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Da mere extension os the legend of SL Macarius, or as an original and more extensive Work os analogous character, to which ne. verses were addedfrom time to time as stein charactem were introduc , is asserted to have been os German orion, conclusion arrived at smm the laci that the French and Latin verses attached to the earliest printed editions of theo Dance os Death V are stated, in more than one os the Ahori prefaces ortities attached to those Works, to have been translated stom the German. On the other hand, with a view to explain the meaning of the termo Μacabre, ' 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. Firstly, is a German authoreither extended the poem of St. Macarius, or composed another os analomus but more extensive character, it seems probable that he Would. ormicti, have founded his titie on the name of 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 umn that suggestion occurs in the celebrated La Vallthre catalogue, in which abi S. V Dance of Death ' is described, with the note, On l'a dit composέPar un nommέ Macabre.' That the spirit os 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 Fools, V in which personifications os ali the leading types os human solly a re represented asembarhed in the Ship of Lise, is an allegory closely resembling, in many
merchant, 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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entilled Van drόn Konnen, ' and Van den doden Κonigen, und vanden levenden Κonigen.' There were also English versions of the legenvione of which is preserved among the Arundet manuscripis in the Britisti Μuseum. This English version os the Three Living and the Three Dead, V in addition to the interest os the subjeci, is remain te as affordinga curious example of the Englisti lan age 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 pleasant wood, sud lenly meet three sheletons, at the ficti os which, being naturassystruck with dismay, the fini king is represented as Sasng,
The characters of this legend are osten changed in the disserent versions ;Sometimes they are a king, a queen, and a nobi eman ; Sometimes 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 ' in the church at Brie, near Μ eig. Orcagna's celebrated U Triumph os Death in the Campo Santo, at Pisa,painted in the I4th century, may be called an Italianiged version of this legend. The three principat figures are the three kings os the origines legend. but they are accompanted by their mistresses, and St. Μacarius himselftakes the place of the three sheletons, Showing to the living kings three operi graves, in Whicli lie the bodies of three dead kings. In another pari os thecomposition Death is symbolized by a semale figure surnished with bais'wings and claws, and bearing a Scythe, With Which she sweeps down Popes, emperorS, kings, and others of ali classes. Here, then, we already find an extension os 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 carrying out,
in a more modern and expressive form, of the well-known verSes of Horace
Pallida mors aequo pulsat pede pauPerum tabernaS, Regumque turres.
The more Northem expansion of this subjeci, whether me consider ii asa series os Stangas forming a Poem entilled U The Dance os Death, ' or as
43쪽
a mere extension os the legend of St. Macarius, or as an original and more extensive Work os analogous character, to which ne. Verses were addedfrom time to time as laesh charactere were introducta, is asserted to have Men os German origin, conclusion a ved at stom the laci that the Frenin and Latin verses attached to the earliest printed editions of the 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 hane, With a view to explain the meaning of the term Μacabre, ' under which the first 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. Firstly, is a German authoreither extended the poem os St. Macarius, or composed another of analomus hut more extensive character, it seems probable that he would, ormight, have sounded his titie on the name os the originat author, and have termed his work the Μacarian or Μachabrian Dance, M AOme 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 l'a dit composέPar un nommέ Μacabre. ' That the spirit os German satire os the periodclid actually mn in that direction, both poeticatly and pictorial ly, is proved by the works of Sebastian Brandi, whose Ship os Fools,' in Which personifications os ali the leading types os human solly are represented asembarhed in the Ship of Lila, is an allegory closely resembling, in many respecta, the Dance of Death, V While iis profuse illustrations are notvery dissimilar in generat spirit to those belongina to that subjeci. It is Worthy os note, also, that the Ship of Fools V was translated Dom
merinant, 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 ;Sometimes they are a king, a queen, and a nobleman ; somelimes threenoble youilis in gaily-broidered 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 os the Three Livingand the Three Dead V in the church at Brie, near Μ et2. Orcagna's celebrated Triumph os Death in the Campo Santo, at Pisa,painted in the I4th century, may be called an Italiant2ed 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 himselftakes the place of the three skeletons, Showing to the living kings three operi graves, in which lie the hodies os three dead kings. In another pari os thecomposition Death is symbolized by a semale figure iurnished with bais'wings and claws, and bearing a Scythe, With Which She sweePS down Popes, empero , kings, and othere os ali classes. Here, then, we already find an extension os 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 carrying out,
in a more modern and expressive form, of the well-known verses os Horace
Pallida mors aequo pulint pede pauPerum tabernRS,
