This is a modern-English version of The Dance of Death, originally written by Corrozet, Gilles, Vauzelles, Jean de. It has been thoroughly updated, including changes to sentence structure, words, spelling, and grammar—to ensure clarity for contemporary readers, while preserving the original spirit and nuance. If you click on a paragraph, you will see the original text that we modified, and you can toggle between the two versions.

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[1]

Of this edition Seven hundred and fifty copies have been printed, of which this is Number …71…

In this edition, seven hundred and fifty copies have been printed, of which this is Number …71…

[2]

[3]

The
Dance of Death

by Hans Holbein, with an
introductory note by
Austin Dobson

New York
Scott-Thaw Company
mcmiii

New York
Scott-Thaw Company
1903

[4]

The Heintzemann Press, Boston

The Heintzemann Press, Boston

[5]

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 [6] 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 [7] 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 [8] 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 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 [9] 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 Simulacra & Illustrated Faces of Death, portrayed as elegantly as they are creatively imagined. This can be translated as: The Images and Narrated Aspects of Death, as elegantly depicted as they are cleverly conceived. This is the literal title of the earliest edition of the well-known book now commonly referred to as "Holbein's Dance of Death." It is a small quarto, featuring on its title page, below the French words mentioned above [6] a simple emblem with the words Vsus me Genuit, and on an open book, Gnothe seauton. Below this is again, "A Lyon, Soubz l'escu de Coloigne: M. D. 1538," while at the end of the volume is the imprint "Excvdebant Lvgdvni Melchoir et Gaspar Trechsel fratres: 1538,"—the Trechsels being printers of German descent, who had long been established in Lyons. There is a lengthy "Epistre" or Preface in French dedicated to the "moult reuerende Abbesse du religieux conuent S. Pierre de Lyon, Madame Iehanne de Touszele," otherwise known as the Abbess of Saint Pierre les Nonnains, a religious community home to many noble and wealthy ladies, and the [7] words, "Salut d'un vray Zèle," which conclude the dedicatory heading, are thought to indirectly reveal the author of the "Epistre" itself, namely, Jean de Vauzelles, Pastor of St. Romain and Prior of Monrottier, one of three notable literary brothers in the city along 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." Following are the illustrations, totaling forty-one, each featuring its text from the Latin Bible above it, and below, its quatrain in French, the latter being [8] understood to be written by one Gilles Corozet. After the illustrations come various appendices with a didactic and encouraging character, concluding with a meaningful discourse, De la Necessite de la Mort qui ne laisse riens estre pardurable. Several editions followed this first one from 1538, including the next or second edition from 1542 (which featured Corozet's verses translated into Latin by Luther's brother-in-law, George Oemmel or Aemilius), published by Jean and François Frellon, who took over from the Trechsels. Subsequent editions were released in 1545, 1547, 1549, 1554, and 1562. To the [9] editions of 1545 and 1562, a few additional designs were included, some of which do not particularly relate to the overall theme, though attempts, more or less creative, have been made to link them to the text. After 1562, no new additions were made to the illustrations.

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 [10] 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 [11] 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, [12] 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 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 [13] 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.

From the time of the editio princeps, one might assume that the designs were created around 1538—the year it was published. However, that’s not true; there’s solid evidence that they were not only designed but also carved into wood about eleven years earlier. [10] In fact, there are several sets of impressions in the British Museum, the Berlin Museum, the Basle Museum, the Imperial Library in Paris, and the Grand Ducal Cabinet in Carlsruhe, all of which match each other and are believed to be engraver's proofs from the original blocks. These include every cut in the 1538 edition, except for "The Astrologer," which doesn’t offer much evidence regarding the date of execution. Fortunately, in the Berlin Cabinet, there’s a set of rough enlarged drawings done in Indian ink on slightly brown paper, depicting twenty-three pieces of the series. These are circular in shape and were [11] likely intended as sketches for glass painting. It's clear they were copied from the woodcuts, primarily because they're not reversed as they would be if they were the originals. Additionally, one of them, No. 36 ("The Duchess"), shows the conjoined "H.L." on the bed, which is believed to be the woodcutter's monogram and not part of the original artwork. Thus, the Berlin drawings must have been created after the woodcuts. Since one of these drawings, depicting the Emperor, is dated "1527," we can conclude that both the woodcuts and their designs had to be prepared before that year. It's commonly believed that they were made around 1524 and 1525, during the Peasants' War, which they clearly reflect. In the Preface to this first edition, some vague phrases led early writers to question the designer of the series. However, later research by Wornum, Woltmann, M. Paul Mantz, and more recently, Mr. W. J. Linton, confirms beyond doubt that they were indeed drawn by the artist they've always been associated with, Hans Holbein the younger. He [12] lived in Basle until the fall of 1526, which fits with the timeline established by the above argument; he had already created an Alphabet of Death; and on the walls of the Dominican monastery cemetery in Basle, there was a well-known wall painting of the Dance of Death that would have continuously inspired any local artist. Lastly, and perhaps most importantly, the designs are distinctly in Holbein's style.

The Woodcutter

But besides revealing an inventor of the highest order, the Dance [14] 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 [15] 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 [16] 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 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 [17] 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. [18] 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.

