_Other Dances of Death._
Having thus disposed of the two most ancient and important works on the
subject in question, others of a similar nature, but with designs
altogether different, and introduced into various books, remain to be
noticed, and such are the following:
I. "Les loups ravissans fait et compose par maistre Robert Gobin prestre,
maistre es ars licencie en decret, doyen de crestiente de Laigny sur Marne
au dyocese de Paris, advocat en court d'eglise. Imprime pour Anthoine
Verard a Paris, 4to." without date, but about 1500. This is a very bitter
satire, in the form of a dream, against the clergy in general, but more
particularly against Popes John XXII. and Boniface VIII. A wolf, in a
lecture to his children, instructs them in every kind of vice and
wickedness, but is opposed, and his doctrines refuted, by an allegorical
personage called Holy Doctrine. In a second vision Death appears to the
author, accompanied by Fate, War, Famine, and Mortality. All classes of
society are formed into a Dance, as the author chooses to call it, and the
work is accompanied with twenty-one very singular engravings on wood,
executed in a style perhaps nowhere else to be met with. The designs are
the same as those in the second Dance of the Horae, printed by Higman for
Vostre, No. I. page 61.
II. "A booke of Christian prayers, collected out of the ancient writers,
&c." Printed by J. Day, 1569. 4to. Afterwards in 1578, 1581, 1590, and
1609. It is more frequently mentioned under the title of "Queen
Elizabeth's prayer-book," a most unsuitable title, when it is recollected
how sharply this haughty dame rebuked the Dean of Christchurch for
presenting a common prayer to her which had been purposely ornamented with
cuts by him.[132] This book was most probably compiled by the celebrated
John Fox, and is accompanied with elegant borders in the margins of every
leaf cut in wood by an unknown artist whose mark is [monogram: CI], though
they have been most unwarrantably ascribed to Holbein, and even to Agnes
Frey, the wife of Albert Durer, who is not known with any certainty to
have practised the art of engraving. At the end is a Dance of Death
different from every other of the kind, and of singular interest, as
exhibiting the costume of its time with respect to all ranks and
conditions of life, male and female.
These are the characters. "The Emperor, the King, the Duke, the Marques,
the Baron, the Vicount, the Archbishop, the Bishop, the Doctor, the
Preacher, the Lord, the Knight, the Esquire, the Gentleman, the Judge, the
Justice, the Serjeant at law, the Attorney, the Mayor, the Shirife, the
Bailife, the Constable, the Physitian, the Astronomer, the Herauld, the
Sergeant at arms, the Trumpetter, the Pursevant, the Dromme, the Fife, the
Captaine, the Souldier, the Marchant, the Citizen, the Printers (in two
compartments), the Rich Man, the Aged Man, the Artificer, the Husbandman,
the Musicians (in two compartments), the Shepheard, the Foole, the Beggar,
the Roge, of Youth, of Infancie." Then the females. "The Empresse, the
Queene, the Princes, the Duchesse, the Countesse, the Vicountesse, the
Baronnesse, the Lady, the Judge's Wife, the Lawyer's Wife, the
Gentlewoman, the Alderman's Wife, the Marchantes Wife, the Citizen's Wife,
the Rich Man's Wife, the Young Woman, the Mayde, the Damosell, the
Farmar's Wife, the Husbandman's Wife, the Countriwoman, the Nurse, the
Shepheard's Wife, the Aged Woman, the Creeple, the Poore Woman, the
Infant, the (female) Foole." All these are designed in a masterly manner,
and delicately engraved. The figures of the Deaths occasionally abound in
much humour, and always with appropriate characters. The names of the
unknown artists were worthy of being recorded.
III. "Icones mortis, sexaginta imaginibus totidemque inscriptionibus
insignitae versibus quoque Latinis et novis Germanicis illustratae.
Norimbergae Christ. Lockner, 1648, 8vo."[133]
IV. "Rudolph Meyers S: Todten dantz ergantz et und heraus gegeben durch
Conrad Meyern Maalern in Zurich, im jahr 1650." On an engraved title page,
representing an angel blowing a trumpet, with a motto from the Apocalypse.
