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The Project Gutenberg eBook of The Dance of Death
This eBook is for the use of anyone anywhere in the United States and
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of the Project Gutenberg License included with this eBook or online at
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Title: The Dance of Death
Illustrator: Hans Holbein
Author: Gilles Corrozet
Jean de Vauzelles
Commentator: Austin Dobson
Engraver: Hans Lützelburger
Release date: June 10, 2007 [eBook #21790]
Language: English
Other information and formats: www.gutenberg.org/ebooks/21790
Credits: Produced by David Garcia, Juliet Sutherland and the Online
Distributed Proofreading Team at http://www.pgdp.net
*** START OF THE PROJECT GUTENBERG EBOOK THE DANCE OF
DEATH ***
This eBook is for the use of anyone anywhere in the United States and
most other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms
of the Project Gutenberg License included with this eBook or online at
www.gutenberg.org. If you are not located in the United States, you
will have to check the laws of the country where you are located
before using this eBook.
Title: The Dance of Death
Illustrator: Hans Holbein
Author: Gilles Corrozet
Jean de Vauzelles
Commentator: Austin Dobson
Engraver: Hans Lützelburger
Release date: June 10, 2007 [eBook #21790]
Language: English
Other information and formats: www.gutenberg.org/ebooks/21790
Credits: Produced by David Garcia, Juliet Sutherland and the Online
Distributed Proofreading Team at http://www.pgdp.net
*** START OF THE PROJECT GUTENBERG EBOOK THE DANCE OF
DEATH ***
Page 4
Of this edition Seven hundred and fifty copies have been printed, of which this is Number …71…
The
Dance of Death
by Hans Holbein, with an
introductory note by
Austin Dobson
New York
Scott-Thaw Company
mcmiii
The
Dance of Death
by Hans Holbein, with an
introductory note by
Austin Dobson
New York
Scott-Thaw Company
mcmiii
Page 5
Copyright, 1903, by
Scott-Thaw Company
The Heintzemann Press, Boston
Scott-Thaw Company
The Heintzemann Press, Boston
Page 6
THE DANCE OF DEATH
The Book
"Les Simulachres & Historiées Faces de la Mort avtant elegamtment
pourtraictes, que artificiellement imaginées." This may be Englished as
follows: The Images and Storied Aspects of Death, as elegantly delineated
as [they are] ingeniously imagined. Such is the literal title of the earliest
edition of the famous book now familiarly known as "Holbein's Dance of
Death." It is a small quarto, bearing on its title-page, below the French
words above quoted, a nondescript emblem with the legend Vsus me
Genuit, and on an open book, Gnothe seauton. Below this comes again, "A
Lyon, Soubz l'escu de Coloigne: M. D. XXXVIII," while at the end of the
volume is the imprint "Excvdebant Lvgdvni Melchoir et Gaspar Trechsel
fratres: 1538,"—the Trechsels being printers of German origin, who had
long been established at Lyons. There is a verbose "Epistre" or Preface in
French to the "moult reuerende Abbesse du religieux conuent S. Pierre de
Lyon, Madame Iehanne de Touszele," otherwise the Abbess of Saint Pierre
les Nonnains, a religious house containing many noble and wealthy ladies,
and the words, "Salut d'un vray Zèle," which conclude the dedicatory
heading, are supposed to reveal indirectly the author of the "Epistre" itself,
namely, Jean de Vauzelles, Pastor of St. Romain and Prior of Monrottier,
one of three famous literary brothers in the city on the Rhone, whose motto
was "D'un vray Zelle." After the Preface comes "Diuerses Tables de Mort,
non painctes, mais extraictes de l'escripture saincte, colorées par Docteurs
Ecclesiastiques, & umbragées par Philosophes." Then follow the cuts,
forty-one in number, each having its text from the Latin Bible above it, and
below, its quatrain in French, this latter being understood to be from the pen
of one Gilles Corozet. To the cuts succeed various makeweight Appendices
of a didactic and hortatory character, the whole being wound up by a
profitable discourse, De la Necessite de la Mort qui ne laisse riens estre
pardurable. Various editions ensued to this first one of 1538, the next or
second of 1542 (in which Corozet's verses were translated into Latin by
Luther's brother-in-law, George Oemmel or Aemilius), being put forth by
The Book
"Les Simulachres & Historiées Faces de la Mort avtant elegamtment
pourtraictes, que artificiellement imaginées." This may be Englished as
follows: The Images and Storied Aspects of Death, as elegantly delineated
as [they are] ingeniously imagined. Such is the literal title of the earliest
edition of the famous book now familiarly known as "Holbein's Dance of
Death." It is a small quarto, bearing on its title-page, below the French
words above quoted, a nondescript emblem with the legend Vsus me
Genuit, and on an open book, Gnothe seauton. Below this comes again, "A
Lyon, Soubz l'escu de Coloigne: M. D. XXXVIII," while at the end of the
volume is the imprint "Excvdebant Lvgdvni Melchoir et Gaspar Trechsel
fratres: 1538,"—the Trechsels being printers of German origin, who had
long been established at Lyons. There is a verbose "Epistre" or Preface in
French to the "moult reuerende Abbesse du religieux conuent S. Pierre de
Lyon, Madame Iehanne de Touszele," otherwise the Abbess of Saint Pierre
les Nonnains, a religious house containing many noble and wealthy ladies,
and the words, "Salut d'un vray Zèle," which conclude the dedicatory
heading, are supposed to reveal indirectly the author of the "Epistre" itself,
namely, Jean de Vauzelles, Pastor of St. Romain and Prior of Monrottier,
one of three famous literary brothers in the city on the Rhone, whose motto
was "D'un vray Zelle." After the Preface comes "Diuerses Tables de Mort,
non painctes, mais extraictes de l'escripture saincte, colorées par Docteurs
Ecclesiastiques, & umbragées par Philosophes." Then follow the cuts,
forty-one in number, each having its text from the Latin Bible above it, and
below, its quatrain in French, this latter being understood to be from the pen
of one Gilles Corozet. To the cuts succeed various makeweight Appendices
of a didactic and hortatory character, the whole being wound up by a
profitable discourse, De la Necessite de la Mort qui ne laisse riens estre
pardurable. Various editions ensued to this first one of 1538, the next or
second of 1542 (in which Corozet's verses were translated into Latin by
Luther's brother-in-law, George Oemmel or Aemilius), being put forth by
Page 7
Jean and François Frellon, into whose hands the establishment of the
Trechsels had fallen. There were subsequent issues in 1545, 1547, 1549,
1554, 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, although attempts, more or less ingenious, have been made
to connect them with the text. After 1562 no addition was made to the
plates.
