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Page Number: 37
Text: THE DANCE OF DEATH. 21 After what has been said., it becomes necessary to attempt at least to give some reason for the almost universal opinion, that these designs were the offs...
Show more THE DANCE OF DEATH. 21 After what has been said., it becomes necessary to attempt at least to give some reason for the almost universal opinion, that these designs were the offspring of Holbein's pencil. Most of those writers who have described the town of Basil, as well as the compilers of the lives of the painters, speak of a Dance of Death by Holbein, some referring to the old Dance of Macaber, and others to the more modern one; but it is not difficult to see/ that they have but transcribed from each other, without taking any pains to examine the subject. Certain it is, however, that Holbein did paint a Death's Dance in its improved state, and likewise more than once. Bishop Burnet, in his travels in Switzerland, speaks of a Dance of Death, painted by Holbein, cc on the walls of a house where he used to drink," which was then so worn out, that very little was to be seen except shapes and postures. He then mentions the old Death's Dance at the Dominicans' convent*, which, he says, was " so worn out some time ago, " that they ordered the best painter they had to fc lay new colours on it; but this is so ill done, (e that one had rather see the dead shadows of *c Holbein's pencil, (i. e. on the walls of the ec house), than this coarse work." This account is corroborated by Keysler, who adds, that the painting on the house was then entirely obliterated. Patin, in his travels, also * By mistake called the convent of the Augustinian*,
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Page Number: 38
Text: 32 THE DANCE OF DEATH. speaks of a house at Basil, curiously painted by Holbein, but does not mention the subject; it was probably the same as Burnet saw7. These are the onl...
Show more 32 THE DANCE OF DEATH. speaks of a house at Basil, curiously painted by Holbein, but does not mention the subject; it was probably the same as Burnet saw7. These are the only travellers who have spoken upon this subject with any degree of accuracy, and fortunately their testimony throws much light upon it. To the book already mentioned to have been published by the Trechsels, at Lyons, they sometimes annexed another, which was in some degree connected with it, and appears to have been printed by them the following year. This was entitled, <( Historiarum veteris testamentiicones," the cuts of which are in some instances much inferior to the others, and apparently by a different artist. The designs of these are indisputably by Holbein, as appears from some verses before the book, composed by Nicolas Bourbon, a cotem-porary poet, who also wrote some lines upon a Dance of Death painted by Holbein*. To these cuts to the Bible, are prefixed the first four which occur in the Dance of Death, as they likewise belong to the subject, and represent the creation and fall of man; but they are different in size, and were added, not only from the analogy of the subjects, but from the circumstance of their being already in the hands of the printer ; and thus, from an odd coincidence of things, as well as a palpable confusion of the respective verses of Bourbon, seems to have originated an * Borbonii Nugarum libri octo. Basil 1540, 12mo. p. 445,
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Page Number: 39
Text: THE DANCE OF DEATH. 23 opinion, that Holbein invented the Dance of Death. But it has not only been asserted that Holbein designed, but that he engraved, or rather cut this...
Show more THE DANCE OF DEATH. 23 opinion, that Holbein invented the Dance of Death. But it has not only been asserted that Holbein designed, but that he engraved, or rather cut this Dance of Death on wood. That he practised this art, nay, that he excelled in it, there is reason to believe, from some specimens that have been preserved, and which bear on them the unequivocal marks of H. H. & HANS. HOLBEN*. A set of cuts with the latter mark occurs in Archbishop Cranmer's Catechism, printed by Walter Lyneinl548; and although the composition of these is extremely good, their execution is not only inferior to the Dance of Death, but entirely different in its manner: and the mark of IB which is to be seen upon one of the cuts in this latter work, has been ascribed without any authority to Holbein, upon the strength of the vague opinions concerning his interference with the Dance of Death f. The great popularity and success of these cuts very soon excited many imitations of them both in copper and on blocks. In 1541, Aldegrever engraved eight of them, but with very material alterations. Other editions of the Imagines Mor> * It is not however impossible that Holbein, in putting his mark upon these cuts, might only intend to shew that he designed them, or drew the subject upon the blocks. + This mark is also given by Professor Christ, in his Diction-Baire des Monogrammes, to Hans Lautensack, and Hans Le-derer, persons of whom absolutely nothing is known.
