“ It is, however, to be observed, that Matthew Merian, who, in 1649, published in German, at Franckfort, in small Quarto, a Book entitled Todten Tanz, or Death’s Dance, containing Engravings from the above-mentioned Painting [2] , and from the Preface to whose Work, as translated into French, in an Edition printed at Basil in 1744, most of the foregoing Facts are extracted, does not speak in positive Terms as to the precise Time when the original Figures were painted, but only says, that they are believed, and with great Probability, to be of that Time in which he had placed them ”

“ After having thus ventured to question in general Terms, Holbein’s Title to the Merit of this Work, it is incumbent on me to shew on what my Doubts are founded, and this I am prepared to do; for, in the Dedication to the Edition of the Imagines Mortis, in 1538, is a Passage, of which I here insert a faithful Translation:
“To return then to our Cuts of Death, we now very justly regret the Death of him who has here designed such elegant Figures, exceeding as much all the Examples hitherto, as the Paintings of Apelles, or of Zeuxis, exceed the Moderns. ”

“ A Day, which no one can retard,
Shall force thee to the Grave.
[18]
The JUDGE. I will cut off the Judge from the Midst thereof.
Amos ii. 3.
You who false Judgment do pronounce,
For filthy Lucre’s Sake,
From Midst of Crowds and Judgment-Seat,
I, Death, will quickly take.
To Fate’s just Laws ye must submit,
Nor ye, alone, contest
That pow’r which every Son of Man
Has hitherto confest.
[19]
The ADVOCATE. A prudent Man foreseeth the Evil, and hideth himself: But the Simple pass on, and are punished.
Proverbs xxii. 3.
The crafty Man the Crime perceives,
The Guilty does protect ”

“ The same Author further relates, that the first Edition, which he thinks for the above Reasons [xv] should be placed in the Year 1530, was printed at Basil, or Zuric, with a Title to each Cut, and, as he believes, some Verses under each, all in the German Language (but, that there was an early Edition in Flemish) ; and adds, that the Book, having passed over into France, was much sought after by the Curious there; so that a Printer of Lyons was induced to purchase the Blocks, and that from them he printed several Editions in Latin, French, and Italian. ”

“ Innocent’s Cloister, at Paris, called the Dance of Death; so that in this Passage Mr. Warton must be supposed to understand that Macaber’s Verses were written posterior to that Painting. He further informs us, in the Additions and Corrections to the second Volume of his History of Poetry, that the earliest complete French Translation of these Verses was printed in 1499, but that a less perfect Edition had been before published in 1486, and that the French Rhymes in this last are said to be by Michel Marot. A Copy in French of La grande Danse de Macabre des Hommes et des Femmes, printed in 4to. ”

“ It is further to be observed (as one Reason for ascribing these Cuts to Holbein) that a Cut of the Imagines Mortis, which occurs P. 36 of this Edition, but the Mark is there purposely omitted, has to it in the original the Letters H L thus conjoined which Papillon asserts, is one of the Marks of Holbein; and Christian de Mechel, Engraver to the Elector Palatine, seems so well convinced of their being really at least designed by Holbein, that he has inserted the Dance of Death, as represented in the Imagines Mortis, among the rest of his Works, which he is now publishing ”

“ Formerly called Pardon Church-Yard, about which, says Weever, Ancient Funeral Monuments, 4to Edition, 1767, P. 168, “was artificially and richly painted, the Dance of Death commonly called the Dance of Paul’s; the Picture of Death leading all Estates.” ”

“ The Intention of the Artist was to shew that Death pays no Regard to Age or Condition, which is more particularly expressed in the Verses underneath. They were composed at first in Plat Deutch, or Low Dutch; but at the last Repair, in 1701, it was thought proper to change them for German Verses, which were written by Nathaniel Schlott, of Dantzick.” Of these Verses Dr. Nugent has inserted a Translation from the original German, by a Lady of Dantzick, from which it appears that the Originals consist of, first, an Apostrophe of Death to all, and then an Address of Death to one Individual ”

“ The SWISS SOLDIER. When a strong Man armed keepeth his Palace, his Goods are in Peace. But when a stronger than he shall come upon him, and overcome him, he taketh from him all his Armour wherein he trusted, and divideth his Spoils. ”

“ In Addition to this Instance we learn, that, in the Reign of Henry the Sixth, one Jenken Carpenter caused to be painted at his Expence on the Walls of the Cloister of St. Paul’s Cathedral, London [8] , the Dance of Machabray, or Dance of Death [9] ; and it is more than probable [x] that the celebrated Painting of the same Kind in St. Innocent’s Church, in Paris, in like Manner owes its Original to the Painting at Basil.
Nor are these the only Instances in which this Subject has been chosen for the Decoration of Buildings ”

