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’Eternité, service général des omnibus accélérés, depart à 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 Père 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 garçon 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 fâché, 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 goût! 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.
CHAPTER XI
Dances of Death, with such text only as describes the subjects
I. Six small circles on a single sheet, engraved on copper by Israel Van Meckenen. 1. Christ sitting on his cross. 2. Three skulls on a table. 3. Death and the Pope. 4. Death riding on a lion, and the Patriarch. 5. Death and the Standard-bearer. 6. Death and the Lady. At top “memento mori,” at bottom “Israhel V. M.”
II. A Dance of Death, engraved on copper, by Henry Aldegrever. 1. Creation of Eve. 2. Adam and Eve eating the forbidden fruit. 3. Expulsion from Paradise. 4. Adam digging, Eve spinning. 5. Death and the Pope. 6. Death and the Cardinal. 7. Death and the Bishop. 8. Death and the Abbot. All these have the date 1541, and with some variations follow the Lyons woodcuts. They have scriptural texts in Latin. 12mo. The whole were afterwards copied in a work by Kieser, already described, p. 121.
III. A Dance of Death, consisting of eight subjects, engraved on copper by an unknown artist, whose mark is 
. 1. Death beating a drum, precedes a lady and gentleman accompanied by a little dog. 2. Death playing on a stickado, precedes a lady and gentleman dancing back to back, below an hour-glass. 3. Death, with an hour-glass in his right hand, lays his left on the shoulder of a gentleman taking hold of a lady with his right hand, and carrying a hawk with his left. 4. Death crowned with a garland, and holding an hour-glass in his left hand, stands between a lady and gentleman joining hands. 5. Death, with a fool’s cap and hood, a dagger of lath, and a bladder, holds up an hour-glass with his right hand; with his left he seizes the hand of a terrified lady accompanied by a gentleman, who endeavours to thrust away the unwelcome companion. 6. Another couple led by Death. 7. Death with a cap and feathers holds an hour-glass in his right hand, and with his left seizes a lady, whom a gentleman endeavours to draw away from him. All have the date 1562. 12mo. Size, three inches by two. They are described also in Bartsch, Peintre Graveur, ix. 482, and have been sometimes erroneously ascribed to Aldegrever.
IV. A Dance of Death, extremely well executed on wood, the designs of which have been taken from a set of initial letters, that will hereafter be particularly described. They are upright, and measure two inches by one and a half. Each subject is accompanied with two German verses.
V. On the back of the title page to “Die kleyn furstlich Chronica,” Strasb. 1544, 4to. are three subjects that appear to be part of a series. 1. Death and the Pope, who has a book and triple crosier. Death kneels to him whilst he plays on a tabor and drum. 2. Death and the King. Death blows a trumpet. 3. Death shoots an arrow at a warrior armed with sword and battle-axe. All these figures are accompanied with German verses, and are neatly engraved on wood.
VI. A series of single figures, etched with great spirit by Giovanni Maria Mitelli. They are not accompanied by Death, but hold dialogues with him in Italian stanzas. The characters are, 1. The Astrologer. 2. The Doctor of universal science. 3. The Hunter. 4. The Mathematician. 5. The Idolater. They are not mentioned in Bartsch, nor in any other list of the works of engravers. It is possible that there are more of them.
VII. The five Deaths, etched by Della Bella. 1. A terrific figure of Death on a galloping horse. In his left hand a trumpet, to which a flag, agitated by the wind, is attached. In the back ground, several human skeletons, variously employed. 2. Death carrying off an infant in his arms. In the back-ground, the church-yard of the Innocents at Paris. 3. Death walking away with a young child on his back. In the distance, another view of the above cemetery. 4. Death carrying off a female on his shoulders, with her head downwards, followed at a distance by another Death holding a corpse in his arms. 5. Death dragging a reluctant old man towards a grave, in which another Death, with an hour-glass in his hand, awaits him. All these are extremely fine, and executed in the artist’s best time. There is a sixth of the series, representing Death throwing a young man into a well, but it is very inferior to the others. It was begun by Della Bella a short time before his death, and finished by his pupil Galestruzzi, about 1664. Della Bella likewise etched a long print of the triumph of Death.