But aside from showcasing a top-notch inventor, the Dance [14] of Death also reveals a woodworker with exceptional, even outstanding, talent. The designs are cut—with the terminology suggesting the use of a knife versus a graver—in a way that has never been surpassed. There could be no better authority on this than Mr. W. J. Linton, who asserts that nothing, whether created with a knife or graver, matches the quality of these woodcuts. However, the woodcutter’s name remained uncertain for a long while, and even now, the information we have about him is limited and inconclusive. It must be inferred from Jean de Vauzelles's "Epistre" that he was already dead when the Trechsels published the book in 1538, as that "Epistre" specifically mentions "la mort de celluy, qui nous en a icy imaginé si elegantes figures." Without diving deep into the exact meaning of "imaginer" in sixteenth-century French, it’s clear that although the deceased is referred to elsewhere as "painctre," this title cannot pertain to Holbein, who was very much alive until 1543. The only hint we have of the woodcutter's name comes from the monogram "HL" on the bedstead in No. 36 ("The Duchess"), and these initials have been thought to represent Hans Lutzelburger, or [16] Hans of Luxemburg, "otherwise Franck," a form-cutter ("formschneider"), whose full name is linked to the so-called "Little Dance of Death," an alphabet by Holbein, with impressions housed in the British Museum. His signature ("H. L. F. 1522") is also found on another alphabet; on a woodcut depicting a fight in a forest, also dated 1522; and on an engraved title page in a German New Testament from the year after. This is all we know for sure about his work, though Dr. Édouard His's research has confirmed that a "formschneider" named Hans, who conducted business with the Trechsels of Lyons, died in Basle before June 1526; and it’s speculated, though not absolutely proven, that this was "H. L.," or Hans of Luxemburg, who created the woodcuts for Holbein’s designs. In any case, unless we need to consider another equally skilled woodcutter, it’s likely that the same person created the signed Alphabet in the British Museum and the initialed Dance of Death. However, the reasons the cuts for the latter, which as shown above were printed circa 1526, weren’t published in Lyons until 1538 and why Holbein’s name was omitted in the Preface of that year’s book remain unexplained. [18] The commonly accepted theory is that fears stemming from the satirical and brutally honest nature of the designs may account for both the delay in publication and the confusion in the "Preface." If intentional confusion is acknowledged, the avenues for inquiry, after three hundred and fifty years, are effectively shut off to critical exploration.

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 [19] 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 [20] 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 Dance of Death has been frequently reproduced. Mr. W. J. Linton lists a Venice edition from 1545 and a larger set by Jobst Dienecker of Augsburg from 1554. Then there [19] is the free version, once popular with our great-grandfathers, created by Bewick's younger brother John, which Hodgson of Newcastle published in 1789 under the title 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 carefully reproduced on stone by Joseph Schlotthauer, a professor at the Academy of Fine Arts in Munich; these were reissued in this country in 1849 by John Russell Smith. They have also been rendered in photo-lithography for an edition published by H. Noel Humphreys in 1868, and for the [20] Holbein Society in 1879. In 1886, Dr. F. Lippmann edited a set of reproductions of the engraver's proofs from the Berlin Museum for Mr. Quaritch, and the editio princeps has been facsimiled by a modern process for Hirth of Munich, as vol. x. of the Liebhaber-Bibliothek, 1884.

The Present Issue

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 [21] 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.

The copies included in this issue are prints from the blocks carved in 1833 for Douce's Holbein's Dance of Death. Mr. Linton says they are the best wood imitations. It is true, as he notes, that a copy made with a graver can never completely replicate an original that was cut with a knife—especially when the cutter is a master like the one from Luxemburg. However, compared to etched, lithographed, phototyped, and other processed copies, those made by Messrs. Bonner and John Byfield have one undeniable advantage: they are genuine attempts to recreate the original and unique woodcuts of Hans Lutzelburger using the same technique—in wood. [21]

[22]

[23]

THE DANCE OF DEATH

(CHANT ROYAL, AFTER HOLBEIN)1

"Contra vim Mortis
Non est medicamen in hortis."

"Against the power of Death
There is no remedy in gardens."

He is the despots' Despot. All must bide,

He is the ruler of rulers. Everyone must wait,

Later or soon, the message of his might;

Later or soon, the message of his power;

Princes and potentates their heads must hide,

Princes and powerful leaders must hide their heads,

[24]

Touched by the awful sigil of his right;

Touched by the terrible mark of his right;

Beside the Kaiser he at eve doth wait

Beside the emperor he waits in the evening.

And pours a potion in his cup of state;

And pours a drink into his official cup;

The stately Queen his bidding must obey;

The dignified Queen must follow his orders;

No keen-eyed Cardinal shall him affray;

No sharp-eyed Cardinal will scare him;

And to the Dame that wantoneth he saith—

And to the woman who is being flirtatious, he says—

"Let be, Sweet-heart, to junket and to play."

"Come on, sweetheart, let’s have some fun and play."

There is no king more terrible than Death.

There is no ruler more daunting than Death.

The lusty Lord, rejoicing in his pride,

The lustful Lord, reveling in his pride,

[25]

He draweth down; before the armèd Knight

He brings down his bow; in front of the armed Knight

With jingling bridle-rein he still doth ride;

With jingling reins, he still rides;

He crosseth the strong Captain in the fight;

He crosses paths with the strong Captain in the fight;

The Burgher grave he beckons from debate;

The Burgher grave he calls for discussion;

He hales the Abbot by his shaven pate,

He calls the Abbot by his bald head,

Nor for the Abbess' wailing will delay;

Nor will the Abbess' wailing delay;

No bawling Mendicant shall say him nay;

No complaining beggar will tell him no;

E'en to the pyx the Priest he followeth,

Even to the pyx, the Priest he follows,

Nor can the Leech his chilling finger stay ...

Nor can the Leech keep his chilling finger away ...

There is no king more terrible than Death.

There is no ruler more fearsome than Death.

[26]

All things must bow to him. And woe betide

All things must submit to him. And misery will follow

The Wine-bibber,—the Roisterer by night;

The Night Owl, the Party Animal;

Him the feast-master, many bouts defied,

Him the feast-master, many challenges faced,

Him 'twixt the pledging and the cup shall smite;

Him between the promise and the drink shall strike;

Woe to the Lender at usurious rate,

Woe to the lender with exorbitant interest rates,

The hard Rich Man, the hireling Advocate;

The tough Rich Man, the hired Lawyer;

Woe to the Judge that selleth right for pay;

Woe to the Judge who sells justice for money;

Woe to the Thief that like a beast of prey

Woe to the Thief who, like a predator

With creeping tread the traveller harryeth:—

With slow steps, the traveler advances:—

These, in their sin, the sudden sword shall slay ...