The Artist
From the date of the editio princeps it might be supposed that the designs
were executed at or about 1538—the year of its publication. But this is not
the case; and there is good evidence that they were not only designed but
actually cut on the wood some eleven years before 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
monogram of the woodcutter, and not to be part of the original design. The
Berlin drawings must therefore have been executed subsequently to the
woodcuts; and as one of them, that representing the Emperor, is dated
"1527," we get a date before which both the woodcuts, and the designs for
the woodcuts, must have been prepared. It is generally held that they were
so prepared circa 1524 and 1525, the date of the Peasants' War, of the state
of feeling excited by which they exhibit evident traces. In the Preface to this
first edition, certain ambiguous expressions, to which we shall presently
refer, led some of the earlier writers on the subject to doubt as to the
designer of the series. But the later researches of Wornum and Woltmann, of
Trechsels had fallen. There were subsequent issues in 1545, 1547, 1549,
1554, 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, although attempts, more or less ingenious, have been made
to connect them with the text. After 1562 no addition was made to the
plates.
The Artist
From the date of the editio princeps it might be supposed that the designs
were executed at or about 1538—the year of its publication. But this is not
the case; and there is good evidence that they were not only designed but
actually cut on the wood some eleven years before 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
monogram of the woodcutter, and not to be part of the original design. The
Berlin drawings must therefore have been executed subsequently to the
woodcuts; and as one of them, that representing the Emperor, is dated
"1527," we get a date before which both the woodcuts, and the designs for
the woodcuts, must have been prepared. It is generally held that they were
so prepared circa 1524 and 1525, the date of the Peasants' War, of the state
of feeling excited by which they exhibit evident traces. In the Preface to this
first edition, certain ambiguous expressions, to which we shall presently
refer, led some of the earlier writers on the subject to doubt as to the
designer of the series. But the later researches of Wornum and Woltmann, of
Page 8
M. Paul Mantz and, more recently, of Mr. W. J. Linton leave no doubt that
they were really drawn by the artist to whom they have always been
traditionally assigned, to wit, Hans Holbein the younger. He was resident in
Basle up to the autumn of 1526, before which time, according to the above
argument, the drawings must have been produced; he had already designed
an Alphabet of Death; and, moreover, on the walls of the cemetery of the
Dominican monastery at Basle there was a famous wall-painting of the
Dance of Death, which would be a perpetual stimulus to any resident artist.
Finally, and this is perhaps the most important consideration of all, the
designs are in Holbein's manner.
The Woodcutter
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 could be no better judge than Mr. W.
J. Linton; and he says that nothing, either by knife or by graver, is of higher
quality than these woodcuts. Yet the woodcutter's very name was for a long
time doubtful, and even now the particulars which we possess with regard
to him are scanty and inconclusive. That he was dead when the Trechsels
published the book in 1538, must be inferred from the "Epistre" of Jean de
Vauzelles, since that "Epistre" expressly refers to "la mort de celluy, qui
nous en a icy imaginé si elegantes figures"; and without entering into
elaborate enquiry as to the exact meaning of "imaginer" in sixteenth-
century French, it is obvious that, although the deceased is elsewhere
loosely called "painctre," this title cannot refer to Holbein, who was so far
from being dead that he survived until 1543. The only indication of the
woodcutter's name is supplied by the monogram, "HL" upon the bedstead in
No. 36 ("The Duchess"); and these initials have been supposed to indicate
one Hans Lutzelburger, or Hans of Luxemburg, "otherwise Franck," a form-
cutter ("formschneider"), whose full name is to be found attached to the so-
called "Little Dance of Death," an alphabet by Holbein, impressions of
which are in the British Museum. His signature ("H. L. F. 1522") is also
found appended to another alphabet; to a cut of a fight in a forest, dated also
1522; and to an engraved title-page in a German New Testament of the year
they were really drawn by the artist to whom they have always been
traditionally 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, moreover, on the walls of the cemetery of the
Dominican monastery at Basle there was a famous wall-painting of the
Dance of Death, which would be a perpetual stimulus to any resident artist.
Finally, and this is perhaps the most important consideration of all, the
designs are in Holbein's manner.
The Woodcutter
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 could be no better judge than Mr. W.
J. Linton; and he says that nothing, either by knife or by graver, is of higher
quality than these woodcuts. Yet the woodcutter's very name was for a long
time doubtful, and even now the particulars which we possess with regard
to him are scanty and inconclusive. That he was dead when the Trechsels
published the book in 1538, must be inferred from the "Epistre" of Jean de
Vauzelles, since that "Epistre" expressly refers to "la mort de celluy, qui
nous en a icy imaginé si elegantes figures"; and without entering into
elaborate enquiry as to the exact meaning of "imaginer" in sixteenth-
century French, it is obvious that, although the deceased is elsewhere
loosely called "painctre," this title cannot refer to Holbein, who was so far
from being dead that he survived until 1543. The only indication of the
woodcutter's name is supplied by the monogram, "HL" upon the bedstead in
No. 36 ("The Duchess"); and these initials have been supposed to indicate
one Hans Lutzelburger, or Hans of Luxemburg, "otherwise Franck," a form-
cutter ("formschneider"), whose full name is to be found attached to the so-
called "Little Dance of Death," an alphabet by Holbein, impressions of
which are in the British Museum. His signature ("H. L. F. 1522") is also
found appended to another alphabet; to a cut of a fight in a forest, dated also
1522; and to an engraved title-page in a German New Testament of the year
Page 9
following. This is all we know with certainty concerning his work, though
the investigations of Dr. Édouard His have established the fact that a
"formschneider" named Hans, who had business transactions with the
Trechsels of Lyons, had died at Basle before June, 1526; and it is
conjectured, though absolute proof is not forthcoming, that this must have
been the "H. L.," or Hans of Luxemburg, who cut Holbein's designs upon
the wood. In any case, unless we must assume another woodcutter of equal
merit, it is probable that the same man cut the signed Alphabet in the British
Museum and the initialed Dance of Death. But why the cuts of the latter,
which, as we have shown above, were printed circa 1526, were not
published at Lyons until 1538; and why Holbein's name was withheld in the
Preface to the book of that year, are still unexplained. The generally
accepted supposition is that motives of timidity, arising from the satirical
and fearlessly unsparing character of the designs, may be answerable both
for delay in the publication and mystification in the "Preface." And if
intentional mystification be admitted, the doors of enquiry, after three
hundred and fifty years, are practically sealed to the critical picklock.
Other Reproductions
The Dance of Death has been frequently copied. Mr. W. J. Linton
enumerates a Venice reproduction of 1545; and a set (enlarged) by Jobst
Dienecker of Augsburg in 1554. Then there is the free copy, once popular
with our great grandfathers, by Bewick's younger brother John, which
Hodgson of Newcastle published in 1789 under the title of Emblems of
Mortality. Wenceslaus Hollar etched thirty of the designs in 1651, and in
1788 forty-six of them were etched by David Deuchar. In 1832 they were
reproduced upon stone with great care by Joseph Schlotthauer, Professor in
the Academy of Fine Arts at Munich; and these were reissued in this
country in 1849 by John Russell Smith. They have also been rendered in
photo-lithography for an edition issued by H. Noel Humphreys, in 1868;
and for the Holbein Society in 1879. In 1886, Dr. F. Lippmann edited for
Mr. Quaritch a set of reproductions of the engraver's proofs in the Berlin
Museum; and the editio princeps has been facsimiled by one of the modern
processes for Hirth of Munich, as vol. x. of the Liebhaber-Bibliothek, 1884.
