The Atlantic Monthly, Volume 03, No. 17, March, 1859

The Dance of Death was performed by a large company dressed in the costumes of various classes of society, which were then very marked in their difference. One by one the dancers suddenly and silently slipped off, thus typifying the departure of all mankind at Death's summons. That this Dance was performed, not only with the consent, but by the procurement of the clergy, is made certain by the discovery, in the archives of the Cathedral of Besançon, of the account of the payment of four measures of wine by the seneschal to those persons who performed the Dance Macabre on the 10th of July, 1453.

The moral lesson conveyed by this strange pastime or ceremony seems hardly calculated to secure for it a noteworthy popularity in any age; but for a long time it was, either as a ceremony or as a picture, very popular throughout Europe. We know of forty-four places in which it was painted or sculptured in some large public building, the oldest example being that at Little Bâle, which was painted in 1312. This, like that in Great Bâle, and most of the others, has been destroyed by time or violence. The Dance was made the ornament of books of devotion, and the subject of ornamental initial-letters; groups from it were engraved repeatedly by those fantastic designers and exquisite workmen known as the Little Masters of Germany; a single group was assumed as a device, or trademark, by more than one printer; and it was sung in popular ballads. There is now at Aix-la-Chapelle a huge state-bed-stead, on the posts, sides, and footboards of which it is elaborately carved, in the manner of the sixteenth century; and it was even made the ornament of ladies' fans.

The reasons for this popularity were a certain strange fascination in the subject,—yet not so strange at a time when women would crowd to see men burned or hanged and quartered;—but chiefly, the grand democratic significance of the dance. Death has ever been, and ever will be, the greatest leveller; and at a time when rank had an importance and bestowed advantages of which we can form little idea, while at the same time men had begun to ask why this should be, such a satire as this Dance of Death, sanctioned by the Church, that great protector of established rights and dignities, and yet sparing neither noble nor hierarch, not even the Pope himself, satisfied an eager craving in the breast of poor, envious, self-asserting human nature. In one of those ornamental initial-letters above mentioned, the date of which was some years prior to the execution of Holbein's Dance, Death appears as a grave-digger, and lifts on his spade, out of the grave which he is making, two skulls, one crowned, the other covered with a peasant's hat. He grins with savage glee at seeing these remnants of the two extremes of society side by side; and underneath them, on the shovel, is written Idem,—"The Same." In this word is the key to the popularity of the Dance.

The most important and interesting of these pictured Dances of Death were those at Bâle, at Strasbourg, and at Rouen. That at Bâle consisted of thirty-nine groups, in the first three of which appear a Pope, an Emperor, and a King. These were portraits of Pope Felix V., the Emperor Sigismund, and King Albert II., of Rome, all of whom were present at the Council, by whose order, as we have seen, the Dance was painted. The last group of this Dance shows the seizure of the painter's child by Death. It having been almost destroyed by time, the wall on which it was painted was torn down about a hundred years ago; but engravings had been made of it in the latter part of the seventeenth century. The Dance at Strasbourg, like that at Bâle, and many others, was on the wall of a Dominican convent. It was painted in arched compartments, and is peculiar in that its groups consist of many figures, among whom Death intrudes, and carries off one, generally the principal personage of the company. It was painted about 1450, and probably by the eminent German painter, Martin Schongauer; but having been utterly neglected and forgotten, it was finally plastered over, no one knows when. In repairing the church in 1824, it was accidentally discovered, and carefully exposed; but it was so much injured that it fell into decay soon after drawings had been made from it.

