Hans Holbein the Younger, Volume 1 (of 2) by Arthur B. Chamberlain
8. THE PRIEST
684 words | Chapter 126
_From proofs in the British Museum_
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[Sidenote: PREACHER, PRIEST, NUN, AND OTHERS]
One of the most beautiful designs of the series shows the Preacher (Pl.
66 (7)) in his pulpit, expounding a false doctrine which he believes to
be the true one, his hands held forth in exhortation. Behind him stands
the other preacher, Death, wearing a stole, and with a jaw-bone upraised
over the unheeding victim’s head as though about to strike him down. The
members of his congregation, some standing, some seated on low stools,
gaze upwards with close attention, except one who has fallen asleep with
his head against the pulpit base. Both the preacher and several of his
listeners, especially the woman seated in the front on the right, are
very expressive figures, and are drawn with masterly precision. Next
comes the Priest (Pl. 66 (8)), one of the few of Death’s victims whom
Holbein has depicted without a touch of irony or satire. He passes along
the street in his robes, bearing the sacrament to the bedside of some
dying man, preceded by Death, who acts as his sacristan, with bell and
lantern, his hour-glass tucked under his arm. Very different is Death’s
treatment of the Mendicant Friar, whom he seizes roughly by the hood,
just as he is about to enter his monastery with well-filled box and
begging-bag. There is bitter satire, too, in the picture of the Nun,
kneeling in front of the altar in her cell, but her head turned behind
her towards the young gallant who sits on the edge of her bed and plays
his lute. Behind them Death, in the guise of an old hag, stretches forth
a hand to extinguish the altar candles. Two skeletons accompany the Old
Woman, who totters along a rough road by the aid of a stick, telling her
rosary as she goes. One of them dances in front, playing with two sticks
a musical instrument slung from his shoulders, while the other, crowned
with a wreath, and a malicious grin upon his fleshless face, takes her
by the arm, and dances by her side.
To the Physician in his chamber Death leads an old man broken down in
health, and at the same time warns him that his hour, too, has come. A
dog is curled up asleep in the foreground, and over the Physician’s head
is a shelf with books and glass water-bottles as in Holbein’s portrait
of Erasmus in Longford Castle. The setting of the Astrologer is one of
the most effective and elaborate of the series. His chair and the
circular table, covered with books and mathematical instruments, at
which he sits, are richly carved and ornamented. He is gazing at a
celestial globe which hangs over his head, while Death strives to
attract his attention by holding a skull for his inspection. The Rich
Man, in a gloomy chamber with a window with heavy double bars, sits
surrounded by his money-chests and bags, a heap of gold spread before
him on the table. He springs up in a fury of anger at the sight of
Death, perched on a stool and filling a large bowl with money from the
heap. It is as bitter to him to lose his wealth as his life. Equally
furious is the feeling displayed by the Merchant, upon whom Death
pounces, seizing him by both hair and cloak, at the moment when he is
examining and checking his bales and barrels of merchandise which have
just been unshipped on the quay. A companion, a bearded man, cries out
in fear, with uplifted hands. Behind them the masts and spars of the
ships in the harbour stand out against the sky. Terror, too, is the
keynote of the Mariner. The storm is raging violently, the wind howls,
and the waves dash over the ship. The greater part of the sail has blown
away, and the sailors have abandoned all hope, and wring their hands in
terror, as Death clambers over the side and snaps the mast in two.
VOL. I., PLATE 67.
[Illustration:
THE DANCE OF DEATH WOODCUTS
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