The more Νorthem expansion of this subjeci, whether we consider ii asa series os Stangas forming a Poem entilled The Dance of Death, V or as
45쪽
French and Latin verses attached to the earliest printed editions os theo Dance of Death ' are stated, in more than one of the shori presaces ortium attached to those works, to have been translated stom the German. On the other hand, with a view to explain the meming of the terni Μacabre, ' 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 os St. Macarius, or composed another of analomus 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 Macarian or Μachabrian Dance, M some writemon the subject have suggested; and an allusion closely hordering upon thalsuggestion occurs in the celebrated La Vallthre catalogue, in whicli a MS. Dance of Death ' is described, with the note, On l'a dit composέPar un nommό Μacabre.' 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 of 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
mercliant, alchemist, and astrologer, was also a munificent benefactor os' The Bibliophile Jacob ridicules this derivation, and jocosely Suggesta in iis Stead
46쪽
entilled UVan dian Konmen, V and Van den doden Κonigen, und vanden levenden Κonigen.' There were also English versions of the legen one os whicli is preserved among the Arundet manuscripis in the BritishΜuseum. This Englisti version os the Three Living and the Three Dead, ' in addition to the interest os the subjeci, is remarkable as affordinga curious example os 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 ficti os whicli, betag naturassystruch with dismay, the fini king is represented as 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-broidereo 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 church at Brie, near Μ et2. Orcagna's celebraten 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 os the origines legend, but they are accompanted by their mistresses, and St. Μacarius himselftakes the place of the three skeletons, 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 symboliaed by a semale figure surnished with bais'wings and claws, and bearing a Scythe, With which She sweeps down Popes, emperora, LingS, and othere of ait classes. Here, then, we already find an extension of the range os the legend of St. Μacarius to ali classes, as carried out more definitely and distinctly in the PDance os Death. V which no doubi owed much of iis immediate and lasting popularity, as previouSty Suggested, to iis fearleSS carrying out,
in a more modern and expressive form, of the well-known verses of Horace
Pallida mors aequo pulsat pede pauperum tabernaS, Regumque turres.
The more Northem expansion os this subjeci, whether we consider ii asa series os Stan*S forming a Poem entilled ' The Dance of Death, ' or as
47쪽
Da mere extension os the legend of St. Μacarius, or as an origines a more extensive Work os analomus character, to Which new verses were addedfrom time to time as Dein charactem were introducta, is asserted to have Men os German origin, conclusion a ved at stom the laci that the
Frenin and Latin verses attached to the earliest printed editions of theo Dance os Death P 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 hand, With a view to explain the meaning os the termo Μac re, V under whicli the first editions os the Dance os Death V wereis ed 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 os St. Ilacarius, or composed another os analo- us but more extensive character, it seems probable that he would, ormicti, have founded his titie on the name of the originat author, and have termed his work the Μacarian or Μachabrian Dance, M some writerson the subject have suggested; and an allusion closely hordering upon that suggestion occurs in the celebrated La Vallthre catalogue, in Which a MS. Dance of Death ' is described, with the note, On l'a dit composέPar un nomm6 Macabre.' That the spirit us German satire of the periodclid actually mn in that direction, both poeticatly and pictorial ly, is proved by the works of Sebastian Brandi, whose Ship of Fools, V in which personifications of ali the leading types of human solly are represented asembarhed in the Silip os Lise, is an allegory closely resembling, in many
merchant, alchemist, and astrologer, Was also a munificent benefactor os' The Bibliophile Jacob ridicules this derivation, and jocosely suggesta in iis steat
48쪽
entilled UVan drόn Konmen, V and Van den doden Κon en, und vanden levenden Κonigen. ' There were also Englisti versions of the legeri one of which is preserved among the Arundet manuscripis in the BritishΜuseum. This English version os the Three Living and the Three Dead,' in addition to the interest of the subjeci, is remain te as afforclinga curious example of the English language in a transition state. Forinstance. in the rude illumination at the Minning three kings, who arerepresented M pursuing the exciting amusement of the chase in a ple antwood, suddenly meet three sheletons, at the sight of which, being naturallystruck with dismay, the fidit hing is represented M SVing,
The characters of this legend are osten changed in the different versions ;Sometimes they are a king, a queen, and a nobleman ; Sometimes 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 Μ eig. Orcagna's celebrated Triumph os Death in the Campo Santo, at Pisa,painteo in the 14th century, may be called an Italianized 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 himselftakes 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 symbolieted by a semale figure surnished with bais' Wings and claws, and bearing a Scythe, With Which She SWeeps down Popes, empero , kings, and othere os ali classes. Here, then, we already find an extension of the range of the legend os St. Macarius 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 searleSS carrying out,
in a more modern and expressive so , of the well-known Verses of Horace
Pallida mors aequo pulsat pede pauPerum tabernRS, Regumque turreS.