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Page Number: 40
Text: 24 THE DANCE OF DEATH. tis, which had been first published under that title in 1545, appeared in 1555, 1566, 1573, and probably at many other times; these were also accompanied with cuts in w...
Show more 24 THE DANCE OF DEATH. tis, which had been first published under that title in 1545, appeared in 1555, 1566, 1573, and probably at many other times; these were also accompanied with cuts in wood by a very eminent but unknown artist, whose mark is J This mark is also to be found in some of the Emblems of Sambucus and Lejeune, in some ini-nitial letters to Grafton's Chronicle, and in other cuts executed during the sixteenth century*. It is not a little remarkable, that so late as the year 1654, there appeared a Dutch book, printed * The inaccurate Papillon, who in matters of historical discussion is hardly ever to be trusted, has asserted in his " Traits de la gravureen bois," that this is the mark of Silvius Antonianus, or Antoniano. Having found it upon some cuts, in an edition of Faerno's fables, printed at Antwerp in 156*7, with a dedication to Cardinal Borromeo, by Silvius Antoniano, he instantly conceived that he had discovered the name of the artist in that of the author of the dedication. The fact is, that Antoniano was no engraver, but a professor of belles lettres at Rome, afterwards secretary to Pope Pius V. and at length a Cardinal. His dedication had already appeared in the first edition of these fables in 1564, which has a different set of cuts engraved on copper. Another of Papillon's, blunders is equally curious. He had seen an edition of the Emblems of Sambucus with cuts, on which the same mark occurs. In this book is a fine portrait of the author, with his dog, under whom is the word BOM BO, which Papillon gravely informs us is the name of the engraver, and again refers to it on another cut of one of the Emblems under a dog also. Had he read the verses belonging to this particular Emblem, he would have immediately seen that it was nothing more than the dog's name, as Sambucus himself declares, whilst he pays a laudable tribute to the attachment of the faithful com* panion of his travels.
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Page Number: 41
Text: THE DANCE OF DEATH. 25 at Antwerp, where this artist worked, entitled, cc Doodt vermaskert, or Death masked/' accompanied with eighteen cuts of the Dance of Death, which in the ...
Show more THE DANCE OF DEATH. 25 at Antwerp, where this artist worked, entitled, cc Doodt vermaskert, or Death masked/' accompanied with eighteen cuts of the Dance of Death, which in the title page are ascribed to Holbein. They are all, except three, impressions from the identical blocks of the beautiful and original cuts of this subject; but the above-mentioned artist has had the effrontery to put his mark, together with the figure of a graving tool or knife, upon several of them. It is, however, possible that he might have repaired them, as some of the smaller lines, which in former impressions seem to have been injured, are here much stronger. It might be tedious to describe all the imitations of the Dance of Death which have appeared at different times, as they are exceedingly numerous; but it would be unpardonable not to notice an alphabet of initial letters with this subject, which for humour, and excellence of design, are even superior to the celebrated one ; and with respect to execution, especially when their minuteness is considered, being less than an inch square, absolutely wonderful. Their composition is entirely different from that of any of the others, and one of them is extremely indecent. They appear to have been done at Basil; for in the public library there is preserved a sheet, whereon arc printed three alphabets, viz. the one above-mentioned, another of boys at play, and the third, a dance of peasants, &c. The designs of some of the last are the same as those in a similar Dance
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Page Number: 42
Text: 26 THE DANCE OF DEATH. by Holbein, formerly painted on a house at Basil, and of which some drawings are still preserved ; and it is therefore not improbable that he also designed...