Death or Time holds a lettered label with the above inscription or title.
In the back ground groups of small figures allusive to the last judgment.
Then follows a printed title "Sterbenspiegel das ist sonnenklare
vorstellung menschlicher nichtigkeit durch alle Stand und Geschlechter:
vermitlest 60 dienstlicher kupferblatteren lehrreicher uberschrifften und
beweglicher zu vier stimmen auszgesetzter Todtengesangen, vor disem
angefangen durch Rudolffen Meyern S. von Zurich, &c. Jetzaber zu erwekung
nohtwendiger Todsbetrachtung verachtung irdischer eytelkeit; und beliebung
seliger ewigkeit zuend gebracht und verlegt durch Conrad Meyern Maalern in
Zurich und daselbsten bey ihme zufinden. Getruckt zu Zuerich bey Johann
Jacob Bodmer, MDCL." 4to. that is: The Mirror of Death--that is--a
brilliant representation of human nothingness in all ranks and conditions,
by means of 60 appropriate Copperplates, spiritual superscriptions, and
moving songs of Death, arranged for four voices, formerly commenced by
Rudolph Meyer of Zurich, &c. but now brought to an end and completed, for
the awaking of a necessary consideration of death, a contempt of earthly
vanity, and a love of blissful eternity, by _Conrad_ Meyer of Zurich, of
whom they are to be had. Printed at Zurich, by John Jacob Bodmer, MDCL.
The subjects are the following:--1. The Creation. 2. The Fall. 3.
Expulsion from Paradise. 4. Punishment of Man. 5. Triumph of Death. 6. An
allegorical frontispiece relating to the class of the Clergy. 6. The Pope.
7. The Cardinal. 8. The Bishop. 9. The Abbot. 10. The Abbess. 11. The
Priest. 12. The Monk. 13. The Hermit. 14. The Preacher. 15. An allegorical
frontispiece to the class of Rulers and Governors. 15. The Emperor. 16.
The Empress. 17. The King. 18. The Queen. 19. The Prince Elector. 20. The
Earl and Countess. 21. The Knight. 22. The Nobleman. 23. The Judge. 24.
The Steward, Widow, and Orphan. 25. The Captain. 26. An allegorical
frontispiece to the Lower Classes. 26. The Physician. 27. The Astrologer.
28. The Merchant. 29. The Painter and his kindred: among these the old man
is Dietrich Meyern; the painter resembles the portrait of Conrad Meyern in
Sandrart, and the man at the table is probably Rudolph Meyern. 30. The
Handcraftsman. 31. The Architect. 32. The Innkeeper. 33. The Cook. 34. The
Ploughman. 35. The Man and Maid Servant. 36. The old Man. 37. The old
Woman. 38. The Lovers. 39. The Child. 40. The Soldier. 41. The Pedler. 42.
The Highwayman. 43. The Quack Doctor. 44. The Blind Man. 45. The Beggar.
46. The Jew. 47. The Usurer. 48. The Gamesters. 49. The Drunkards. 50. The
Gluttons. 51. The Fool. 52. The Certainty of Death. 53. The Uncertainty
of Death. 54. The Last Judgment. 55. Christ's Victory. 56. Salvation. 57.
True and False Religion.
The text consists chiefly of Death's apostrophe to his victims, with their
remonstrances, verses under each subject, and various other matters. At
the end are pious songs and psalms set to music. This work was jointly
executed by two excellent artists, Rodolph and Conrad Meyer or Meyern,
natives of Zurich. The designs are chiefly by Rodolph, and the etchings by
Conrad, consisting of sixty very masterly compositions. The grouping of
the figures is admirable, and the versatile representations of Death most
skilfully characterized. Many of the subjects are greatly indebted to the
Lyons wood engravings.
