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ALL RANKS AND DEGREES OF PEOPLE PASSING 
 TO THB GRAVE. 
 
EMBLEMS 
 
 i death 
 
 OF 
 
 MORTALITY; 
 
 REPRESENTING, 
 
 BY NUMEROUS ENGRAVINGS, 
 
 issri 
 
 SEIZING 
 
 ALL RANKS AND CONDITIONS OF PEOPLE. 
 
 IMITATED FROM A 
 
 PAINTING IN THE CEMETERY OF THE DOMINICIAN 
 CHURCH, AT BASIL, IN SWITZERLAND. 
 
 WITH AN APOSTROPHE TO EACH, 
 
 TRANSLATED FROM THE LATIN. 
 
 TO WHICH IS NOW ADDED, FOR THE FIRST TIME, 
 A PARTICULAR DESCRIPTION OF EACH CUT, OR ENGRAVING. 
 
 CHARLESTON. 
 
 PUBLISHED BY BABCOCK & CO. 
 NEW HAVEN. S. BABCOCK. 
 
 1846. 
 
/V?7 
 
 H 4 B3 
 
 iU30 
 
 Entered, according to the Act of Congress, in the year 1845, 
 
 BY JOHN W. BARBER, 
 
 In the Clerk's office of the District Court of Connecticut. 
 
/? 
 
 EXTRACT FROM THE 
 
 PREFACE TO THE LONDON EDITION. 
 
 The work here presented to the reader, is a 
 copy, with a small variation, of one well known 
 to the curious by the title of Imagines Mortis, 
 or, the Images of Death ; which is reported to 
 be in reality indebted for its existence to the ca- 
 lamity of a plague. 
 
 Pope Eugenius IV., having summoned a 
 council to meet at the city of Basil, in Switzer- 
 land, it accordingly met there in the year 1431, 
 and continued to sit for seventeen years. At 
 this council the Pope himself, and many princes, 
 were present. During the sitting of this coun- 
 cil, the city of Basil was visited with a plague, 
 which carried off many of the nobility ; and, on 
 the cessation of the distemper, the surviving 
 members of the council, with a view to perpetu- 
 ate the memory of this event, caused to be 
 painted on the walls of the cemetery, a Dance 
 of Death, representing all ranks of persons as 
 individually seized by him. The figures are 
 
IV PREFACE. 
 
 drawn from nature, and dressed each in the 
 habit of the time. The cuts are engraven, and 
 the verses under them translated, from the Latin 
 edition of 1662. 
 
 London^ November 3, 1794. 
 
 The above (extracted from the London edi- 
 tion) is inserted as the preface to an edition of 
 the work published at New Haven, Con. in 
 1810. By a somewhat singular coincidence, 
 the artist (Dr. Anderson, of New York,) who 
 engraved the cuts, the compositor who was en- 
 gaged in printing the work, and a number of 
 its earliest readers, having learned that all the 
 cuts, with one or two exceptions, had been kept 
 in good preservation for nearly forty years in 
 the office (Mr. Babcock's) in which they were 
 originally printed, and being united in the wish 
 to see a new edition, it was thought advisable to 
 have a re-print. This work is certainly unique 
 J in its character, and interesting in its nature. 
 Death is represented as seizing all ranks and 
 conditions of people, and as the eye rests on 
 the striking emblems exhibited, the reader is 
 reminded of his own mortality. 
 
PREFACE. V 
 
 To the Antiquarian, the work will be found 
 uncommonly interesting. It shows the precise 
 costume of the people four centuries since, from 
 the monarch on his throne, to the beggar in his 
 rags. In order to make this of more interest to 
 the general reader, a particular description of 
 each cut is now given. The page containing 
 the cut, with the scriptural quotations above, and 
 the lines underneath, are copied from the Lon- 
 don edition. Three of the cuts, representing 
 Adam and Eve in various situations, it was 
 thought advisable to omit. The Frontispiece 
 shows a grave in front, to which a long proces- 
 sion from the city is being led ; each person 
 accompanied by a figure of Death. The Pope 
 is seen at the head, the Emperor next, and so 
 on, in regular gradation, according to rank. 
 
 J. W. B. 
 
 New Haven, (Conn.) Dec. 1845. 
 
'+ 
 
CONTENTS. 
 
 Paper. 
 
 Death, 10 
 
 The Proclamation, -------12 
 
 The Pope, 14 
 
 The Emperor, -------- 16 
 
 The King, - 18 
 
 The Cardinal, 20 
 
 The Empress, ----*--- 22 
 
 The Queen, 24 
 
 The Bishop, - - - - 26 
 
 The Elector, or Prince of the Empire, 28 
 
 The Abbot, 30 
 
 The Abbess, -' 32 
 
 The Gentleman, - - 34 
 
 The Canon, 36 
 
 The Judge, - 38 
 
 The Advocate, 40 
 
 The Magistrate, 42 
 
 The Curate, 44 
 
 The Priest, 46 
 
 The Friar Mendicant, . 48 
 
 The Canoness, 50 
 
 The Old Woman, 52 
 
 The Physician, ----- '--54 
 
 The Astrologer, ----- . - - 56 
 The Miser, - - - - - - - . - -58 
 
 The Merchant, 60 
 
 The Mariner, or Sailor, - 62 
 
 The Knight, or Soldier, ------ 64 
 
 The Count, 66 
 
Vlll CONTENTS. 
 
 The Old Man, ......... *% 
 
 The Countess, 7q 
 
 The New Married Couple, 72 
 
 The Duchess, -74 
 
 The Porter, 76 
 
 The Peasant, 78 
 
 The Child, 80 
 
 The Swiss Soldier, 82 
 
 The Gamesters, - - - -'- . .-84 
 
 The Drunkards, - - 86 
 
 The Fool, 88 
 
 The Thief, 90 
 
 The Blind Man, 92 
 
 The Beggar, • - - 94 
 
 The Husband, 96 
 
 The Wife, 98 
 
 The Last Judgment, ----.. jqq 
 
OV THB *^ 
 
 rilTIRSITtl 
 
10 EMBLEMS OF MORTALITY. 
 
 DEATH. 
 
 The Lord God sent him forth from the garden of Eden to till 
 the ground from whence he was taken. — Genesis, iii : 23. 
 
 The Almighty Father did. expel 
 Man from his blessed seat ; 
 
 And to sustain his life decreed § 
 By his own proper sweat : 
 
 Then, first into the empty world,. 
 
 Pale Death an entrance gain'd ; 
 And the same power o'er mortal me», 
 
 Has ever since maintained. 
 
EMBLEMS OF MORTALITY. 11 
 
 DEATH, OR EXPULSION FROM EDEN. 
 
 The engraving on the preceding page is a rep- 
 resentation of the expulsion of our first parents 
 from the Garden of Eden, in consequence of 
 their sinning against God, by eating the for- 
 bidden fruit. Sin thus committed, introduced 
 Death into the world, as says the Apostle, " By 
 one man sin entered into the world, and death 
 by sin ; so death passed upon all men, for that 
 all have sinned." 
 
 In the edition from which this cut is taken, there 
 were two of the same size which preceded it; viz. 
 one entitled the " creation of the world," repre- 
 senting Adam and Eve, and a variety of the ani- 
 mal creation, with emblematieal figures of the 
 sun, moon, and winds. The second cut, entitled 
 " Sin," represents our first parents, beguiled by 
 the serpent, eating the forbidden fruit. These 
 two cuts it was thought advisable to omit, and 
 commence with the one annexed ; as it is the 
 first one in which the figure of Death is intro- 
 duced. Death is represented as preceding the 
 unhappy pair, playing on a lute, a stringed in- 
 strument much used in ancient times. An an- 
 gel, or messenger from the Almighty, accom- 
 panied with a fiery cloud, and with a flaming 
 sword uplifted, appears conspicuously above 
 Adam and Eve, in the attitude of expelling them 
 from the garden. 
 
12 EMBLEMS OF MORTALITY. 
 
 Woe, woe, woe, to the inhabitants of the earth. — Revelations, 
 iii:13. 
 
 All in whose nostrils were the breath of life, of all that was 
 in the dry land, died. — Genesis, vii : 22. 
 
 
 
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 Woe, grievous woe, to all who now 
 
 In this vile world abide ; 
 For times await you big with grief, 
 
 And every ill beside. 
 
 Though now to you a plenteous share 
 
 Of fortune's gifts may fall, 
 Pale Death will be, or soon or late, 
 
 A visitant to all. 
 
EMBLEMS OF MORTALITY. 13 
 
 The engraving on the opposite page has not 
 any particular title attached to it, in the edition 
 from which it is copied. It consists of an as- 
 semblage of skeletons, who appear animated 
 with life, collecting or marshalling their forces 
 for the destruction of mankind. The whole 
 verse, from which the first scriptural quotation 
 above the cut is taken, is as follows ; viz. " And 
 I beheld, and heard an angel flying through the 
 midst of heaven, saying with a loud voice, Woe, 
 woe to the inhabitants of the earth, by reason of 
 the other voices of the trumpet of the three an- 
 gels, which are yet to sound !" It is probable 
 that the artist who made the original design, 
 from which the engraving was made, had this 
 passage in mind, as there are a number of the 
 figures of Death, who appear to be sounding 
 trumpets ; one is beating a kettle drum ; another 
 is using a pair of cymbals. 
 
 Death reigns : O what is feeble man ! 
 How few his hours, how short his span ! 
 
 Short from the cradle to the grave : 
 Who can secure his vital breath, 
 Against the bold demand of Death 
 
 With skill to fly or power to save ? 
 
 Wherefore, as by one man sin entered into 
 the world and death by sin ; and so death pass- 
 ed upon all men, for that all have sinned. — 
 Rom. v. 12. 
 
 2* 
 
14 
 
 EMBLEMS OF MORTALITY. 
 
 THE POPE. 
 
 Until the death of the High- Priest that shall be in those 
 days. — Joshua xx. 6. 
 
 And let another take his office — Psalm cix. 8. 
 
 Thou who, elated with success, 
 
 Immortal claim'st to be, 
 From men's affairs, in little space, 
 
 Thyself remov'd shall see. 
 
 Though now the great High- Priest thou art, 
 
 And in Rome's see dost sit, 
 Soon shall thy office, in thy place, 
 
 A successor admit. 
 
EMBLEMS OF MORTALITY. 15 
 
 THE POPE. 
 
 In the engraving on the preceding page is 
 seen a representation of Pope Alexander III. 
 receiving the submission of Frederic I, Em- 
 peror of Germany, who is seen in the act of 
 kissing his toe. At the right hand of Frederic, 
 is seen a ball, or globe, surmounted by a cross. 
 This is called by antiquarians a mound. Kings 
 are frequently represented as holding it in their 
 hands to denote their sovereign majesty. The 
 Pope (who is considered by Catholics as the 
 earthly head of the church,) is seen in his robes 
 of office, having the tiara, or triple crown, on 
 his head. This is a cap of silk, environed with 
 three golden crowns. He holds in his hand 
 the crown of the Emperor, showing by this act, 
 that it is at his disposal. At his right hand 
 are seen a Cardinal and a Bishop, both in their 
 robes, and with their insignia of office. Two 
 figures of Death are seen in this print ; one 
 having his hand on the Pope, the other holding 
 the robes of the Cardinal. 
 