The Dance at Rouen was in the still existing Cemetery of St. Maclou, and was not a painting, but a sculpture. It was not entirely completed until 1526. The cemetery is surrounded by a covered gallery open on the inside, where it was supported by thirty-nine columns, distant about eleven feet from each other. Thirty-one of these still exist; and upon the shaft of all but four of them, on the side facing the court of the cemetery, is sculptured, in high relief, a group of two figures,—one a living personage, and the other the cadaverous body by which Death was represented. On the remainder were sculptured the Christian Virtues and the Fates,—two on each column. The capitals of these columns are decorated with figures quite in another manner. Cupids, naked female figures, grotesque masks, and shapes—human and bestial—are ingeniously substituted for the foliage usually found on that part of a column. The execution of these figures is of quite a high order. They have all been sadly mutilated; but, fortunately, that which has suffered least is a beautiful figure of Eve. Her head is gone; but the flowing lines of the lovely torso are unbroken, and the round and graceful limbs are almost as perfect as when they came from the sculptor's chisel. This figure is so like the Venus de Medici that it might have been copied from it.

But what is Eve doing in a Dance of Death? Alas! she took the first step of that dance in Paradise, and the artists of the olden time did not deprive her of her due precedence. She leads the Dance, but with this difference from those who follow her:—they, cowering and muffled, go off the scene with Death; she, upright in her naked innocence and beauty, brings him on. Poor Eve! she had her punishment and made her atonement to man for leading him to death, in becoming the source and the joy and solace of his life; but it was not for the artists of the Dance of Death to embody this phase of her existence. So essential a part of the Dance is the temptation of Eve, that the whole subject was concentrated into the representation of that event by a German engraver, in this singular manner:—Adam and Eve stand by the Tree of Knowledge, around which twines the serpent, from whom Eve is receiving the apple; but the trunk of the tree is formed by the twisted legs and the ribs of a skeleton, from the head and the outstretched arms of which spring the branches and the foliage. It is worthy of remark, that many painters, the greatest of them (Raphael) at their head, have represented the tempter of Eden as a beautiful woman, whose body terminates in a serpent. It was a mistake on their part to do so. They knew how much of the Devil a woman might have in her, and how irresistible a temptress she is; but they forgot, that, on this occasion, woman, not man, was tempted.

There was a Dance of Death in Old St. Paul's Church, in London,—the one burned down in the Great Fire; and another in the beautiful little parish church of Stratford-on-Avon,—but this, too, has disappeared. It is interesting to know that they were there, and that Shakspeare saw them; for he has woven some of the thoughts that they awakened in his mind into a noble passage in one of his historical plays. We shall recur to it in examining Holbein's Dance.

The Dance was represented, and still exists, in one very singular place. At Lucerne, in Switzerland, it appears upon a covered bridge, in the triangles formed by the beams which support the roof. The groups, of which there are thirty-six, are double, looking away from each other, and are so arranged, that the passenger, on entering the bridge, has before him a long array of these grotesque and gloomy pictures. The motive for placing the Dance in such a place is unknown, and it is difficult to conjecture what it was. It could hardly have been to enforce the old adage,—Speak well of the bridge that carries you over.

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While we have been thus endeavoring to discover the origin of the Dance of Death, what it was, and what it meant, Holbein has been waiting more patiently than he was wont, for us to see who he was, and why the Dance, which was known three hundred years at least before he was born, is now universally spoken of as his.

Hans Holbein, the greatest painter of the German school, came honestly by his talent and his name. He was the son of Hans Holbein, a painter, who was the son of another Hans Holbein, also a painter. The first Hans was a poor painter; the second a good one; and the third so great, that the world, when it speaks their common name, means only him. The father and grandfather were born at Augsburg, in Bavaria, and of late years it has been asserted by mousing antiquaries that the grandson was born there too; but this, perhaps, is not quite certain; and it is much pleasanter to adhere to the ancient faith, and believe that he was born at that strange old Bâle, in sight of that great Dance, the reproduction, or rather recreation, of which was to make so great a part of his fame,—especially as he was quite surely an inhabitant of the town at such tender years, that the veriest Know-Nothing in the place would not have deprived him of his citizenship.