In 1657 and 1759 there appeared other editions of the latter, with this
title, "Die menschliche Sterblichkeit under dem titel Todten Tanz in LXI
original-kupfern, von Rudolf und Conrad Meyern beruhmten kunstmahlern in
Zurich abermal herausgegeben, nebst neven, dazu dienenden, moralischen
versen und veber schriften." That is, "Human mortality, under the title of
the Dance of Death, in 61 original copper prints of Rudolf and Conrad
Meyern, renowned painters at Zurich, to which are added appropriate moral
verses and inscriptions." Hamburg and Leipsig, 1759, 4to. The prolegomena
are entirely different from those in the other edition, and an elaborate
preface is added, giving an account of several editions of the Dance of
Death. Instead of the Captain, No. 25, the Ensign is substituted, and the
Cook is newly designed. Some of the numbers of the subjects are misplaced.
The etchings have been retouched, and on many the date of 1637 is seen,
which had no where occurred in the first edition here described.
In 1704 copies of 52 of these etchings were published at Augsburg, under
the title of "Tripudium mortis per victoriam super carnem universae orbis
terrae erectum. Ab A. C. Redelio S. C. M. T. P." on a label held by Death
as before. Then the German title "Erbaulicher Sterb-Spiegel dast ist
sonnen-klahre vorstellung menschlicher nichtigkeit durch alle stande und
geschlechter: vermittelst schoner kupffern, lehr-reicher bey-schrifften
und hertz-beweglich angehangter Todten-lieder ehmahls herauss gegeben
durch Rudolph und Conrad Meyern mahlern in Zurch Anjetzo aber mit
Lateinischen unterschrifften der kupffer vermehret und aussgezieret von
dem Welt-beruhmten Poeten Augustino Casimiro Redelio, Belg. Mech. Sac.
Caes. Majest. L. P. Augsburg zu finden bey Johann Philipp Steudner.
Druckts, Abraham Gugger. 1704." 4to. That is, "An edifying mirror of
mortality, representing the nullity of man through all stations and
generations, by means of beautiful engravings in copper, instructive
inscriptions, and heart-moving lays of Death, as an appendix to the work
formerly edited by Rudolph and Conrad Meyern of Zurich, but now published
with Latin inscriptions, and engravings augmented and renewed by the
worldly renowned poet Augustin Casimir Redel, &c."
In this edition the Pope and all the other religious characters are
omitted, probably by design. The etchings are very inferior to the fine
originals, and without the name of the artist. The dresses are frequently
modernised in the fashion of the time, and other variations are
occasionally introduced.
V. "Den Algemeynen dooden Spiegel van Pater Abraham a Sancta Clara,"
_i. e._ The universal mirror of Death of Father Abraham a Sancta Clara. On
a frontispiece engraved on copper, with a medallion of the author, and
various allegorical figures. Then the printed title, "Den Algemeynen
Dooden spiegel ofte de capelle der Dooden waer in alle Menschen sich al
lacchende oft al weenende op recht konnen beschouwen verciert mer aerdige
historien, Siu-rycke gedichten ende sedenleer-ende Beeldt-schetsen op
gestelt door den eerweerdigen Pater Abraham a Sancta Clara Difinitor der
Provincie van het order der ongeschoende Augustynen ende Predickant van
syne Keyserlycke Majesteyt Leopoldus. Getrouwelyck overgeset vyt het
hoogh-duyts in onse Nederduytsche Taele. Tot Brussel, by de Wed. G. Jacobs
tegen de Baert-brugge in de Druckerye, 1730." 12mo. _i. e._ "The universal
mirror of Death taken from the chapel of the dead; in which all men may
see themselves properly, whether laughing or weeping, ornamented with
pretty stories, spirited poems, and instructive prints, arranged by Father
Abraham a Sancta Clara, of the Augustinian order, and preacher to his
Imperial Majesty Leopold, and faithfully translated out of High Dutch into
our Netherlandish language."
The work consists of sixty-seven engravings on wood within borders, and of
very indifferent execution in all respects; the text a mixture of prose
and poetry of a religious nature, allusive to the subjects, which are not
uniformly a dance of Death. The best among them are the Painter, p. 45;
the Drunkard, p. 75; the dancing Couple, Death playing the Flageolet, p.
103; the Fowler, p. 113; the hen-pecked Husband, p. 139; the Courtezan, p.
147; the Musician, p. 193; the Gamester, p. 221; and the blind Beggar, p.
289.