 * At this period there were contests between rival Popes, 
 and with the Emperors, respecting the succession to the papal 
 chair. Frederic I., surnamed Barbarossa, was a prince of 
 high spirit, and refused the customary homage to Alexander. 
 He was, however, obliged to submit, and appease his holiness 
 by kissing his feet, and ceding a large portion of territory. 
 This took place a bout A. D. 1177. 
 
16 EMBLEMS OF MORTALITY. 
 
 THE EMPEROR. 
 
 Set thine house in order ; for thou shalt die, and not live. — 
 Isaiah xxxviii. 1. 
 
 There shalt thou die, and there the chariots of thy glory shall 
 be the shame of thy Lord's house. — Isaiah xxii. 18. 
 
 Dispose thy kingdom's great concerns, 
 
 Entrusted to thy care, 
 So that to pass to other worlds 
 
 Thou quickly may'st prepare. 
 
 For when the time shall come that thou 
 Must quit this mortal throne, 
 
 Thy utmost glory then shall be, 
 A broken car alone. 
 
EMBLEMS OF MORTALITY. 17 
 
 THE EMPEROR. 
 
 The word Emperor, among the Romans, sig- 
 nified Imperator, or Commander, a title of dignity- 
 assumed by Augustus and his successors. Now 
 it is the title of a sovereign prince who bears 
 rule over large countries. 
 
 The engraving, it is presumed, is a correct 
 representation of the Emperor of Germany, in 
 his official robes and insignia of office, who, at 
 the time when the original drawing for the en- 
 graving was made, was considered the greatest 
 monarch of Christendom. On a cushion, in 
 front of the Emperor, is seen the mound and 
 scepter, denoting his sovereign authority. He 
 holds a sword in his right hand, ready to enforce 
 compliance with his will. He is listening to 
 a courtier, or nobleman, at his right hand, while 
 the poor man on his left, in a suppliant posture, 
 is apparently entreating his favorable notice in 
 vain. 
 
 Germany was anciently divided into several 
 independent states. Charlemagne, the King of 
 France, became master of the whole in A.D. 
 802, and was crowned Emperor of the West, 
 by Pope Leo III. His empire comprised France, 
 the Netherlands, Germany, Switzerland, a great 
 part of Italy, and part of Spain. The last 
 monarch who bore the title of the Emperor of 
 Germany, was Francis II, who resigned it, and 
 assumed that of Emperor of Austria, in 1804. 
 
18 EMBLEMS OF MORTALITY. 
 
 THE KING. 
 
 He that is to day a King, to-morrow shall die. — Ecclesiasti- 
 cus, x : 10. 
 
 To him who this day scepters sway, 
 
 In costly pride a king, 
 To-morrow's light, with baleful speed, 
 
 A direful fate will bring : 
 
 For him who rules o'er nations rich, 
 And powerful kingdoms guide, 
 
 When Death his office bids him quit, 
 No better fates betide. 
 
EMBLEMS OF MORTALITY. 19 
 
 THE KING. | 
 
 The engraving is a representation of a King 
 feasting, attended by his servants. There is one 
 among them, however, of a totally different ap- 
 pearance from all the others. It is the figure of 
 Death, who is officiously pouring the fatal liquid 
 into the drinking vessel of the King. He has 
 placed the hour-glass near the monarch, to show 
 that the sands of his life are rapidly passing 
 away. The artist evidently attempted, among- 
 other things, to show the fatal nature of luxuri- 
 ous habits so prevalent among the great ones 
 of the earth, in the period in which he lived. 
 
 It is an old saying, " many dishes, many dis- 
 eases." The luxurious live to eat and drink ; 
 but the wise and temperate eat and drink to live. 
 We may have the necessaries of life upon easy 
 terms ; whereas we put ourselves to great pains 
 for excess. The poor are not so often sick for 
 the want of food, as the rich are by its excess. 
 
 Gluttony kills more than the sword, for from 
 thence proceed sloth, debauchery and an innu- 
 merable train of diseases, and even death itself. 
 Many a monarch has rendered himself more 
 wretched by this vice, than the meanest of hi& 
 subjects. 
 
20 
 
 EMBLEMS OF MORTALITY. 
 
 THE CARDINAL. 
 
 Which justify the wicked for reward, and the righteousness of 
 the righteous from him. — Isaiah, v : 23. 
 
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 Woe, grievous woe, to you, who now 
 The impious man caress ; 
 
 Exalt the unjust to height of wealth, 
 The virtuous man oppress. 
 
 Who seek the world's fallacious gifts 
 
 To gain without delay, 
 And the true path of righteousness 
 
 Desire to take away. 
 
EMBLEMS OF MORTALITY. 21 
 
 THE CARDINAL. 
 
 A Cardinal is a dignitary in the Roman Catho- 
 lic Church, and one of its chief governors, of 
 which there are seventy in number. They con- 
 stitute a college, by and from which the Pope 
 is chosen. Judging from the quotation inserted 
 over the engraving, it would seem that the Car- 
 dinal is granting an indulgence,* or something 
 of the kind, to a wicked wretch for the sake 
 of his money ; Death, however, has his eye on 
 the Cardinal, and his hand clutching his hat. 
 
 The Cardinals have for several ages been the 
 sole electors of the Pope. They are commonly 
 promoted from among such clergymen as have 
 borne offices in the Roman court ; some are as- 
 sumed from religious orders ; eminent ecclesias- 
 tics of other countries are likewise often invested 
 with this dignity. Sons of sovereign princes 
 have frequently been members of the sacred col- 
 lege. Their distinctive dress is scarlet, to sig- 
 nify that they ought to be ready to shed their 
 blood for the faith, if the church require it. 
 They wear a scarlet cap and hat ; the latter ar- 
 ticle is always given by the Pope's own hand. 
 These Cardinals form the Pope's standing coun- 
 cil, or consistory, for the management of the pub- 
 lic affairs of church and state. 
 
 * Indulgences, in the Catholic church, are defined to be " a 
 remission of the punishment due to sin, granted by the church, 
 and supposed to save the sinner from purgatory." 
 
 3 
 
22 EMBLEMS OF MORTALITY. 
 
 THE EMPRESS. 
 
 Those that walk in pride he is able to abase. — Daniel iv : 37, 
 
 Ye, also, who in glittering pomp 
 Of haughty state are placed, 
 
 A day shall see wherein yourselves 
 Of bitter death shall taste : 
 
 For, as the grass by travelers 
 Is trodden on the ground, 
 
 So Death shall tread you under foot ? , 
 And all your joys confound. 
 
EMBLEMS OF MORTALITY. 23 
 
 THE EMPRESS. 
 
 'The Empress seen in the engraving, is attired 
 in a magnificent dress, attended by her maids, 
 holding up her train according to the ancient 
 custom. She prides herself as being in the 
 most exalted station in the world. Notwith- 
 standing all her pompous display, the ghostly 
 figure of Death, unwelcome and uncalled for, 
 boldly intrudes himself upon her notice. He 
 directs her attention to the open grave, on the 
 verge of which she is standing, and to which 
 ;she is soon to be consigned. 
 
 " Princes, this clay must be your bed 
 
 In spite of all your towers ! 
 The tall, the wise, the reverend head 
 
 Must lie as low as ours." 
 
 " There the dark earth and dismal shade 
 Shall clasp their naked bodies round ; 
 
 That flesh so delicately fed, 
 Lies cold and moulders in the ground. 
 
 Then shall their pomp be seen no more 
 Like fog dissolv'd in fleeting air ; 
 
 Their flatteries, and their boasts be o'er, 
 And hopes all vanish in despair." 
 
 ■ An heap of dust remains alone of thee, 
 
 *Tis all thou art, and all the proud shall be.' 
 
24 EMBLEMS OF MORTALITY. 
 
 THE QUEEN. 
 
 Rise up ye women that are at ease ; hear my voice ye careless 
 daughters ; give ear unto my speech. Many days and years shall 
 ye be troubled. — Isaiah, xxxii : 9, 10. 
 
 Hither, ye ladies of renown, 
 And matrons rich, repair : 
 
 For Death to you now clearly tells, 
 A mortal tribe ye are. 
 
 When the glad years and empty joys 
 Of this vain world are past, 
 
 The pain of Death will sure disturb 
 Your bodies frail at last. 
 
EMBLEMS OF MORTALITY. 25 
 
 THE QUEEN. 
 
 Death, in the annexed cut, is represented as 
 seizing the Queen by the arm, to drag her away 
 from all that she holds dear. She and her com- 
 panions are frightened. A male attendant is 
 holding on to the Queen, and is vainly attempt- 
 ing to keep Death at a distance. The grim ty- 
 rant (as he is sometimes called) will not be put 
 off; but is holding up his hour-glass, to show 
 that the inevitable time, when she must be torn 
 from her companions, has arrived. 
 
 Queen Elizabeth, the greatest female ruler of 
 modern times, had awful apprehensions of 
 .death. She died in 1603, in the 70th year of 
 %er age, and 45th of her reign. As she drew 
 /near the close of life she became altered in fea- 
 tures, and was reduced to a skeleton. Such 
 was the state of her mind that nothing could 
 please her ; and she was the torment of the la- 
 ddies who waited on her person. She spent her 
 days and nights in tears, and only spoke to men- 
 tion some irritating subject ; and having ex- 
 perienced some hours of alarming stupor, she 
 persisted after her recovery from it, to remain 
 seated on cushions, from which she could not 
 'be prevailed during ten days, for she had a no- 
 tion that if she should lay down in bed, she 
 'Would not arise from it again. 
 
26 EMBLEMS OF MORTALITY. 
 
 THE BISHOP. 
 
 / will smite the Shepherd, and the sheep of the flock shall be 
 scattered.— Matthew xxvi. 31 Mark xiv. 28. 
 
 The pastor void of all defence, 
 
 My power, says Death, shall own ; 
 
 By me, his mitre and his staff 
 Shall to the ground be thrown. 
 
 His sheep, their pastor thus remov'd 
 By Death's fell power away, 
 
 Shall be dispersed every one, 
 To prowling wolves a prey. 
 
EMBLEMS OF MORTALITY. 27 
 
 THE BISHOP. 
 
 A Bishop is a dignitary in the Christian 
 church, who presides over the clergy within a 
 certain district, called his diocess. The word 
 Bishop signifies an overseer, or inspector. It is 
 a long time since bishops have been distinguished 
 from mere priests, or presbyters ; but whether 
 that distinction be of divine or human right ; 
 whether it was settled in the apostolic age, or 
 introduced since, is much controverted. 
 
 In the accompanying cut, Death is represented 
 as leading the Bishop from his flock, who are 
 seen in a disordered and scattered state in the 
 back ground of the picture. The Bishop ap- 
 pears in his robes, having on his head a mitre, 
 a cap of a conical form, divided at the top. It 
 is of eastern origin, differing somewhat from the 
 cap worn by Aaron and other Jewish priests. 
 In the right hand of the Bishop is seen the cro- 
 sier, which has at its top, a shepherd's crook, to 
 denote his pastoral office, in having the care of 
 the flock of Christ. In some instances the 
 Bishop wears a short white robe called rochet, 
 to denote the purity with which he should be 
 surrounded ; and a cross which hangs before 
 his breast, to teach him to glory in nothing but 
 the cross of Christ. 
 
28 
 
 EMBLEMS OF MORTALITY. 
 
