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a mere extension os the legend of SL Μacarius, or as an original and more extensive work of analomus character, to which new verses were addedisom time to time as Dein charactem were introduced, is asserted to have been of German origin, conclusion arrived at stom the laci that the Frenta and Latin verses attached to the earliest printed editions os theo Dance of Death V are stated, in more than one of the shori Presaces ortities attached to those Works, to have been translated stom the German. On the other hancl, with a view to explain the meaning of the term Μacabre, V under which the fini editions os the V Dance of Death V wereissued in France, a sew observations os an apparently opposite tenden cymay be conveniently made in this place. Fimuri is a German authoreither extended the poem os St. Μacarius, or composed another os analogous but more extensive character, it seems probable that he would, ormight, have Munded his titie on the name os the originat author, and have termed his work the Μacarian or Μachabrian Dance, as some writerson the subject have suggested a and an allusion closely bordering upon that suggestion occurs in the celebrated La Vallthre catalogue, in which aΜS. Dance of Death ' is described, with the note, On l'a dit composέPar un nommέ Macabre. ' That the spirit us German satire os the periodclid actualty run in that direction, both poeticatly and pictorially, is proVed by the works os Sebastian Brandi, whose Ship os Fools,' in Which personifications os ali the leading types of human folly are represented asembarhed in the Ship of Lise, is an allegory closely resembling, in many respecta, the Dance of Death, V while iis prosuse illustrations are notvery dissimilar in generat spirit to those belonginc to that subjeci. It is morthy of note, also, that the Ship os Fools was translated hom
merchant, alchemist, and astrologer, was also a munificent benefactor os' The Bibliophile Jacob fidicules this derivation, and jocosely suggesta in iis Stead
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entilled UVan drόn Konmen, V and Van den doden Κon en, und vanden levenden Κonigen.' There were also English versions of the legen one os whicli is preserved among the Arundet manuscripta in the BritishΜuseum. This English version os the Three Living and the Three Dead, V in addition to the interest of the subjeci, is remarkable as affordinga curious example of the English language in a transition state. Forinstance. in the rude illumination at the beonning three kings, who arerepresented M pumuing the exciting amusement of the chase in a pleasant Wo , Suddenly meet three sheletons, at the sight of which, being naturallystruck with dismay, the fidit hing is represented M Saying,-
The characters of this legend are osten changed in the disserent versions ;somelimes they are a king, a queen, and a nobleman ; somelimes threenoble youilis in gaily-broidered SuitS, and bearing richly-adorned weapons, revelling, as huntem, in the luxuries and privileges of rank and wealth. There is a very early representation of this version of the Three Livingand the Three Dead V in the church at Brie, near ΜetZ. Orcagna's celebrated Triumph os Death in the Campo Santo, at Pisa,painteo in the I4th centu , may be called an Italianiged version os this legend. The three principat figures are the three kings of the origines legend, but they are accompanted by their misi Sses, and St. Macarius himselftakes the place of the three sheletons, Showing to the living kings three open graves, in Which lie the bodies of three dead kings. In another part of the composition Death is symbolized by a semale figure iurnished with bais'wings and claws, and bearing a Scythe, With Which she Sweeps down Popes, emperors, hings, and others of ali classes. Here, then, we already find an extension os the range of the legend os St. Μacarius to ali classes, as carried out more definitely and distinctly in the PDance of Death. V which no doubi owed much os iis immediate and lasting populari ty, as preViouSty Suggested, to iis searleSS carrying out,
in a more modern and expressive som, of the well-known verses of Horace
Pallida mors aequo pulsat pede pauperum tabernaS, Regumque turres.
