5. “Soyez tranquille, j’ai un garçon qui ne se trompe jamais.” The apothecary addresses these words to some cautious patients whilst he fills a vessel which they have brought to his shop. Death, as an apprentice in another room, pounds medicines in a mortar.
6. “Voila, Messieurs, un plat de mon metier.” A feast. Death as a waiter enters with a plate of poisonous fruit.
7. “Voulez vous monter chez moi, mon petit Monsieur, vous n’en serez pas fâché, allez.” Death, tricked out as a fille de joye with a mask, entices a youth introduced by a companion.
8. “—Pour une consultation, Docteur, j’en suis j’vous suis ...” Death in the character of an undertaker, his hearse behind, invites an old man to follow him.
9. “Oui, Madame, ce sera bien la promenade la plus delicieuse! une voiture dans le dernier goût! un cheval qui fend l’air, et le meilleur groom de France.” Death, habited as a beau, conducts a lady followed by her maid to a carriage in waiting.
XIII. The British Dance of Death, exemplified by a series of engravings from drawings by Van Assen, with explanatory and moral essays. Printed by and for George Smeeton, Royal Arcade, Pall Mall. 8vo. no date. With a frontispiece designed by Geo. Cruikshank, representing a crowned sitting Death, holding a scythe in one hand, and with the other leaning on a globe. This is circular in the middle. Over it two small compartments of Death striking an infant in the cradle, and a sick man. At bottom, two others of Death demolishing a glutton and a drunkard. A short preface states that the work is on the plan of “the celebrated designs of Holbein,” meaning of course the Lyons work, but to which it has not the smallest resemblance, and refers to Lord Orford for the mention of the Basle dance, which, as having two or sometimes three figures only, it does resemble. It then states that the late Mr. Van Assen had no intention of publishing these designs, which now appear in compliance with the wishes of many of his friends to possess them. They are very neatly engraved, and tinted in imitation of the original drawings, but are wholly destitute of that humour which might have been expected from the pencil of the ingenious inventor, and which he has manifested on many other occasions. The subjects are the following: 1. The Infant. 2. Juvenile piety. 3. The Student. 4. The Sempstress. 5. The musical Student. 6. The Dancer. 7. The female Student. 8. The Lovers. 9. The industrious Wife. 10. The Warrior. 11. The Pugilists. 12. The Glutton. 13. The Drunkard. 14. The Watchman. 15. The Fishwoman. 16. The Physician. 17. The Miser. 18. Old Age. Death with his dart is standing near all these figures, but does not seem to be noticed by any of them.
XIV. A Dance of Death in Danish rimes is mentioned in Nyerup’s “Bidragh til den Danske digtakunst historie.” 1800. 12mo.
XV. John Nixon Coleraine, an amateur, and secretary to the original Beef Stake Club, etched a dance of Death for ladies’ fans. He died only a few years ago. Published by Mr. Fores, of Piccadilly, who had the copper-plates, but of which no impressions are now remaining.