 THE ELECTOR, OR PRINCE OF THE 
 EMPIRE. 
 
 The Prince shall be clothed with desolation, and the hands of 
 the people of the land shall be troubled.— Ezek. vii. 27. 
 
 Come, mighty Prince, now quick resign; 
 
 Thy perishable joys ; 
 Thy fleeting glory, and the rest 
 
 Of earth's delusive toys. 
 
 Lo, I alone the pride of Kings 
 
 Am able to repress ; 
 The splendid pomps of regal state 
 
 My power supreme confess, 
 
EMBLEMS OF MORTALITY. 29 
 
 THE ELECTOR, OR PRINCE OF THE 
 EMPIRE. 
 
 Elector, was the title of such German Princes 
 as formerly had a voice in the election of the 
 Emperor of Germany ; Death is represented in 
 the act of seizing him by laying hold of his robe, 
 and dragging him away from his companions. 
 A poor woman with a child are before him, ap- 
 parently supplicating for favors. He does not, 
 however, seem to notice them, as his face is 
 turned the other way. 
 
 We have no authentic account of the Electors 
 of the Empire, till 1273, when Rodolph of Haps- 
 burgwas chosen Emperor by seven Electors, af- 
 ter an interregnum of twenty-two years. Pre- 
 vious to this time, the Emperor was chosen by 
 the people at large ; afterwards by the nobility. 
 The mode was finally settled in the reign of 
 Charles IV, by the celebrated constitution called 
 the Golden Bull, which fixed the right of elec- 
 tion in four spiritual, and three temporal elec- 
 tors. These were the King of Bohemia, the 
 Duke of Saxony, the Margrave of Branden- 
 burg, the Count Palatine of the Rhine, and the 
 three arch-bishops of Metz, Treves, and Co- 
 logne. Afterwards the Duke of Bavaria, and 
 the Duke of Brunswick Lunenburg, were added. 
 
30 EMBLEMS OF MORTALITY. 
 
 THE ABBOT. 
 
 He shall die without instruction, and in the greatness of his fol- 
 ly he shall go astray. — Proverbs v. 23. 
 
 This instant, wretch, thou shalt depart, 
 Consign'd to mouldering dust ; 
 
 Because thou knewest not, only feign'dst, 
 The wisdom of the just. 
 
 The abundance of thy folly great, 
 
 Did blindly thee deceive, 
 And made thee seek the sinful path, 
 
 Which thou could'st never leave. 
 
EMBLEMS OF MORTALITY. 31 
 
 THE ABBOT. 
 
 An Allot is the name of the superior or chief 
 ruler of a monastery or abbey. These institu- 
 tions were at first nothing more than religious 
 houses, whither persons retired from the bustle 
 of the world, to spend their time in solitude and 
 devotion : but they afterwards degenerated : 
 their inmates in many instances became licen- 
 tious and profligate epicures 
 
 One of the principal ^ases of the corrup- 
 tion of the monastic order, was their great 
 wealth. This was derived from donations from 
 the rich, who were in the habit, just before 
 death, of bestowing their property on these in- 
 stitutions, supposing that by this means they 
 would secure the salvation of their souls. The 
 Abbots soon learned to be ambitious, and aspired 
 ito elevated stations and new distinctions. Some 
 «were termed mitred allots : these exercised epis- 
 copal authority : others were called cr osier ed al- 
 lots, from their bearing the crosier, or pastoral 
 :stafT: others were styled ozcumenial or univer- 
 sal abbots, while others were termed cardinal 
 allots, from their superiority over all other ab- 
 bots. The engraving evidently shews Death 
 taking off the mitred abbot, after having trans- 
 ferred his emblems of authority to himself. 
 
3d. 
 
 EMBLEMS OF MORTALITY. 
 
 THE ABBESS. 
 
 Wlierefore I praised the dead which are already dead, more 
 than the living, which are yet alive, — Ecclesiastes iv. 2. 
 
 Better it is to die than live, 
 I constantly have taught ; 
 
 Since human life with anxious care 
 And various ills is fraught. 
 
 Ungrateful Death me now compels 
 The like sad path to tread, 
 
 With those whom in the silent grave 
 The fates severe have laid. 
 
EMBLEMS OF MORTALITY. 33 
 
 THE ABBESS. 
 
 The Abbess is the superior of an abbey or 
 convent of nuns, who are females who have de- 
 voted themselves in a cloister, or nunnery, to a 
 religious life. The Lady Abbess is seen in her 
 distinctive dress, having in her hands a rosary 7 
 or string of beads, by which she counts her 
 prayers.* Death has seized hold of a part of 
 her dress, and by it is leading her away from 
 the convent or abbey, regardless of the cries of 
 the child, or young woman, who has been under 
 her charge. 
 
 By the Council of Trent, it was decreed that 
 an Abbess must be at least forty years of age ; 
 and that she should receive the veil of prelacy 
 at the age of sixty. She is elected from the 
 sisterhood of her own order : her power over 
 her own order resembles that of an abbot ; but 
 she does not perform the spiritual functions. 
 Formerly, some were accustomed to give the 
 veil to nuns ; but this was afterwards judged un- 
 lawful. In France, and Italy, many were ex- 
 empted from episcopal jurisdiction, and some 
 had the privilege of commissioning a priest to 
 act for them, in performing the spiritual func- 
 tions. 
 
 * The religious among Catholics have prescribed forms of 
 devotion as to number of prayers, &c. By slipping a bead 
 through the hand, when each petition or prayer is said, the 
 precise number that has been offered will be ascertained. 
 
34 EMBLEMS OF MORTALITY. 
 
 THE GENTLEMAN. 
 
 What man is he that liveth and shall not see Death ? Shall 
 he deliver his soul from the hand of the grave ? — Psalm lxxxix. 48. 
 
 What man is he, however brave, 
 Of mightiest power possest, 
 
 Who in this mortal world shall live, 
 And Death shall never taste ? 
 
 What man is he who Death's fell dart, 
 Which conquers all, can brave ; 
 
 Who his own life, by force or skill, 
 From Death can hope to save ? 
 
EMBLEMS OF MORTALITY. 35 
 
 THE GENTLEMAN. 
 
 The engraving shows a Gentleman in full 
 dress, as he appeared in fashionable circles, 
 four centuries since. With sword in hand, he is 
 engaged in a hopeless contest with Death, who 
 has seized him by laying hold of the splendid 
 garment he wears, and is dragging him away in 
 spite of all his opposition. He wears a rurT 
 around his neck, and his hat is adorned with 
 plumes or feathers. The wearing of hats of 
 any kind, in ancient times, was a privilege al- 
 lowed only to lords, knights, and gentlemen. 
 
 However a man may pride himself on his 
 high birth, or splendid dress and equipage, and 
 despise the poor on account of their poverty, yet 
 he will find Death no respector of persons. 
 
 " Why do the proud insult the poor, 
 And boast the large estates they have ? 
 
 How vain are riches to secure 
 
 Their haughty owners from the grave ! 
 
 They can't redeem one hour from death 
 With all the power in which they trust ; 
 
 Nor give a dying brother breath, 
 When God commands him down to dust." 
 
 For all that is in the world, the lust of the 
 flesh, and the lust of the eyes, and the pride of 
 life, is not of the Father, but is of the world. 
 And the world passeth away and the lust there- 
 of.— 1 John ii. 16, 17. 
 
36 EMBLEMS OF MORTALITY. 
 
 THE CANON. 
 
 Behold, the hour is at hand. — Matthew xxvi. 45. 
 
 By crowds attended to the choir, 
 Thou now dost bend thy way ; 
 
 Come on, and, with suppliant voice, 
 Thy humblest homage pay : 
 
 For thee, the fates do loud demand, 
 And instant Death does crave ; 
 
 A day, which no one can retard, 
 Shall force thee to the grave. 
 
EMBLEMS OF MORTALITY. 37 
 
 THE CANON. 
 
 A Canon is a person who possesses a pre- 
 bend or revenue, allotted for the performance of 
 divine service in a cathedral, or collegiate 
 church. Canons are of no great antiquity. The 
 common opinion attributes the institution of this 
 order to Chrodegangus, bishop of Mentz, about 
 the middle of the eighth century. 
 
 The engraving shows a Canon in his official 
 robes ; the figure of Death is seen by his side, 
 holding the hour-glass before his face, to show 
 him that his time has come. The Canon is ac- 
 companied by a sportsman, who is seen with a 
 hawk, or falcon, sitting on his hand. 
 
 Hawking, or Falconry, is the art of catching 
 wild fowls by means of hawks, or other birds of 
 prey, tamed and properly tutored for that pur- 
 pose. This art was in high repute in almost 
 every part of Europe during the twelfth century ; 
 but after the invention of fire arms, it gradually 
 declined. 
 
 Canon-law, consists of rules drawn from scrip- 
 ture, from the writings of the ancient fathers, 
 from the ordinances of councils, and the decrees 
 of the Pope. Canonization, in the Roman Catho- 
 lic church, is a ceremony by which persons de- 
 ceased, are ranked in the catalogue of saints. 
 
 4* 
 
38 EMBLEMS OF MORTALITY. 
 
 THE JUDGE. 
 
 / will cut off the Judge from the midst thereof. — Amos ii. 3. 
 
 You who false judgment do pronounce, 
 
 For filthy lucre's sake, 
 From midst of crowds and judgment seat, 
 
 I, Death, will quickly take. 
 
 To fate's just laws ye must submit, 
 
 Nor ye, alone, contest 
 That power which every son of man 
 
 Has hitherto confest. 
 
EMBLEMS OF MORTALITY, 39 
 
 THE JUDGE. 
 
 The cut shows a Judge in the seat of justice 
 in the act of receiving a bribe, by which justice 
 is perverted. Two persons are before him, one 
 a poor man, the other rich. The Judge pays no 
 attention to the poor man, but the love of money 
 causes him to pass judgment in favor of the rich. 
 
 " Judges, who rule the world by laws, 
 Will ye despise the righteous cause 
 
 When the oppress'd before you stands? 
 Dare ye condemn the righteous poor, 
 And let rich sinners escape secure, 
 
 While gold and greatness bribe your hands ? 
 
 Have ye forgot, or never known, 
 God is your Jndge, and he alone ? 
 
 High in the heavens his justice reigns, 
 Yet you invade the rights of God 
 And send your bold decrees abroad 
 
 To bind the conscience in your chains." 
 
 Thou shalt not wrest judgment ; thou shalt 
 not respect persons, neither take a gift : for a 
 gift doth blind the eyes of the wise, and pervert 
 the words of the righteous. — Deut. xvi. 19. 
 
 A wicked man taketh a gift out of the bosom 
 to pervert the ways of judgment. The judge 
 asketh for a reward. — Prov. xvii. 23. 
 
40 EMBLEMS OF MORTALITY. 
 
 THE ADVOCATE. 
 
 A prudent man foreseeih the evil, and hideth himself : but the 
 sun-pie pass on, and are punished. — Prov. xxii. 3. 
 
 The crafty man the crime perceives, 
 
 The guilty does protect ; 
 The cause of just and needy men, 
 
 He ever does reject. 
 
 The poor and guiltless are oppressed 
 By Justice's vain pretence, 
 
 And gold, than laws, is found to have 
 A greater influence. 
 
EMBLEMS OF MORTALITY. 41 
 
 THE ADVOCATE. 
 
