The Dance of Death. Douce Francis

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This painting has been engraved, and will be again mentioned. Leipsic had also a Dance of Death, but no particulars of it seem to have been recorded.

      In 1525 a similar dance was painted at Anneberg in Saxony, which Fabricius seems alone to have noticed. He also mentions another in 1534, at the palace of Duke George at Dresden.67 This is described in a German work written on the subject generally, by Paul Christian Hilscher, and published at Dresden, 1705, 8vo. and again at Bautzen, 1721, 8vo. It consisted of a long frieze sculptured in stone on the front of the building, containing twenty-seven figures. A view of this very curious structure, with the Dance itself, and also on a separate print, on a larger scale, varying considerably from the usual mode of representing the Macaber Dance, is given in Anthony Wecken’s Chronicle of Dresden, printed in German at Dresden 1680, folio. It is said to have been removed in 1721 to the church-yard of Old Dresden.

      Nicolai Karamsin has given a very brief, but ludicrous, account of a Dance of Death in the cross aisle of the Orphan House at Erfurth;68 but Peignot places it in the convent of the Augustins, and seems to say that it was painted on the panels between the windows of the cell inhabited by Luther.69 In all probability the same place is intended by both these writers.

      There is some reason to suppose that there was a Dance of Death at Nuremberg. Misson, describing a wedding in that city, states that the bridegroom and his company sat down on one side of the church and the bride on the other. Over each of their heads was a figure of Death upon the wall. This would seem very like a Dance of Death, if the circumstance of the figure being on both sides of the church did not excite a doubt on the subject.

      Whether there ever was a Macaber Dance at Berne of equal antiquity with that of Basle has not been ascertained: but Sandrart, in his article for Nicolas Manuel Deutch, a celebrated painter at Berne, in the beginning of the 16th century, has recorded a Dance of Death painted by him in oil, and regrets that a work materially contributing to the celebrity of that city had been so extremely neglected that he had only been able to lay before the readers the following German rhymes which had been inscribed on it:

      Manuel aller welt figur,

      Hastu gemahlt uf diese mur

      Nu must sterben da, hilft kun fund:

      Bist nit sicher minut noch stund.

      Which he thus translates:

      Cunctorum in muris pictis ex arte figuris.

      Tu quoque decedes; etsi hoc vix tempore credes.

      Then Manuel’s answer:

      Kilf eineger Heiland! dru ich dich bitt:

      Dann hic ist gar kein Bleibens nit

      So mir der Tod mein red wird stellen

      So bhut euch Gott, mein liebe Gsellen.

      That is, in Latin:

      En tibi me credo, Deus, hoc dum sorte recedo

      Mors rapiat me, te, reliquos sociosque, valete!

      To which account M. Fuseli adds, that this painting, equally remarkable for invention and character, was retouched in 1553; and in 1560, to render the street in which it was placed more spacious, entirely demolished. There were, however, two copies of it preserved at Berne, both in water colours, one by Albrech Kauw, the other a copy from that by Wilhelm Stettler, a painter of Berne, and pupil of Conrad Meyer of Zurich. The painting is here said to have been in fresco on the wall of the Dominican cemetery.70

      The verses that accompanied this painting have been mentioned as containing sarcastical freedoms against the clergy; and as Manuel had himself undergone some persecutions on the score of religion at the time of the Reformation, this is by no means improbable. There is even a tradition that he introduced portraits of some of his friends, who assisted in bringing about that event.

      In 1832, lithographic copies of the Berne painting, after the drawings of Stettler, were published at Berne, with a portrait of Manuel; and a set of very beautiful drawings in colours, made by some artist at Berne, either after those by Stettler or Kauw, in the public library, are in the possession of the writer of this essay. They, as well as the lithographic prints, exhibit Manuel’s likeness in the subject of the painter.

      One of the bridges at Lucerne was covered with a Macaber Dance, executed by a painter named Meglinger, but at what time we are not informed. It is said to have been very well painted, but injured greatly by injudicious retouchings; yet there seems to be a difference of opinion as to the merit of the paintings, which are or were thirty-six in number, and supposed to have been copied from the Basle dance. Lucerne has also another of the same kind in the burial ground of the parish church of Im-hof. One of the subjects placed over the tomb of some canon, the founder of a musical society, is Death playing on the violin, and summoning the canon to follow him, who, not in the least terrified, marks the place in the book he was reading, and appears quite disposed to obey. This Dance is probably more modern than the other.71 The subject of Death performing on the above instrument to some person or other is by no means uncommon among the old painters.

      M. Maurice Rivoire, in his very excellent description of the cathedral of Amiens, mentions the cloister of the Machabees, originally called, says he, the cloister of Macabré, and, as he supposes, from the name of the author of the verses. He gives some lines that were on one of the walls, in which the Almighty commands Death to bring all mortals before him.72 This cloister was destroyed about the year 1817, but not before the present writer had seen some vestiges of the painting that remained on one of the sides of the building.

      M. Peignot has a very probable conjecture that the church-yard of Saint Maclou, at Rouen, had a Macaber Dance, from a border or frieze that contains several emblematical subjects of mortality. The place had more than once been destroyed.73 On the pillars of the church at Fescamp, in Normandy, the Dance of Death was sculptured in stone, and it is in evidence that the castle of Blois had formerly this subject represented in some part of it.

      In the course of some recent alterations in the new church of the Protestants at Strasburg, formerly a Dominican convent, the workmen accidentally uncovered a Dance of Death that had been whitewashed, either for the purpose of obliteration or concealment. This painting seems to differ from the usual Macaber Dance, not always confined like that to two figures only, but having occasionally several grouped together. M. Peignot has given some more curious particulars relating to it, extracted from a literary journal by M. Schweighæuser, of Strasburg.74 It is to be hoped that engravings of it will be given.

      Chorier has mentioned the mills of Macabrey, and also a piece of land with the same appellation, which he says was given to the chapter of St. Maurice at Vienne in Dauphiné, by one Marc Apvril, a citizen of that place. He adds, that he is well aware of the Dance of Macabre. Is it not, therefore, probable, that the latter might have existed at Vienne, and have led to the corruption of the above citizen’s name by the common people.75

      Misson has noticed a Dance of Death in St. Mary’s church at Berlin, and obscurely referred to another in some church at Nuremberg.

      Bruckmann, in his Epistolæ Itinerariæ, vol. v. Epist. xxxii. describes several churches and other religious buildings at Vienna, and among them the monastery of the Augustinians, where, he says, there is a painting of a house with Death entering one of the windows by a ladder.

      In the same letter he describes a chapel of Death in the above monastery, which had been decorated with moral paintings by Father Abraham à St. Clara, one of the monks. Among these were, 1. Death demolishing a student. 2. Death attacking a hunter who had just killed a stag. 3. Death in an apothecary’s shop, breaking the phials and medicine boxes. 4. Death playing at draughts with a nobleman. 5. Harlequin making grimaces at Death. A description of this chapel,

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