Of Holbein's life we unfortunately know very little. He showed his talent early, as all the great painters have done. Conscious of his abilities, he devoted himself eagerly to the study of the profession to which his genius urged him. He learned not only painting, but engraving, the sculpture of metals, and architecture; and of all these, it will be remembered, Bâle offered him facilities for study, in examples which must have stimulated both his imagination and his ambition. He did not lack encouragement; for the nobles and burghers of Bâle had begun to acquire a taste for the arts, which their ruder fathers contemned; and they had, at this time, a university in their city, which made them acquainted with Cicero and the orators, of whom Aeneas Sylvius found them so ignorant.

But Holbein, although eminent and well employed, did not thrive. He had some Bâlois failings, and, as Aeneas Sylvius would have said, worshipped Father Bacchus and Dame Venus with too much devotion;—not that he was a drunkard or a debauchee; but he sought in conviviality with men of talent, and in the company of beautiful women, too happy in the caresses of the great painter, who was generous with his florins, that happiness which he could not find at home. For poor Hans was afflicted with what has been the moral and social ruin of many a better, if not greater man than he—a froward, shrill-tongued wife. Luckily, however, the great scholar and philosopher, Erasmus, went into retirement at Bâle, in 1521; and he soon recognized the genius of Holbein, and became his admirer and friend. By his advice, and at the solicitation of an English nobleman, and, poor fellow, seeking refuge from the temper of his wife, whom even the sweet cares of maternity could not mollify, Holbein determined to leave Bâle for England. What was the great cause of Frau Holbein's tantrums,—whether Hans's ears were pierced with conjugal clamors, as poor Albert Dürer's, the other great German painter's, were, because he could not supply all his wife's demands for money, to enable her, perhaps, to exhibit herself at church on holy days in one of those precious pulpits, splendid in velvet and jewels, to the discomfiture of the other painters' wives,—we do not know; but whatever was the cause of her oft-recurring outbreaks, they made him not unwilling to put France and the English Channel between himself and her, his children, and the home of his childhood.

He gave out, at first, that his absence from Bâle would be temporary,—only for the purpose of raising the value of his works, by making them more difficult to obtain. Before he went, he finished and sent home a portrait on which he was engaged. It was one of his best pictures; and the person for whom it was painted, lost for a while in admiration of its beauty, noticed at last that a fly, which had settled upon the forehead, remained there motionless. He stepped up to brush the insect away, and found that it was a part of the picture. This story has, since Holbein's time, been told of many painters,—among others, of Benjamin West. Such a piece of mere imitation should have added nothing to the reputation of a painter of Holbein's powers; but the story was soon told all over Bâle, and orders were given to prevent the loss to the city of so great an artist. But Holbein had quietly gone off, furnished with letters of introduction from Erasmus, who wrote in one of them that in Bâle the arts were chilled; which might well be true of a place where so much ado was made about the painting of a fly.

In England, Holbein found a friend and patron in Sir Thomas More,—Henry the Eighth's great Lord Chancellor; and a sight of some of his works won him, ere long, the favor of the King himself. He was appointed Court Painter, with apartments at the palace, and a yearly salary of two hundred florins, (or thirty pounds, equal to about two hundred pounds now,) which he received in addition to the price of his pictures. After about three years of prosperity he went home to his wife and children; but as he soon returned to England, we may safely conclude that his visit was to provide for the latter, and with no hope of living with the former. Some years after, in 1538, when his fame was still increasing, the city of Bâle, proud of its son, offered him a handsome annuity, in the hope that that might induce him to return to his country, his children, and his wife. But he could not be tempted. Though not the wisest of men, he was Solomon enough to know that "it is better to dwell in a corner of the house-top than with a brawling woman and in a wide house"; and as he was successful and held in honor in England as well as Bâle, he contented himself with a corner of King Henry's palace.