The Present Issue
the investigations of Dr. Édouard His have established the fact that a
"formschneider" named Hans, who had business transactions with the
Trechsels of Lyons, had died at Basle before June, 1526; and it is
conjectured, though absolute proof is not forthcoming, that this must have
been the "H. L.," or Hans of Luxemburg, who cut Holbein's designs upon
the wood. In any case, unless we must assume another woodcutter of equal
merit, it is probable that the same man cut the signed Alphabet in the British
Museum and the initialed Dance of Death. But why the cuts of the latter,
which, as we have shown above, were printed circa 1526, were not
published at Lyons until 1538; and why Holbein's name was withheld in the
Preface to the book of that year, are still unexplained. The generally
accepted supposition is that motives of timidity, arising from the satirical
and fearlessly unsparing character of the designs, may be answerable both
for delay in the publication and mystification in the "Preface." And if
intentional mystification be admitted, the doors of enquiry, after three
hundred and fifty years, are practically sealed to the critical picklock.
Other Reproductions
The Dance of Death has been frequently copied. Mr. W. J. Linton
enumerates a Venice reproduction of 1545; and a set (enlarged) by Jobst
Dienecker of Augsburg in 1554. Then there is the free copy, once popular
with our great grandfathers, by Bewick's younger brother John, which
Hodgson of Newcastle published in 1789 under the title of Emblems of
Mortality. Wenceslaus Hollar etched thirty of the designs in 1651, and in
1788 forty-six of them were etched by David Deuchar. In 1832 they were
reproduced upon stone with great care by Joseph Schlotthauer, Professor in
the Academy of Fine Arts at Munich; and these were reissued in this
country in 1849 by John Russell Smith. They have also been rendered in
photo-lithography for an edition issued by H. Noel Humphreys, in 1868;
and for the Holbein Society in 1879. In 1886, Dr. F. Lippmann edited for
Mr. Quaritch a set of reproductions of the engraver's proofs in the Berlin
Museum; and the editio princeps has been facsimiled by one of the modern
processes for Hirth of Munich, as vol. x. of the Liebhaber-Bibliothek, 1884.
The Present Issue
Page 10
The copies given in the present issue are impressions from the blocks
engraved in 1833 for Douce's Holbein's Dance of Death. They are the best
imitations in wood, says Mr. Linton. It is of course true, as he also points
out, that a copy with the graver can never quite faithfully follow an original
which has been cut with the knife,—more especially, it may be added, when
the cutter is a supreme craftsman like him of Luxemburg. But against
etched, lithographed, phototyped and otherwise-processed copies, these of
Messrs. Bonner and John Byfield have one incontestable advantage: they
are honest attempts to repeat by the same method,—that is, in wood,—the
original and incomparable woodcuts of Hans Lutzelburger.
engraved in 1833 for Douce's Holbein's Dance of Death. They are the best
imitations in wood, says Mr. Linton. It is of course true, as he also points
out, that a copy with the graver can never quite faithfully follow an original
which has been cut with the knife,—more especially, it may be added, when
the cutter is a supreme craftsman like him of Luxemburg. But against
etched, lithographed, phototyped and otherwise-processed copies, these of
Messrs. Bonner and John Byfield have one incontestable advantage: they
are honest attempts to repeat by the same method,—that is, in wood,—the
original and incomparable woodcuts of Hans Lutzelburger.
Page 11
THE DANCE OF DEATH
(CHANT ROYAL, AFTER HOLBEIN)1
"Contra vim Mortis
Non est medicamen in hortis."
He is the despots' Despot. All must bide,
Later or soon, the message of his 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.
The lusty Lord, rejoicing in his pride,
He draweth down; before the armèd 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,
(CHANT ROYAL, AFTER HOLBEIN)1
"Contra vim Mortis
Non est medicamen in hortis."
He is the despots' Despot. All must bide,
Later or soon, the message of his 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.
The lusty Lord, rejoicing in his pride,
He draweth down; before the armèd 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,
Page 12
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 garnishèd 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,
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,
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 garnishèd 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,
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,
Page 13
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.
1877. A. D.
1 (return)
This Chant Royal of the King of Terrors is—with Mr. Austin Dobson's consent
—here reprinted from his Collected Poems, 1896.
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.
1877. A. D.
1 (return)
This Chant Royal of the King of Terrors is—with Mr. Austin Dobson's consent
—here reprinted from his Collected Poems, 1896.
Page 14
LIST OF ILLUSTRATIONS
N.B.—The German titles are in general modernized from those which appear above the engraver's
proofs. The numerals are those of the cuts.
The Creation I
Die Schöpfung aller Ding.
Eve is taken from the side of Adam.
The Temptation II
"Adam Eua im Paradyss."
Eve, having received an apple from the serpent, prompts
Adam to gather more.
The Expulsion III
"Vsstribung Ade Eue."
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
N.B.—The German titles are in general modernized from those which appear above the engraver's
proofs. The numerals are those of the cuts.
The Creation I
Die Schöpfung aller Ding.
Eve is taken from the side of Adam.
The Temptation II
"Adam Eua im Paradyss."
Eve, having received an apple from the serpent, prompts
Adam to gather more.
The Expulsion III
"Vsstribung Ade Eue."
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
Page 15
Gebein aller Menschen.
A crowd of skeletons, playing on horns, trumpets, and the
like, summon mankind to the grave.
The Pope VI
Der Päpst.
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.
The Emperor VII
Der Kaiser.
The Emperor (Maximilian I.) rates his minister for injustice
to a suitor. But even in the act Death discrowns him.
The King VIII
Der König.
The King (Francis I.) sits at feast under a baldachin
sprinkled with 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.
A crowd of skeletons, playing on horns, trumpets, and the
like, summon mankind to the grave.
The Pope VI
Der Päpst.
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.
The Emperor VII
Der Kaiser.
The Emperor (Maximilian I.) rates his minister for injustice
to a suitor. But even in the act Death discrowns him.
The King VIII
Der König.
The King (Francis I.) sits at feast under a baldachin
sprinkled with 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.
Page 16
The Empress X
Die Kaiserinn.
The Empress, walking with her women, is intercepted by a
female Death, who conducts her to an open grave.
The Queen XI
Die Königinn.
Death, in the guise of a court-jester, drags away the Queen
as she is leaving her palace.
The Bishop XII
Der Bischof.
The sun is setting, and Death leads the aged Bishop from the
sorrowing shepherds of his flock.
The Duke XIII
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.
Die Kaiserinn.
The Empress, walking with her women, is intercepted by a
female Death, who conducts her to an open grave.
The Queen XI
Die Königinn.
Death, in the guise of a court-jester, drags away the Queen
as she is leaving her palace.
The Bishop XII
Der Bischof.
The sun is setting, and Death leads the aged Bishop from the
sorrowing shepherds of his flock.
The Duke XIII
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.
