Emblems of mortality : representing, in upwards of fifty cuts, Death seizing all ranks and degrees of people : imitated from a painting in the cemetery of the Dominican church at Basil, in Switzerland : with an apostrophe to each, translated from the Latin and French, intended as well for the information of the curious, as the instruction and entertainment of youth : to which is prefixed a copious preface, containing an historical account of the above, and other paintings on this subject, now or lately existing in divers parts of Europe / [Edited, with preface by John S. Hawkins].
- Date:
- 1789
Licence: Public Domain Mark
Credit: Emblems of mortality : representing, in upwards of fifty cuts, Death seizing all ranks and degrees of people : imitated from a painting in the cemetery of the Dominican church at Basil, in Switzerland : with an apostrophe to each, translated from the Latin and French, intended as well for the information of the curious, as the instruction and entertainment of youth : to which is prefixed a copious preface, containing an historical account of the above, and other paintings on this subject, now or lately existing in divers parts of Europe / [Edited, with preface by John S. Hawkins]. Source: Wellcome Collection.
Provider: This material has been provided by Royal College of Physicians, London. The original may be consulted at Royal College of Physicians, London.
![C !ii ] We fliall here proceed to relate the fubfequcnt Hidory of the Painting itfelf. It is, however, to be obferved, that Matthew Merian, who, in 1649, pLiblifhed in German, at Franckfort, in fmall Quarto, a Book entitled Todten Tanz, or Death's Dance^ containing Engravings from the above-mentioned Painting*, and from the Preface to whofe Work, astranlla- ted into French, in an Edition printed at Bafil in 1744, moft of the foregoing Fails are extracted, does not fpeak in pofnive Terms as to the precife Time when the original Figures were painted, but only fays, that they are believed, and with great Probability, to be of that Time in which he had placed them ; in further Confirmation of which he has noticed, that Sigismond was * As it may afford the Reader fomc Satisfaftion to be In- formed particularly what Charafters are rcprefented in this Painting, we here give a Lift of them from Merian’s En- gravings mentioned in the Text: At the Beginning is a Cut of Oecolompadius preaching; next follows one of a Charnel- Houfe, and two Figures of Death piping; after which, in diftinft Cuts, are given the Pope, Emperor, Emprefs, King, Queen, Cardinal, Bilhop, Duke, Duche's, Count, Abbot, Knight, Lawyer, Magiftrate, Canon, Phyfician, Gentleman, Lady, Merchant, Abbefs, Cripple, Hermit, Young Man, Ufurer, Maiden, Mufician, Herald, Mayor, Grand Provoft, Buffoon, Pedlar, Blind Man, Jew, Pagan, Female Pagan, Cook, Peafant, Painter, Painter’s Wife. • A 2 himfelf](https://iiif.wellcomecollection.org/image/b24990668_0013.jp2/full/800%2C/0/default.jpg)