But although he fled from his wife, he painted her portrait; and we need no testimony to warrant the likeness. She is the very type of one of those meek shrews, alternately a martyr and a fury, that drive a man to madness when they speak and to despair when they are silent. We might reasonably wonder that he would paint so vivid a representation of that which he so sedulously shunned. But poor Hans, who probably had some lingering remains of his early love, knew, that, although he should make a speaking likeness, it would be a silent one, and that this Frau Holbein must keep the look which he chose to summon to her face. That, indeed, was knowledge that was power! How he must have chuckled as he saw his wife looking at him more natural than life and yet without the power to worry him! His own portrait shows us a broad, good-natured, ruddy face, in which we see marks of talent when we know that it is Holbein's. But in spite of its strength, its bronze, and its beard, it has a somewhat sad and subdued air; and its heavy-lidded, pensive eyes look deprecatingly at a Frau Holbein in the distance.

While he lived at Greenwich palace, an incident occurred which may not be known to all our readers, and which is a striking illustration of the esteem in which he was held by Henry. It is not a little to the honor of that monarch, who, arbitrary and sensual as he was, had some noble traits of character. One day, as Holbein was painting a lady's portrait in his private studio, a nobleman intruded upon him rudely. Holbein resented the discourtesy, and, as it was doggedly persisted in, finally threw my lord downstairs. There was an outcry; and the painter, bolting his door on the inside, escaped from his window along the eaves of the roof, and, making his way directly to the King, threw himself before him and begged a pardon, without telling his offence. Henry promised forgiveness on condition of a full confession, which the painter began. But meantime the nobleman arrived, and Henry, in deference to his rank, gave him precedence, and stepped into another apartment to hear his story. He accused Holbein of the violence, but suppressed the provocation; whereat Henry broke into a towering Tudor rage, and, after reproaching the nobleman for his prevarication, said, "You have to do with me, Sir. I tell you, that of seven peasants I could make seven earls like you; but of seven earls I could not make one Holbein. Do not molest him, if you value your head." And as second-hand heads, though plentiful about those days, were found to be of no value, even to the original owner, Holbein remained unmolested.

Holbein is known chiefly by his portraits. He painted some historical and sacred pictures; but though they all bear witness to his genius, it can hardly be denied that they also show that that genius was not suited to such works. Holbein had an objective perception;—that is, his mind received impressions entirely uninfluenced by its own character or condition; and his pictures, therefore, seem like literal transcripts of what was before his eyes. He nowhere shows that he had an idea of abstract beauty, or the power of generalizing from individuals, or that he was at all discontented with the subjects which he painted; so that his works leave an impression of absolute faithfulness. But to suppose, therefore, that his portraits have merely the merit of reproducing the external facts of Nature, like photographs, would do him wrong; for he was faithful to expression as well as form, and has perpetuated upon his canvas the voluptuous sweetness of Anne Boleyn, the courtliness and manly grace of Wyatt, and the severity, the energy, and the penetrating judgment of Sir Thomas More. His portrait of the last is one of the greatest portraits ever painted. Some competent critics consider it the greatest. It is so real, so human, that we might be well content, if one in twenty of the actual men we meet were half as real and human; and it expresses, with equal strength and subtilty, the large and noble nature of the man. Holbein was a great colorist, and imitated all the rich and tender hues of Nature, in their delicate and almost imperceptible gradations, with a minute truthfulness which is quite marvellous.

This being the character of his mind, it would hardly be supposed that he could produce such a work as the great Dance of Death, which has caused all others to be forgotten, except by antiquarians. For this Dance is the most remarkable embodiment in Art of that fantastic and grotesque idealism which has found its best expression in the works of German poets and painters; and the preëminence of Holbein's over all the other representations of the same subject consists in this,—that, while they are but a dull and formal succession of mere costumed figures seized by a corpse and shrinking away from its touch, Holbein's groups are instinct with life, character, and emotion. In particular is this true of the figure of Death, although it is a mere skeleton,—the face without a muscle, and for the eye but a rayless cavern. Death is not one whom "a limner would love to paint or a lady to look upon"; but Holbein has given a strange and fascinating interest to the figure, which in all other hands is merely repulsive. The grim monarch sat to a painter who not only added to the truthfulness of his portrait the charm of poetic feeling, but the magic touch of whose pencil made his dry bones live.