 An Advocate is one who pleads the cause of 
 another before any tribunal or judicial court. 
 The cut represents an Advocate (or lawyer as 
 he would be termed in this day,) in the act of 
 receiving a fee. From the lines underneath, as 
 well as by the drawing itself, it was evidently the 
 design of the artist to show an unworthy me^jf-^ 
 ber of the profession, who for the sake of money 
 is willing to screen a villain from deserved pun- 
 ishment. Death, however, is intruding himself 
 upon the notice of the Advocate, and as if in 
 mockery of what is passing between the lawyer 
 and his client, he also is proffering one hand 
 as if bestowing something, whilst the other holds 
 the ominous hour glass. A poor wretch, some- 
 what in the back ground, appears wringing his 
 hands in deep distress, apparently without 
 money or friends to plead his cause. 
 
 He that getteth riches and not by right, shall 
 leave them in the midst of his days, and at the 
 end shall be a fool. — Jeremiah xvi. 11. 
 
 The getting of treasures by a lying tongue is 
 a vanity tossed to and fro of them that seek 
 death. — Prov. xx. 21. 
 
 Woe unto them which justify the 
 
 wicked for reward and take away the righteous- 
 ness of the righteous from him! — Isa. v. 22, 23. 
 
42 EMBLEMS OF MORTALITY. 
 
 THE MAGISTRATE. 
 
 Whoso stoppeth his ears at the cry of the poor, he also shall 
 cry himself, but shall not be heard. — Prov. xxi. 13. 
 
 The rich and wealthy readily 
 
 To suitors rich give ear, 
 And scorn the poor and needy man, — 
 
 His prayer refuse to heir : 
 
 But when themselves in the last hour, 
 
 To God shall earnest cry, 
 Their anxious prayers he shall reject, 
 
 And their request deny. 
 
EMBLEMS OF MORTALITY. 43 
 
 THE MAGISTRATE. 
 
 The design of this cut, representing the Coun- 
 sellor, or Magistrate, is somewhat similar to the 
 two preceding ; all showing the powerful effect 
 which gold has in turning the heart from the 
 claims of justice and humanity. The poor man, 
 with his cap in hand, and tattered garments, 
 endeavors in vain to get the Magistrate to lis- 
 ten to his complaints. An evil spirit, personi- 
 fied by an uncouth figure, is filling the ear or 
 head of the Magistrate. 
 
 I returned, and considered all the oppres- 
 sions that are done under the sun ; and beheld 
 the tears of such as were oppressed, and they 
 had no comforter. — Eccl. iv. 1. 
 
 If thou seest the oppressions of the poor, 
 and violent perverting of judgment and justice 
 in a province, marvel not at the matter : for he 
 that is higher than the highest regardeth ; and 
 these be higher than they. — Ecc. v. 8. 
 
 Rob not the poor because he is poor ; neither 
 oppress the afflicted in the gate : for the Lord 
 will plead their cause, and spoil the soul of 
 those that spoiled them. — Prov. xxii. 22. 
 
44 
 
 EMBLEMS OF MORTALITY. 
 
 THE CURATE. 
 
 Woe unto them that call evil good, and good evil ; that pirt 
 darkness for light and light for darkness : that put bitter for 
 sweet, and sweet for bitter. — fsaiah v. 20. 
 
 Woe to you impious hypocrites, 
 
 Who evil goodness term ; 
 And evil to be truly good, 
 
 With equal fraud affirm : 
 
 Who dark (or light, with falsehood great, 
 And light for dark embrace ; 
 
 Bitter for sweet who substitute, 
 And sweet for bitter place. 
 
EMBLEMS OF MORTALITY. 45 
 
 THE CURATE. 
 
 A Curate is one of the lower order of cler- 
 gymen, who represents the incumbent of a 
 church, priest or vicar, and officiates in his stead. 
 In the cut the curate is seen preaching : the 
 figure of Death appears behind, and with him in 
 the pulpit, having around his neck the insignia 
 of a priest. The congregation are sitting on 
 stools, as it was not customary in ancient 
 times, in the large religious edifices of Europe, 
 to have stationary seats. The scriptural quota- 
 tion above, and the lines underneath the engrav- 
 ing, are aimed at the false and hypocritical 
 preacher, of which there have been too many in 
 all ages, and in all branches of the christian 
 church. 
 
 11 Can I be flatter'd with thy cringing bows, 
 Thy solemn chatterings and fantastic vows ? 
 Are my eyes charm'd thy vestments to behold 
 Glaring in gems, hnd gay in wov^n geld 1 
 
 Unthinking wretch ! how couldst thou hope to please 
 A God, a Spirit, with such toys as these ? 
 While with my grace and statutes on thy tongue 
 Thou lov'st deceit, and dost thy neighbor wrong ? 
 
 In vain to pious forms thy zeal pretends, 
 Thieves and adulterers are thy chosen friends, 
 While the false flatterer at my altar waits 
 His harden'd soul divine instruction hates." 
 
46 EMBLEMS OF MORTALITY. 
 
 THE PRIEST. 
 
 / myself also am a mortal man, like to all. — Wisdom Tit". I. 
 
 The holy sacrament, behold, 
 
 Celestial gift, I bear, 
 The sick man, at the hour of death, 
 
 With certain hope to cheer. 
 
 Ev'n I myself am mortal too, 
 
 And the same laws obey, 
 And shall like him, when time shall come, 
 
 To Death be made a prey. 
 
EMBLEMS OF MORTALITY. 47 
 
 THE PRIEST. 
 
 The engraving represents a Catholic Priest, 
 who is on his way to administer the sacrament 
 to a person who is supposed to be at the point of 
 death. He holds in hand the ceborium, covered 
 with a cloth, in which is contained the elements. 
 It is surmounted by a cross, underneath which 
 are seen the letters I. H. S. [Jesus Hominum 
 •Salvator,] signifying, Jesus the Savior of man. 
 The article of dress appearing like a dark band, 
 worn by the priest over his shoulders, is called 
 the stole : he is followed by persons bearing 
 lighted candles, as is customary in Catholic 
 ^countries on such occasions. These proces- 
 sions are usually preceded by a bell-man, who 
 ogives notice of their approach, so that proper 
 respect may be paid. In the engraving the fig- 
 ure of Death is represented as performing this 
 office. 
 
 Extreme unction, or the anointing persons at 
 the point of death is considered a sacrament 
 in the Catholic church. It is administered to 
 none but such as are affected with some mor- 
 tal disease, or in a decrepit age. It is refused to 
 impenitent persons, as also to criminals. When 
 the oil is applied, the prayer is, " may God for- 
 give thee whatever sins thou hast committed by 
 ^ight" when the eyes are anointed : by the hear- 
 ing, when the ears are anointed : and so by the 
 other senses- 
 
48 
 
 EMBLEMS OF MORTALITY. 
 
 THE FRIAR MENDICANT. 
 
 Such as sit in darkness and in the shadow of death, being 
 bound in affliction and iron. — Psalm cvii. 10. 
 
 Some men, the world to circumvent 
 
 By fraud and falsehood, try 
 By feign'd religion sin to hide 
 
 From ev'ry mortal eye : 
 Of piety, an ardent love 
 
 They outwardly profess, 
 But inwardly they are the sink 
 
 Of all voluptousness. 
 But when the end shall he at hand, 
 
 They like reward shall have, 
 And death, by myriads, shall mow down 
 
 The wicked to the grave. 
 
EMBLEMS OF MORTALITY. 49 
 
 THE FRIAR MENDICANT. 
 
 Friar is an appellation common to monks of 
 all orders who are generally distinguished into 
 four principal branches, viz. 1. Minors, Gray- 
 Friars or Franciscans ; 2. Augustines, Domini- 
 cans, or Black Friars, White Friars, or Carmel- 
 ites. The Begging Friars, or Mendicants, have 
 ostensibly no settled revenues, but are supported 
 by the charitable contributions they receive 
 from others. 
 
 This sort of society began in the thirteenth 
 century, and being encouraged by a succession 
 of Popes, their number grew to such an enor- 
 mous and un wieldly multitude, and swarmed so 
 prodigiously in all European provinces, that they 
 became a burden, not only to the people, but to 
 the church itself. In the fifteenth century their 
 arrogance became excessive, and a quarrelsome 
 and litigious spirit prevailed among them. They 
 lost their credit in the sixteenth century by 
 their rustic impudence, their ridiculous supersti- 
 tions, their ignorance, cruelty and brutish man- 
 ners ; often under the appearance of beggary they 
 lived a luxurious life. The engraving shows 
 a begging friar, with his bag and charity box, 
 vainly endeavoring to flee from the grasp of 
 Death. 
 
 5» 
 
50 EMBLEMS OF MORTALITY. 
 
 THE CANONESS. 
 
 There is a way which seemed right unto man ; but the end 
 thereof are the ways of death. — Prov. xiv. 12. 
 
 An Apostrophe to Death. 
 Why dost thou, pale and envious Death, 
 
 A sacred maid affright ? 
 Small glory to thee can arise 
 
 From victories so slight. 
 Go hence, let sick or aged men. 
 
 Thy fatal dart employ ; 
 But let this virgin, innocent, 
 
 Life's pleasures long enjoy. 
 Pleasure and joy her jocund youth 
 
 Should ardently pursue ; 
 The pleasures of the marriage state 
 
 To her gay yoia£b.are due. 
 
EMBLEMS OF MORTALITY. 51 
 
 THE CANONESS. 
 
 A Canoness is a woman who enjoys a pre- 
 bend, or maintenance, affixed by the foundation 
 to maids, without obliging them to make any 
 vows, or renounce the world. She is repre- 
 sented in the engraving as kneeling at the altar, 
 with her rosary and canonical habit. On the 
 altar are two images, one of which appears to 
 be the virgin Mary and child. Although pro- 
 fessedly in the act of devotion, the attention of 
 the Canoness is drawn aside by the performance 
 of the musician ; thus illustrating the difficulty of 
 serving two masters. Death is seen standing 
 by the side of the Canoness, extinguishing one 
 of the lights* on the altar. 
 
 " How vain are all things here below ! 
 
 How false and yet how fair ! 
 Each pleasure hath its poison too, 
 
 And every sweet a snare. 
 
 Our dearest joys, and nearest friends, 
 
 The partners of our blood, 
 How they divide our wavering minds 
 
 And leave but half for God !" 
 
 * It is customary among Catholics to have burning lights, 
 •during the performance of religious worship, whether by 
 night or day. This was an ancient custom according to their 
 writers, to express joy, also the descent of the Holy Spirit on 
 the day of Pentecost in the form of cloven tongues, which is 
 represented by the blaze of candles. 
 
52 EMBLEMS OF MORTALITY. 
 
 THE OLD WOMAN. 
 
 Death is better than a bitter life or continued sickness. — Eccle- 
 siasticus xxx. 17. 
 
 Lon^ has my life most irksome been, 
 Oppress'd with care and pain ; 
 
 No anxious wish my bosom fires, 
 Here longer to remain. 
 
 My certain judgment does pronounce 
 
 Better to die than live ; 
 For death to minds worn out with care 
 
 Glad peace and rest will give. 
 
EMBLEMS OF MORTALITY. 53 
 
 THE OLD WOMAN. 
 