These, in their wrongdoing, the quick blade shall destroy ...

[27]

There is no king more terrible than Death.

There is no king more fearsome than Death.

He hath no pity,—nor will be denied.

He has no pity—and won't take no for an answer.

When the low hearth is garnishèd and bright,

When the low hearth is decorated and bright,

Grimly he flingeth the dim portal wide,

Grimly, he throws the dim door wide open,

And steals the Infant in the Mother's sight;

And takes the baby right in front of the mother;

He hath no pity for the scorned of fate:—

He has no pity for those whom fate has scorned:—

He spares not Lazarus lying at the gate,

He doesn't spare Lazarus lying at the gate,

Nay, nor the Blind that stumbleth as he may;

Nay, nor the blind who stumbles as best he can;

Nay, the tired Ploughman,—at the sinking ray,—

Nay, the tired Ploughman,—at the setting light,—

[28]

In the last furrow,—feels an icy breath,

In the last furrow,—feels a cold breath,

And knows a hand hath turned the team astray ...

And knows a hand has steered the team off course ...

There is no king more terrible than Death.

There is no ruler more fearsome than Death.

He hath no pity. For the new-made Bride,

He has no pity. For the newlywed Bride,

Blithe with the promise of her life's delight,

Blissful with the promise of her life's joy,

That wanders gladly by her Husband's side,

That happily walks alongside her husband,

He with the clatter of his drum doth fright;

He makes a loud noise with his drum and scares people;

He scares the Virgin at the convent grate;

He frightens the Virgin at the convent grate;

The Maid half-won, the lover passionate;

The maid partially won, the lover intense;

[29]

He hath no grace for weakness and decay:

He has no tolerance for weakness and decline:

The tender Wife, the Widow bent and gray,

The gentle wife, the widowed woman, bent and gray,

The feeble Sire whose footstep faltereth,—

The weak lord whose steps waver,—

All these he leadeth by the lonely way ...

All these he leads by the lonely way ...

There is no king more terrible than Death.

There is no ruler more fearsome than Death.

ENVOY.

Youth, for whose ear and monishing of late,

Youth, for whom the latest advice and warnings are meant,

I sang of Prodigals and lost estate,

I sang about Prodigals and lost fortunes,

Have thou thy joy of living and be gay;

Have your joy in living and be happy;

But know not less that there must come a day,—

But know this: there will come a day—

[30]

Aye, and perchance e'en now it hasteneth,—

Aye, and maybe even now it’s speeding up,—

When thine own heart shall speak to thee and say,—

When your own heart speaks to you and says,—

There is no king more terrible than Death.

There is no ruler more fearsome than Death.

1877. A. D.

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.

¹ (return)
This Chant Royal of the King of Terrors is—with Mr. Austin Dobson's permission—reprinted here from his Collected Poems, 1896.

[31]

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.

N.B.—The German titles have generally been updated from those that appear above the engraver's proofs. The numbers correspond to the cuts.

