Chronicle, the skeletons dance by the open grave; or where, as in the famous series at Bâsle, Death humbles every rank of life in turn. But Holbein did not look on these scenes as his predecessors had done; he was free from their spirit. He took the mediæval idea and re-moulded it, as Shakspeare re-moulded the tradition of Denmark and Italy, into a work for all times and generations. He represented Death, but with an artistic power, an imaginative fervor, a perception of the constant element in its interest for mankind, which lifted his work out of mediævalism into universal truth; and in doing this he not only showed the high power of his art, but he unlocked the secrets of his character.
This work is, in the first edition (1538), a series of forty-one small cuts, in each of which is depicted the triumph of Death over some person who is typical of a whole class.
Fig. 51.—The Nun. From Holbein's "Images de la Mort." Lyons, 1547.
Each design represents with intense dramatic power some scene from daily life; Death lays his summons upon all in the midst of their habitual occupations: the trader has escaped shipwreck, and "on the beach undoes his corded bales;" Death plucks him by the cloak; the weary, pack-laden peddler, plodding on in his unfinished journey, turns questioningly to the delaying hand upon his shoulder; the priest goes to the burial of the poor, Death carries the can-