 The cut shows an aged woman bowed down 
 by the weight of age and infirmities, supporting 
 herself by a staff as she slowly passes along. 
 Two figures of Death are represented in the 
 •drawing, one of which is in advance of the oth- 
 er, beating on what appears to be a shepherd's 
 harp. 
 
 The quotation above the cut is from the Apoc- 
 rypha, a series of books sometimes bound up 
 with the bible, but considered by Protestants 
 merely as an ancient history, without any di- 
 vine authority. They are, however, in the Ro- 
 man Catholic church, generally considered as 
 canonical. 
 
 The words put into the mouth of this aged 
 woman, " Better to die than live," may correctly 
 state the feelings of many ; but unless we pos- 
 sess something of the spirit of St. Paul, who 
 wished to depart and be with Christ, we are 
 wrong. The righteous soul, like Job, will glo- 
 rify God, even in the furnace of affliction, and 
 will say like him, " All my appointed time will 
 I wait till my change come." Divine wisdom 
 hath said, " our light affliction, which is but for 
 a moment, worketh for us a far more exceeding 
 and eternal weight of glory." 
 
54 EMBLEMS OF MORTALITY. 
 
 THE PHYSICIAN. 
 
 Physician, heal thyself. — Luke iv. 23. 
 
 Diseases well thou understands, 
 And cures canst well apply, 
 
 Which to the sick, in time of need, 
 Will welcome health supply. 
 
 But while, O dull and stupid wretch, 
 Thou others' fates dost stay, 
 
 Thou'rt ignorant what fell disease 
 Shall hurry thee away. 
 
EMBLEMS OF MORTALITY. 55 
 
 THE PHYSICIAN. 
 
 In the accompanying print Death is the most 
 prominent object ; he is represented as leading 
 a sick man into the room of the Physician, who 
 is extending his hand, whether to the sick man 
 or to the bottle of medicine in the hand of Death, 
 does not distinctly appear. 
 
 The lines underneath the engraving are rather 
 sarcastic towards the Physician, implying that, 
 although he possesses great skill in curing oth- 
 ers of their maladies, he is unable to cure him- 
 himself, or to give information what disease will 
 finally remove him away. The frame of man, 
 so curiously and wonderfully made, has the 
 seeds of dissolution within, and although science 
 and art may for a short time stay the ravages of 
 disease and death, yet all that is mortal must 
 die. The physician also, who has by his skill 
 relieved so much human suffering, — he too 
 must pass through the same scenes of suffering 
 with his fellow mortals. 
 
 " How vain the skill of feeble man ; 
 How weak his frame, how short his span ! 
 
 Can human skill save from the grave ? 
 Who can secure his vital breath, 
 Against the bold demand. of Death, 
 
 With strength to fly or power to save V* 
 
56 EMBLEMS OF MORTALITY. 
 
 THE ASTROLOGER. 
 
 Knoweth thou it, because thou wast then born ? or because the 
 number of thy days is great ? — Job xxxviii. 21. 
 
 Thou, by contemplating a sphere 
 
 Which Heaven's bright face does show 
 Events which shall to others chance, 
 
 Pretendeth to foreknow, 
 Tell me if thou of fates to come 
 
 A skilful prophet art, 
 When to the tomb the hand of Death 
 
 Shall urge thee to depart ? 
 Behold the sphere, which to thy view 
 
 My right hand now does hold, 
 By that the fate which thou shalt find 
 
 May better be foretold. 
 
EMBLEMS OF MORTALITY. 57 
 
 THE ASTROLOGER. 
 
 Astrology was an art, formerly much culti- 
 vated, of judging, or predicting human events 
 from the situation and different aspects of the 
 heavenly bodies or stars. The engraving rep- 
 resents an Astrologer looking upwards at a ce- 
 lestial sphere suspended before him, with his 
 book and mathematical instruments, contem- 
 plating the aspects of the planets and stars in 
 in order to predict the fortunes of individuals 
 and public bodies. While engaged in these 
 silly speculations, Death enters his room and is 
 seen holding np a skull before him, and (accord- 
 ing to the lines underneath the cut) sarcas- 
 tically reminding him that by the contemplation 
 of that sphere, he will be able to predict with 
 more certainty his own fate and that of others. 
 
 The science of Astrology, though now ex- 
 ploded, was one of very great antiquity. It ap- 
 pears to have had its origin in the superstitious 
 notions of heathenish nations. It was consid- 
 ered as the highest branch of divination, and 
 no important enterprise was undertaken without 
 consulting its rules. A knowledge of this art, 
 in many nations, was supposed to be indispen- 
 sable to men of every profession. 
 
58 EMBLEMS OF MORTALITY. 
 
 THE MISER. 
 
 Thou fool, this night thy soul shall be required of thee : Then 
 whose shall those things be which thou hast provided .-Luke xii. 20. 
 
 This night shall Death, with iron hand, 
 Thee, griping wretch, subdue ; 
 
 And in the narrow grave entomb 'd, 
 To-morrow thee shall view. 
 
 Therefore, when thou, of life depriv'd, 
 Shalt far from hence be gone, 
 
 What successor shall thy vast heaps 
 Of endless riches own ? 
 
EMBLEMS OF MORTALITY. 59 
 
 THE MISER. 
 
 In this picture the Miser is admirably de- 
 picted : he is starting from his seat in an agony 
 of distress, to see his money grasped by the 
 hand of Death, who is loading his large dish 
 with the shining treasure. The drawing shows 
 the Miser in a subterranean or a prison-like 
 apartment, whither he has retired for the pur- 
 pose of counting over his treasure, in the dead 
 of night, secure as he thinks from observation 
 or interruption. 
 
 He heapeth up riches and knoweth not who 
 shall gather them. — Psalm xxxvii. 6. 
 
 There is one alone, and there is not a se- 
 cond : yea, he hath neither child nor brother ; 
 yet there is no end of all his labor : neither is 
 his eye satisfied with riches ; neither saith he 
 for whom do I labor, and bereave my soul of 
 good ? — Eccl. iv. 8. 
 
 Riches are not for ever. Wilt thou set thine 
 eyes upon that which is not ? for riches cer- 
 tainly make themselves wings ; they fly away 
 as an eagle toward heaven. — Prov. xxvii. 24. 
 xxiii. 5. 
 
 Lay not up for yourselves treasures upon 
 earth, where moth and rust doth corrupt, and 
 where thieves break through and steal. — Matt, 
 vi. 19. 
 
60 EMBLEMS OF MORTALITY. 
 
 THE MERCHANT. 
 
 The getting of treasures by a lying tongue, is a vanity tossed 
 to and fro of them that seek Death. — Proverbs xxi. 6. 
 
 A foolish part he sure pursues, 
 Who wealth by fraud and lies 
 
 To accumulate, and numerous goods 
 To gain, unjustly tries. 
 
 For Death entangled in the snare, 
 To seize him shall not fail ; 
 
 And these his actions most unjust 
 Shall cause him to bewail. 
 
EMBLEMS OF MORTALITY. 61 
 
 THE MERCHANT. 
 
 Death in this engraving is represented as 
 in a rough manner seizing the Merchant by his 
 garment and by the hair of the head, while en- 
 gaged in handling over his money, among his 
 various articles of merchandise. The scrip- 
 tural quotation, and the lines underneath the cut, 
 are aimed at the merchant who by fraud and dou- 
 ble-dealing accumulates riches, a vice too com- 
 mon in all ages and in all countries. The 
 practice in the days of Solomon, of deception in 
 buying and selling goods, is still kept in our 
 day. " It is naught, it is naught," saith the 
 buyer, " but when he goeth his way he boast- 
 eth." 
 
 " Thy law and gospel they despise, 
 Vain of their wealth, of madness proud, 
 
 Too rich thy grace to seek, or prize, 
 They cannot hearken, e'en to God. 
 
 " They placed their hopes in glittering dust, 
 Chained to the earth, and glued to sin ; 
 
 They would not make the Lord their trust, 
 Nor form'd a wish for life divine." 
 
62 EMBLEMS OF MORTALITY. 
 
 THE MARINER, OR SAILOR. 
 
 They that will be rich, fall into temptation, and a snare, and 
 into many foolish and hurtful lusts, which drown men in destruc- 
 tion and perdition. — 1 Tim. vi. 9. 
 
 That worldly goods they may procure, 
 And wealth immense obtain, 
 
 Their breasts men hourly will expose, 
 Temptations to sustain. 
 
 But men whom dangers thus surround, 
 
 Fortune compels to bend 
 Their footsteps to those beaten paths 
 
 Which to destruction tend. 
 
EMBLEMS OF MORTALITY. 63 
 
 THE MARINER, OR SAILOR. 
 
 The engraving shows a number of Mariners 
 at sea, in a storm. Their canvass is torn into 
 shreds. Death is on board the vessel, and is 
 seen breaking the mast which seems falling on 
 the affrighted Mariners : the lightnings flash, 
 the sea rolls and foams ; they are all at their 
 wits end, ready to perish amid the mighty wa- 
 ters. All these dangers will men eneounter for 
 the sake of adding to their wealth. 
 
 They that go down to the sea in ships, that 
 
 do business in great waters. These see the 
 
 works of the Lord, and his wonders in the deep. 
 For he commandeth, and raiseth the stormy 
 
 wind, which lifteth up the waves thereof. 
 
 They mount up to the heaven, they go down 
 again to the depths ; their soul is melted be- 
 cause of trouble. They reel to and fro, and 
 
 stagger like a drunken man, and are at their 
 wits end. — Psalm cvii. 
 
 '* When the fierce north wind with his airy forces 
 Rears up the Baltic to a foaming fury : 
 And the red lightning, with a storm of hail, comes 
 Rushing amain down : 
 
 How the poor sailors stand amazed and tremble ! 
 While the hoarse thunder, like a bloody trumpet 
 Roars a loud onset to the gaping waters, 
 Quick to devour them." 
 
64 EMBLEMS OF MORTALITY. 
 
 THE KNIGHT, OR SOLDIER. 
 
 In a moment shall they die, and the people shall be troubled at 
 midnight, and pass away : And the mighty shall be taken away 
 without hand. — Job xxxiv. 20. 
 
 Against the man who wars excites, 
 
 And does mild peace despise, 
 (Peace, that to all great blessings brings) 
 
 The people shall arise : 
 To courage only they shall trust, 
 
 This tyrant fierce to tame ; 
 And fall he shall, but by a stroke 
 
 No human hand shall aim. 
 For him who, to oppress mankind, 
 
 Shall mighty arms employ, 
 Resistless Death shall suddenly 
 
 By an ill fate destroy. 
 
EMBLEMS OF MORTALITY. 65 
 
 THE KNIGHT, OR SOLDIER. 
 
 In this cut, the Knight is seen engaged in a 
 desperate conflict with the King of Terrors. It 
 is however a hopeless contest for the Knight, 
 as Death has given him a mortal wound, and he 
 must fall like all others. Knighthood, or chival- 
 ry, was an institution which formerly had a 
 great influence on the opinions and manners of 
 mankind. It attained its greatest height during 
 the Crusades or religious wars of Europe. The 
 Knights were the most effective soldiers of the 
 day, distinguished for a romantic spirit of ad- 
 venture ; a love of arms, and the rewards of 
 valor ; an eagerness to protect the oppressed ; 
 to avenge wrongs ; high sentiments of honor and 
 religion ; and especially a devoted and respect- 
 ful attachment to the female sex. 
 
