No. X. “Heures à l’usage de ... Ant. Verard,” 1509, 8vo. with the same Danse Macabre.
No. XI. “Heures à l’usaige d’Angers. Simon Vostre,” 1510, 8vo. With the same Danse Macabre. Particularly described by M. Peignot.
No. XII. “Heures à l’usaige de Rome. Guil. Godar,” 1510, large 8vo. vellum illuminated. A magnificent book. It contains the Danse Macabre as in No. I. But it is remarkable for a third Dance of Death on the margins at bottom, consisting of small compartments with a single figure, but unaccompanied in the usual manner by Death, who, in various shapes and attitudes, is occasionally introduced. The characters are the following, without the arrangement commonly observed, and here given in the order in which they occur. 1. La Prieuse. 2. La Garde dacouche. 3. L’Abesse. 4. Le Promoteur. 5. Le Conestable. 6. Le Moine, without a label. 7. La Vielle Demoiselle. 8. La Baillive. 9. La Duchesse. 10. Le Sergent. 11. La Nourrice. 12. La femme du Chevallier. 13. La Damoiselle. 14. Le Maistre descole. 15. La Femme du village. 16. La Rescomanderese. 17. La Revenderese. 18. Le Laboureur. 19. La Bourgoise. 20. L’Usurier. 21. Le Pelerin. 22. Le Berger. 23. La Religieuse. 24. L’Home d’armes. 25. La Sorciere. 26. Le Petit enfant. 27. Le Clerc. 28. Le Patriarche. 29. Le Cardinal. 30. L’Empereur. 31. Le Roy. 32. La Marchande. 33. Le Curé. 34. La Theologienne. 35. La Jeune fille. 36. Le Sot. 37. Le Hallebardier. 38. La Pucelle vierge. 39. L’Hermite. 40. L’Escuier. 41. La Chamberiere. 42. La Femme de lescuier. 43. La Cordeliere. 44. La Femme veuve. 45. Le Chartreux. 46. La Royne. 47. La Regente. 48. La Bergere. 49. L’Advocat. 50. L’Espousée. 51. La Femme amoureuse. 52. La Nouvelle Mariee. 53. Le Medecin. Wherever the figure of Death is introduced, he is accompanied with the motto “Amort, amort.”
No. XIII. “Hore ad usum Romanum. Thielman Kerver,” 1511, 8vo. Vellum, with the Danse Macabre.
No. XIV. “Heures à l’usage de Langres. Simon Vostre,” 1512, 8vo. In the possession of Mons. G. M. Raymond, who has described it in Millin’s “Magazin Encyclopédique,” 1814, tom. iii. p. 13. Mentioned also by M. Peignot.
No. XV. “Heures à l’usage de Paris. Simon Vostre,” 1515, 8vo. With the Danse Macabre, and the other mentioned in No. I.
No. XVI. “Heures de Nostre Dame à l’usage de Troyes.” Th. Englard, pour G. Goderet, vers 1520. Vellum. Described by M. Peignot.
No. XVII. “Hore ad usum Romanum. Thielman Kerver,” 1526, 8vo. Vellum. A beautiful volume. Prefixed to the Danse Macabre are two prints of the Trois morts et trois vifs.
In all the above Horæ the Macaber Dance is represented nearly alike in design, the variations being chiefly in the attitudes of the figures, which are cut on different blocks, except in a few instances where the printers have borrowed the latter from each other. Thus Vostre uses Verard’s, and Pigouchet Godar’s. The number of the subjects also varies, Vostre and Kerver having more than Verard, Godar, and Pigouchet.
Exceptions to the above manner of representing the Macaber Dance, occur in two Horæ of singular rarity, and which are therefore worthy of particular notice.