VI. "Geistliche Todts-Gedanchen bey allerhand semahlden und Tchildereyn in
vabildung Interschiedlichen geschlechts, alters, standes, und wurdend
perschnen sich des Todes zucrinneren ans dessen lehrdie tugende zuueben und
die Tundzu meyden Erstlich in kupfer entworffen nachmaler durch sittliche
erdrtherung und aberlegung unter Todten-farben in vorschem gebracht,
dardurch zumheyl der seelen im gemuth des geneighten lesers ein lebendige
forcht und embsige vorsorg des Todes zu erwecken. Cum permissu superiorum.
Passau Gedrucht bey Frederich Gabriel Mangold, hochfurst, hof
buchdruckern, 1753. Lintz, verlegts Frantz Anton Ilger, Burgerl,
Buchhandlern allda." Folio. In English, "The Spiritual Dance of Death in
all kinds of pictures and representations, whereby persons of every age,
sex, rank, and dignity, may be reminded of Death, from which lesson they
may exercise themselves in virtue, and avoid sin. First put upon copper,
and afterwards, through moral considerations and investigations brought to
light in Death's own colours, thereby for the good of the souls of the
well inclined readers to awaken in them a lively fear and diligent
anticipation of Death."
The subjects are: 1. The Creation. 2. Temptation. 3. Expulsion. 4.
Punishment. 5. A charnel house, with various figures of Death, three in
the back-ground dancing. 6. The Pope. 7. Cardinal. 8. Bishop. 9. Abbot.
10. Canon. 11. Preacher. 12. Chaplain. 13. Monk. 14. Abbess. 15. Nun. 16.
Emperor. 17. Empress. 18. King. 19. Queen. 20. Prince. 21. Princess. 22.
Earl. 23. Countess. 24. Knight. 25. Nobleman. 26. Judge. 27. Counsellor.
28. Advocate. 29. Physician. 30. Astrologer. 31. Rich man. 32. Merchant.
33. Shipwreck. 34. Lovers. 35. Child. 36. Old man. 37. Old woman. 38.
Carrier. 39. Pedler. 40. Ploughman. 41. Soldier. 42. Gamesters. 43.
Drunkards. 44. Murderer. 45. Fool. 46. Blind man. 47. Beggar. 48. Hermit.
49. Corruption. 50. Last Judgment. 51. Allegory of Death's Arms, &c.
The designs and some of the engravings are by M. Rentz, for the most part
original, with occasional hints from the Lyons wood-cuts.
Another edition with some variation was printed at Hamburg, 1759, folio.
VII. In the Lavenburg Calendar for 1792, are 12 designs by Chodowiecki for
a Dance of Death. These are: 1. The Pope. 2. The King. 3. The Queen. 4.
The General. 5. The Genealogist. 6. The Physician. 7. The Mother. 8. The
Centinel. 9. The Fish Woman. 10. The Beggar. 11. The fille de joye and
bawd. 12. The Infant.
VIII. A Dance of Death in one of the Berne Almanacks, consisting of the 16
following subjects. 1. Death fantastically dressed as a beau, seizes the
city maiden. 2. Death wearing a Kevenhuller hat, takes the housemaid's
broom from her. 3. Death seizes a terrified washerwoman. 4. He takes some
of the apple-woman's fruit out of her basket. 5. The cellar maid or
tapster standing at the door of an alehouse is summoned by death to
accompany him. 6. He lays violent hands upon an abusive strumpet. 7. In
the habit of an old woman he lays hold of a midwife with a newly born
infant in her hands. 8. With a shroud thrown over his shoulder he summons
the female mourner. 9. In the character of a young man with a chapeau bras
he brings a urinal for the physician's inspection. 10. The life-guardsman
is accompanied by Death also on horseback and wearing an enormous military
hat. 11. Death with a skillet on his head plunders the tinker's basket.
12. Death in a pair of jack-boots leads the postilion. 13. The lame beggar
led by Death. 14. Death standing in a grave pulls the grave digger towards
him by the leg. 15. Death seated on a plough with a scythe in his left
hand, seizes the farmer, who carries several implements of husbandry on
his shoulders. 16. The fraudulent inn-keeper in the act of adulterating
his liquor in the cask, is throttled by Death who carries an ale vessel at
his back. These figures are cut on wood in a free and masterly manner, by
Zimmerman, an artist much employed in the decoration of these calendars.