 There were two orders of Knights of two 
 general descriptions, viz : religious and milita- 
 ry. Some of the religious orders were those 
 of Templars, St. James, the Lady of Mercy, 
 &c. In religious orders, the Knights or Cava- 
 liers were bound by the monastic vows of chas- 
 tity, poverty and obedience. The military or- 
 ders were imitations of the religious. The 
 Knight Templars became quite famous for their 
 defence of the Holy Land and Christian Pil- 
 grims. After the ruin of Jerusalem, about 1 186, 
 they spread themselves throughout Europe, 
 where they flourished for a considerable period. 
 
66 EMBLEMS OF MORTALITY. 
 
 THE COUNT. 
 
 For when he dieth, he shall carry nothing away : His glory 
 shall not descend after him. — Psalm xlix. 17. 
 
 None of thuse honors which the great 
 
 And mighty now attend, 
 When Death shall cast them from their seat, 
 
 Shall to the grave descend. 
 
 No ensigns of a glorious race, 
 
 They thither shall convey, 
 Nor titles high : for in the grave 
 
 They nought but dust shall be. 
 
EMBLEMS OF MORTALITY. 67 
 
 THE COUNT. 
 
 A Count is a title of nobility on the conti- 
 nent of Europe, equivalent to the English Earl, 
 and whose domain is a County. In the Ger- 
 man Empire, their influence increased with the 
 progress of the nation, whilst the imperial gov- 
 ernment grew weaker and weaker. They even 
 began to transmit their titles to their children. 
 In the twelfth century, the division of counties on 
 the continent of Europe was abolished, and thus 
 the Counts lost their jurisdiction, except on 
 their own possessions. 
 
 The engraving appears to be a representation 
 of Death, who having the armorial bearings of 
 the Count in his possession, follows close on 
 his track to strip him of all the honorable dis- 
 tinctions which may be about him. 
 
 " Honor's a puff of noisy breath ; 
 
 Yet men expose their blood, 
 And venture everlasting death 
 
 To gain that airy good. 
 
 This is the folly of their way, 
 
 And yet their sons, as vain, 
 Approve the words their fathers say, 
 
 And act their works again. 
 
 When void of wisdom and of grace 
 
 If honor raise them high, 
 Live like the beast, a thoughtless race, 
 
 And like the beast they die." 
 
68 EMBLEMS OF MORTALITY. 
 
 THE OLD MAN. 
 
 My breath is corrupt, my days are extinct, the graves are ready 
 for me. — Job xlix. 1. 
 
 Exhausted strength my feeble nerves 
 
 No longer now does brace, 
 And, like a river's rapid stream, 
 
 My life flows out apace. 
 The time, which no one can recall, 
 
 How swift a flight has ta'en ! 
 And nothing but the silent tomb 
 
 For me does now remain. 
 Tired of the ills of a long life, 
 
 And sick of all its cares, 
 For speedy Death I now address 
 
 To heaven my anxious prayers. 
 
EMBLEMS OF MORTALITY. 69 
 
 THE OLD MAN. 
 
 The engraving represents Death leading an 
 old Man, bowed down with the weight of years. 
 He stands almost with " one foot in the grave," 
 which is open, and ready to receive him. He 
 has a staff in his hand to support his trembling 
 limbs and has the appearance of being in his 
 second childhood. 
 
 The days of our years are threescore years 
 and ten ; and if by reason of strength, they are 
 four-score, yet is their strength labor and sor- 
 row ; for it is soon cut off and we fly away. — 
 Psalm xc. 9. 
 
 Your fathers, where are they ? and the proph- 
 ets, do they live forever ? — Zech. i. 5. 
 
 They are destroyed from morning to evening : 
 they perish forever without any regarding it. 
 Doth not their excellency which is in them go 
 away ? They die even without wisdom, — Job 
 vi. 18. 
 
 u Death, like an overflowing stream, 
 Sweeps us away ; our life's a dream ; 
 An empty tale ; a morning flower 
 Cut down and wither'd in an hour. 
 
 Our age to seventy years is set ; 
 How short the term ! how frail the state ! 
 And if to eighty we arrive 
 We rather sigh and groan, than live." 
 7 
 
 V -Jf ft 
 
70 EMBLEMS OF MORTALITY. 
 
 THE COUNTESS. 
 
 They spend their days in wealth, and in a moment go down 
 to the grave. — Job xxi. 13. 
 
 In numerous joys their rapid life 
 
 The thoughtless virgins waste, 
 And ev'ry kind of pleasure seek 
 
 With eagerness of taste. 
 From cares and sorrow they are free, 
 
 No thought their minds to tire, 
 A vacant life, full fraught with bliss, 
 
 They earnestly desire. 
 But in the grave they shall be laid, 
 
 By Death's all-piercing dart, 
 Where he their pleasures exquisite 
 
 Shall into grief convert. 
 
EMBLEMS OF MORTALITY. 71 
 
 THE COUNTESS. 
 
 Countess is the title of a noble lady, who is 
 the wife of an Earl or Count. She is looking 
 at a splendid dress, brought to her by a person 
 who appears to have the charge of her ward- 
 robe. Death also shows his officiousness in 
 adjusting an article of dress about her neck. 
 
 Having the possession of wealth, the lady of 
 rank can indulge her love of display, and it is 
 a melancholy reflection, that a large number of 
 those who consider themselves in the upper 
 ranks of life, spend their time and money in 
 frivolous pursuits. " She that liveth in plea- 
 sure, is dead while she liveth." That is, dead 
 to all purposes of good ; and when Death drags 
 her from this world, it is no loss to those who 
 remain behind. When awakened by the arch- 
 angel's trump, at the last day, from the dust of 
 the earth all persons of this character shall arise 
 to shame and everlasting contempt. 
 
 " But, oh, their end, their dreadful end ! 
 
 Thy sanctuary taught me so — 
 On slippery rocks I see them stand 
 
 And fiery billows roll below. 
 
 Their fancied joys, how fast they flee ! 
 
 Just like a dream when man awakes ; 
 Their songs of softest harmony 
 
 Are but a preface to their plagues." 
 
72 EMBLEMS OF MORTALITY. 
 
 THE NEW MARRIED COUPLE. 
 
 The Lord do so to me, and more also, if aught but Death part 
 thee and me. — Ruth i. 27. 
 
 This is true love, and this alone, 
 Which two in one conjoins, 
 
 And in affection's strongest bands, 
 And mutual friendship, binds. 
 
 This union shall, alas ! endure 
 By much too short a time ; 
 
 One Death severe can two divide 
 Whom bands of wedlock join. 
 
EMBLEMS OF MORTALITY. 73 
 
 THE NEW MARRIED COUPLE. 
 
 The engraving shows a new married couple 
 in full dress, according to the fashion of the day 
 four centuries since. Death is seen before them, 
 and appears to be beating on some musical in- 
 strument. The union of a man and woman in 
 matrimony, is the closest and nearest bond which 
 can be entered into among human beings. 
 Death, however, will dissolve the union sooner 
 or later, as the Apostle says, " The time is 
 short : it remain eth, that both they that have 
 wives be as though they had none ; and they 
 that weep, as though they wept not ; and they 
 that rejoice, as though they rejoiced not ; and 
 they that buy, as though they possessed not ; 
 and they that use this world, as not abusing it : 
 for the fashion of this world passeth away." 
 
 " Blest be the tie that binds 
 
 Our hearts in Christian love ; 
 The fellowship of kindred minds 
 
 Is like to that above. 
 
 When we asunder part 
 
 It gives us inward pain, 
 But we shall still be joined in heart, 
 
 And hope to meet again. 
 
 From sorrow, toil, and pain, 
 
 And sin, we shall be free ; 
 And perfect love and friendship reign 
 
 Throughout eternity." 
 
 7* 
 
74 EMBLEMS OF MORTALITY. 
 
 THE DUCHESS. 
 
 Thou shalt not come down off that bed on which thou art gone 
 up, but shalt surely die. — 2 Kings i. 16. 
 
 From the soft bed, O youthful maid, 
 Whereon thy limbs now lie, 
 
 Permission ever to arise, 
 The cruel fates deny : 
 
 For first shall Death thy lifeless limbs 
 
 Subdue without remorse, 
 And his fell scythe shall to the grave 
 
 Consign thy breathless corse. 
 
EMBLEMS OF MORTALITY. 75 
 
 THE DUCHESS. 
 
 A Duchess is the consort or widow of a 
 Duke, or a lady who has the sovereignty of a 
 Duchy, as in Germany. In the cut Death is 
 represented as seizing the Duchess by part of 
 her dress as she is sitting on her bed or couch. 
 The artist has introduced an uncouth figure 
 playing on a violin, but for what precise object 
 does not distinctly appear, unless it be a sar- 
 casm on the Duchess. 
 
 Dukes were set over provinces or districts, 
 to regulate military affairs, &c. Charlemagne 
 suffered the dignity of Dukes to cease, because 
 their power seemed to him too dangerous. But 
 the incursions of foreign tribes into Germany, 
 made their re-establishment necessary under his 
 successors. The power of the Dukes now 
 gradually increased, their dignity became he- 
 reditary, and they soon became powerful mem- 
 bers of the German Empire. 
 
 Bruno, an archbishop of Cologne, was the 
 first who bore (in 959) the title of Archduke, 
 which since the time of the Emperor Frederick 
 III. (1453) has been given exclusively to the 
 princes of the house of Austria. 
 
76 EMBLEMS OF MORTALITY. 
 
 THE PORTER. 
 
 Come unto me all ye that labor, aud are heavy laden, and I 
 will give you rest. — Matt. xi. 28. 
 
 Hither advance, ye weary throng, 
 
 And quick my steps attend, 
 Who under loads of so great weight, 
 
 With weary shoulders bend. 
 
 Traffic and gain your anxious thoughts 
 
 Did long enough possess ; 
 Your breast the cares with these produce 
 
 No longer shall distress. 
 
EMBLEMS OF MORTALITY. 77 
 
 THE PORTER. 
 
 The annexed engraving shows a Porter or 
 Carrier of burdens, having the ancient appara- 
 tus for this purpose attached to his back. Al- 
 though apparently loaded down to the utmost he 
 can bear, yet he appears to be unwilling to be 
 released by Death who is taking him from un- 
 der his burden. This is in accordance with the 
 feelings of the greater part of mankind who have 
 
 " that dread of something after death, — 
 
 The undiscover'd country from whose bourne 
 No traveler returns, — puzzles the will ; 
 And makes us rather bear those ills we have, 
 Than fly to others that we know not of!" 
 
 The scriptural quotation above the cut, " Come 
 unto me all ye that are weary," &c, although of 
 no particular application to a Porter, as such, yet 
 it is a blessed promise to all who are borne 
 down with afflictive burdens, whether of body 
 or mind. 
 
 " I can do all things, or can bear 
 All burdens if my Lord be there : 
 Sweet pleasures mingle with the pains, 
 While his strong arm my life sustains." 
 
78 EMBLEMS OF MORTALITY. 
 
 THE PEASANT. 
 
 In the sweat of thy face shalt thou eat bread. — Gen. iii. 19. 
 
 Bread for thyself, thy labor great, 
 
 Thou shalt thyself obtain ; 
 And from the ground without great toil, 
 
 No sustenance shalt gain. 
 