Show more 26 THE DANCE OF DEATH. by Holbein, formerly painted on a house at Basil, and of which some drawings are still preserved ; and it is therefore not improbable that he also designed the Dance of Death for these initials. They have apparently been struck off as proofs or patterns for some bookseller*, and at the bottom of the sheet is the mark ILwith the words tc Hans Liitzelburger Formschneider, (/. e. block-cutter), in Basel." In this manner has been preserved the name of a most exquisite artist, whom, from the similarity of style and subject, there is every reason to suppose the person who executed the fine cuts of the first Dance of Death. As he worked after the designs of Holbein, it is also probable that the painter might have invented some of the seventeen subjects which appeared in continuation of the original work, and that Liitzelburger also cut them for the subsequent editions. From the extreme delicacy with which the initials with the Dance of Death are executed, there is reason to suppose that they were not cut upon blocks of wood, but of metal, as was probably the larger work of the same subject; and in support of this conjecture it may be observed, that blocks of this kind are still preserved in the cabinets of the curious. * They were actually used by Cratander, a printer at Basil; and other initial letters, with Dances of Death, are to be seen in books printed at Zurich, Strasburg, and Vienna, in the sixteenth century. All the alphabets are in the possession of the ompiler of this essay, but they have not the monogram.
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Page Number: 43
Text: THE DANCE OF DEATFL 27 In 1780, Chretien de Mechel, a well-known artist and printseller at Basil, published forty-five engravings of a Death's Dance, as part of the works o...
Show more THE DANCE OF DEATFL 27 In 1780, Chretien de Mechel, a well-known artist and printseller at Basil, published forty-five engravings of a Death's Dance, as part of the works of Holbein, of which he intends to give a series. Mr. Coxe, in his travels, has given some account of this work, and informs us that they are done after some small drawings by Holbein, sketched with a pen, and slightly shaded with Indian ink ; that these drawings were purchased by Mr. Fleichman, of Strasburg, at Cro-zat's sale at Paris, and are now in the collection of Prince Gallitzin, Minister from the Empress of Russia to the court of Vienna, at which last place he had frequent opportunities of seeing and admiring them. He further adds, that Hollar copied these drawings, an opinion which will admit of some doubt. Mons. De MecheFs remark, that from the dresses and character of several of the figures, it is probable the drawings were sketched in England, as well as Mr. Coxe's conjecture that they were in the Arundelian collection, will appear but slightly founded to any one conversant in the dresses of the French and German nations at that period, to which they bear at least an equal resemblance: again, one of the cuts represents a King sitting at table under a canopy, powdered with Fleurs de lis, whose figure has a remarkable affinity to the portraits of Francis I. If these drawings were copied from the celebrated wooden cuts, they must have
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Page Number: 44
Text: 28 THE DANCE OF DEATH. been done after the year 1547, as eight of them did not appear till that time. But it has entirely escaped the knowledge of all the biographers of Holbei...
Show more 28 THE DANCE OF DEATH. been done after the year 1547, as eight of them did not appear till that time. But it has entirely escaped the knowledge of all the biographers of Holbein, that he painted a Dance of Death in fresco, upon the walls of the palace of Whitehall, which was consumed by fire in 1697. This curious fact is ascertained from two sets of nineteen very indifferent etchings from the wooden cuts, by one Nieuhoff; they were never published, but copies of them presented to the artist's friends, with manuscript dedications in the Dutch language, in which he speaks of the above-mentioned paintings at Whitehall. The book has the following title engraved in a border: '' Imagines Mortis, or the Dead Dance of Hans Holbeyn, Painter of King Henry the Vlllth." The author, in one of these dedications, addressed to the Right Honourable William Benting, informs him, that cc he had met with the scarce little work of H. Holbeyn in wood, which he had himself painted as large as life in fresco, on the walls of Whitehall; that he had followed the original as nearly as possible, and had presumed to lay his copy before him as being born in the same palace; that he considered the partiality which every one has for the place of his nativity, and that therefore an account of what was curie t 3 and remarkable therein, and of what was then no more, as being destroyed by a fatal fire, must of course prove acceptable, particularly as there were hardly any more re-
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Page Number: 45
Text: THE DANCE OF DEATH. 29 mains of the palace left than his own dwelling.1' He then states,, that the design of the painter resembled that of the founder of the Greek monarchy, who ordered these...