The more Νorthem expansion os this subjeci, whether we consider ii asa series os Stangas formi a Poem entilled ' The Dance of Death, V or as
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a mere extension os the legend of SL Μacarius, or as an original and more extensive work os analogous character, to which neW verses Were addedisom time to time as Desh charactem Were introduced, is asserted to have been of German origin,-a conclusion arrived at stom the faci that the French and Latin verses attached to the earliest printed editions os theo Dance os Death V are stated, in more than one of the inori presaceS ortities attached to those works, to have been translated hom the German. On the other hancl, with a view to explain the meaning of the term Μac re, V under whicli the fimi editions os the Dance os Death V wereissued in France, a sew observations os an apparently opposite tenden cymay be conveniently made in this place. Firstin is a German authoreither extended the poem os St. Ilacarius, or composed another os analomus but more extensive character, it seems probable that he would, ormicti, have Munded his titie on the name os the originat author, and have termed his work the Μacarian or Μachabrian Dance, M some writerson the subject have suggested a and an allusion closely bordering upon that suggestion occurs in the celebrated La Vallthre catalogue, in Whicli aΜS. Dance of Death ' is described, with the note, On l'a dit composε Par un nomm6 Μacabre.' That the spirit us German satire of the periodclid actually mn in that direction, both poeticatly and pictorially, is proved by the works of Sebastian Brandi, whose Ship os Fools,' in whicli personifications os ali the leading types os human solly are represented asembarhed in the Ship of Lise, is an allegory closely resembling, in many respecis, the Dance of Death, V while iis prosuse illustrations are notvery dissimilar in generat spirit to those belonging to that subjeci. It is Worthy of note, also, that the Ship of Fools was translated Dom
mercliant, alchemist, and astrologer, was also a munificent benefactor os' The Bibliophile Jacob ridicules this derivation, and iocosely suggesta in iis stead
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entilled Van dian Konmen,' and UVan den doden Κon en, und vanden levenden Κonigen.' There were also English versions of the legen one os which is preserved among the Arundet manuscripis in the BritishΜuseum. This English version os the Three Living and the Three Dead, V in addition to the interest of the subjeci, is remarkable as afforclinga curious example of the English language in a transition state. Forinstance. in the rude illumination at the Minning three kings, who arerepreSented as pursuing the exciting amusement of the chase in a ple ant ood, suddenly meet three sheletons, at the sight of which, being natural lystruck with dismay, the fimi hing is represented M Saying,-
The characters of this legend are osten changed in the different versions ;Sometimes they are a king, a queen, and a nobleman ; somelimes threenoble youths in gaily-broidered Suiis, and bearing richly-adomed weapons, revelling, G huntem, in the luxuries and privileges of rank and wealth. There is a very early representation of this version of the Three Livingand the Three Dead ' in the church at Brie, near Meig. Orcagna's celebrated Triumph os Death in the Campo Santo, at Pisa,painted in the 14ui century, may be called an Italianired version of this legend. The three principat figures are the three kings of the origines legend, hut they are accompanted by their mistresses, and St. Macarius himselftakes the place of the three skeletons, Showing to the living kings three open graves, in Whicli lie the bodies of three dead kings. In another part of the composition Death is symboliaed by a semale figure furnished with bais'wings and claws, and bearing a Scythe, With which she SWeeps down popes, emperore, hings, and others of ali classes. Here, then, we already find an extension os the range of the legend os St. Μacarius to ali classes, as carried out more definitely and distinctly in the PDance of Death. V which no doubi owed much os iis immediate and lasting populari ty, as previousty Suggested, to iis fearleSS carrying out,
in a more modern and expressive som, of the well-known verses of Horace-
Pallida mors aequo pulsat pede PauPerum tabernRS,
The more Νorthern expansion os this subjeci, Whether We consider ii asa series os Stangas sorming a Poem entilled ' The Dauce of Death, V or as
25쪽