“ In 1562, the same John Frellon published another French Edition, which appears, by the Printer’s Colophon at the End, to have been printed at Lyons by Symphorien Barbier, and which professes in the Title to be augmented [xix] with seventeen Plates. Papillon, P. 182, mentions both this Edition and Peculiarity, but denies the Truth of the Assertion, because he tells us, that in this French Edition he finds but five more Cuts than in the Italian One of 1549; notwithstanding which, it is certainly true, as will be presently proved. ”

“ At the Beginning is a Cut of Oecolompadius preaching; next follows one of a Charnel-House, and two Figures of Death piping; after which, in distinct Cuts, are given the Pope, Emperor, Empress, King, Queen, Cardinal, Bishop, Duke, Duchess, Count, Abbot, Knight, Lawyer, Magistrate, Canon, Physician, Gentleman, Lady, Merchant, Abbess, Cripple, Hermit, Young Man, Usurer, Maiden, Musician, Herald, Mayor, Grand Provost, Buffoon, Pedlar, Blind Man, Jew, Pagan, Female Pagan, Cook, Peasant, Painter, Painter’s Wife.
[3] History of Poetry, Vol. II. P. 54, in a Note.
[4] Anecdotes of Painting, 8vo. Vol. ”

“ Shall put an End at last.
[39]
The CHILD. Man that is born of a Woman, is of few Days, and full of Trouble. He cometh forth like a Flower, and is cut down: He fleeth also as a Shadow, and continueth not. ”

“ But unfortunately Papillon here speaks without sufficient Attention; for the Painting at Basil, as may be learnt from Merian’s Engravings before mentioned, and on the Accuracy of which I am assured by an ingenious Friend, who lately examined them with the Originals, I may rely, consists of single Figures, each led by a Figure of Death, and following each other in order, so as to form a long Procession: The same may be remarked of the Painting at St. ”

“ The Women are the Queen, Duchess, Regent’s Wife, Knight’s Wife, Abbess, Squire’s Wife, Shepherdess, Cripple, Burgess’s Wife, Widow, Merchant’s Wife, Bailiff’s Wife, Young Wife, Dainty Dame, Female Philosopher, New-married Wife, Woman with Child, Old Maid, Female Cordelier, Chambermaid, Intelligence-Woman, Hostess, Nurse, Prioress, Damsel, Country Girl, Old Chambermaid, Huckstress, Strumpet, Nurse for Lying-in Women, Young Girl, Religious, Sorceress, Bigot, Fool. ”

“ In this Dedication is also a Passage, a Translation of which will be given hereafter, from which it appears that the Person by whom the Cuts were designed, was then dead, leaving behind him several others of the same Kind, which, though drawn, were unfinished, and particularly one representing a Waggoner crushed under his overthrown Waggon; in which Cut, a Figure of Death is represented secretly sucking through a Reed, the Wine out of a Cask ”

“ John, at Basil:” And Prior takes it for so acknowledged a Fact that Holbein painted the well-known Dance of Death, that, in his Ode to the Memory of Colonel George Villiers, he thus alludes to it:
“In vain we think that free-will’d Man has Pow’r
To hasten or protract th’ appointed Hour.
Our Term of Life depends not on our Deed ”

“ P. [xxiii] 231, in a Note, where is also inserted a Translation from the same Work, P. 238, in the following Words, “But, in the Fish-Market there” [at Basil] “may be seen his” [Holbein’s] “admirable Dance of Peasants, where also, in the same public Manner, is shewn his Dance of Death; where, by a Variety of Figures, it is demonstrated that Death spares neither Popes, Emperors, Princes, &c. ”

“ But, no sooner had this Painting at Basil been finished, and become, as it very soon after did, universally celebrated all over Europe, but the Dance of Death became a very favourite Subject, and was frequently painted in public Buildings. The earliest Instance which has yet occurred, subsequent to the Painting at Basil, is one which Mr. ”

“ Walpole [1] , but Fifteen Years in the whole; and at this Council the Pope himself, and after his Death his Successor [ii] Felix V. Sigismond Emperor of Germany, Albert II. then King of the Romans, and many other Princes and Persons of distinguished Rank were present. ”

“ Weever, ubi supra.
[9] Stow’s Survey of London, Edit. 4to. 1618, P. 616. An Engraving of it is inserted in Dugdale’s Hist. of St. Paul’s, Edit. 1658, P. 290, and under it are given Lydgate’s Verses, which he observes at the End he had translated,
“Not Word by Word, but following in Substance.” ”