The Creation	I
Die Schöpfung aller Ding.
Eve is taken from the side of Adam. Eve was created from Adam's side.
The Temptation	II
"Adam Eua im Paradyss."
Eve, having received an apple from the serpent, prompts Adam to gather more. Eve, after getting an apple from the serpent, encourages Adam to get more.
The Banishment	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. Adam and Eve, followed by Death, playing on a beggar's lyre or hurdy-gurdy, are driven away from Eden by the angel.
[32] 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. Adam, helped by Death, works the land. Eve, with a spindle, nurses Cain in the background.
A graveyard	V
Gebein aller Menschen.
A crowd of skeletons, playing on horns, trumpets, and the like, summon mankind to the grave. A crowd of skeletons, playing horns, trumpets, and other instruments, calls humanity 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 Pope (Leo X), with Death beside him, crowns an Emperor, who kisses his foot. Another Death, wearing a cardinal's hat, is among the attendants.
[33] 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 Emperor (Maximilian I) judges his minister for being unfair to a suitor. Yet, even in that moment, Death strips him of his power.
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 King (Francis I) sits at a feast under a canopy decorated with fleurs-de-lis. Death, as a cup-bearer, pours his final drink.
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. Death lifts the Cardinal's hat while he hands a letter of indulgence to a wealthy man. Luther's rival, Cardinal Cajetan, is meant to be depicted.
[34] The Emperor	X
Die Kaiserinn.
The Empress, walking with her women, is intercepted by a female Death, who conducts her to an open grave. The Empress, walking with her ladies, is stopped by a woman representing Death, who leads 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. Death, masquerading as a court jester, pulls the Queen away as she exits 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 sun is setting, and Death guides the elderly Bishop away from the grieving 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 Duke coldly ignores a beggar-woman and her child. Meanwhile, Death, humorously crowned, grabs hold of him.
[35] The Abbot	XIV
Der Abt.
Death, having despoiled the Abbot of mitre and crozier, hales him along unwilling, and threatening his enemy with his breviary. Death, having stripped the Abbot of his mitre and crozier, drags him along against his will, threatening his enemy with his prayer book.
The Abbot	XV
Die Abtissin.
Death, in a wreath of flags, pulls away the Abbess by her scapulary in sight of a shrieking nun. Death, surrounded by a circle of flags, drags the Abbess away by her scapular in front of a screaming nun.
The Nobleman	XVI
Der Edelmann.
Death drags the resisting Nobleman towards a bier in the background. Death pulls the struggling Nobleman toward a coffin 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 Canon, along with his falconer, page, and jester, walks into the church. Death reveals to him that his time is up.
[36] The Judge	XVIII
Der Richter.
Death withdraws the Judge's staff as he takes a bribe from a rich suitor. Death takes away the Judge's authority as he accepts a bribe from a wealthy suitor.
The Advocate	XIX
Der Fürsprach.
Death comes upon him in the street while he is being feed by a rich client. Death comes for him in the street while he's being fed by a wealthy client.
The Counselor, 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 Counselor, led by temptation, gets caught up with a nobleman and ignores a desperate person in need. But Death, with a watch and a shovel, is waiting right at his feet.
The Pastor	XXI
Der Predicant.
Death, in a stole, stands in the pulpit behind the fluent [37] Preacher, and prepares to strike him down with a jaw-bone. Death, dressed in a robe, stands in the pulpit behind the smooth-talking [37] Preacher, and gets ready to take him down with a jawbone.
The Priest or Pastor	XXII
Der Pfarrherr.
He carries the host to a sick person. But Death precedes him as his sacristan. He brings the host to a sick person. But Death goes ahead of him like his assistant.
The Begging Friar	XXIII
Der Mönch.
Death seizes him just as his begging box and bag are filled. Death takes him right when his begging box and bag are full.
The Nun	XXIV
Die Nonne.
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 young nun kneels at the altar but turns to her lover, who’s playing a lute. Meanwhile, Death, in the form of a grotesque old woman, snuffs out the altar candles.
[38] The Elderly 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. "Melior est mors quam vita" to the old woman who creeps toward the grave with her bony rosary while Death plays a tune up front.
The Doctor	XXVI
Der Arzt.
Death brings him a hopeless patient, and bids him cure himself. Death brings him a despairing patient and tells him to heal himself.
The Astrologist	XXVII
(See p. 10, l. 12.)
He contemplates a pendent sphere. But Death thrusts a skull before his eyes. He thinks about a hanging sphere. But Death pushes a skull in front of him.
The Wealthy Man	XXVIII
Der Reichmann.
Death finds him at his pay-table and seizes the money. Death catches up with him at his pay table and takes the money.
[39] The Businessman	XXIX
Der Kaufmann.
Death arrests him among his newly-arrived bales. Death stops him among his newly arrived bales.
The Shipman	XXX
Der Schiffmann.
Death breaks the mast of the ship, and the crew are in extremity. Death breaks the ship's mast, and the crew is in dire straits.
The Knight	XXXI
Der Ritter.
Death, in cuirass and chain-mail, runs him through the body. Death, in armor and chain-mail, stabs him through the body.
The Count	XXXII
Der Graf.
Death, as a peasant with a flail, lifts away his back-piece. Death, like a farmer with a flail, removes his back armor.
[40] The Old Guy	XXXIII
Der Altmann.
Death, playing on a dulcimer, leads him into his grave. Death, playing a dulcimer, guides him to his grave.
The Countess	XXXIV
Die Grafinn.
Death helps her at her tiring by decorating her with a necklet of dead men's bones. Death assists her during her exhaustion by adorning her with a necklace made 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. "Me et te sola mors separabit"—says the motto. And Death is already dancing before her.
The Duchess	XXXVI
Die Herzoginn.
Death seizes her in bed, while his fellow plays the fiddle. Death takes her in bed while his companion plays the fiddle.
[41] The Peddler	XXXVII
Der Kramer.
Death stops him on the road with his wares at his back. Death stops him on the road with his goods on his back.
The Farmer	XXXVIII
Der Ackermann.
Death runs at the horses' sides as the sun sinks, and the furrows are completed. Death runs alongside the horses as the sun sets, and the plowed fields are finished.
The Kid	XXXIX
Das Junge Kind.
As the meagre cottage meal is preparing, Death steals the youngest child. As the simple meal in the little cottage is being prepared, Death takes the youngest child.
The Final Judgment	XL
Das jüngste Gericht.
"Omnes stabimus ante tribunal Domini." "We will all stand before the Lord's tribunal."
The Shield of Death	XLI
Die Wappen des Todes.
The supporters represent Holbein and his wife. The supporters represent Holbein and his wife.
[42] [Added in later editions]
The Soldier	XLII
Death, armed only with a bone and shield, fights with the Soldier on the field of battle. Death, wielding just a bone and a shield, goes up against the Soldier on the battlefield.
The Gamer	XLIII
Death and the Devil seize upon the Gambler at his cards. Death and the Devil grab the Gambler while he plays cards.
The Drunk	XLIV
Men and women carouse: down the throat of one bloated fellow Death pours the wine. Men and women party: down the throat of one bloated guy Death pours the wine.
The Fool	XLV
The Fool dances along the highway with Death, who plays the bagpipes. The Fool dances down the road with Death, who plays the bagpipes.
The Thief	XLVI
Death seizes the Robber in the act of pillage. Death catches the Robber while he’s stealing.
[43] The Blind Guy	XLVII
Death leads the Blind Man by his staff. Death guides the Blind Man with his staff.
The Wagon Driver	XLVIII
The waggon is overturned; one Death carries off a wheel, the other loosens the fastening of a cask. The wagon is flipped over; one Death takes away a wheel, while the other unfastens a barrel.
The Homeless Person	XLIX
The Beggar, lying on straw outside the city, cries in vain for Death. 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.] [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.]

[44]

[45]

Facsimile of Title Page of 1538 Edition.

[47]

I.

THE CREATION.

[46]

Formauit Dominvs Devs hominem de limo terræ, ad imaginē suam creauit illum, masculum & fœminam creauit eos.

Formed, God the Lord created man from the dust of the ground and made him in His image; He created them male and female.

Genesis i. & ii.

Genesis 1 & 2

DIEV, Ciel, Mer, Terre, procrea

DIEV, Sky, Sea, Earth, create

De rien demonstrant sa puissance

No reason demonstrating its power

Et puis de la terre crea

L'homme, & la femme a sa semblance.

L'homme, & la femme à son image.

[49]

II.

THE TEMPTATION.

[48]

Quia audisti vocem vxoris tuæ, & comedisti de ligno ex quo preceperam tibi ne comederes, &c.

Quia audiste vocem uxoris tuae, et comedisti de ligno ex quo praeceperam tibi ne comederes, etc.

Genesis iii.

Genesis 3.