The insignificance of the material in which the painter worked, when compared with the effect which he produced, is also remarkable in this unique work of Art. For Holbein's Dance of Death is not, like the others, either a great fresco painting, or a series of sculptures; it is not a painting at all,—but merely a series of very small woodcuts, fifty-three in number, forty-six of which were published at Lyons in 1538, and the whole afterwards at Bâle in 1554, under the title, Simulachres de la Mort, Icones Mortis: that is, in French and Latin, "Images of Death,"—for the title "Dance of Death" is of recent origin. The leaves on which the cuts are printed make but part of a little book not so large as a child's primer; but a copy of it is now worth ten times its weight in gold. It was copied and republished in numberless editions, as a popular book, merely for the sake of the subject, and the great lesson taught by it,—each print being accompanied by an admonitory stanza, and a quotation from the Bible. Beside these editions, endeavors have been made of later years to imitate it satisfactorily as a work of Art,—but in vain. Great as we think our advancement in the arts has been,—the mechanical part of them, at least,—all the efforts of the lithographer, the wood-cutter, and even the line-engraver, to reproduce the spirit or the very lines of this work, have been but partially successful. There is as much difference between the most carefully-executed and costliest copies and good impressions of the original wood-cuts, made three hundred years ago, and sold for a franc or two, as there is between pinchbeck and gold.

Any attempt to reproduce the effect of those groups in words can hardly fail to fall equally short of the mark; but we will tell our readers what they are, and endeavor to give some notion of their purpose and spirit.

The first shows the Creation of Woman;—we have seen before why she is made thus prominent in the Dance. The composition is crowded with the denizens of the earth, the air, and the water; the sun, the moon, and the stars all appear; the four winds of heaven issue from the laboring cheeks of figures that impersonate them. The Creator, in the form of an aged man in royal robes, and wearing the imperial crown, lifts Eve bodily from the side of the sleeping Adam.

The second represents the Temptation. Eve reclines upon the ground, and shows Adam the fruit which she has plucked. Adam stands grasping the tree with his left hand, and raises his right to gather for himself. The serpent, who looks down upon Eve, has the face and body of a woman. The forms in this group are fine; Adam's is remarkable for its symmetry and grace; but Eve's face is ignoble. Indeed, Holbein, like Rembrandt, seems to have been incapable of an idea of female beauty.

In the third we see the Expulsion from Paradise; and here the Dance begins. Our guilty parents fly before the flaming sword,—poor Eve cowering, and her hair streaming in a wavy flood upon the wind; and before them, but unseen, Death leaps and curvets to the sound of a vielle or rote,—an old musical stringed instrument,—which he has hung about his neck. His glee, as he leads forth his victims into the valley where his shadow lies, is perceptible in every line of his angular anatomy; his very toes curl up like those of a baby in its merriment.

In the fourth, Adam has begun to till the ground. The pioneer of his race, he is uprooting a huge tree, all unconscious that another figure is laboring at his side. It is not Eve, who sits in the background with her first-born at her breast and her distaff by her side,—but Death, who, with a huge lever in his bony gripe, goes at his work with a fierce energy which puts the efforts of his muscular companion to shame. The people of Holbein's day not only saw in this subject the beginning of that toil which is the lot of humankind, but, as they looked upon the common ancestors of all men, laboring for the means of life, they asked, in the words of an old distich,—

"When Adam delved and Eve span,
Where was then the gentleman?"

The fifth composition seems to represent a general rejoicing over the Triumph of Death. It shows a churchyard and porch filled with skeletons, who blow trumpets of all sorts and sizes; one beats frantically upon a pair of kettle-drums, and another, wearing a woman's nightcap, with a broad frill border, plays the hurdy-gurdy.

In the sixth, a Pope, the highest earthly potentate, is in the act of crowning an Emperor, 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.