VIII. A single anonymous French engraving on copper, 14½ by 6½, containing three subjects. 1. Death and the soldier. 2. Death standing with a pruning knife in his right hand, and a winged hour-glass in his left. Under him are three prostrate females, one plays on a violin; the next, who represents Pride, holds a peacock in one hand and a mirror in the other; the third has a flower in her left hand. 3. Death and the lady. He holds an hour-glass and dart, and she a flower in her right hand. Under each subject are French verses. This may perhaps be one only of a set.
IX. A German Dance of Death, in eight oblong engravings on copper, 11 by 8½, consisting of eight sheets and twenty-five subjects, as follow. 1. A fantastic figure of a Death, with a cap and feathers, in the attitude of dancing and playing on a flute. He is followed by another dancing skeleton carrying a coffin on his shoulder. 2. Pope. 3. Emperor. 4 Empress. 5. Cardinal. 6. King. 7. Bishop. 8. Duke or General. 9. Abbot. 10. Knight. 11. Carthusian. 12. Burgomaster. 13. Canon. 14. Nobleman. 15. Physician. 16. Usurer. 17. Chaplain. 18. Bailiff or Steward. 19. Churchwarden. 20. Merchant. 21. Hermit. 22. Peasant. 23. Young Man. 24. Maiden. 25. Child. This is a complete set of the prints, representing the Lubeck painting, already described in p. 43. In the translation of the inscriptions, as given by Dr. Nugent, two more characters are added at the end, viz. the Dancing Master and the Fencing Master. On the spectator’s left hand of No. 1. of these engravings, is a column containing the following inscription in German, in English as follows: “Silence, fool-hardy one, whoever thou art, who, with needless words, profanest this holy place. This is no chapel for talking, but thy sure place is in Death’s Dance. Silence then, silence, and let the painting on these silent walls commune with thee, and convince thee that man is and will be earth:” and on Nos. 4 and 5, the words “Zu finden in Lubeck by Christian Gotfried Donatius.”
X. The following entry is in the Stationers’ books:
XI. In the catalogue of the library of R. Smith, secretary of the Poultry Compter, which was sold by auction in 1682, is this article “Dance of Death in the cloyster of Paul’s, with figures, very old.” Probably a single sheet.
XII. “The Dance of Death;” a single sheet, engraved on copper, with the following figures. In the middle, Death leading the king; the beggar hand in hand with the king; Death leading the old man, followed by a child; the fool; the wise man, as an astrologer, led by Death. On the spectator’s left hand, Death bringing a man before a judge; with the motto, “The greatest judge that sits in honour’s seat, must come to grave, where’t boots not to intreate.” A man and woman in a brothel, Death behind; with the motto, “Leave, wanton youth, thou must no longer stay; if once I call all mortals must obey.” On the opposite side, the Miser and Death; the motto, “Come, worldling, come, gold hath no power to save, leave it thou shalt, and dance with me to grave.” Death and the Prisoner; the motto, “Prisoner arise, ile ease thy fetterd feet, and now betake thee to thy winding sheet.” In the middle of the print sits a minstrel on a stool formed of bones placed on a coffin with a pick-axe and spade. He plays on a tabor and pipe; with this motto, “Sickness, despaire, sword, famine, sudden death, all these do serve as minstrells unto Death; the beggar, king, fool, and profound, courtier and clown all dance this round.” Under the above figures is a poem of sixty-six lines on the power of Death, beginning thus:
Yea, Adam’s brood and earthly wights which breath now on the earth,
Come dance this dance, and mark the song of this most mighty Death.
Full well my power is known and seen in all the world about,
When I do strike of force do yeeld both noble, wise, and stout, &c.
Printed cullored and sould by R. Walton at the Globe and Compasses at the West end of St. Paules church turning down towards Ludgate.
XIII. A large anonymous German engraving on copper, in folio. In the middle is a circular Dance of Death, with nine females, from the Empress to the Fool. In the four corners, two persons kneeling before a crucifix; saints in heaven; the temptation; and the infernal regions. At top, a frame with these verses:
Vulneris en nostri certam solamque medelam
En data divina præmia larga manu.
Der Todt Christi Zunicht hat gmacht
Den Todt und Sleben wider bracht.
At bottom in a similar frame:
Per unius peccatum Mors intravit in mundum.
Den Todt und ewig hellisch pein
Hat veruhr sagt die Sund allein.