ADAM fut par EVE deceu

ADAM was disappointed by EVE

Et contre DIEV mangea la pomme,

Dont tous deux ont la Mort receu,

Et depuis fut mortel tout homme.

Et depuis, tout homme est mortel.

[51]

III.

THE EXPULSION.

[50]

Emisit eum Dominvs Devs de Paradiso voluptatis, vt operaretur terram de qua sumptus est.

Emitted him God from the Paradise of pleasure, to work the land from which he was taken.

Genesis iii.

Genesis 3.

DIEV chassa l'homme de plaisir

Pour uiure au labeur de ses mains:

Alors la Mort le uint saisir,

Et consequemment tous humains.

And consequently all humans.

[53]

IV.

THE CONSEQUENCES OF THE FALL.

[52]

Maledicta terra in opere tuo, in laboribus comedes cunctis diebus vitæ tuæ, donec reuertaris, &c.

Genesis iii.

Genesis 3.

Mauldicte en ton labeur la terre.

En labeur ta uie useras,

In labor, you will use.

Iusques que la Mort te soubterre.

Toy pouldre en pouldre tourneras.

Toy powder will turn to powder.

[55]

V.

A CEMETERY.

[54]

Væ væ væ habitantibus in terra.

Væ væ væ, inhabitants of the earth.

Apocalypsis viii.

Revelation 8.

Cuncta in quibus spiraculum vitæ est, mortua sunt.

Genesis vii.

Genesis 7

Malheureux qui uiuez au monde

Unfortunate souls living in the world

Tousiours remplis d'aduersitez,

Toujours remplis d'adversités,

Pour quelque bien qui uous abonde,

Pour quelque bien qui vous abonde,

Serez tous de Mort uisitez.

Serez tous de Mort ici.

[57]

VI.

THE POPE.

[56]

Moriatur sacerdos magnus.

The great priest dies.

Iosve xx.

Et episcopatum eius accipiat alter.

And let another receive the episcopate.

Psalmista cviii.

Psalm 108

Qui te cuydes immortel estre

Who do you think is immortal?

Par Mort seras tost depesché,

By death, you will soon be dispatched,

Et combien que tu soys grand prebstre,

Et combien que tu sois grand prêtre,

Vng aultre aura ton Euesché.

Vng aultre aura ton Évêché.

[59]

VII.

THE EMPEROR.

[58]

Dispone domui tuæ, morieris enim tu, & non viues.

Dispone tu hogar, porque vas a morir y no vivirás.

Isaiæ xxxviii.

Isaiah 38.

Ibi morieris, & ibi erit currus gloriæ tuæ.

Isaiæ xxii.

Isaiah 22.

De ta maison disposeras

From your house you'll arrange

Comme de ton bien transitoire,

As of your temporary good,

Car là ou mort reposeras,

Because where death will rest,

Seront les chariotz de ta gloire.

Seront les chariots de ta gloire.

[61]

VIII.

THE KING.

[60]

Sicut & rex hodie est, & cras morietur, nemo enim ex regibus aliud habuit.

Sicut & the king is today, & tomorrow he will die, for none of the kings have had anything else.

Ecclesiastici x.

Ecclesiastes x.

Ainsi qu'auiourdhuy il est Roy,

Ainsi qu’aujourd’hui il est roi,

Demain sera en tombe close.

Tomorrow will be in a sealed tomb.

Car Roy aulcun de son arroy

N'a sceu emporter aultre chose.

Didn't know how to take anything else.

[63]

IX.

THE CARDINAL.

[62]

Væ qui iustificatis impium pro muneribus, & iustitiam iusti aufertis ab eo.

Væ to those who justify the wicked for a bribe and take away justice from the righteous.

Esaiæ v.

Mal pour uous qui iustifiez

Mal pour vous qui justifiez

L'inhumain, & plain de malice

The inhuman, & full of malice

Et par dons le sanctifiez,

And through gifts, sanctify it,

Ostant au iuste sa iustice.

Ostant to their justice.

[65]

X.

THE EMPRESS.

[64]

Gradientes in superbia potest Deus humiliare.

Gradients in pride can be humbled by God.

Danie iiii.

Qui marchez en pompe superbe

You walk with great pomp.

La Mort vng iour uous pliera.

La Mort un jour vous pliera.

Cõme soubz uoz piedz ployez l'herbe

Côme sous vos pieds pliez l'herbe

Ainsi uous humiliera.

Ainsi vous humiliera.

[67]

XI.

THE QUEEN.

[66]

Mulieres opulentæ surgite, & audite vocem meam. Post dies, & annum, & vos conturbemini.

Mature women, rise up and listen to my voice. After days and a year, you will be disturbed.

Isaiæ xxxii.

Isaiah 32.

Leuez uous dames opulentes.

Luxe opulent ladies.

Ouyez la uoix des trespassez.

Hark the voice of the deceased.

Apres maintz ans & iours passez,

Serez troublées & doulentes.

Will be troubled & painful.

[69]

XII.

THE BISHOP.

[68]

Percutiam pastorem, & dispergentur oues.

I will strike the shepherd, and the sheep will be scattered.

xxvi. Mar. xiiii.

Mar. 14

Le pasteur aussi frapperay,

The pastor will strike too,

Mitres & crosses renuersées.

Mitres and inverted crosses.

Et lors quand ie l'attrapperay,

And when I catch it,

Seront ses brebis dispersées.

Will his sheep be scattered.

[71]

XIII.

THE DUKE.

[70]

Princeps induetur mœrore. Et quiescere faciam superbiã potentium.

Prince will be filled with sorrow. And I will make the pride of the powerful rest.

Ezechie. vii.

Ezechiel 7

Vien, prince, auec moy, & delaisse

Vien, prince, come with me, and leave.

Honneurs mondains tost finissantz.

Worldly honors soon ending.

Seule suis qui, certes, abaisse

I'm the only one who, indeed, lowers

L'orgueil & pompe des puissantz.

The pride and pomp of the powerful.