 After long use of things below, 
 
 And num'rous labors past, 
 Pale Death to all these cares and toils 
 
 Shall put an end at last. 
 
EMBLEMS OF MORTALITY. 79 
 
 THE PEASANT. 
 
 The engraving shows a Peasant countryman 
 of Germany engaged in tilling the ground. The 
 plough he is using has two wheels attached to 
 it, showing how this all important implement of 
 husbandry was formerly constructed in Europe. 
 A team of four horses is attached to the plough, 
 and Death appears to be acting as teamster. 
 
 The peasantry of Europe were formerly in a 
 state of vassalage or slavery to their lords or 
 chiefs, who were the owners of the soil. Even 
 at the present time there are millions who are 
 enslaved by ignorance, and the oppressive laws 
 by which they are governed. In Poland and 
 Russia, the peasants are bought and sold with 
 the farms on which they live ; and their lives 
 are in a great measure at the disposal of the 
 great lords who own them ; yet they know of 
 no means of relief. They do not know but 
 that all is right. Like beasts of burden, they 
 bow to the yoke ; and if they groan with pain- 
 ful servitude, they seldom think of deliverance. 
 
 It appears to have been originally designed, 
 that man should spend a part of his time in mode- 
 rate labor. Adam was put into the garden of 
 Eden to till and dress it. It is only when men 
 are obliged to labor immoderately, and become 
 brutalized by it, that the blessing is turned into 
 a curse. 
 
80 EMBLEMS OF MORTALITY. 
 
 THE CHILD. 
 
 Man that is born of a woman, is of few days, and full of trou- 
 ble. He cometh forth like a flower, and is cut down : He jleeth 
 also as a shadow, and continueth not. — Job xiv. 1. 
 
 Man, who conceiv'd in the dark womb, 
 
 Into the world is brought, 
 Is born to times with misery 
 
 And various evil fraught. 
 
 And as the flower soon fades and dies, 
 
 However fair it be, 
 So sinks he also to the grave, 
 
 And like a shade does flee. 
 
EMBLEMS OF MORTALITY. 81 
 
 THE CHILD. 
 
 The annexed representation is an affecting 
 scene, appealing to the strongest sympathies of 
 the human heart. Aside from this, it shows 
 the entire impartiality of Death, who " invades 
 with the same step, the hovels of beggars and 
 the palaces of kings." 
 
 In the engraving, Death is seen taking a lit- 
 tle Child, possibly " the only son of his mother 
 and she a widow," who appears to be in abject 
 poverty. She is seen in a hovel-like building, 
 over a small fire of faggots, cooking a scanty 
 meal. Possibly the poor widow, having lost 
 her husband, centers her affections on her child, 
 to whom she is fondly looking for solace during 
 her declining years. But may we not say in 
 regard to this mysterious dispensation, the 
 Father of Mercies " to save the parent, took the 
 child." 
 
 * Judge not the Lord by feeble sense, 
 
 But trust him for his grace ; 
 Behind a frowning providence, 
 
 He hides a smiling face. 
 
 Blind unbelief is sure to err 
 
 And scan his work in vain ; 
 God is his own interpreter, 
 
 And he can make it plain." 
 
82 EMBLEMS OF MORTALITY. 
 
 THE SWISS SOLDIER. 
 
 When a strong man armed keepeth his palace, his goods are 
 in peace. But when a stronger than he shall come upon him and 
 overcome him, he taketh from him all his armor wherein he trust- 
 ed, and divideth his spoils. — Lnke xi.21, 22. 
 
 Undaunted and secure in arms, 
 While strength and life remain, 
 
 The brave, his mansions and his wealth 
 In safety shall maintain. 
 
 But Death with greater force shall wage 
 
 Against him war, ere long, 
 And for the grave, shall make him quit 
 
 His post, no longer strong. 
 
EMBLEMS OF MORTALITY. 83 
 
 THE SWISS SOLDIER. 
 
 This print represents a battle scene. In the 
 fore ground, Death, having slain all around, is 
 seen about to inflict a fatal blow on the brave 
 Swiss Soldier who is contending with him. In 
 the back ground, in the distance, a figure of 
 Death is seen with a drum beating the charge, 
 or onset, to the soldiers in the rear. 
 
 The Swiss, in military affairs, have for cen- 
 turies been remarkable for a very peculiar prac- 
 tice, namely, letting out troops for hire to for- 
 eign powers, on the condition of their forming 
 separate regiments, and not intermingling with 
 the troops of any other country. 
 
 The national character of the Swiss has de- 
 servedly been the subject of praise on the part 
 of writers of every kind. Though the country 
 is composed of a variety of states, yet the char- 
 acter of the people is almost unvaried, being 
 amiable, intelligent and distinguished for an un- 
 common love of country. The Swiss soldiers 
 have been long distinguished for their bravery 
 and fidelity, which virtues have been eminently 
 displayed in maintaining the independence of 
 their country. For a long period they have 
 been regarded as being the best soldiers of Eu- 
 rope. 
 
84 EMBLEMS OF MORTALITY. 
 
 THE GAMESTERS. 
 
 For what is a man profited, if he gain the whole world and lost 
 his own soul / — Matt. xvi. 26. 
 
 If the destructive art of dice 
 Could wealth immense insure, 
 
 Or man the world by dice could gain, 
 What good would it procure ? 
 
 His soul this practice will destroy, 
 
 Entangled in its snare, 
 A loss no art, or fraud, or chance, 
 
 Is able to repair. 
 
. EMBLEMS OF MORTALITY. 85 
 
 THE GAMESTERS. 
 
 The preceding engraving shows a number of 
 Gamesters around a card table, engaged in the 
 destructive vice of gaming. The artist has in- 
 troduced a hideous looking object (probably 
 intended to personify the great enemy of God 
 and man) who has seized one of the company 
 by the hair of the head, and is evidently at- 
 attempting to drag him away. Death appears 
 to have seized one of the company by the throat, 
 for the purpose of strangling him, which may 
 show one metnod of suicide committed by those 
 who fall among Gamesters. 
 
 The destructive vice of gaming has been, and 
 is still, prevalent among all nations. Barbarous 
 and even savage nations are addicted to games 
 of chance, and will sacrifice every thing they 
 possess to indulge in this fatal passion. Gam- 
 ing levels distinctions. Men in honorable sta- 
 tions, and swindlers, sit at the same table, en- 
 gaged in the same business. Wealth, happi- 
 ness, and every thing valuable, are often sacri- 
 ficed ; the bands of friendship and the ties of 
 love are severed ; the fond wife, the loving chil- 
 dren made wretched, and the unhappy wretch 
 himself, the author of these miseries, often closes 
 his career by suicide. 
 
86 KMBLEMS OF MORTALITY. 
 
 THE DRUNKARDS. 
 
 And be not drunk with wine, wherein is excess. — Ephes. t. 18. 
 
 With wine's excess your souls to drench, 
 
 Ye mortal throng forbear ; 
 And luxury of every kind, 
 
 For raging lust is there. 
 
 Lest Death assail you unprepar'd, 
 Oppress'd with sleep and wine. 
 
 And, in a vomit foul, your souls 
 Compel you to resign. 
 
EMBLEMS OF MORTALITY. 87 
 
 THE DRUNKARDS. 
 
 The preceding cut is probably a correct rep- 
 resentation of a drunken German debauch, as 
 the actors appeared four centuries since. On 
 the right of the print, is seenone of these drunken 
 wretches, who, having overloaded his stomach 
 with the vile liquid, is discharging its contents on 
 the floor. Back of this figure another drunkard is 
 seen inflamed by strong drink, with his hand ex- 
 tended, evidently raising the maniac shout so 
 often heard on these occasions. On the left is 
 seen a poor besotted creature, endeavoring to 
 balance a cup of what appears to be ale or strong 
 oeer. He seems to have somewhat got past 
 the excitement of liquor, and his countenance 
 is that of a stupid fool. On the right, Death 
 is seen having one of the company by the 
 hair of the head, engaged in his appropriate 
 business by turning the fatal liquor down his 
 throat. 
 
 " Vain man, on foolish pleasures bent, 
 Prepares for his own punishment ; 
 What pains, what loathsome maladies, 
 From luxury and lust arise ! 
 
 The drunkard feels his vitals waste, 
 Yet drowns his health to please his taste ; 
 Till all his active powers are lost, 
 And fainting life draws near the dust." 
 
88 EMBLEMS OF MORTALITY. 
 
 THE FOOL. 
 
 He goeth after her as an ox goeth to the slaughter, or as a fool 
 to the correction of the stocks. — Prov. vii. 22. 
 
 No life so sweet as to be mad, 
 And no one thing to know ; 
 
 But this is far remov'd from best, 
 As madmen's actions show. 
 
 Secure of fate, the witless fool 
 Like sportive lambkins treads, 
 
 And knows not that his ev'ry step 
 To Death's sad portals lead. 
 
EMBLEMS OF MORTALITY. 89 
 
 THE FOOL, OR IDIOT. 
 
 This engraving represents a Fool, or, as he 
 may more properly be termed, an Idiot, which his 
 countenance and appearance evidently show. 
 Although possessing but little or no more than 
 the form of humanity, to distinguish him from 
 the brute creation, and not probably accounta- 
 ble for his actions, yet Death takes him as well 
 as all others. The figure of Death in the draw- 
 ing is seen playing upon a bagpipe : what 
 meaning this has, or what is held in the hand 
 of the Idiot, does not distinctly appear. 
 
 In Mahometan countries. Idiots are looked 
 upon with a kind of superstitious reverence, as 
 though there was some peculiar manifestation 
 of the Deity upon their minds, causing them to 
 act as they do for certain purposes. They are 
 carefully taken care of, and all their wants sup- 
 plied. There have been many instances of 
 persons of the brightest intellect brought by 
 the infirmities of age or disease into a state bor- 
 dering upon idiocy, and where the line of ac- 
 countability stops we cannot tell. 
 
 In Scripture, those who act wickedly are called 
 fools, because such act contrary to reason, in 
 violating the laws of God, and in preferring 
 things vile, trifling and temporal, to such as are 
 important and eternal. 
 
90 EMBLEMS OF MORTALITY. 
 
 THE THIEF. 
 
 Liord 1 am oppressed, undertake for me. — Isaiah xxxviii. 14. 
 
 Men to destroy with fell intent, 
 The thief by night does rise, 
 
 But now to spoil an aged dame 
 Of a full basket tries. 
 
 I suffer wrong, she cries, and God 
 Sends Death to her relief, 
 
 Who, by the hangman's certain gripe, 
 Strangles the greedy thief. 
 
EMBLEMS OF MORTALITY. 91 
 
 THE THIEF. 
 
 The engraving shows a Thief, or Highway- 
 man, in the darkness of the forest, robbing a 
 helpless woman of some goods she has with 
 her. The robber has left his horse behind, 
 which is seen tied to a tree in the woods. The 
 figure of Death is introduced, and is seen with 
 his bony fingers grasping the neck of the Thief. 
 This may be considered as indicating, or as 
 emblematical of the fate which awaits him. 
 
