who kneels to kiss his toe. But the successor of St. Peter does not see, as he sits upon his throne, giving authority and sanction to the ruler of an empire, that a skeleton leans from behind that throne, and grins in his face, and that another in a cardinal's hat mingles with the throng before him.
The seventh is one of the finest of the series. An Emperor is enthroned, with his courtiers round him. He is threatening one with his sword for some act of injustice from which a poor peasant who kneels before him has suffered. But, unseen by all, a skeleton bestrides the shoulders of the monarch and lays his hand upon his very crown. There can be no doubt that Shakspeare had this subject in his mind when he wrote that fine passage in "King Richard the Second,"—
"Within the hollow crown
That rounds the mortal temples of a king
Keeps Death his court; and there the antic sits,
Scoffing his state and grinning at his pomp;
Allowing him a breath, a little scene
To monarchize, be feared, and kill with looks;
Infusing him with self and vain conceit,
As if this flesh which walls about our life
Were brass impregnable; and humored thus,
Comes at the last, and with a little pin
Bores through his castle wall, and—farewell, King!"
In the eighth we see a King (it is unmistakably Francis I.) dining under a canopy, and served by a splendid retinue. He stretches out his hand to receive a wine-cup; for he does not see that Death is filling it.
A Cardinal appears in the ninth, selling an indulgence for a heavy bribe; and we all rejoice to see that Death has laid hands upon his hat,—the symbol of his rank,—and is about to tear it from his head.
In the tenth, an Empress, passing through her palace-yard, attended by her ladies, is led by the favorite on whom she leans, and who she does not see is Death, into an open grave.
Death, in the next, has assumed the guise of a Court Fool, and has seized a Queen at the very gate of her palace. She recognizes him, and struggles, shrieking, to free herself from his grasp; but in vain. With a grin of fierce delight, he lifts up his hour-glass before her, and, in spite of her resistance and that of a gentleman who attends her, is about to bear her off. Every line of this composition is instinct with life.
In the twelfth, Death carries off a Bishop from his flock.
In the thirteenth, an Elector of the Empire, surrounded by his retinue, is approached by a poor woman, who begs his aid in behalf of herself and her child; he repulses her scornfully; for he does not see that Death, the avenger of the oppressed poor, and who is here crowned with oak-leaves, has laid his gripe upon him. Holbein has put such an expression of power into the arm and of wrath into the face of this skeleton, that we expect to see his victim haled off into the air before our very eyes.
The Abbot and the Abbess are the subjects of the next two cuts. In the former, Death has assumed the mitre and the crosier of his victim, and drags him off with such an expression of fun and burlesque pomp as we sometimes see in the face of a mischievous boy who mocks his betters. In the companion group his look is that of a demon; and with his head fantastically dressed, he drags the Abbess off by the scapulary which hangs from her neck.
A Nobleman and a Canon are his prey in the sixteenth and seventeenth groups. We lack space to describe any but the most remarkable with particularity.
The satire of the next three is levelled against the Lawyers, who were held in such little respect in Bâle. They show a Judge who takes a bribe from a rich to wrong a poor suitor, and a Counsellor and an Advocate who lend their talents to wealthy clients, but turn their backs upon the poor victims of "the oppressor's wrong." In one, a demon is blowing suggestions into the Counsellor's ear from a pair of bellows, which he has doubtless used elsewhere for other purposes; in all, Death stands ready to avenge the poor.
In the twenty-first, a Preacher addresses a Congregation, whose interested attention the painter has portrayed with great skill, knowledge of character, and consequent variety and truth of expression. Behind the Preacher stands Death, and, with a kind of grotesque practical pun, holds the jaw of a skeleton over his head, as far more eloquent than his own.
A Priest and a Mendicant Friar are the subjects of the twenty-second and twenty-third.
The twenty-fourth is of peculiar interest. In it we see a youthful Nun, who, it is clear, has taken her vows too hastily, kneeling before the oratory in her cell. But her heart is not in her devotions; for the lover whom she abandoned has made his way into the apartment, and sits on her bed singing to his lute. Her hands are clasped, not in prayer, but in an agony of love and apprehension. She turns from the crucifix to gaze at him; and we see how the interview will end: for an aged female attendant, in coif and scapulary, leans over to extinguish the candles. We see, too, what its consequence will be; for that attendant is Death.
Among the remaining subjects, which we cannot examine particularly, or in their order, are those of the Old Man and Old Woman led by Death, each to the sound of a dulcimer;—the Physician, to whom in mockery Death himself brings a patient;—the Astronomer, to whom the skeleton offers a skull in place of a celestial globe;—the Miser, from whom Death snatches his hoarded gold; and the Merchant, whom the same inexorable hand tears away from his ships and his merchandise;—the storm-tossed ship, with Death snapping the mast;—a Count, dressed in the extreme of courtly splendor, who recognizes Death in the disguise of a peasant who has flung down his flail to seize his lordship's emblazoned shield and dash it to pieces;—a Duchess, whom one skeleton drags rudely from her canopied bed, while another scrapes upon a violin;—a Peddler;—a Ploughman, of whose four-horse team Death is the driver;—Gamblers, Drunkards, and Robbers, all interrupted in their wickedness by Death;—a Wagoner, whose wagon, horse, and load have been tumbled in a ruinous heap by a pair of skeletons;—a Blind Beggar, who stumbles over a stony path after Death, who is his deceitful leader, and who turns back with a look of malicious glee to see his bewilderment and suffering;—and a Court Fool, whom Death, playing on bagpipes, and dancing, approaches, and, plucking him by the garment, wins him, with a coaxing leer, to join his pastime.
A few others claim our more particular attention. Among them is a Knight, armed cap-a-pie, who is run through and through, from back to front, by Death, himself half armed in mockery. There is a concentrated vigor in the thrust of the lance, and a cool venom in the countenance of the assailant, that we may seek in vain in the works of famous battle-painters; and it must always be remembered that Holbein's figure is entirely without those indications of muscular movement by which we express our feelings,—in fact, a mere bare-boned skeleton.
A Bride at her wedding-toilet, whom Holbein has contrived to make almost beautiful, receives a robe from one attendant; another clasps round her neck a collar—of gold and jewels? No,—of bones, and with bony fingers. And the next cut to this shows us the Bridegroom and Bride walking through an apartment hung with arras, while before them dances Death, beating a tabor, like a child beside himself with joy.
One of the finest and most touching conceptions in the whole series represents a dilapidated Cottage,—a mere shanty, so wretched that the love of those who live in it is all their happiness,—nay, all their comfort. The mother is preparing for two little children the simplest and poorest of meals, at a fire made of a few small sticks. She finds consolation in the very pranks that hinder her humble task. Death enters,—there is no door to keep him out,—and, seizing the hand of the younger child, who turns and stretches out the other imploringly to his mother, carries him off, remorseless and exulting, leaving her frantic with grief. We may look with comparative indifference, and sometimes even with sympathy, upon his other feats,—but who is there