[73]

XIV.

THE ABBOT.

[72]

Ipse morietur. Quia nõ habuit disciplinam, & in multitudine stultitiæ suæ decipietur.

Ipse morietur. Because he lacked discipline, he will be deceived by the multitude of his own foolishness.

Prover. v.

Prove. v.

Il mourra. Car il n'a receu

En soy aulcune discipline,

En soy aulcune discipline

Et au nombre sera deceu

And the number will be deceived

De folie qui le domine.

The madness that dominates him.

[75]

XV.

THE ABBESS.

[74]

Laudaui magis mortuos quàm viuentes.

Laudaui more the dead than the living.

Eccle. iiii.

Ecclesiastes 4

I'ay tousiours les mortz plus loué

I always praise the dead more.

Que les uisz, esquelz mal abonde,

Toucesfoys la Mort ma noué

Toucesfoys la Mort m'a noué

Au ranc de ceulx qui sont au monde.

[75b]

XVI.

THE NOBLEMAN.

[75a]

Quis est homo qui viuet, & non videbit mortem, eruet animã suam de manu inferi?

Quis est homo qui vive, & non videbit mortem, irá salvá sua alma da mão do inferno?

Psal. lxxxviii.

Psal. 88.

Qui est celluy, tant soit grande homme,

Qui est celui, même s'il est un grand homme,

Qui puisse uiure sans mourir?

Who can live without dying?

Et de la Mort, qui tout assomme,

Puisse son Ame recourir?

May his Soul seek help?

[77]

XVII.

THE CANON.

[76]

Ecce appropinquat hora.

Behold, the hour approaches.

Mat. xxvi.

Mat. 26.

Tu uas au choeur dire tes heures

Tu as au cœur de dire tes heures

Paiant Dieu pour toy, & ton proche.

Paiant Dieu pour toi, et ton proche.

Mais il fault ores que tu meures.

Mais il faut alors que tu meures.

Voy tu pas l'heure qui approche?

[79]

XVIII.

THE JUDGE.

[78]

Disperdam iudicem de medio eius.

Remove the judge from there.

Amos ii.

Amos 2

Du mylieu d'eulx uous osteray

Iuges corrumpus par presentz.

Judges corrupt by presents.

Point ne serez de Mort exemptz.

Car ailleurs uous transporteray.

Car ailleurs vous transporterai.

[81]

XIX.

THE ADVOCATE.

[80]

Callidus vidit malum, & abscõdit se innocens, pertransijt, & afflictus est damno.

Callidus saw the evil, hid himself innocent, passed through, and was afflicted by the loss.

Prover. xxii.

Proverbs 22.

L'homme cault a ueu la malice

Pour l'innocent faire obliger,

For the innocent to be compelled,

Et puis par uoye de iustice

Est uenu le pauure affliger.

The poor suffer.

[83]

XX.

THE COUNSELLOR.

[82]

Qui obturat aurem suam ad clamorem pauperis, & ipse clamabit, & non exaudietur.

Prover. xxi.

Proverbs 21.

Les riches conseillez tousiours,

The rich always advise,

Et aux pauures clouez l'oreille.

And to the poor, lend an ear.

Vous crierez aux derniers iours,

You will cry in the end,

Mais Dieu uous fera la pareille.

Mais Dieu vous fera la pareille.

[85]

XXI.

THE PREACHER.

[84]

Væ qui dicitis malum bonum, & bonum malū, ponentes tenebras lucem, & lucem tenebras, ponentes amarum dulce, & dulce in amarum.

Woe to those who call evil good and good evil, who put darkness for light and light for darkness, who make bitter sweet and sweet bitter.

Isaiæ xv.

Isaias 15.

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.

Mixing sweet with bitter.

[87]

XXII.

THE PRIEST.

[86]

Sum quidem & ego mortalis homo.

Sap. vii.

Ie porte le sainct sacrement

He carries the holy sacrament.

Cuidant le mourant secourir,

Caring for the dying, assist.

Qui mortel suis pareillement.

I am similarly mortal.

Et comme luy me fault mourir.

Et comme lui, il me faut mourir.

[89]

XXIII.

THE MENDICANT FRIAR.

[88]

Sedentes in tenebris, & in vmbra mortis, vinctos in mendicitate.

Sedent in darkness and in the shadow of death, bound in poverty.

Psal. cvi.

Psalms 106

Toy qui n'as soucy, ny remord

Sinon de ta mendicité,

Besides your begging,

Tu fierras a l'umbre de Mort

Tu fierras a l'ombre de Mort

Pour t'ouster de necessité.

To help you out of necessity.

[91]

XXIV.

THE NUN.

[90]

Est via quæ videtur homini iusta: nouissima autem eius deducunt hominem ad mortem.

Prover. iiii.

Proverbs 4.

Telle uoye aux humains est bonne,

Et a l'homme tresiuste semble.

And it seems very just to the man.

Mais la fin d'elle a l'homme donne,

La Mort, qui tous pecheurs assemble.

La Mort, qui rassemble tous les pêcheurs.

[93]

XXV.

THE OLD WOMAN.

[92]

Melior est mors quàm vita.

Better death than life.

Eccle. xxx.

En peine ay uescu longuement

Tant que nay plus de uiure enuie,

Mais bien ie croy certainement,

But I certainly believe,

Meilleure la Mort que la uie.

Meilleure la Mort que la Vie.

[95]

XXVI.

THE PHYSICIAN.

[94]

Medice, cura teipsum.

Physician, heal thyself.

Lvcæ iiii.

Lvcæ iv.

Tu congnoys bien la maladie

You know the illness well.

Pour le patient secourir,

To rescue the patient,

Et si ne scais teste estourdie,

Le mal dont tu deburas mourir.

Le mal dont tu devras mourir.

[97]

XXVII.

THE ASTROLOGER.

[96]

Indica mihi si nosti omnia. Sciebas quòd nasciturus esses, & numerum dierum tuorum noueras?