 Theft is the crime of taking away the prop- 
 erty of another, without his knowledge or con- 
 sent, being a violation of that part of the deca- 
 logue which says, " Thou shalt not steal." It 
 forbids all unjust ways of increasing our own 
 and hurting our neighbor's substance by using 
 false balances and measures ; by over-reaching 
 and circumventing in trade or commerce ; by 
 taking away by force or fraud the goods, per- 
 sons, and properties of men ; by borrowing and 
 not paying again ; by oppression, extortion, and 
 unlawful usury. A man may be said to violate 
 the spirit of this law when indulging in unlaw- 
 ful pleasures, and thereby reducing his family 
 to poverty. 
 
 Every one that stealeth shall be cut off. The 
 curse it shall enter into the house of the thief. — 
 Zech. v,3, 4. 
 
 Rob not the poor because he is poor . . . for the 
 Lord will plead their cause, and spoil the soul of 
 those that spoiled them. — Prov. xxii. 22, 23. 
 
92 EMBLEMS OF MORTALITY. 
 
 THE BLIND MAN. 
 
 If the blind lead the blind, both shall fall into the ditch.— Matt. 
 xv. 14. 
 
 The blind man to a guide as blind 
 Himself does here commit ; 
 
 Both wanting sight, they here descend 
 Into the fatal pit. 
 
 For, while the man does vainly hope 
 
 Success his steps attend, 
 Into the darkness of the grave 
 
 He quickly doth descend. 
 
EMBLEMS OF MORTALITY. 93 
 
 THE BLIND MAN. 
 
 The artist who made the original design for 
 the preceding engraving, has given an admira- 
 ble representation of a Blind Man, as is seen 
 by his manner of walking. He cannot see the 
 obstructions in his path, and he is liable to 
 stumble and fall every moment. He is repre- 
 sented as being led forward by Death, n • (if 
 we are to judge by the scriptural quotation ajove, 
 and the lines underneath the cut y ) is blind also. 
 
 As in a natural, so in a spiritual sense, if the blmd 
 lead the blind, they shall both fall into the diteh. 
 Blind teachers, or leaders of others, not only fall 
 into the gulf of perdition themselves, but lead 
 others there also. Sin, in the scriptures, is rep- 
 resented under the similitude of darkness. He 
 that hath the love of God within, has spiritual 
 light, and " there is none occasion of stumbling 
 in him ; but he that hateth his brother is in 
 darkness, and walketh in darkness, and knoweth 
 not whither he goeth, because that darkness 
 hath blinded his eyes." " But if we walk in 
 the light, as he is in the light, we have fellow- 
 ship one with another, and the blood of Jesus 
 Christ his Son cleanseth us from all sin." 
 
 If, therefore, thine eye be single, thy whole 
 
 body shall be full of light. — But if thine eye be 
 evil, thy whole body shall be full of darkness. — 
 Matt. vi. 22, 23. 
 
94 EMBLEMS OF MORTALITY. 
 
 THE BEGGAR. 
 
 O wretched man that I am, who shall deliver me from the body 
 of this death ?— Romans vii. 24. 
 
 He that from hence to be releas'd, 
 
 With Christ to live, desires, 
 Despises Death, and to the stars 
 
 In words like these aspires : 
 
 Who from this mortal body will 
 
 Me, wretched man, release ; 
 And snatch me, wretch ! from this vile world, 
 
 To realms of purest peace ! 
 
EMBLEMS OF MORTALITY. 95 
 
 THE BEGGAR. 
 
 The engraving is an admirable representation 
 of a poor decrepid Beggar, forsaken by his fel- 
 low men : some of his limbs are withered by 
 disease, and his body nearly destitute of cloth- 
 ing. To add to his misery, a number of per- 
 sons are seen pointing at him the finger of 
 scorn and derision. The figure of Death is par- 
 tially seen in the back ground, whether about 
 to seize the unfeeling creature who is deriding 
 the Beggar, or coming to the relief of the Beg- 
 gar himself, does not distinctly appear. 
 
 The poor wretch, finding no relief from any 
 human source, looks upward : and blessed be 
 God ! he may do it with the expectation of find- 
 ing help. Though apparently more destitute 
 than Lazarus who lay at the rich man's gate, 
 the Father of Mercies will hear his cry, and 
 he will be carried by angels into Abraham's 
 bosom. 
 
 God is my refuge and strength, a very present 
 
 help in trouble. -He maketh sore and bind- 
 
 eth up : he woundeth and his hands make 
 
 whole. Our light affliction, which is but for a 
 
 moment, worketh for us a far more and exceed- 
 ing weight of glory. For we know if our 
 
 earthly house of this tabernacle were dissolved, 
 we have a building of God, an house not made 
 with hands, eternal in the heavens. 
 
96 EMBLEMS OF MORTALITY. 
 
 THE HUSBAND. 
 
 What taketh away the life ? Even death.— Eccles. xxxiv. 27. * 
 Remember that death will not be long in coming. — Eccles. xiv. 12. 
 
 The tyrant Death, O husband fond, 
 
 The worst of all its foes, 
 Is to our life and its short course, 
 
 With constant step pursues. 
 Reflect then in thy prime of life 
 
 (Life's transitory day) 
 That to thy end it thee conducts 
 
 By gradual decay. 
 
 * The original of this passage has no corresponding words 
 in the transla tion of the bible now in use, and the above is 
 therefore inserted from the former translation. 
 
EMBLEMS OF MORTALITY. 97 
 
 THE HUSBAND. 
 
 This and the following cut, which are the last 
 of the series in which the figure of Death is 
 introduced, represents two persons, who by the 
 divine institution of marriage are made one by 
 the nearest earthly ties. The first husband and 
 wife, Adam and Eve, represented in the first 
 cut in this series of engravings, (page 10) hav- 
 ing sinned together, were together driven out 
 of Paradise. At death the peculiar relationship 
 of Husband and Wife is dissolved, and they 
 must enter the eternal world as individuals. 
 
 In the engraving, the Husband appears in a 
 thoughtful posture ; the figure of Death is be- 
 fore him, apparently giving notice abroad, that 
 he has received a commission to take away 
 one from a class, the most prominent among 
 human beings. The Husband and Father is 
 usually surrounded with the cares and anxie- 
 ties of life, and his example has a powerful in- 
 fluence upon those with whom he is connected ; 
 but he, too, is often called to obey the dread 
 summons in the very midst of life. 
 
 Thou hast appointed his bounds that he can- 
 not pass. — Job xiv. 5. 
 
 He shall return no more to his house, neither 
 shall his place know him any more. — Job vii. 10. 
 
98 EMBLEMS OF MORTALITY. 
 
 THE WIFE. 
 
 Of the woman came the beginning of sin, and through her we 
 all die. — Ecclesiasticus xxv. 4. 
 
 From Eve, the mother of mankind, 
 
 Our parent, Adam's wife, 
 Sprang sin, and thence fell Death arose, 
 
 The enemy of life. 
 
 Let not, howe'er thy tender mind 
 
 To grief a victim fall, 
 If Death should thee to quit this world, 
 
 Like other mortals, call. 
 
EMBLEMS OF MORTALITY. 99 
 
 THE WIFE. 
 
 The quotations placed above this, and the 
 preceding cut, are taken from the Apocrypha. 
 The structure of the lines underneath, and some 
 of the sentiments which they contain, may be 
 considered as somewhat defective. It was, 
 however, thought advisable not to make any 
 alteration from the copy from which they were 
 taken. 
 
 In the engraving, Death is represented as hav- 
 ing grasped the hand of the Wife, and is lead- 
 ing her away unmindful of her tears. They 
 are preceded by a person who appears to be 
 a musician, who is, it may be presumed, per- 
 forming a mournful dirge with the instrument 
 he has in his hand. 
 
 The Wife, the Mother, however important to 
 the rising generation her influence, oversight 
 and instructions ; however lovely and endeared ; 
 she too must go the way appointed for all tke 
 living, for Death will pass upon all, for all hav>e4 
 sinned. 
 
 Thus, worn by slowly rolling years, 
 
 Or broke by sickness in a day, 
 The Wife, the Mother, disappears, 
 
 Led by the hand of Death away 
 
100 EMBLEMS OF MORTALITY. 
 
 THE LAST JUDGMENT. 
 
 We shall all stand before the Judgment seat of Christ. — Rom. 
 xri. 10. Watch therefore, for ye know not what hour your Lord 
 doth come. — Matt. xxiv. 42. 
 
 For all his actions to account, 
 
 By God's express command, 
 Each man before the Judgment-seat 
 
 Of the just Judge shall stand. 
 Let us be therefore vigilant, 
 
 Lest, when that time shall come, 
 God, for our actions, should pronounce, 
 
 A just but angry doom. 
 And since when that hour shall arrire, 
 
 No mortal can declare, 
 For its approach the pious man 
 
 Will always well prepare, 
 
EMBLEMS OF MORTALITY. 101 
 
 THE LAST JUDGMENT. 
 
 This engraving, the last but one in the se- 
 ries,* appears partly figurative, and partly a 
 representation of what will take place at the 
 consummation of all things. The final Judge of 
 all, attended with the hosts above, is seated on 
 the throne of Judgment. The bow seen in the 
 cloud, shews that the Almighty is a covenant 
 keeping God, that all his promises will be ful- 
 filled. The celestial sphere, showing the Eclip- 
 tic, with the signs of the Zodiac, the Earth in 
 the center, &c, is seen beneath the Judge, thus 
 showing all worlds are under him, and that he 
 views them all at one glance. 
 
 An assemblage of human beings, apparently 
 just raised from their graves, appear before 
 their Judge to be judged according to the deeds 
 done in the body. 
 
 " The God of glory sends his summons forth, 
 Calls the south nations, and awakes the north ; 
 From east to west the sovereign orders spread, 
 Through distant worlds and regions of the dead. 
 The trumpet sounds, hell trembles ; heaven rejoices ; 
 Lift up your heads, ye saints , with cheerful voices. 
 
 No more shall Atheists mock his long delay ; 
 His vengeance sleeps no more : behold the day : 
 
 * The last cut in the series, being apparently obscure in its 
 design, (at least so to an American reader) it was thought ad- 
 visable to omit it . 
 
102 EMBLEMS OF MORTALITY. 
 
 Behold the Judge descends : his guards are nigh : 
 Tempest and fire attend him down the sky. 
 When God appears, all nature shall adore him ; 
 While sinner's tremble, saints rejoice before him. 
 
 " Heaven, earth, and hell, draw near ; let all things come, 
 To hear my justice and the sinner's doom ; 
 But gather first my saints, (the Judge commands,) 
 Bring them, ye angels, from their distant lands. 
 When Christ returns, wake every cheerful passion ; 
 And shout ye saints, he comes for your salvation. 
 
 u Behold my covenant stands forever good, 
 
 Seal'd by th' Eternal sacrifice in blood, 
 
 And sign'd with all their names ; the Greek, the Jew, 
 
 That paid the ancient worship or the new." 
 
 There's no distinction here ; join all your voices, 
 
 And raise your head, ye saints, for heaven rejoices. 
 
 " Here (saith the Lord) ye angels, spread their thrones, 
 And near me seat my favorites and my sons ; 
 Come, my redeem'd, possess the joys prepar'd 
 'Ere time began, 'tis your divine reward." 
 When Christ returns, wake every cheerful passion ; 
 And shout, ye saints, he comes for your salvation." 
 
 
 IJ7BESITT] 
 
14 DAY US 
 

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 UNIVERSITY OF CALIFORNIA LIBRARY