of Holbein’s Dance, Death appears as a grave-digger, and lifts on his spade, out of the grave which he is making, two skulls, one crowned, the other covered with a peasant’s hat.  He grins with savage glee at seeing these remnants of the two extremes of society side by side; and underneath them, on the shovel, is written Idem,—­“The Same.”  In this word is the key to the popularity of the Dance.

The most important and interesting of these pictured Dances of Death were those at Bale, at Strasbourg, and at Rouen.  That at Bale consisted of thirty-nine groups, in the first three of which appear a Pope, an Emperor, and a King.  These were portraits of Pope Felix V., the Emperor Sigismund, and King Albert ii., of Rome, all of whom were present at the Council, by whose order, as we have seen, the Dance was painted.  The last group of this Dance shows the seizure of the painter’s child by Death.  It having been almost destroyed by time, the wall on which it was painted was torn down about a hundred years ago; but engravings had been made of it in the latter part of the seventeenth century.  The Dance at Strasbourg, like that at Bale, and many others, was on the wall of a Dominican convent.  It was painted in arched compartments, and is peculiar in that its groups consist of many figures, among whom Death intrudes, and carries off one, generally the principal personage of the company.  It was painted about 1450, and probably by the eminent German painter, Martin Schongauer; but having been utterly neglected and forgotten, it was finally plastered over, no one knows when.  In repairing the church in 1824, it was accidentally discovered, and carefully exposed; but it was so much injured that it fell into decay soon after drawings had been made from it.

The Dance at Rouen was in the still existing Cemetery of St. Maclou, and was not a painting, but a sculpture.  It was not entirely completed until 1526.  The cemetery is surrounded by a covered gallery open on the inside, where it was supported by thirty-nine columns, distant about eleven feet from each other.  Thirty-one of these still exist; and upon the shaft of all but four of them, on the side facing the court of the cemetery, is sculptured, in high relief, a group of two figures,—­one a living personage, and the other the cadaverous body by which Death was represented.  On the remainder were sculptured the Christian Virtues and the Fates,—­two on each column.  The capitals of these columns are decorated with figures quite in another manner.  Cupids, naked female figures, grotesque masks, and shapes—­human and bestial—­are ingeniously substituted for the foliage usually found on that part of a column.  The execution of these figures is of quite a high order.  They have all been sadly mutilated; but, fortunately, that which has suffered least is a beautiful figure of Eve.  Her head is gone; but the flowing lines of the lovely torso are unbroken, and the round and graceful limbs are almost as perfect as when they came from the sculptor’s chisel.  This figure is so like the Venus de Medici that it might have been copied from it.