The Dance of Death. Douce Francis
exist; or they may even refer to some of the ancient representations of the infernal regions that follow Death on the Pale horse of the Revelations, and in which is seen a grotesque intermixture of all classes of people.86
Death came driving after, and all to dust pashed
Kynges and Kaysers, Knightes and Popes,
Learned and lewde: he ne let no man stande
That he hitte even, he never stode after.
Many a lovely ladie and lemmans of knightes
Swouned and swelted for sorrowe of Deathes dyntes.
It is probable that many cathedrals and other edifices, civil as well as ecclesiastical, in France, Germany, England, and probably other European countries, were ornamented with paintings and sculpture of this extremely popular subject.
CHAPTER V
List of editions of the Macaber Dance. – Printed Horæ that contain it. – Manuscript Horæ. – Other Manuscripts in which it occurs. – Various articles with letter-press, not being single prints, but connected with it.
It remains only, so far as regards the Macaber Dance, to present the reader with a list of the several printed editions of that celebrated work, and which, with many corrections and additions, has been chiefly extracted from M. Peignot’s “Recherches historiques et litteraires sur les Danses des Morts,” Paris et Dijon, 1826, 8vo.
The article that should stand at the head of this list, if any reliance could be had on a supposed date, is the German edition, intitled, “Der Dotendantz mit figuren. Clage und Antwort Schon von allen staten der welt,” small folio. This is mentioned in Braun Notitia de libris in Bibliotheca Monasterii ad SS. Udalricum et Afram Augustæ, vol. ii. 62. The learned librarian expresses his doubts as to the date, which he supposes may be between 1480 and 1500. He rejects a marginal note by the illuminator of the letters, indicating the date of 1459. Every page of this volume is divided into two columns, and accompanied with German verses, which may be either the original text, or a translation from the French verses in some early edition of the Macaber Dance in that language. It consists of twenty-two leaves, with wood-cuts of the Pope, Cardinal, Bishop, Abbot, &c. &c. accompanied by figures of Death.
1. “La Danse Macabre imprimée par ung nommé Guy Marchand, &c. Paris, 1485,” small folio. Mons. Champollion Figeac has given a very minute description of this extremely rare, and perhaps unique, volume, the only known copy of which is in the public library of Grenoble. This account is to be found in Millin’s Magazin Encyclopedique, 1811, vol. vi. p. 355, and thence by M. Peignot, in his Recherches, &c.
2. “Ce present livre est appelle Miroer salutaire pour toutes gens, et de tous estatz, et est de grant utilité et recreation pour pleuseurs ensegnemens tant en Latin comme en Francoys lesquels il contient ainsi compose pour ceulx qui desirent acquerir leur salut: et qui le voudront avoir. La Danse Macabre nouvelle.” At the end, “Cy finit la Danse Macabre hystoriee augmentee de pleuseurs nouveaux pârsonnages (six) et beaux dis. et les trois mors et trois vif ensemble. Nouvellement ainsi composee et imprimee par Guyot Marchant demorant a Paris au grant hostel du college de Navarre en champ Gaillart lan de grace, 1486, le septieme jour de juing.” A small folio of fifteen leaves, or thirty pages, twenty-four of which belong to the Danse Macabre, and six to the Trois morts et les trois vifs.
On the authority of the above expression, “composée,” and also on that of La Croix du Maine, Marchant has been made the author as well as the printer of the work; but M. De la Monnoye is not of that opinion, nor indeed is there any other metrical composition by this printer known to exist.
3. “La Danse Macabre des femmes, &c. Paris, par Guyot Marchant, 1486, le septieme jour de Juillet,” small folio, of fifteen leaves only. This is the first edition of the Macaber Dance of females; and though thirty-two of them are described, the Queen and Duchess only are engraved. See No. 6 for the rest. This and the preceding edition are also particularly described by Messrs. Champollion Figeac and Peignot.
4. “Chorea ab eximio Macabro versibus Alemanicis edita, et a Petro Desrey emendata. Parisiis per magistrum Guidonem Mercatorem pro Godeffrido de Marnef. 1490,” folio. Papillon thought the cuts were in the manner of the French artist Jollat, but without foundation, for they are much superior to any work by that artist, and of considerable merit.