Page 17
Death, having despoiled the Abbot of mitre and crozier,
hales him along unwilling, and threatening his enemy with
his breviary.
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 XVII
Der Domherr.
The Canon, with his falconer, page, and jester, enters the
church door. Death shows him that his sands have run.
The Judge XVIII
Der Richter.
Death withdraws the Judge's staff as he takes a bribe from a
rich suitor.
The Advocate XIX
Der Fürsprach.
hales him along unwilling, and threatening his enemy with
his breviary.
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 XVII
Der Domherr.
The Canon, with his falconer, page, and jester, enters the
church door. Death shows him that his sands have run.
The Judge XVIII
Der Richter.
Death withdraws the Judge's staff as he takes a bribe from a
rich suitor.
The Advocate XIX
Der Fürsprach.
Page 18
Death comes upon him in the street while he is being feed
by a rich client.
The Counsellor, or Senator XX
Der Rathsherr.
The Counsellor, prompted by a devil, is absorbed by a
nobleman, and turns unheeding from a poor suppliant. But
Death, with glass and spade, is waiting at his feet.
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 XXII
Der Pfarrherr.
He carries the host to a sick person. But Death precedes him
as his sacristan.
The Mendicant Friar XXIII
Der Mönch.
Death seizes him just as his begging box and bag are filled.
The Nun XXIV
Die Nonne.
by a rich client.
The Counsellor, or Senator XX
Der Rathsherr.
The Counsellor, prompted by a devil, is absorbed by a
nobleman, and turns unheeding from a poor suppliant. But
Death, with glass and spade, is waiting at his feet.
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 XXII
Der Pfarrherr.
He carries the host to a sick person. But Death precedes him
as his sacristan.
The Mendicant Friar XXIII
Der Mönch.
Death seizes him just as his begging box and bag are filled.
The Nun XXIV
Die Nonne.
Page 19
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 XXVI
Der Arzt.
Death brings him a hopeless patient, and bids him cure
himself.
The Astrologer XXVII
(See p. 10, l. 12.)
He contemplates a pendent sphere. But Death thrusts a skull
before his eyes.
The Rich Man XXVIII
Der Reichmann.
Death finds him at his pay-table and seizes the money.
The Merchant XXIX
Der Kaufmann.
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 XXVI
Der Arzt.
Death brings him a hopeless patient, and bids him cure
himself.
The Astrologer XXVII
(See p. 10, l. 12.)
He contemplates a pendent sphere. But Death thrusts a skull
before his eyes.
The Rich Man XXVIII
Der Reichmann.
Death finds him at his pay-table and seizes the money.
The Merchant XXIX
Der Kaufmann.
Page 20
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.
The Knight XXXI
Der Ritter.
Death, in cuirass and chain-mail, runs him through the body.
The Count XXXII
Der Graf.
Death, as a peasant with a flail, lifts away his back-piece.
The Old Man XXXIII
Der Altmann.
Death, playing on a dulcimer, leads him into his grave.
The Countess XXXIV
Die Grafinn.
Death helps her at her tiring by decorating her with a necklet
of dead men's bones.
The Shipman XXX
Der Schiffmann.
Death breaks the mast of the ship, and the crew are in
extremity.
The Knight XXXI
Der Ritter.
Death, in cuirass and chain-mail, runs him through the body.
The Count XXXII
Der Graf.
Death, as a peasant with a flail, lifts away his back-piece.
The Old Man XXXIII
Der Altmann.
Death, playing on a dulcimer, leads him into his grave.
The Countess XXXIV
Die Grafinn.
Death helps her at her tiring by decorating her with a necklet
of dead men's bones.
Page 21
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 XXXVII
Der Kramer.
Death stops him on the road with his wares at his back.
The Ploughman XXXVIII
Der Ackermann.
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.
The Last Judgment XL
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 XXXVII
Der Kramer.
Death stops him on the road with his wares at his back.
The Ploughman XXXVIII
Der Ackermann.
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.
The Last Judgment XL
Page 22
Das jüngste Gericht.
"Omnes stabimus ante tribunal Domini."
The Escutcheon of Death XLI
Die Wappen des Todes.
The supporters represent Holbein and his wife.
[Added 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.
"Omnes stabimus ante tribunal Domini."
The Escutcheon of Death XLI
Die Wappen des Todes.
The supporters represent Holbein and his wife.
[Added 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.
Page 23
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.]
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.]
Page 24
Page 25
I.
Formauit Dominvs Devs hominem
de limo terræ, ad imaginē suam
creauit illum, masculum &
fœminam creauit eos.
Genesis i. & ii.
DIEV, Ciel, Mer, Terre, procrea
De rien demonstrant sa puissance
Et puis de la terre crea
L'homme, & la femme a sa
semblance.
THE CREATION.
Formauit Dominvs Devs hominem
de limo terræ, ad imaginē suam
creauit illum, masculum &
fœminam creauit eos.
Genesis i. & ii.
DIEV, Ciel, Mer, Terre, procrea
De rien demonstrant sa puissance
Et puis de la terre crea
L'homme, & la femme a sa
semblance.
THE CREATION.
Page 26
II.
Quia audisti vocem vxoris tuæ, &
comedisti de ligno ex quo
preceperam tibi ne comederes, &c.
Genesis iii.
ADAM fut par EVE deceu
Et contre DIEV mangea la pomme,
Dont tous deux ont la Mort receu,
Et depuis fut mortel tout homme.
THE TEMPTATION.
Quia audisti vocem vxoris tuæ, &
comedisti de ligno ex quo
preceperam tibi ne comederes, &c.
Genesis iii.
ADAM fut par EVE deceu
Et contre DIEV mangea la pomme,
Dont tous deux ont la Mort receu,
Et depuis fut mortel tout homme.
THE TEMPTATION.
Page 27
III.
Emisit eum Dominvs Devs de
Paradiso voluptatis, vt operaretur
terram de qua sumptus est.
Genesis iii.
DIEV chassa l'homme de plaisir
Pour uiure au labeur de ses mains:
Alors la Mort le uint saisir,
Et consequemment tous humains.
THE EXPULSION.
Emisit eum Dominvs Devs de
Paradiso voluptatis, vt operaretur
terram de qua sumptus est.
Genesis iii.
DIEV chassa l'homme de plaisir
Pour uiure au labeur de ses mains:
Alors la Mort le uint saisir,
Et consequemment tous humains.
THE EXPULSION.
Page 28
IV.
Maledicta terra in opere tuo, in
laboribus comedes cunctis diebus
vitæ tuæ, donec reuertaris, &c.
Genesis iii.
Mauldicte en ton labeur la terre.
En labeur ta uie useras,
Iusques que la Mort te soubterre.
Toy pouldre en pouldre tourneras.
THE CONSEQUENCES OF THE
FALL.
Maledicta terra in opere tuo, in
laboribus comedes cunctis diebus
vitæ tuæ, donec reuertaris, &c.
Genesis iii.
Mauldicte en ton labeur la terre.
En labeur ta uie useras,
Iusques que la Mort te soubterre.