a mere extension os the legend of St. Μacarius, or as an original and more extensive work of analogous character, to whicli new verses were addedfrom time to time as Dein charactem were introducta, is asserted to have been of German orion, conclusion arrived at hom the laci that the Frenin and Latin verses attached to the earliest printed editions os theo Dance os Death V are stated, in more than one of the shori prefaces ortiues attached to those Works, to have been translated stom the German. On the other hand, with a view to explain the meaning of the term Μacabre, ' under which the fimi editions of the Dance of Death V wereissued in France, a sew observations os an apparently opposite tenden cymay be conveniently made in this place. Firstin is a German authoreither extended the poem os St. blacarius, or composed another os analo- us but more extensive character, it seems probable that he would, ormicti, have Munded his titie on the name os the originat author, and have termed his work the Μacarian or Μachabrian Dance, as some writerson the subject have suggested a and an allusion closely bordering upon that suggestion occurs in the celebrated La Vallthre catalogue, in which aΜS. Dance of Death ' is described, with the note, On lya dit composέ par un nomm6 Μacabre. V That the spirit us German satire of the periodclid actually mn in that direction, both poeticatly and pictorially, is proved by the works os Sebastian Brandi, whose Ship os Fools,' in which personifications os ali the leading types of human solly are represented asembarhed in the Ship of Lise, is an allegory closely resembling, in many respecis, the Dance of Death, V while iis prosuse illustrations are notvery dissimilar in generat spirit to those belongi nil to that subjeci. It is Worthy of note, also, that the Ship os Fools was translated stom
merctant, alchemist, and astrologer, was also a munificent benefactor os' The Bibliophile Jacob ridicules this derivation, and jocosely suggesta in iis stead
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The characters of this legend are osten changed in the disserent versions ;somelimes they are a king, a queen, and a nobleman ; somelimes threenoble youilis in gaily-broidereo Suiis, and bearing richly-adomed weapons, revelling, as huntem, in the luxuries and privileges of rank and wealth. There is a very early representation of this version of the Three Livingand the Three Dead V in the church at Brie, near Μ et2. Orcagna's celebrated U Triumph os Death in the Campo Santo, at Pisa,painted in the 14th century, may be called an Italianiged version of this legend. The three principat figures are the three kings of the origines legend, but they are accompanted by their mistresses, and St. Macarius himselftakes the place of the three sheletons, Showing to the living kings three open graves, in which lie the bodies of three dead kings. In another part of the composition Death is symbolized by a semale figure furnished with bais'wings and claws, and bearing a Scythe, With Which she SWeeps down Popes, empero , kings, and othera os ali classes. Here, then, we already find an extension of the range of the legend os St. Μacarius to ali classes, as carried out more definitely and distinctly in the PDance of Death. V which no doubi owed much os iis immediate and lasting popularity, as preViousty SuggeSted, to iis fearless Car ing out,
in a more modern and expressive sOm, of the well-known verses of Horace-
Pallida mors aequo pulsat pede pauPerum tabernRS, Regumque turres.
The more Νorthem expansion os this subjeci, whether we consider ii asa series os Stangas forming a Poem entilleo P The Dance of Death, or as
27쪽
a mere extension of the legend of SL Μacarius, or as an original and more extensive work of analogous character, to which neW verses were addedisom time to time as Desh charactem were introduced, is asserted to have been os German origin, conclusion arrived at stom the laci that the French and Latin verses attached to the earliest printed editions os the Dance os Death V are stated, in more than one os the shori presaceS ortities attached to those works, to have been translated stom the German. On the other hancl, with a view to explain the meaning of the term A Μac re, ' under which the fimi editions of the Dance os Death V wereissued in France, a sew observations os an apparently opposite tenden cymay be conveniently made in this place. Fimtly, is a German authoreither extended the poem of St. Macarius, or composed another os analogous hut more extensive character, it seems probable that he would, ormight, have Munded his titie on the name os the originat author, and have termed his work the Μacarian or Μachabrian Dance, as Some writerson the subject have suggested ; and an allusion closely bordering upon that Suggestion occurs in the celebrated La Vallthre catalogue, in Which a MS. Dance of Death ' is described, with the note, On lya dit composέPar un nommέ Μacabre. ' That the spirit us German satire os the periodclid actually mn in that direction, both poeticatly and pictorially, is proved by the works of Sebastian Brandi, whose Ship os Foois, ' in Whicli personifications os ali the leading types os human solly are represented asembarhed in the Ship os Lise, is an allegory closely resembling, in many
merchant, alchemist, and astrologer, was also a munificent benefactor of The Bibliophile Jacob ridicules this derivation, and jocosely suggesta in iis stead
28쪽
entilled UVan drέn Konmen,' and Van den doden Κonigen, und vanden levenden Κonigen. ' There were also English versions of the legen one os which is preserved among the Arundet manuscripta in the BritishΜuseum. This English version os the Three Living and the Three Dead, V in addition to the interest of the subjeci, is remarkable as afforclinga curious example of the English language in a transition state. Forinstance. in the rude illumination at the Minning three kings, who arerepresented as purSuing the exciting amusement of the chase in a ple ant O , Suddenly meet three sheletons, at the Sight of whicli, betag naturallystruck with dismay, the fidit hing is represented as Sasng,