The more Νorthem expansion of this subjeci, whether We consider ii asa series os Stangas sormi a poem entillet U The Dance of Death, ' or as
49쪽
Da mere extension os the legend of St. Μacarius, or as an original a more extensive Work os analogous character, to which new verses were addedfrom time to time as Dein charactem were introducta, is asserted to have been of German origin, conclusion arrived at hom the laci that the French and Latin verses attached to the earliest prinita editions os the ' Dance of Death V are states, in more than one of the shori Presaces ortities attached to those works, to have been translated hom the German. On the other hand, With a view to explain the meming of the term Μacabre, V under Whicli the first 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. Firstin is a German authoreither extended the poem of St. Ilacarius, or composed another of analo- us but more extensive character, it seems probable that he would, ormicti, have founded his titie on the name of the origines author, and have termed his work the Μacarian or Μachabrian Dance, as Some writerson the subject have suggested a and an allusion closely hordering upon that Suggestion occurs in the celebrated La Vallthre catalogue, in Which aΜS. Dance os Death ' is described, with the note, On l'a dit composε Par un nommέ Macabre. V That the spirit us German satire os the periodclid actualty run in that direction, both poeticatly and pictorially, is proved by the works of Sebastian Brandi, whose U Ship of 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 respecta, the Dance of Death, V while iis prosuse illustrations are notvery dissimilar in generat spirit to those belongina to that subjeci. It is morthy of note, also, that the Ship of Fools was translated hom
mercliant, alchemiSt, and astrologer, was also a munificent benefactor os' The Bibliophile Jacob ridicules this derivation, and Jocosely suggesta in iis steat
50쪽
entilled UVan dian Konmen, V and Van den doden Κon en, und Vanden levenden Κonigen. V There were also English versions of the legen one os which is preserved among the Arundet manuscripis in the BritishΜuseum. This Englisti version of the Three Living and the Three Dead, V in addition to the interest of the subjeci, is remain te as a minga curious example of the English language in a transition state. Forinstance. in the rude illumination at the Minning three kings, who areret reSented as Pursuing the exciting amusement of the chase in a pleasant Wood, sud lenly meet three sheletons, at the sight of Whicli, being naturallystruck with dismay, the fini king 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-aclomed 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 churin at Brie, near Μ eig. Orcagna's celebrated U Triumph of Death in the Campo Santo, at Pisa,painted in the I4th century, 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. Macarius himselsi es 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 symboliged by a semale figure iurnished with bais'wings and claws, and bearing a Scythe, With Which She sweeps down Popes, emperors, kings, and othere os 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 popularity, as PreviouSty Suggested, to iis fearlem carrying out,
in a more modern and expressive so , of the well-known Verses of Horace
Pallida mors aequo pulsat pede pauPerum tabernaS, Regumque turres.
The more Northern expansion of this subjeci, whether we consider ii asa series os Stangas formi a poem entilled U The Dance os Death, V or as