The prints are accompanied with dialogues between Death and the respective
parties.
IX. "Freund Heins Erscheinungen in Holbeins manier von J. R. Schellenberg
Winterthur, bey Heinrich Steiner und Comp. 1785, 8vo." That is--"Friend
Heins appearance in the manner of Holbein, by J. R. Schellenberg." The
preface states that from the poverty of the German language in synonymous
expressions for the allegorical or ideal Death, the author has ventured to
coin the jocose appellation of Friend Hein, which will be understood from
its resemblance to Hain or Hayn, a word signifying a grove. The sagacity
of the German reader will perhaps discover the analogy. The subjects are
24 in number, as follow:
1. Love interrupted. The lovers are caught by Death in a net, and in no
very decent attitude.
2. Suicide. A man shoots himself with a pistol, and falls into the arms of
Death.
3. Death in the character of a beau visits a lady at her toilet.
4. The Aeronaut. The balloon takes fire, and the aeronaut is precipitated.
5. Death's visit to the school. He enters at a door inscribed SILENTIUM,
and puts the scholars to flight.
6. Bad distribution of alms.
7. Expectation deluded. Death disguised as a fine lady lays hands upon a
beau, who seems to have expected a very different sort of visitor.
8. Unwelcome officiousness. Death feeding an infant with poison, the nurse
wringing her hands in despair.
9. The dissolution of the monastery. The Abbot followed by his monks
receives the fatal summons in a letter delivered to him by Death.
10. The company of a friend. An aged man near a grave wrings his hands.
Death behind directs his attention to heaven.
11. The lottery gambler. Death presents him with the unlucky ticket.
12. The woman of Vienna and the woman of Rome. Death seizes one, and
points to the other.
13. The Usurer. Death shuts him into his money chest.
14. The Glutton. Death seizes him at table, and forcibly pours wine down
his throat.
15. The Rope-dancer. Death mounted on an ass, and fantastically
apparelled, enters the circle of spectators, and seizes the performer by
one of his legs.
16. The lodge of secrecy (freemasonry). Death introduces a novice
blindfold to the lodge.
17. The recruiting Officer. Death enlists some country fellows, a fiddler
preceding.
18. Berthold Swartz. Death ignites the contents of the mortar, and blows
up the monk. In the usual representations of this story the Devil is
always placed near the monk.
19. The Duel. A man strikes with a sword at Death, who is lifting up the
valves of a window.
20. The plunder of the falling-trap. Death demolishes a student by
throwing a bookcase filled with books upon him.
21. Silence surrendered. Death appears to a schoolmistress. The children
terrified, escape.
22. The privilege of the strong. Death lays violent hands on a lady, whom
her male companions in vain endeavour to protect.
23. The apothecary. Death enters his shop, and directs his attention to
the poor patients who are coming in.
24. The Conclusion. Two anatomists joining hands are both embraced by
Death.
The best of these subjects are Nos. 4, 13, 14, 15, and 18. The text is a
mixture of prose and verse.
X. "The English Dance of Death, from the designs of Thomas Rowlandson,
with metrical illustrations by the author of Doctor Syntax." 2 vols. 8vo.
1815-1816. Ackermann.
In seventy-two coloured engravings. Among these the most prominent and
appropriate are, the last Chase; the Recruit; the Catchpole; the
Death-blow; the Dramshop; the Skaiters; the Duel; the Kitchen; the
Toastmaster; the Gallant's downfall; and the fall of four in hand. The
rest are comparatively feeble and irrelevant, and many of the subjects
ill-chosen, and devoid of that humour which might have been expected from
the pencil of Rowlandson, whose grotesque predominates as usual in the
groups.
XI. "Death's Doings, consisting of numerous original compositions in prose
and verse, the friendly contributions of various writers, principally
intended as illustrations of 24 plates designed and etched by R. Dagley,
author of "Select gems from the antique," &c." 1826. 8vo.