Show more THE DANCE OF DEATH. 29 mains of the palace left than his own dwelling.1' He then states,, that the design of the painter resembled that of the founder of the Greek monarchy, who ordered these words to be written, to remind him of his mortality: "Remember, Philip, that thou art a man T' and proceeds to describe in a very quaint manner the different subjects of his work. The dedication to the other copy is nearly in similar words, and addressed to Mynheer Heymans, who appears, in consideration of his singular merits, to have had a dwelling assigned him in the palace at Whitehall. From the hand-writing and Dutch names in this work, it is evidently of the time of William III. but of the artist no memorial is preserved ; however, the importance of the fact which he has recorded, will render him a valuable personage in the opinion of the lovers of the arts. After what has been said then, it is to be hoped that no additional evidence will be requisite to shew that Holbein did not invent the subjects, nor execute the cuts belonging to the Dance of Death, which is usually ascribed to him; that he painted it, however, and most assuredly more than once, seems to be beyond the possibility of doubt. It only remains to give some account of the prints which are the immediate object of this publication, and to which it is hoped the preceding introduction will not have appeared uninteresting. It has been commonly supposed that Hollar copied these prints from the original cuts; but Mr.
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Page Number: 46
Text: 30 THE DANCE OF DEATH. Coxe* thinks he followed the drawings engraved by De Mechel, which he imagines to have been in the Arundeljan collection. Both these opinions seem erroneous ; for many ...
Show more 30 THE DANCE OF DEATH. Coxe* thinks he followed the drawings engraved by De Mechel, which he imagines to have been in the Arundeljan collection. Both these opinions seem erroneous ; for many of Hollar's prints are materially different, as well from the cuts as the drawings ; and are, with two or three exceptions, very close copies of the cuts already mentioned to have been first published in 1555, with the mark of J f. He must therefore have either had before him both the sets of wooden cuts, or have copied the paintings at Whitehall; for his acknowledged fidelity would have hardly suffered him to depart from his originals, whatever they were, and as they now remain, they are not correct copies of any single existing model. Hollar's prints were first published in 1651J, with borders designed by Abraham a Diepenbeke, and afterwards without the borders. In this latter impression the letters^, i. occur upon everyprint, and are intended for cc Holbein invenit," as ap- ? Travels in Swisserland. f It is not a little remarkable, that almost the same variations from the original cuts, are to be found in those of the edition of 1555, in De Mechel's prints, and in Hollar's etchings; a circumstance which renders it probable that these last were all copied from the same originals, which might have been the work of Holbein, to whom the variations may be likewise attributed. | In 1682 there appeared engraved copies of the Dance of Death, in a work entitled " Theatrum mortis humanze," by J. Weichard. These engravings are within borders of fruit, flowers, and animals, which are executed with an uncommon degree of elegance.
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Page Number: 47
Text: THE DANCE OF DEATH. 31 pears from some other of Hollar's prints, which have upon them these words at length. No panegyric is here wanting upon the works of this admirable artist...
Show more THE DANCE OF DEATH. 31 pears from some other of Hollar's prints, which have upon them these words at length. No panegyric is here wanting upon the works of this admirable artist; they are sufficiently known and esteemed by every collector of taste, and particularly his Dance of Death. The plates, which appear to have been but little used, have been till lately preserved in a noble family, and impressions from them are once more presented to the public, without the least alteration*. Vertue, in his description of Hollar's works, mentions that he engraved a reverse of the first print, an additional one without a border, repre-sentingtherich man disregarding the prayers of the poor; and three others from the set after Holbein, with four Latin verses at bottom. He also engraved the six first letters of the alphabet, adorned with small figures of a Death's Dance, and one large plate of the same subject for Dug-dale's St. Paul's, and the Monasticon ; but this last plate is only a copy from an old wooden cut prefixed to Lydgate's Dance of Macaber, at the end of his Fall of Princes, printed by Tottell in 1554, and was not intended to represent the Dance of Death at St. Paul's, as Mr. Warton has sup-posedf, but only as an emblematical frontispiece to the verses. * In the present edition, however, it was found requisite that the plates should be retouched, and it has been done with the utmost attention to the preservation of their original spirit and character. f Observ. on Spencer, vol. ii. 117.
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Page Number: 48
Text: fflr ; . - i

Page Number: 49
Text: I DESCRIPTIONS OF THE CUTS IN Hollar's Bance of

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Page Number: 51
Text: w THE DANCE OF DEATH. 35 PLATE I.THE FRONTISPIECE. It has been supposed by Papillon, without the least authority, or even probability, that the two figures represent the persons for whom Holb...