Toy pouldre en pouldre tourneras.
THE CONSEQUENCES OF THE
FALL.
Page 29
V.
Væ væ væ habitantibus in terra.
Apocalypsis viii.
Cuncta in quibus spiraculum vitæ
est, mortua sunt.
Genesis vii.
Malheureux qui uiuez au monde
Tousiours remplis d'aduersitez,
Pour quelque bien qui uous A CEMETERY.
abonde,
Serez tous de Mort uisitez.
Væ væ væ habitantibus in terra.
Apocalypsis viii.
Cuncta in quibus spiraculum vitæ
est, mortua sunt.
Genesis vii.
Malheureux qui uiuez au monde
Tousiours remplis d'aduersitez,
Pour quelque bien qui uous A CEMETERY.
abonde,
Serez tous de Mort uisitez.
Page 30
VI.
Moriatur sacerdos magnus.
Iosve xx.
Et episcopatum eius accipiat alter.
Psalmista cviii.
Qui te cuydes immortel estre
Par Mort seras tost depesché,
Et combien que tu soys grand
prebstre, THE POPE.
Vng aultre aura ton Euesché.
Moriatur sacerdos magnus.
Iosve xx.
Et episcopatum eius accipiat alter.
Psalmista cviii.
Qui te cuydes immortel estre
Par Mort seras tost depesché,
Et combien que tu soys grand
prebstre, THE POPE.
Vng aultre aura ton Euesché.
Page 31
VII.
Dispone domui tuæ, morieris enim
tu, & non viues.
Isaiæ xxxviii.
Ibi morieris, & ibi erit currus
gloriæ tuæ.
Isaiæ xxii.
De ta maison disposeras
Comme de ton bien transitoire, THE EMPEROR.
Car là ou mort reposeras,
Seront les chariotz de ta gloire.
Dispone domui tuæ, morieris enim
tu, & non viues.
Isaiæ xxxviii.
Ibi morieris, & ibi erit currus
gloriæ tuæ.
Isaiæ xxii.
De ta maison disposeras
Comme de ton bien transitoire, THE EMPEROR.
Car là ou mort reposeras,
Seront les chariotz de ta gloire.
Page 32
VIII.
Sicut & rex hodie est, & cras
morietur, nemo enim ex regibus
aliud habuit.
Ecclesiastici x.
Ainsi qu'auiourdhuy il est Roy,
Demain sera en tombe close.
Car Roy aulcun de son arroy
N'a sceu emporter aultre chose.
THE KING.
Sicut & rex hodie est, & cras
morietur, nemo enim ex regibus
aliud habuit.
Ecclesiastici x.
Ainsi qu'auiourdhuy il est Roy,
Demain sera en tombe close.
Car Roy aulcun de son arroy
N'a sceu emporter aultre chose.
THE KING.
Page 33
IX.
Væ qui iustificatis impium pro
muneribus, & iustitiam iusti
aufertis ab eo.
Esaiæ v.
Mal pour uous qui iustifiez
L'inhumain, & plain de malice
Et par dons le sanctifiez,
Ostant au iuste sa iustice.
THE CARDINAL.
Væ qui iustificatis impium pro
muneribus, & iustitiam iusti
aufertis ab eo.
Esaiæ v.
Mal pour uous qui iustifiez
L'inhumain, & plain de malice
Et par dons le sanctifiez,
Ostant au iuste sa iustice.
THE CARDINAL.
Page 34
X.
Gradientes in superbia potest Deus
humiliare.
Danie iiii.
Qui marchez en pompe superbe
La Mort vng iour uous pliera.
Cõme soubz uoz piedz ployez
l'herbe
Ainsi uous humiliera.
THE EMPRESS.
Gradientes in superbia potest Deus
humiliare.
Danie iiii.
Qui marchez en pompe superbe
La Mort vng iour uous pliera.
Cõme soubz uoz piedz ployez
l'herbe
Ainsi uous humiliera.
THE EMPRESS.
Page 35
XI.
Mulieres opulentæ surgite, &
audite vocem meam. Post dies, &
annum, & vos conturbemini.
Isaiæ xxxii.
Leuez uous dames opulentes.
Ouyez la uoix des trespassez.
Apres maintz ans & iours passez,
Serez troublées & doulentes.
THE QUEEN.
Mulieres opulentæ surgite, &
audite vocem meam. Post dies, &
annum, & vos conturbemini.
Isaiæ xxxii.
Leuez uous dames opulentes.
Ouyez la uoix des trespassez.
Apres maintz ans & iours passez,
Serez troublées & doulentes.
THE QUEEN.
Page 36
XII.
Percutiam pastorem, &
dispergentur oues.
xxvi. Mar. xiiii.
Le pasteur aussi frapperay,
Mitres & crosses renuersées.
Et lors quand ie l'attrapperay,
Seront ses brebis dispersées.
THE BISHOP.
Percutiam pastorem, &
dispergentur oues.
xxvi. Mar. xiiii.
Le pasteur aussi frapperay,
Mitres & crosses renuersées.
Et lors quand ie l'attrapperay,
Seront ses brebis dispersées.
THE BISHOP.
Page 37
XIII.
Princeps induetur mœrore. Et
quiescere faciam superbiã
potentium.
Ezechie. vii.
Vien, prince, auec moy, & delaisse
Honneurs mondains tost finissantz.
Seule suis qui, certes, abaisse
L'orgueil & pompe des puissantz.
THE DUKE.
Princeps induetur mœrore. Et
quiescere faciam superbiã
potentium.
Ezechie. vii.
Vien, prince, auec moy, & delaisse
Honneurs mondains tost finissantz.
Seule suis qui, certes, abaisse
L'orgueil & pompe des puissantz.
THE DUKE.
Page 38
XIV.
Ipse morietur. Quia nõ habuit
disciplinam, & in multitudine
stultitiæ suæ decipietur.
Prover. v.
Il mourra. Car il n'a receu
En soy aulcune discipline,
Et au nombre sera deceu
De folie qui le domine.
THE ABBOT.
Ipse morietur. Quia nõ habuit
disciplinam, & in multitudine
stultitiæ suæ decipietur.
Prover. v.
Il mourra. Car il n'a receu
En soy aulcune discipline,
Et au nombre sera deceu
De folie qui le domine.
THE ABBOT.
Page 39
XV.
Laudaui magis mortuos quàm
viuentes.
Eccle. iiii.
I'ay tousiours les mortz plus loué
Que les uisz, esquelz mal abonde,
Toucesfoys la Mort ma noué
Au ranc de ceulx qui sont au
monde.
THE ABBESS.
Laudaui magis mortuos quàm
viuentes.
Eccle. iiii.
I'ay tousiours les mortz plus loué
Que les uisz, esquelz mal abonde,
Toucesfoys la Mort ma noué
Au ranc de ceulx qui sont au
monde.
THE ABBESS.
Page 40
XVI.
Quis est homo qui viuet, & non
videbit mortem, eruet animã suam
de manu inferi?
Psal. lxxxviii.
