu d'eulx uous ofteray luges corrumpus par prefentz. Point ne ferez de Mort exemptz. ailleurs uous tranfporteray. XVIII. THE JUDGE. Callidus vidit malum, & abfcodit fe innocens, pertranfijt, & affli&us eft damno. PROVER. xxn. L'homme cault a ueu la malice Pour 1'innocent faire obliger, Et puis par uoye de iuftice Eft uenu le pauure affliger. THE ADVOCATE. Qui obturat aurem fuam ad clamo- rem pauperis, & ipfe clamabit, & non exaudietur. PROVER. xxi. Les riches confeillez toufiours, Et aux pauures clouez 1'oreille. Vous crierez aux derniers iours, Mais Dieu uous fera la pareille. THE COUNSELLOR. Vae qui dicitis .malum bonum, & bonum malu, ponentes tenebras lu- cem, & lucem tenebras, ponentes amarum dulce, & dulce in amarum. ISAIM xv. Mai pour uous qui ainfi ofez Le mal pour le bien nous blafmer, Et le bien pour mal expofez, Mettant auec le doulx Farrier. XXI. THE PREACHER. Sum quidem & ego mortalis homo. SAP. vn. le porte le fain<5t facrement Cuidant le mourant fecourir, Qui mortel fuis pareillement. Et comme luy me fault mourir. THE PRIEST. Sedentes in tenebris, & in vmbra mortis, vin&os in mendicitate. PSAL. cvi. Toy qui n'as foucy, ny remord Sinon de ta mendicite, Tu fierras a Pumbre de Mort Pour t'oufter de neceflite. XXIII. THE MENDICANT FRIAR. Eft via quae videtur homini iufta : nouifiima autem eius deducunt ho- minem ad mortem. PROVER. mi. Telle uoye aux humains eft bonne, Et a 1'homme trefiufte femble. Mais la fin d'elle a 1'homme donne, LaMort,qui tous pecheurs affemble. XXIV. THE NUN. Melior eft mors quam vita. ECCLE. XXX. En peine ay uefcu longuement Tant que nay plus de uiure enuie, Mais bien ie croy certainement, Meilleure la Mort que la uie. XXV. THE OLD WOMAN. Medice, cura teipfum. mi, TTu congnoys bien la maladie Pour le patient fecourir, Et fi ne fcais tefte eftourdie, Le mal dont tu deburas mourir. XXVI. THE PHYSICIAN. Indica mihi fi nofti omnia. Sciebas quod nafciturus effes, & numerum dierum tuorum noueras ? IOB xxvin. Tu dis par Amphibologie Ce qu'aux aultres doibt aduenir. Dy moy done par Aftrologie Quand tu deburas a moy uenir ? XXVII. THE ASTROLOGER. Stulte hac no&e repetunt animam tuam, & quae parafti cuius erunt ? LVCJE xii. Cefte nui& la Mort te prendra, Et demain feras enchafle. Mais dy moy, fol, a qui uiendra Le bien que tu as amafle ? XXVIII. THE .RICH MAN. Qui congregat thefauros mendacij vanus & excors eft, & impingetur ad laqueos mortis. PROVER. xxi. Vain eft cil qui amaflera Grandz biens,&tresors pour mentir, La Mort Ten fera repentir. Car en fes lacz furpris fera. XXIX. THE MERCHANT. Qui volunt diuites fieri incidunt in laqueum diaboli, & defideria multa, & nociua, quae mergunt homines in interitum. I. AD TIMO. vi. Pour acqucnr des biens mondains Vous entrez en tentation, Qui uous met es perilz fouldains, t uous rraine a perdition. XXX. THE SHIPMAN. Subito morientur, & in media no&e turbabuntur populi, & auferent vio- lentum abfc^ manu. lOB XXXIIII. Peuples foubdain f 'efleueront A lencontre de 1'inhumain, Et le uiolent ofteront D'auec eulx fans force de main. XXXI. THE KNIGHT. Quoniam cum interiet non fumet fecum omnia, neq^ cum eo defcedet gloria eius. PSAL. XLVIII. Auec foy rien n'emportera, Mais qu'une foys la Mort le tombe, Rien de fa gloire n'oftera, Pour mettre auec Toy en fa tombe. XXXII. THE COUNT. Spiritus meus attenuabitur, dies mei breuiabuntur, & folum mihi fupereft fepulchrum. IOB xvn. Mes efperitz font attendriz, Et ma uie fen ua tout beau. Las mes longziours font amoindriz, Plus ne me refte qu'un tombeau. XXXIII. THE OLD MAN. Ducunt in bonis dies fuos, & in pun6to ad inferna