Show more w THE DANCE OF DEATH. 35 PLATE I.THE FRONTISPIECE. It has been supposed by Papillon, without the least authority, or even probability, that the two figures represent the persons for whom Holbein painted this work. It has been already shewn that Holbein did not design this plate. It is altogether emblematical, and appears to be an heraldical representation of mortality, viz. a tattered shield, surmounted with a death's head; the crest, an hour-glass between two arms of a skeleton, holding part of a skull. The two figures are probably intended for supporters, and represent the dress of the Swiss Nobility of the sixteenth century. The " MORTALIVM NO-BILITAS" was added by Hollar, and is a very concise and admirable explanation of the subject.
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Page Number: 52
Text: 36 THE DANCE OF DEATH. PLATE II.SIN. Because thou hast harkened unto the voice of thy wife, and hast eaten of the tree, of which I commanded thee, saying, Thou shalt not eat of it: cursed is ...
Show more 36 THE DANCE OF DEATH. PLATE II.SIN. Because thou hast harkened unto the voice of thy wife, and hast eaten of the tree, of which I commanded thee, saying, Thou shalt not eat of it: cursed is the ground for thy sake, &c. Gen. iii. 17. Holbein has begun the scenes of life by that which had such influence on all the rest. The Mother of the human race holds in her right hand., the fatal apple,, which she has just received from the serpent with a young man's head ; and Adam, at the same time, is plucking another, enticed by the solicitations of the too credulous Eve, who shews him the one she has received, PLANCHE II.LE PECHE. Holbein a commence ces scenes de la vie par celle qui eut tant d'influence sur toutes les autres. La Mere du genre humain, tient dans sa main droite, la pomme fatale qu'elle vient de recevoir du serpent a tete de jeune homme, & Adam en cueille en meme terns une autre, excitd par les sollicitations de la trop credule Eve, qui lui montre celle qu'elle a rec^ie.
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Page Number: 53

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Page Number: 56
Text: JEnufU eu-va. Doxainu^ Deu? -s'm V15Litpfcttvv vU: opcracetur terr 11/

Page Number: 57
Text: THE DANCE OF DEATH, PLATE III.PUNISHMENT. Therefore the Lord God sent him forth from the garden of Eden, to till the ground from whence he was taken. Gen. iii. 23. Our first ...
Show more THE DANCE OF DEATH, PLATE III.PUNISHMENT. Therefore the Lord God sent him forth from the garden of Eden, to till the ground from whence he was taken. Gen. iii. 23. Our first Parents, driven out by the Angel, are flying from the terrestrial Paradise, preceded by Death, who is playing on the fiddle, and shews by dancing, the joy he feels for his triumph. PLANCHE III.LA PUNITION. Nos premiers Parens chasses par PAnge, s'enfuyent du Paradis terrestre precedes de la Mort, qui joue de la guitare, & demontre en dansant la joie qu'elle ressent de son triomphe.
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Page Number: 58
Text: 38 THE DANCE OF DEATH. PLATE IV.CONDEMNATION TO LABOUR. Cursed is the earth for thy sake; in sorrow shalt thou eat of it all the days of thy life. ...
Show more 38 THE DANCE OF DEATH. PLATE IV.CONDEMNATION TO LABOUR. Cursed is the earth for thy sake; in sorrow shalt thou eat of it all the days of thy life. Gen. iii. 17. Holbein,, to mark at once the species of labour which is the lot of man, and that which falls to the share of the woman, represents Adam employed in rooting up a tree, along with Death, who helps him with all his might; and at a little distance Eve suckling her child, and holding a distaff. PLANCHE IV.LA CONDEMNATION AU TRAVAIL. Holbein, pour marquer en merae terns le genre de travail qui est lepartage de Phormne, & celui qui est le partage de la femme, represente Adam oecupe a deraeiner tin arbre, avec la Mort qui l'aide detoutes ses forces; & un peu plus loin. Eve allaitant son enfant & tenant une quenouille.
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Page Number: 59

Page Number: 60
Text: .'

Page Number: 61

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