II. Another edition of the same cuts. The title-page of the copy here described is unfortunately lost. It has a dedication in Latin to three patricians of Frankfort on the Maine by Daniel Meisner à Commenthaw, Boh. Poet. L. C. dated, according to the Roman capitals, in a passage from Psalm 46, in the year 1623. This is followed by the Latin epigram, or address to the reader, by Geo. Æmylius, whose translations of the original French couplets are also given, as well as the originals themselves. These are printed on pages opposite to the subjects, but they are often very carelessly transposed. At the end the date 1623 is twice repeated by means of the Roman capitals in two verses from Psalms 78 and 63, the one German, the other Latin. 12mo.
III. “Icones Mortis sexaginta imaginibus totidemque inscriptionibus insignitæ, versibus quoque Latinis et novis Germanicis illustratæ. Vorbildungen desz Todtes. In sechtzig figuren durch alle Stande und Geschlechte, derselbigen nichtige Sterblichkeit furzuweisen, aus gebruckt, und mit so viel ubors schriffren, auch Lateinischen und neuen Teutschen Verszlein erklaret. Durch Johann Vogel. Bey Paulus Fursten Kunsthandlern zu finden.” On the back of this printed title is an engraving of a hand issuing from the clouds and holding a pair of scales, in one of which is a scull, in the other a Papal tiara, sceptre, &c. weighing down the scull. On the beam of the scales an hour glass and an open book with Arabic numerals. In the distance, at bottom, is seen a traveller reposing in a shed. Above is a label, inscribed “Metas et tempora libro,” and below, “Ich Wage ziel und zeitten ab.” Then follows a neatly engraved and regular title-page. At top, a winged scull surmounted with an hour-glass, and crossed with a spade and scythe. At bottom, three figures of Death sitting on the ground; one of them plays on a hautboy, or trumpet, another on a bagpipe, and the third has a drum behind him. The middle exhibits a circular Dance of Death leading by the hand persons of all ranks from the Emperor downwards. In the centre of this circle “Toden Tantz zu finden bey Paulus Furst Kunst handlern,” and quite at the bottom of the page, “G. Stra. in. A. Khol fecit.” Next comes an exhortation on Death to the reader in Latin verse, followed by several poems in German and Latin, those in German signed G. P. H. Immediately afterwards, and before the first cut of the work is another elegantly engraved frontispiece representing an arched gate of stone surmounted with three sculls of a Pope, a Cardinal, and a King, between a vase of flowers on the right, and a pot of incense, a cock standing near it, on the left. On the keystone of the gate are two tilting lances in saltier, to which a shield and helmet are suspended. Through the arch is seen a chamber, in which there seems to be a bier, and near it a cross. On the left of the gate is a niche with a scull and bones in it. Below are two large figures of Death. That on the left has a wreath of flowers round its head, and is beating a bell with a bone. Under him is an owl, and on the side of his left knee a scythe. The other Death has a cap and feather, in his right hand an hour-glass, the left pointing to the opposite figure. On the ground between them, a bow, a quiver of arrows and a dart. On the left inner side of the gate a pot with holy water is suspended to a ring, the sprinkler being a bone. Further on, within the gate, is a flat stone, on which are several sculls and bones, a snake biting one of the sculls. On the right hand corner at bottom is the letter
, perhaps the mark of the unknown engraver. The explanations on the pages opposite to each print are in German and Latin verses, the latter by Æmylius, with occasional variations. This edition has the sixty prints in the two preceding Nos. some of them having been retouched; and the cut of the King at table, No. 9, is by a different engraver from the artist of the same No. in the preceding 4to. edition, No. I. The present edition has also an additional engraving at the end, representing a gate, within which are seen several sculls and bones, other sculls in a niche, and in the distance a cemetery with coffins and crosses. Over the gate a scull on each side, and on the outer edge of the arch is the inscription, “Quis Rex, quis subditus hic est?” At bottom,
| Hie sage wer es sagen kan | Here let tell who may: |
| Wer konig sey? wer unterthan. | Or, which be the king? which the subject? |
| Paulus Furst Excu. | |
The whole of the print in a border of sculls, bones, snakes, toads, and a lizard. Opposite to it the date 1647 is to be gathered from the Roman capitals in two scriptural quotations, the one in Latin, the other in German, ending with this colophon, “Gedrucht zu Nuremberg durch Christoff Lochner. In Verlegung Paul Fursten Kunsthandlern allda.” 12mo.
IV. A set of engravings, 8 inches by 8, of which the subject of the Pedlar, only has occurred on the present occasion. Instead of the trump-marine, which one of the Deaths plays on in the original cut, this artist has substituted a violin, and added a landscape in the back-ground. Below are these verses:
La Mort.
Sus? cesse ton traficq, car il fault à ceste heure
Que tu sente l’effort de mon dard asseré.
Tu as assez vescu, il est temps que tu meure,
Mon coup inevitable est pour toy preparé.
Le Marchant.
Et de grace pardon, arreste ta cholere.
Je suis pauvre marchant appaise ta rigueur.
Permete qu’encore un temps je vive en ceste terre:
Et puis tu recevras l’offrande de mon cœur.
V. A set of thirty etchings by Wenceslaus Hollar, within elegant frames or borders designed by Diepenbecke, of which there are three varieties. The first of these has at the top a coffin with tapers, at bottom, Death lying prostrate. The sides have figures of time and eternity. At bottom, Ab. Diepenbecke inv. W. Hollar fecit. The second has at top a Death’s head crowned with the Papal tiara; at bottom, a Death’s head with cross-bones on a tablet, accompanied by a saw, a globe, armour, a gun, a drum, &c. On the sides are Hercules and Minerva. At bottom, Ab. Diepenbecke inv. W. Hollar fecit, 1651. The third has at top a Death’s head, an hour-glass winged between two boys; at bottom, a Death’s head and cross-bones on a tablet between two boys holding hour-glasses. On the sides, Democritus and Heraclitus with fools’ caps. This border has no inscription below. As these etchings are not numbered, the original arrangement of them cannot be ascertained. The names of Diepenbecke and Hollar are at the bottom of several of the borders, &c. On the subject of the Queen is the mark