Qui est celluy, tant soit grande
homme,
Qui puisse uiure sans mourir?
Et de la Mort, qui tout assomme,
Puisse son Ame recourir?
THE NOBLEMAN.
Quis est homo qui viuet, & non
videbit mortem, eruet animã suam
de manu inferi?
Psal. lxxxviii.
Qui est celluy, tant soit grande
homme,
Qui puisse uiure sans mourir?
Et de la Mort, qui tout assomme,
Puisse son Ame recourir?
THE NOBLEMAN.
Page 41
XVII.
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 l'heure qui approche?
THE CANON.
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 l'heure qui approche?
THE CANON.
Page 42
XVIII.
Disperdam iudicem de medio eius.
Amos ii.
Du mylieu d'eulx uous osteray
Iuges corrumpus par presentz.
Point ne serez de Mort exemptz.
Car ailleurs uous transporteray.
THE JUDGE.
Disperdam iudicem de medio eius.
Amos ii.
Du mylieu d'eulx uous osteray
Iuges corrumpus par presentz.
Point ne serez de Mort exemptz.
Car ailleurs uous transporteray.
THE JUDGE.
Page 43
XIX.
Callidus vidit malum, & abscõdit
se innocens, pertransijt, & afflictus
est damno.
Prover. xxii.
L'homme cault a ueu la malice
Pour l'innocent faire obliger,
Et puis par uoye de iustice
Est uenu le pauure affliger.
THE ADVOCATE.
Callidus vidit malum, & abscõdit
se innocens, pertransijt, & afflictus
est damno.
Prover. xxii.
L'homme cault a ueu la malice
Pour l'innocent faire obliger,
Et puis par uoye de iustice
Est uenu le pauure affliger.
THE ADVOCATE.
Page 44
XX.
Qui obturat aurem suam ad
clamorem pauperis, & ipse
clamabit, & non exaudietur.
Prover. xxi.
Les riches conseillez tousiours,
Et aux pauures clouez l'oreille.
Vous crierez aux derniers iours,
Mais Dieu uous fera la pareille.
THE COUNSELLOR.
Qui obturat aurem suam ad
clamorem pauperis, & ipse
clamabit, & non exaudietur.
Prover. xxi.
Les riches conseillez tousiours,
Et aux pauures clouez l'oreille.
Vous crierez aux derniers iours,
Mais Dieu uous fera la pareille.
THE COUNSELLOR.
Page 45
XXI.
Væ qui dicitis malum bonum, &
bonum malū, ponentes tenebras
lucem, & lucem tenebras, ponentes
amarum dulce, & dulce in amarum.
Isaiæ xv.
Mal pour uous qui ainsi osez
Le mal pour le bien nous blasmer,
Et le bien pour mal exposez,
Mettant auec le doulx l'amer.
THE PREACHER.
Væ qui dicitis malum bonum, &
bonum malū, ponentes tenebras
lucem, & lucem tenebras, ponentes
amarum dulce, & dulce in amarum.
Isaiæ xv.
Mal pour uous qui ainsi osez
Le mal pour le bien nous blasmer,
Et le bien pour mal exposez,
Mettant auec le doulx l'amer.
THE PREACHER.
Page 46
XXII.
Sum quidem & ego mortalis homo.
Sap. vii.
Ie porte le sainct sacrement
Cuidant le mourant secourir,
Qui mortel suis pareillement.
Et comme luy me fault mourir.
THE PRIEST.
Sum quidem & ego mortalis homo.
Sap. vii.
Ie porte le sainct sacrement
Cuidant le mourant secourir,
Qui mortel suis pareillement.
Et comme luy me fault mourir.
THE PRIEST.
Page 47
XXIII.
Sedentes in tenebris, & in vmbra
mortis, vinctos in mendicitate.
Psal. cvi.
Toy qui n'as soucy, ny remord
Sinon de ta mendicité,
Tu fierras a l'umbre de Mort
Pour t'ouster de necessité.
THE MENDICANT FRIAR.
Sedentes in tenebris, & in vmbra
mortis, vinctos in mendicitate.
Psal. cvi.
Toy qui n'as soucy, ny remord
Sinon de ta mendicité,
Tu fierras a l'umbre de Mort
Pour t'ouster de necessité.
THE MENDICANT FRIAR.
Page 48
XXIV.
Est via quæ videtur homini iusta:
nouissima autem eius deducunt
hominem ad mortem.
Prover. iiii.
Telle uoye aux humains est bonne,
Et a l'homme tresiuste semble.
Mais la fin d'elle a l'homme donne,
La Mort, qui tous pecheurs
assemble.
THE NUN.
Est via quæ videtur homini iusta:
nouissima autem eius deducunt
hominem ad mortem.
Prover. iiii.
Telle uoye aux humains est bonne,
Et a l'homme tresiuste semble.
Mais la fin d'elle a l'homme donne,
La Mort, qui tous pecheurs
assemble.
THE NUN.
Page 49
XXV.
Melior est mors quàm vita.
Eccle. xxx.
En peine ay uescu longuement
Tant que nay plus de uiure enuie,
Mais bien ie croy certainement,
Meilleure la Mort que la uie.
THE OLD WOMAN.
Melior est mors quàm vita.
Eccle. xxx.
En peine ay uescu longuement
Tant que nay plus de uiure enuie,
Mais bien ie croy certainement,
Meilleure la Mort que la uie.
THE OLD WOMAN.
Page 50
XXVI.
Medice, cura teipsum.
Lvcæ iiii.
Tu congnoys bien la maladie
Pour le patient secourir,
Et si ne scais teste estourdie,
Le mal dont tu deburas mourir.
THE PHYSICIAN.
Medice, cura teipsum.
Lvcæ iiii.
Tu congnoys bien la maladie
Pour le patient secourir,
Et si ne scais teste estourdie,
Le mal dont tu deburas mourir.
THE PHYSICIAN.
Page 51
XXVII.
Indica mihi si nosti omnia. Sciebas
quòd nasciturus esses, & numerum
dierum tuorum noueras?
Iob xxviii.
Tu dis par Amphibologie
Ce qu'aux aultres doibt aduenir.
Dy moy donc par Astrologie
Quand tu deburas a moy uenir?
THE ASTROLOGER.
Indica mihi si nosti omnia. Sciebas
quòd nasciturus esses, & numerum
dierum tuorum noueras?
Iob xxviii.
Tu dis par Amphibologie
Ce qu'aux aultres doibt aduenir.
Dy moy donc par Astrologie
Quand tu deburas a moy uenir?
THE ASTROLOGER.
Page 52
XXVIII.
Stulte hac nocte repetunt animam
tuam, & quæ parasti cuius erunt?
Lvcæ xii.
Ceste nuict la Mort te prendra,
Et demain seras enchassé.
Mais dy moy, fol, a qui uiendra
Le bien que tu as amassé?
THE RICH MAN.
Stulte hac nocte repetunt animam
tuam, & quæ parasti cuius erunt?
Lvcæ xii.
Ceste nuict la Mort te prendra,
Et demain seras enchassé.