Iob xxviii.

Iob 28.

Tu dis par Amphibologie

You say by Amphibology

Ce qu'aux aultres doibt aduenir.

What should happen to others.

Dy moy donc par Astrologie

Quand tu deburas a moy uenir?

Quand tu commenceras à venir vers moi ?

[99]

XXVIII.

THE RICH MAN.

[98]

Stulte hac nocte repetunt animam tuam, & quæ parasti cuius erunt?

Stulte, they take your soul tonight, and what will become of what you have prepared?

Lvcæ xii.

Ceste nuict la Mort te prendra,

Et demain seras enchassé.

And tomorrow will be embedded.

Mais dy moy, fol, a qui uiendra

Le bien que tu as amassé?

[101]

XXIX.

THE MERCHANT.

[100]

Qui congregat thesauros mendacij vanus & excors est, & impingetur ad laqueos mortis.

Prover. xxi.

Proverbs 21.

Vain est cil qui amassera

In vain is the one who gathers.

Grandz biens, & tresors pour mentir,

Grand goods and treasures to deceive,

La Mort l'en fera repentir.

Death will make him regret it.

Car en ses lacz surpris sera.

[103]

XXX.

THE SHIPMAN.

[102]

Qui volunt diuites fieri incidunt in laqueum diaboli, & desideria multa, & nociua, quæ mergunt homines in interitum.

Those who want to become rich fall into the trap of the devil, and many harmful desires that lead people to destruction.

I. Ad Timo. vi.

I. To Timothy. vi.

Pour acquerir des biens mondains

To acquire worldly goods

Vous entrez en tentation,

You're giving in to temptation,

Qui uous met es perilz soubdains,

Et uous maine a perdition.

[105]

XXXI.

THE KNIGHT.

[104]

Subito morientur, & in media nocte turbabuntur populi, & auferent violentum absq_e manu.

Iob xxxiiii.

Iob 34.

Peuples soubdain s'esleuront

Sudden peoples will rise

A lencontre de l'inhumain,

Against the inhuman,

Et le uiolent osteront

Et le violent osteront

D'auec eulx sans force de main.

[107]

XXXII.

THE COUNT.

[106]

Quoniam cùm interiet non sumet secum omnia, neq_e cum eo descẽdet gloria eius.

Psal. xlviii.

Psalm 48

Auec soy rien n'emportera,

Mais qu'une foys la Mort le tombe,

Mais qu'une fois la Mort le tombe,

Rien de sa gloire n'ostera,

Nothing will take away his glory,

Pour mettre auec soy en sa tombe.

Pour mettre avec soi en sa tombe.

[109]

XXXIII.

THE OLD MAN.

[108]

Spiritus meus attenuabitur, dies mei breuiabuntur, & solum mihi superest sepulchrum.

My spirit is fading, my days are getting shorter, and all that's left for me is a grave.

Iob xvii.

Iob 17.

Mes esperitz sont attendriz,

Mes espérances sont attendues,

Et ma uie s'en ua tout beau.

Et ma uie s'en va tout beau.

Las mes longziours sont amoindriz,

Les mensonges sont réduits,

Plus ne me reste qu'un tombeau.

[111]

XXXIV.

THE COUNTESS.

[110]

Ducunt in bonis dies suos, & in puncto ad inferna descendunt.

Iob xxi.

Iob 21.

En biens mõdains leurs iours despendẽt

En biens modernes leurs jours se passent.

En uoluptez, & en tristesse,

In pleasure, & in sadness,

Puis soubdain aux Enfers descendent

Then suddenly descend to Hell

Ou leur ioye passe en tristesse.

Ou leur joie passe en tristesse.

[113]

XXXV.

THE NOBLE LADY.

[112]

Me & te sola mors separabit.

Rvth. i.

Amour qui unyz nous faict uiure,

Love that keeps us alive,

En foy noz cueurs preparera,

In the end, our hearts will prepare,

Qui long temps ne nous pourra suyure,

Qui long temps ne nous pourra suyre,

Car la Mort nous separera.

For death will separate us.

[115]

XXXVI.

THE DUCHESS.

[114]

De lectulo super quem ascendisti non descendes, sed morte morieris.

iiii. Reg. i.

Du lict sus lequel as monté

Ne descendras a ton plaisir.

Don’t let your fun go.

Car Mort t'aura tantost dompté,

Car Mort will soon tame you,

Et en brief te uiendra saisir.

[117]

XXXVII.

THE PEDLAR.

[116]

Venite ad me qui onerati estis.

Matth. xi.

Matth. 11

Venez, & apres moy marchez

Come, and after me walk

Vous qui estes par trop charge.

You who are too busy.

Cest assez suiuy les marchez:

That's enough, I'm following the markets:

Vous serez par moy decharge.

Vous serez déchargé par moi.

[119]

XXXVIII.

THE PLOUGHMAN.

[118]

In sudore vultus tui vesceris pane tuo.

In the sweat of your face, you shall eat your bread.

Gene. i.

A la sueur de ton uisaige

Tu gaigneras ta pauure uie.

Tu gagneras ta pauvre vie.

Apres long trauail, & usaige,

After long work and use,

Voicy la Mort qui te conuie.

Voicy la Mort qui te conduit.

[121]

XXXIX.

THE YOUNG CHILD.

[120]

Homo natus de muliere, breui viuens tempore repletur multis miserijs, qui quasi flos egreditur, & conteritur, & fugit velut vmbra.

Homo born of a woman, living a brief time, is filled with many miseries, who like a flower goes out, is crushed, and flees like a shadow.

Iob xiiii.

Iob 14.

Tout homme de la femme yssant

Remply de misere, & d'encombre,

Remply of misery and trouble,

Ainsi que fleur tost finissant.

As the flower quickly fades.

Sort & puis fuyt comme faict l'umbre.

Sort & then run away like the shadow does.

[123]

XL.

THE LAST JUDGMENT.

[122]

Omnes stabimus ante tribunal domini.