From the intrinsic value and well deserved success of this work, a new
edition was almost immediately called for, which received many important
additions from the modest and ingenious author. Among these a new
frontispiece, from the design of Adrian Van Venne, the celebrated Dutch
poet and painter, is particularly to be noticed. This edition is likewise
enriched with numerous elegant contributions, both in prose and verse,
from some of the best writers of the age.
XII. A modern French Dance of Death, under the title of "Voyage pour
l'Eternite, service general des omnibus acceleres, depart a tout heure et
de tous les point du globe." Par J. Grandville. No date, but about 1830. A
series of nine lithographic engravings, including the frontispiece. Oblong
4to. These are the subjects:
1. Frontispiece. Death conducting passengers in his omnibus to the
cemetery of Pere la Chaise.
2. "C'est ici le dernier relai." Death as a postilion gives notice to a
traveller incumbered with his baggage, &c.
3. "Vais-je bien? ... vous avancez horriblement." Death enters a
watchmaker's shop, and shews his hour-glass to the master and his
apprentice.
4. "Monsieur le Baron, on vous demande.--Dites que je n'y suis pas." Death
having entered the apartment, the valet communicates his summons to his
gouty master lying on a couch.
5. "Soyez tranquille, j'ai un garcon qui ne se trompe jamais." The
apothecary addresses these words to some cautious patients whilst he fills
a vessel which they have brought to his shop. Death, as an apprentice in
another room, pounds medicines in a mortar.
6. "Voila, Messieurs, un plat de mon metier." A feast. Death as a waiter
enters with a plate of poisonous fruit.
7. "Voulez vous monter chez moi, mon petit Monsieur, vous n'en serez pas
fache, allez." Death, tricked out as a fille de joye with a mask, entices
a youth introduced by a companion.
8. "--Pour une consultation, Docteur, j'en suis j'vous suis ..." Death in
the character of an undertaker, his hearse behind, invites an old man to
follow him.
9. "Oui, Madame, ce sera bien la promenade la plus delicieuse! une voiture
dans le dernier gout! un cheval qui fend l'air, et le meilleur groom de
France." Death, habited as a beau, conducts a lady followed by her maid to
a carriage in waiting.
XIII. The British Dance of Death, exemplified by a series of engravings
from drawings by Van Assen, with explanatory and moral essays. Printed by
and for George Smeeton, Royal Arcade, Pall Mall. 8vo. no date. With a
frontispiece designed by Geo. Cruikshank, representing a crowned sitting
Death, holding a scythe in one hand, and with the other leaning on a
globe. This is circular in the middle. Over it two small compartments of
Death striking an infant in the cradle, and a sick man. At bottom, two
others of Death demolishing a glutton and a drunkard. A short preface
states that the work is on the plan of "the celebrated designs of
Holbein," meaning of course the Lyons work, but to which it has not the
smallest resemblance, and refers to Lord Orford for the mention of the
Basle dance, which, as having two or sometimes three figures only, it
does resemble. It then states that the late Mr. Van Assen had no intention
of publishing these designs, which now appear in compliance with the
wishes of many of his friends to possess them. They are very neatly
engraved, and tinted in imitation of the original drawings, but are wholly
destitute of that humour which might have been expected from the pencil of
the ingenious inventor, and which he has manifested on many other
occasions. The subjects are the following: 1. The Infant. 2. Juvenile
piety. 3. The Student. 4. The Sempstress. 5. The musical Student. 6. The
Dancer. 7. The female Student. 8. The Lovers. 9. The industrious Wife. 10.
The Warrior. 11. The Pugilists. 12. The Glutton. 13. The Drunkard. 14. The
Watchman. 15. The Fishwoman. 16. The Physician. 17. The Miser. 18. Old
Age. Death with his dart is standing near all these figures, but does not
seem to be noticed by any of them.
XIV. A Dance of Death in Danish rimes is mentioned in Nyerup's "Bidragh
til den Danske digtakunst historie." 1800. 12mo.
XV. John Nixon Coleraine, an amateur, and secretary to the original Beef
Stake Club, etched a dance of Death for ladies' fans. He died only a few
years ago. Published by Mr. Fores, of Piccadilly, who had the
copper-plates, but of which no impressions are now remaining.