The characters of this legend are osten changed in the different versions ;somelimes they are a hing, a queen, and a nobleman ; Sometimes threenoble youilis in gaily-broidered Suiis, and bearing richly-adorned weapons, revelling, as huntem, in the luxuries and privileges of rank and wealth. There is a Very early representation os this version os the Three Livingand the Three Dead ' in the churta at Brie, near Μ eig. Orcagna's celebrated Triumph os Death in the Campo Santo, at Pisa,painted in the I4th century, may be called an Italianiged version os this legend. The three principat figures are the three kings of the origines legeno, but they are accompanted by their mistresses, and St. Μacarius himselftakes the place of the three sheletons, Showing to the living kings three open graves, in Which lie the hodies of three dead kings. In another part of the composition Death is symbolized by a semale figure surnished with bais'wings and claws, and bearing a Scythe, With Whiin She sWeeps down Popes, emperors, hings, and others of ali classes. Here, then, we already find an extension of the range of the legend os St. Μacarius to ali classes, as carried out more definitely and distinctly in the PDance of Death. V which no doubi owed much os iis immediate and lasting popularity, as preViousty Suggested, to iis fearleSS car ing out,
in a more modern and expressive som, of the well-known Verses of Horace
Pallida mors aequo pulsat pede pauPerum tabernRS,
The more Northem expansion of this subjeci, whether we consider ii asa series os Stangas forming a Poem entilled The Dance of Death, ' or as
29쪽
a mere extension of the legend of St. Μacarius, or as an original and more extensive work of analomus character, to whicli new verses were addedfrom time to time as Desh charactem were introducta, is asserted to have been of German orion, conclusion arrived at hom the faci that the French and Latin verses attached to the earliest printed editions of the V Dance os Death V are stated, in more than one os the shori presaces ortities attached to those Works, to have been translateo stom the German. On the other hancl, with a view to explain the meaning of the term Μacabre, M under Which the fimi editions of the Dance of Death V wereissued in France, a sew observations os an apparently opposite tenden cymay be conveniently made in this place. Firstly, is a German authoreither extended the poem os St. Μacarius, or composed another os analogous hut more extensive character, it seems probable that he would, ormight, have founded his titie on the name os the originat author, and have termed his work the Μacarian or Μachabrian Dance, as some writerson the subject have suggestedand an allusion closely bordering upon that suggestion occurs in the celebrated La Vallthre catalogue, in Which aΜS. Dance os Death ' is described, with the note, U On l'a dit composέ par un nommε Μacabre.' That the spirit us German satire of the periodclid actually mn in that direction, both poeticatly and pictorially, is proved by the works of Sebastian Brandi, whose U Ship os Fools,' in which personifications os ali the leading types os human solly are represented asembarhed in the Ship os Lise, is an allegory closely resembling, in many respecis, the Dance of Death, V while iis prosuse illustrations are notvery dissimilar in generat spirit to those belonginc to that subjeci. It is Worthy os note, also, that the Ship of Fools V was translated hom
merchant, alchemist, and astrologer, was also a munificent benefactor os' The Bibliophile Jacob fidicules this derivation, and jocosely suggesta in iis Stead
30쪽
The characters of this legend are osten changed in the disserent versions ;Sometimes they are a hing, a queen, and a nobleman ; Sometimes threenoble youths in gaily-broidered Suiis, and bearing richly-adomed weapons, revelling, as huntem, in the luxuries and privileges os rank and wealth. There is a Very early representation os this version of the Three Livingand the Three Dead V in the churin at Brie, near Μ et2. Orcagna's celebrated Triumph os Death V in the Campo Santo, at Pisa,painted in the I4th centu , may be called an Italianiged version of this legend. The three principat figures are the three kings of the original legend, but they are accompanted by their mistresses, and St. Μacarius himselstakes the place of the three Sheletons, Showing to the living kings three open graves, in whicli lie the hodies of three dead kings. In another part of the composition Death is symbolized by a semale figure fumished with bais'wings and claws, and bearing a Scythe, With which She Sweeps down Popes,emPero , hings, and others of ali classes. Here, then, we already find an extension of the range of the legend of St. Μacarius to ali classes, as carried out more definitely and distinctly in the PDance of Death. V which no doubi owed much of iis immediate and lasting popularity, as preViousty Suggested, to iis fearless car ing Out,
in a more modern and expressive som, of the well-known verses os Horace-
Pallida mors aequo pulsat Pede Pauperum tabernaS, Regumque turres.
The more Northem expansion of this subjeci, Whether we consider ii asa series os Stangas forming a poem entilled ' The Dance of Death, ' or as