We will all stand before the Lord's tribunal.

Roma. xiiii.

Rome. 14.

Vigilate, & orate, quia nescitis qua hora venturus sit dominus.

Stay alert and pray, because you don't know when the Lord will come.

Matt. xxiiii.

Matt. 24.

Deuante le trosne du grand iuge

Chascun de soy compte rendra

Each will take account of themselves

Pourtant ueillez, qu'il ne uous iuge.

Pourtant, veillez à ce qu'il ne vous juge.

Car ne scauez quand il uiendra.

[125]

XLI.

THE ESCUTCHEON OF DEATH.

[124]

Memorare nouissima, & in æternum non peccabis.

Memorize the last things, and you will not sin forever.

Eccle. vii.

Ecclesiastes 7

Si tu ueulx uiure sans peché

Si tu veux vivre sans péché

Voy ceste imaige a tous propos,

Et point ne seras empesché,

And the point won't be hindered,

Quand tu t'en iras a repos.

Quand tu t'en iras à repos.

[126]

[127]

[ADDED IN LATER EDITIONS]

[129]

XLII.

THE SOLDIER.

[128]

Cum fortis armatus custodit atriũ suũ, &c. Si autem fortior eo superueniens vicerit eum, uniuersa eius arma aufert, in quibus confidebat.

Cum fortis armatus custodit atrium suum, etc. Si autem fortior eo superveniens vicerit eum, universa eius arma aufert, in quibus confidebat.

Le sort armé en jeune corps

Pense auoir seure garnison;

Pense à avoir une meilleure garnison;

Mais Mort plus forte, le met hors

De sa corporelle maison.

From his physical home.

[131]

XLIII.

THE GAMESTER.

[130]

Quid prodest homini, si vniuersum Mundum lucretur, animæ autem suæ detrimentum patiatur?

Quid it matters to a person if they gain the whole world, but suffer harm to their soul?

Matt. xvi.

Matt. 16.

Que vault à l'homme tout le Monde

Gaigner d'hazard, & chance experte,

Win by chance, & expert luck,

S'il recoit de sa uie immonde

S'il reçoit de sa vie immonde

Par Mort, irreparable perte?

By death, irreparable loss?

[133]

XLIV.

THE DRUNKARD.

[132]

Ne inebriemini vino, in quo est luxuria.

Do not get drunk on wine, which leads to excess.

Ephes. v.

Ephesians 5

De vin (auquel est tout exces)

De vin (auquel est tout excès)

Ne vous enyurez pour dormir

Don't get drunk to sleep

Sommeil de Mort qui au deces

Sommeil de Mort qui au déces

Vous face l'ame, & sang vomir.

[135]

XLV.

THE FOOL.

[134]

Quasi agnus lasciuiens, & ignorans, nescit quòd ad vincula stultus trahatur.

Quasi lamb being led, and unaware, does not know that it is being dragged to chains like a fool.

Proverb vii.

Proverb 7.

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.

Like the ignorant lamb.

[137]

XLVI.

THE ROBBER.

[136]

Domine, vim patior.

Lord, I am suffering.

Isaiæ xxxviii.

Isaiah 38.

La foible femme brigandée

The weak woman kidnapped

Crie, O seigneur on me fait force.

Crie, O lord, they are forcing me.

Lors de Dieu la mort est mandée,

Qui les estrangle à dure estorce.

[139]

XLVII.

THE BLIND MAN.

[138]

Cæcus cæcum ducit: & ambo in foueam cadunt.

Matth. xv.

Matth. 15

L'aueugle un autre aueugle guide,

The blind lead the blind,

L'un par l'autre en la fosse tombe:

L'un par l'autre dans la fosse tombe:

Car quand plus oultre aller il cuide,

La Mort l'homme iecte en la tombe.

The man died in the grave.

[141]

XLVIII.

THE WAGGONER.

[140]

Corruit in curru suo.

Corrupted in his chariot.

i Chron. xxii.

1 Chronicles 22

Au passage de Mort peruerse

At the passage of Mort perverse

Raison, chartier tout esperdu,

Raison, all lost chartier,

Du corps le char, & cheuaux verse,

Le vin (sang de vie) espandu.

Le vin (sang de vie) répandu.

[143]

XLIX.

THE BEGGAR.

[142]

Miser ego homo! Quis nie liberabit de corpore mortis huius?

Miserable me! Who will free me from this body of death?

Rom. vii.

Rom. 7.

Qui hors la chair veult en Christ viure

Ne craint mort, mais dit un mortel,

Helas, qui me rendra deliure

Alas, who will set me free

Pouure homme de ce corps mortel?

[144]

[145]

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.

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, 1903.

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.

Transcriber's Note: In the version used for this digitization, each pair of facing pages has the Latin biblical quote 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 come before their corresponding verses.

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The Dance of Death

by Hans Holbein, with an introductory note by Austin Dobson

THE DANCE OF DEATH

The Book

The Artist

The Woodcutter

Other Reproductions

The Present Issue

THE DANCE OF DEATH

(CHANT ROYAL, AFTER HOLBEIN)1

ENVOY.

LIST OF ILLUSTRATIONS

[Added in later editions]

I.

II.

III.

IV.

V.

VI.

VII.

VIII.

IX.

X.

XI.

XII.

XIII.

XIV.

XV.

XVI.

XVII.

XVIII.

XIX.

XX.

XXI.

XXII.

XXIII.

XXIV.

XXV.

XXVI.

XXVII.

XXVIII.

XXIX.

XXX.

XXXI.

XXXII.

XXXIII.

XXXIV.

XXXV.

XXXVI.

XXXVII.

XXXVIII.

XXXIX.

XL.

XLI.

[ADDED IN LATER EDITIONS]

XLII.

XLIII.

XLIV.

XLV.

XLVI.

XLVII.

XLVIII.

XLIX.

The
Dance of Death

by Hans Holbein, with an
introductory note by
Austin Dobson