5. “La nouvelle Danse Macabre des hommes dicte miroer salutaire de toutes gens et de touts etats, &c. Paris, Guyot Marchant. 1490.” folio.
6. “La Danse Macabre des femmes, toute hystoriée et augmentée de nouveaulx personnages, &c. Paris, Guyot Marchant, le 2 Mai, 1491,” folio. This edition, the second of the Dance of females, has all the cuts with other additions. The list of the figures is in Peignot, but with some doubts on the accuracy of his description.
7. An edition in the Low German dialect was printed at Lubeck, 1496, according to Vonder Hagen in his Deutschen Poesie, p. 459, who likewise mentions a Low German edition in prose, at the beginning of the 15th (he must mean 16th) century. He adds, that he has copied one page with cuts from Kindeling’s Remains, but he does not say in what work.
8. “La grant Danse Macabre des hommes et des femmes hystorice et augmentée de beaulx dits en Latin, &c. &c. Le tout composé en ryme Francoise et accompagné de figures. Lyon, le xviii jour de Fevrier, l’an 1499,” folio. This is supposed to be the first edition that contains both the men and the women.
9. There is a very singular work, intitled “Icy est le compost et kalendrier des Bergeres, &c. Imprimè à Paris en lostel de beauregart en la rue Cloppin à lenseigne du roy Prestre Jhan. ou quel lieu sont à vendre, ou au lyon dargent en la rue Sainct Jaques.” At the end, “Imprimè à Paris par Guy Marchant maistre es ars ou lieu susdit. Le xvii iour daoust mil cccciiiixx·xix.” This extremely rare volume is in the British Museum, and is mentioned by Dr. Dibdin, in vol. ii. p. 530 of his edition of Ames’s typographical antiquities, and probably nowhere else. It is embellished with the same fine cuts that relate to the females in the edition of the Macaber Dance, Nos. 4 and 11. The work begins with the words “Deux jeunes Bergeres seulettes,” and appears to have been composed for females only, differing very materially from the well-known “Kalendrier des Bergers,” though including matter common to both.
10. “Chorea ab eximio Macabro versibus Alemanicis edita et à Petro Desrey Trecacio quodam oratore nuper emendata. Parisiis per Magistrum Guidonem Mercatorem pro Godeffrido Marnef. 15 Octob. 1499,” folio, with cuts.
11. “La Danse Macabre, &c. Ant. Verard, no date, but about 1500,” small folio. A vellum copy of this rare edition is described by M. Van Praet in his catalogue of vellum books in the royal library at Paris. A copy is in the Archb. Cant. library at Lambeth.
12. “La Danse Macabre, &c. Ant. Verard, no date, but about 1500,” folio. Some variations from No. 9 are pointed out by M. Van Praet. This magnificent volume on vellum, and bound in velvet, came from the library at Blois. It is a very large and thin folio, consisting of three or four leaves only, printed on pasteboard, with four pages or compartments on each leaf. The cuts are illuminated in the usual manner of Verard’s books. In the beginning it is marked “Marolles, No. 1601.” It is probably imperfect, the fool not being among the figures, and all the females are wanting, though, perhaps, not originally in this edition. It is in the royal library at Paris, where there is another copy of the work printed by Verard, with coloured prints, but differing materially from the other in the press-work. It is a common-sized folio, and was purchased at the sale of the Count Macarthy’s books.87
13. “La grant Danse Macabre des hommes et des femmes, &c. Imprimèe à Troyes par Nicolas Le Rouge demourant en la grant rue à l’enseigne de Venise auprès la belle croix.” No date, folio. With very clever wood-cuts, probably the same as in the edition of 1490; and if so, they differ much from the manner of Jollat, and have not his well-known mark.
14. “La grant Danse Macabre des hommes et des femmes, &c. Rouen, Guillaume de la Mare.” No date, 4to. with cuts, and in the Roman letter.
15.
And see a portion of Orgagna’s painting at the Campo Santo at Pisa, mentioned before in p. 33.
From the Author’s own inspection.