defcendunt. IOB xxi. En biens modains leurs iours dei- psndet En uoluptez, & en triftefle, PuisfoubdainauxEnfersdefcendent, Ou leur ioye pafle en triftefle. XXXIV. THE COUNTESS. Me & te fob mors fepa rabit. RVTH. I. Amour qui unyz nous fai& uiure, En foy noz cueurs preparera, Qui long temps ne nous pourra fuy ure, Car la Mort nous feparera. XXXV THE NOBLE LADY. De le&ulo fuper quern afcendifti non defcendes, fed morte morieris. mi. REG. i. Du lift fus lequel as monte Ne defcendras a ton plaifir. Car Mort t'aura tan toft dompte, Et en brief te uiendra faifir. XXXVI. THE DUCHESS. Venite ad me qui onerati eftis. MATTH. xi. Venez, & apres moy marchez Vous qui eftes par trop charge. Ceft aflez fuiuy les marchez : Vous ferez par moy decharge. XXXVII. THE PEDLAR. In fudore vultus tui vefceris pane tuo. GENE. i. A la fueur de ton uifaige Tu gaigneras ta pauure uie. Apres long trauail, & ufaige, Voicy la Mort qui te conuie. XXXVIII. THE PLOUGHMAN. Homonatus de muliere,breuiviuens tempore repletur multis miferijs, qui quail flos egreditur, & conteritur, & fugit velut vmbra. IOB xiiu. Tout homme de la femme yfTant Remply de mifere, & d'encombre, Ainfi que fleur toft finifTant. Sort & puis fuyt comme faift 1'umbre. XXXIX. THE YOUNG CHILD. Omnes ftabimus ante tribunal do- mini. ROMA. xiui. Vigilate, & orate, quia nefcitis qua hora venturus fit dominus.

MATT. xxim. Deuante le trofne du grand iuge Chafcun de Toy compte rendra Pourtant ueillez, qu'il ne uous iuge, Car ne fcauez quand il uiendra. XL. THE LAST JUDGMENT Memorare nouiffima, & in aeternum non peccabis. ECCLE. vir. Si tu ueulx uiure fans peche Voy cefte imaige a tous propos, Et point ne feras empefche, Quand tu t'en iras a repos. XLI. THE ESCUTCHEON OF DEATH. [ADDED IN LATER EDITIONS.] Cum fortis armatus cuftodit atriii suu, &c. Si autem fortior eo fuperueniens vicerit eum, uniuerfa eius arma aufert, in quibus confi- debat.

Le fort arme en jeune corps Penfe auoir feure garnifon ; Mais Mort plus forte, le met hors De sa corporelle maifon. XLII, THE SOLDIER. Quid prodeft homini, fi vniuersum Mundum lucretur, animae autem suae detrimentum patiatur ? MATT. xvi. Que vault a 1'homme tout le Monde Gaigner d'hazard,& chance experte, S'il recoit de fa uie immonde Par mort, irreparable perte ? XLIII. THE GAMESTER. Ne inebriemini vino, in quo eft luxuria. EPHES. v. De vin (auquel est tout exces) Ne vous enyurez pour dormir Sommeil de Mort qui au deces Vous face 1'ame, & sang vomir. XL1V THE DRUNKARD. Quafi agnus lafciuiens, & ignorans, nefcit quod ad vincula stultus trahatur. PROVERB vu. Le Fol vit en ioye, & deduicSt San fcavoir qu'il fen va mourant, Tant qu'a fa fin il eft condui6t Ainfi que 1'agneau ignorant. XLV. THE FOOL. Domine, vin patior. xxxvui. La foible femme brigandee Crie, O seigneur on me fait force. Lors de Dieu la mort eft mandee, Qui les eftrangle a dure eftorce. XLVI. 'JHE ROBBER. Caecus caecum ducit : & ambo in foueam cadunt. MATTH. xv. L'aueugle un autre aueugle guide, L'un par 1'autre en la fofle tombe : Carquand plus oultre aller il cuide, La MORT I'homme ieleen la tombe. XLVII. THE BLIND MAN. Corruit in curru fuo. i CHRON. xxn. Au passage de MORT peruerse Raifon, chartier tout efperdu, Du corps le char, & cheuaux verse, Le vin (sang de vie) espandu. XLVIII. THE WAGGONER. Miser ego homo ! Quis me liberabit de corpore mortis huius ? ROM. vu. Qui hors la chair veult en Chrift viure Ne craint mort, mais dit un mortel, Helas, qui me rendra deliure Pouure homme de ce corps mortel ? XLIX. THE BEGGAR. CHISWICK PKESS : C. WH1TT1NGHAM AND CO., TOOKS COURT, CHANCERY LANE. \