Mais dy moy, fol, a qui uiendra
Le bien que tu as amassé?
THE RICH MAN.
Page 53
XXIX.
Qui congregat thesauros mendacij
vanus & excors est, & impingetur
ad laqueos mortis.
Prover. xxi.
Vain est cil qui amassera
Grandz biens, & tresors pour
mentir,
La Mort l'en fera repentir.
Car en ses lacz surpris sera.
THE MERCHANT.
Qui congregat thesauros mendacij
vanus & excors est, & impingetur
ad laqueos mortis.
Prover. xxi.
Vain est cil qui amassera
Grandz biens, & tresors pour
mentir,
La Mort l'en fera repentir.
Car en ses lacz surpris sera.
THE MERCHANT.
Page 54
XXX.
Qui volunt diuites fieri incidunt in
laqueum diaboli, & desideria
multa, & nociua, quæ mergunt
homines in interitum.
I. Ad Timo. vi.
Pour acquerir des biens mondains
Vous entrez en tentation,
Qui uous met es perilz soubdains,
Et uous maine a perdition.
THE SHIPMAN.
Qui volunt diuites fieri incidunt in
laqueum diaboli, & desideria
multa, & nociua, quæ mergunt
homines in interitum.
I. Ad Timo. vi.
Pour acquerir des biens mondains
Vous entrez en tentation,
Qui uous met es perilz soubdains,
Et uous maine a perdition.
THE SHIPMAN.
Page 55
XXXI.
Subito morientur, & in media nocte
turbabuntur populi, & auferent
violentum absqe manu.
Iob xxxiiii.
Peuples soubdain s'esleuront
A lencontre de l'inhumain,
Et le uiolent osteront
D'auec eulx sans force de main.
THE KNIGHT.
Subito morientur, & in media nocte
turbabuntur populi, & auferent
violentum absqe manu.
Iob xxxiiii.
Peuples soubdain s'esleuront
A lencontre de l'inhumain,
Et le uiolent osteront
D'auec eulx sans force de main.
THE KNIGHT.
Page 56
XXXII.
Quoniam cùm interiet non sumet
secum omnia, neqe cum eo
descẽdet gloria eius.
Psal. xlviii.
Auec soy rien n'emportera,
Mais qu'une foys la Mort le tombe,
Rien de sa gloire n'ostera,
Pour mettre auec soy en sa tombe.
THE COUNT.
Quoniam cùm interiet non sumet
secum omnia, neqe cum eo
descẽdet gloria eius.
Psal. xlviii.
Auec soy rien n'emportera,
Mais qu'une foys la Mort le tombe,
Rien de sa gloire n'ostera,
Pour mettre auec soy en sa tombe.
THE COUNT.
Page 57
XXXIII.
Spiritus meus attenuabitur, dies
mei breuiabuntur, & solum mihi
superest sepulchrum.
Iob xvii.
Mes esperitz sont attendriz,
Et ma uie s'en ua tout beau.
Las mes longziours sont amoindriz,
Plus ne me reste qu'un tombeau.
THE OLD MAN.
Spiritus meus attenuabitur, dies
mei breuiabuntur, & solum mihi
superest sepulchrum.
Iob xvii.
Mes esperitz sont attendriz,
Et ma uie s'en ua tout beau.
Las mes longziours sont amoindriz,
Plus ne me reste qu'un tombeau.
THE OLD MAN.
Page 58
XXXIV.
Ducunt in bonis dies suos, & in
puncto ad inferna descendunt.
Iob xxi.
En biens mõdains leurs iours
despendẽt
En uoluptez, & en tristesse,
Puis soubdain aux Enfers
descendent
Ou leur ioye passe en tristesse.
THE COUNTESS.
Ducunt in bonis dies suos, & in
puncto ad inferna descendunt.
Iob xxi.
En biens mõdains leurs iours
despendẽt
En uoluptez, & en tristesse,
Puis soubdain aux Enfers
descendent
Ou leur ioye passe en tristesse.
THE COUNTESS.
Page 59
XXXV.
Me & te sola mors separabit.
Rvth. i.
Amour qui unyz nous faict uiure,
En foy noz cueurs preparera,
Qui long temps ne nous pourra
suyure,
Car la Mort nous separera.
THE NOBLE LADY.
Me & te sola mors separabit.
Rvth. i.
Amour qui unyz nous faict uiure,
En foy noz cueurs preparera,
Qui long temps ne nous pourra
suyure,
Car la Mort nous separera.
THE NOBLE LADY.
Page 60
XXXVI.
De lectulo super quem ascendisti
non descendes, sed morte morieris.
iiii. Reg. i.
Du lict sus lequel as monté
Ne descendras a ton plaisir.
Car Mort t'aura tantost dompté,
Et en brief te uiendra saisir.
THE DUCHESS.
De lectulo super quem ascendisti
non descendes, sed morte morieris.
iiii. Reg. i.
Du lict sus lequel as monté
Ne descendras a ton plaisir.
Car Mort t'aura tantost dompté,
Et en brief te uiendra saisir.
THE DUCHESS.
Page 61
XXXVII.
Venite ad me qui onerati estis.
Matth. xi.
Venez, & apres moy marchez
Vous qui estes par trop charge.
Cest assez suiuy les marchez:
Vous serez par moy decharge.
THE PEDLAR.
Venite ad me qui onerati estis.
Matth. xi.
Venez, & apres moy marchez
Vous qui estes par trop charge.
Cest assez suiuy les marchez:
Vous serez par moy decharge.
THE PEDLAR.
Page 62
XXXVIII.
In sudore vultus tui vesceris pane
tuo.
Gene. i.
A la sueur de ton uisaige
Tu gaigneras ta pauure uie.
Apres long trauail, & usaige,
Voicy la Mort qui te conuie.
THE PLOUGHMAN.
In sudore vultus tui vesceris pane
tuo.
Gene. i.
A la sueur de ton uisaige
Tu gaigneras ta pauure uie.
Apres long trauail, & usaige,
Voicy la Mort qui te conuie.
THE PLOUGHMAN.
Page 63
XXXIX.
Homo natus de muliere, breui
viuens tempore repletur multis
miserijs, qui quasi flos egreditur, &
conteritur, & fugit velut vmbra.
Iob xiiii.
Tout homme de la femme yssant
Remply de misere, & d'encombre,
Ainsi que fleur tost finissant.
Sort & puis fuyt comme faict
l'umbre.
THE YOUNG CHILD.
Homo natus de muliere, breui
viuens tempore repletur multis
miserijs, qui quasi flos egreditur, &
conteritur, & fugit velut vmbra.
Iob xiiii.
Tout homme de la femme yssant
Remply de misere, & d'encombre,
Ainsi que fleur tost finissant.
Sort & puis fuyt comme faict
l'umbre.
THE YOUNG CHILD.
Page 64
XL.
Omnes stabimus ante tribunal
domini.
Roma. xiiii.
Vigilate, & orate, quia nescitis qua
hora venturus sit dominus.
Matt. xxiiii.