This is within a broad frame, containing a Dance of Death, in twelve ovals. The names of the characters are in German: 1. The Pope. 2. Emperor. 3. King. 4. Cardinal. 5. Bishop. 6. Duke. 7. Earl. 8. Gentleman. 9. Citizen. 10. Peasant. 11. Soldier and Beggar. 12. Fool and Child. Under each subject is an appropriate inscription in Latin and German. In the middle at top, a Death’s head and bones, an hour-glass and a dial. In the middle at bottom, a lamp burning on a Death’s head, and a pot of holy water with an aspergillum. On the sides, in the middle, funereal implements.
XIV. Heineken, in his “Dictionnaire des Graveurs,” iii. 77, mentions a Dance of Death engraved about 1740 by Maurice Bodenehr of Friburg, but without any further notice.
XV. Another very large print, 2 feet by 1½, in mezzotinto, the subject as in No. 10. but the figures varied, and much better drawn. At bottom, “Joh. El. Ridinger excud. Aug. Vindel.”
XVI. Newton’s Dances of Death. Published July 12, 1796, by Wm. Holland, No. 50, Oxford Street, consisting of the following grotesque subjects engraved on copper. The size 6 inches by 5. 1. Auctioneer. 2. Lawyer. 3. Old Maid on Death’s back. 4. Gamblers. 5. Scolding Wife. 6. Apple-woman. 7. Blind Beggar. 8. Distressed Poet and Bailiff. 9. Undertaker. 10. Sleeping Lady. 11. Old Woman and her Cats. 12. Gouty Parson feeding on a tythe pig. 12. Same subject differently treated. 13. Sailor and Sweetheart. 14. Physician, Gravedigger, and Death dancing a round. 15. Market-man. 16. Doctor, sick Patient, and Nurse. 17. Watchman. 18. Gravedigger putting a corpse into the grave. 19. Old maid reading, Death extinguishes the candle. 20. Gravedigger making a grave. 21. Old Woman. 22. Barber. 23. Lady and Death reflected in the mirror. 24. Waiter. 25. Amorous Old Man and Young Woman. 26. Jew Old Clothes-man. 27. Miser. 28. Female Gin-drinker.
XVII. The Dance of Death modernised. Published July 13, 1800, and designed by G. M. Woodward, Berners’ Street, Oxford Street. Contains the following caricatures. Size 5 by 4½.
1. King. “Return the diadem and I’ll follow you.”
2. Cardinal. “Zounds, take care of my great toe, or I shall never rise higher than a cardinal.”
3. Bishop. “I cannot go, I am a bishop.”
4. Old Man. “My good friend, I am too old, I assure you.”
5. Dancing-master. “I never practised such an Allemande as this since I have been a dancing-master.”
6. Alderman. “If you detain me in this way my venison will be quite cold.”
7. Methodist Preacher. “If you wo’nt take I, I’ll never mention you or the Devil in my sarmons as long as I lives.”
8. Parson. “I can’t leave my company till I’ve finish’d my pipe and bottle.”
9. Schoolmaster. “I am only a poor schoolmaster, and sets good examples in the willage.”
10. Miser. “Spare my money, and I’ll go contented.”
11. Politician. “Stay till I have finished the newspaper, for I am told there is great intelligence from the continent.”
12. Press-gang Sailor. “Why d – me I’m one of your apprentices.”
13. Beggar. “This is the universal dance from a king to a beggar.”
14. Jockey. “I assure you I am engaged at Newmarket.”
15. Undertaker. “A pretty dance this for an undertaker.”
16. Gouty Man. “Buzaglo’s exercise was nothing to this.”
17. Poet. “I am but a poor poet, and always praised the ode to your honour written by the late King of Prussia.”
18. Physician. “Here’s fine encouragement for the faculty.”
19. Lawyer. “The law is always exempt by the statutes.”
20. Old Maid. “Let me but stay till I am married, and I’ll ask no longer time.”
21. Fine Lady. “Don’t be so boisterous, you filthy wretch. I am a woman of fashion.”
22. Empress. “Fellow, I am an empress.”
23. Young Lady. “Indeed, Sir, I am too young.”
24. Old Bawd. “You may call me old bawd, if you please, but I am sure I have always been a friend to your worship.”
XVIII. Bonaparte’s Dance of Death. Invented, drawn, and etched by Richard Newton, 7 by 5.
1. Stabb’d at Malta. 2. Drown’d at Alexandria. 3. Strangled at Cairo. 4. Shot by a Tripoline gentleman. 5. Devoured by wild beasts in the desert. 6. Alive in Paris.