Deuante le trosne du grand iuge
Chascun de soy compte rendra THE LAST JUDGMENT.
Pourtant ueillez, qu'il ne uous iuge.
Car ne scauez quand il uiendra.
Omnes stabimus ante tribunal
domini.
Roma. xiiii.
Vigilate, & orate, quia nescitis qua
hora venturus sit dominus.
Matt. xxiiii.
Deuante le trosne du grand iuge
Chascun de soy compte rendra THE LAST JUDGMENT.
Pourtant ueillez, qu'il ne uous iuge.
Car ne scauez quand il uiendra.
Page 65
XLI.
Memorare nouissima, & in
æternum non peccabis.
Eccle. vii.
Si tu ueulx uiure sans peché
Voy ceste imaige a tous propos,
Et point ne seras empesché,
Quand tu t'en iras a repos.
THE ESCUTCHEON OF DEATH.
[ADDED IN LATER EDITIONS]
Memorare nouissima, & in
æternum non peccabis.
Eccle. vii.
Si tu ueulx uiure sans peché
Voy ceste imaige a tous propos,
Et point ne seras empesché,
Quand tu t'en iras a repos.
THE ESCUTCHEON OF DEATH.
[ADDED IN LATER EDITIONS]
Page 66
XLII.
Cum fortis armatus custodit atriũ
suũ, &c. Si autem fortior eo
superueniens vicerit eum, uniuersa
eius arma aufert, in quibus
confidebat.
Le sort armé en jeune corps
Pense auoir seure garnison;
Mais Mort plus forte, le met hors
De sa corporelle maison.
THE SOLDIER.
Cum fortis armatus custodit atriũ
suũ, &c. Si autem fortior eo
superueniens vicerit eum, uniuersa
eius arma aufert, in quibus
confidebat.
Le sort armé en jeune corps
Pense auoir seure garnison;
Mais Mort plus forte, le met hors
De sa corporelle maison.
THE SOLDIER.
Page 67
XLIII.
Quid prodest homini, si vniuersum
Mundum lucretur, animæ autem
suæ detrimentum patiatur?
Matt. xvi.
Que vault à l'homme tout le Monde
Gaigner d'hazard, & chance
experte,
S'il recoit de sa uie immonde
Par Mort, irreparable perte?
THE GAMESTER.
Quid prodest homini, si vniuersum
Mundum lucretur, animæ autem
suæ detrimentum patiatur?
Matt. xvi.
Que vault à l'homme tout le Monde
Gaigner d'hazard, & chance
experte,
S'il recoit de sa uie immonde
Par Mort, irreparable perte?
THE GAMESTER.
Page 68
XLIV.
Ne inebriemini vino, in quo est
luxuria.
Ephes. v.
De vin (auquel est tout exces)
Ne vous enyurez pour dormir
Sommeil de Mort qui au deces
Vous face l'ame, & sang vomir.
THE DRUNKARD.
Ne inebriemini vino, in quo est
luxuria.
Ephes. v.
De vin (auquel est tout exces)
Ne vous enyurez pour dormir
Sommeil de Mort qui au deces
Vous face l'ame, & sang vomir.
THE DRUNKARD.
Page 69
XLV.
Quasi agnus lasciuiens, &
ignorans, nescit quòd ad vincula
stultus trahatur.
Proverb vii.
Le Fol vit en ioye, & deduict
San scavoir qu'il s'en va mourant,
Tant qu'à sa fin il est conduict
Ainsi que l'agneau ignorant.
THE FOOL.
Quasi agnus lasciuiens, &
ignorans, nescit quòd ad vincula
stultus trahatur.
Proverb vii.
Le Fol vit en ioye, & deduict
San scavoir qu'il s'en va mourant,
Tant qu'à sa fin il est conduict
Ainsi que l'agneau ignorant.
THE FOOL.
Page 70
XLVI.
Domine, vim patior.
Isaiæ xxxviii.
La foible femme brigandée
Crie, O seigneur on me fait force.
Lors de Dieu la mort est mandée,
Qui les estrangle à dure estorce.
THE ROBBER.
Domine, vim patior.
Isaiæ xxxviii.
La foible femme brigandée
Crie, O seigneur on me fait force.
Lors de Dieu la mort est mandée,
Qui les estrangle à dure estorce.
THE ROBBER.
Page 71
XLVII.
Cæcus cæcum ducit: & ambo in
foueam cadunt.
Matth. xv.
L'aueugle un autre aueugle guide,
L'un par l'autre en la fosse tombe:
Car quand plus oultre aller il cuide,
La Mort l'homme iecte en la
tombe.
THE BLIND MAN.
Cæcus cæcum ducit: & ambo in
foueam cadunt.
Matth. xv.
L'aueugle un autre aueugle guide,
L'un par l'autre en la fosse tombe:
Car quand plus oultre aller il cuide,
La Mort l'homme iecte en la
tombe.
THE BLIND MAN.
Page 72
XLVIII.
Corruit in curru suo.
i Chron. xxii.
Au passage de Mort peruerse
Raison, chartier tout esperdu,
Du corps le char, & cheuaux verse,
Le vin (sang de vie) espandu.
THE WAGGONER.
Corruit in curru suo.
i Chron. xxii.
Au passage de Mort peruerse
Raison, chartier tout esperdu,
Du corps le char, & cheuaux verse,
Le vin (sang de vie) espandu.
THE WAGGONER.
Page 73
XLIX.
Miser ego homo! Quis nie liberabit
de corpore mortis huius?
Rom. vii.
Qui hors la chair veult en Christ
viure
Ne craint mort, mais dit un mortel,
Helas, qui me rendra deliure
Pouure homme de ce corps mortel?
THE BEGGAR.
Of this edition of Holbein's "The Dance of Death," seven hundred and fifty copies have been printed
on Japan vellum, for the Scott-Thaw Co., by the Heintzemann Press, July, MCMIII.
Transcriber's Note: In the work used for this digitization, each pair of facing pages has the Latin
biblical quotation at the top of the left page printed in red, the French quatrain at the bottom of the
left page printed in black, and the illustration (numbered above, and captioned below) on the right
page, opposite the text. For clarity in the text-only version, the plate numbers and captions have been
moved to precede their corresponding verses.
Miser ego homo! Quis nie liberabit
de corpore mortis huius?
Rom. vii.
Qui hors la chair veult en Christ
viure
Ne craint mort, mais dit un mortel,
Helas, qui me rendra deliure
Pouure homme de ce corps mortel?
THE BEGGAR.
Of this edition of Holbein's "The Dance of Death," seven hundred and fifty copies have been printed
on Japan vellum, for the Scott-Thaw Co., by the Heintzemann Press, July, MCMIII.
Transcriber's Note: In the work used for this digitization, each pair of facing pages has the Latin
biblical quotation at the top of the left page printed in red, the French quatrain at the bottom of the
left page printed in black, and the illustration (numbered above, and captioned below) on the right
page, opposite the text. For clarity in the text-only version, the plate numbers and captions have been
moved to precede their corresponding verses.
Page 74
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