The Atlantic Monthly, Volume 03, No. 17, March, 1859. Various

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      For vigor of movement the group of Death and the Soldier is preëminent. The field is covered with the wounded and the slain, in the midst of which the soldier encounters his last enemy. The man is armed in panoply, and wields a huge two-handed sword with a vigor unabated by former struggles. Death has caught a shield from the arm of some previous victim; but his only offensive weapon is a huge thigh-bone, which we plainly see will bear down all before it. In the distance another figure of Death flies madly over the hills, beating a drum which summons other soldiers to the field. It is impossible to convey in words the fierce eagerness of this figure, minute as it is, and composed of a few lines.

      The forty-seventh composition is one which has puzzled the critics and antiquaries; but it is not easy to conjecture why. It shows us a wretched Beggar, naked, sick, lame,—utterly destitute, miserable, and forsaken,—suffering at once all the ills that flesh is heir to. He sits huddled together on some straw, near a large building, and lifts his hands and face up piteously to heaven. Death is not there; and the antiquaries ask in wonder, Why is the subject introduced? Why, but to show that to him alone who would gladly welcome Death, Death will not come?

      The work ends, as a connected series, with the Last Judgment, where Christ, who conquered Death, appears seated on the bow of promise,—with his feet resting on a celestial sphere, attended by angels, and showing to a throng of those who have risen from the grave the wounds by which he redeemed them from its power.

      To this is added an ornamental tail-piece called Death's Arms. It shows a skull in a battered shield, which has for a crest a regal helmet surmounted by an hour-glass and two bony arms grasping a stone. The supporters to the shield are a gentleman and lady richly dressed,—said to represent Holbein and his wife.

      It is not known, positively, when Holbein drew these designs upon the blocks (for of course he did not engrave them); and it has even been disputed by one or two eminent antiquarian critics, that he designed them at all. But there does not appear to be a single valid reason for thus diminishing his fame. He probably was engaged on them between 1531, the date of his first return to Bâle, and 1538, when they were published,—the year in which he refused the solicitation of his townsmen to return to the home of his childhood and the bosom of his family.

      Holbein continued to live in London until the year 1554, when that city suffered a visitation of the plague, similar to that which was the occasion of the painting of the Great Dance of Death at Bâle. Holbein was struck by the disease; and Death, knowing gratitude as little as remorse, triumphed over him who had blazoned his triumphs. Upon the painter's fame, however, and that of his great work, Death could not lay his hand; but so long as the grim tyrant shall claim his victims, so long will he perpetuate the memory of Hans Holbein.

      Though he was a royal favorite, it is not known where he died; and the place where lie the ashes of him who, on a king's word, was greater than seven earls, is equally unknown; there is not a line or a stone to mark it. So soon after his death as in the reign of Charles I., (within one hundred years,) a nobleman—noble by nature as well as by birth—desirous of erecting a monument to him, sought his grave, but in vain, and was compelled to abandon his design. And thus was Holbein driven to live among strangers, to die without a wife to console or children to mourn him, and to lay his bones in a nameless grave in a foreign land.

      Such is an imperfect and brief account of the origin, the various forms, and the meaning of the Dance of Death, and of the life and character of him whose genius has caused it to be called by his name. It may smell too much of mortality and antiquity for this fast-living and forward-looking age; for it is not only a monument of the past, but an exponent of its spirit. We can look back at it, through the mellowing mist of centuries, with curiosity not unmixed with admiration; but we should turn with aversion from such a work, coming from the hands of an artist of our own day. We think, and with some reason, that we do not need its teachings; for we are freed from the thraldom that gave edge to its democratic satire; and we have learned to look with greater calmness, if not with higher hope, upon the future, to which the grave is but the ever-open portal. But we may yet profit by a thoughtful consideration of the eternal truths embodied by Holbein in his Dance of Death; and in the story of his life there is a lesson for every man, and every woman too, if they will but find it.

      LIZZY GRISWOLD'S THANKSGIVING

      "So John a'n't a-comin', Miss Gris'ld," squeaked Polly Mariner, entering the great kitchen, where Mrs. Griswold was paring apples and Lizzy straining squash.

      "Isn't he?" quietly replied the lady addressed, as the tailoress sat down in the flag-bottomed rocking-chair, and began rocking vehemently, all the time eyeing Lizzy from the depths of her poke-bonnet with patient scrutiny.

      "No, he a'n't,—so Mr. Gris'ld says," went on Polly. "You see, I was a-comin' up here from the Centre, so's to see if Sam couldn't wait for his roundabout till arter Thanksgivin'; for Keziah Perkins, she 't was my sister's husband's fust wife's darter, 'n' finally married sister's fust husband's son, she's a real likely woman, and she's wrote over from Taunton to ask me to go there to Thanksgivin'; 'n' to-day's Monday; 'n' I was a-comin' here Tuesday so's to make Sam's roundabout; 'n' yesterday Miss Luken's boy Simon, he 't a'n't but three year old, he got my press-board, when he was a-crawlin' round, 'n' laid it right onto the cookin'-stove, and fust thing Miss Lukens know'd it blazed right up, 'n' I can't get another fixed afore Wednesday, and then I'd ought to be to Taunton, 'cause there a'n't no stage runs Thursday, and there hadn't oughter, of course"–

      "We have got a press-board," said Mrs. Griswold, quietly.

      "Yes, and I a'n't goin' to grandfather's in my old jacket, Miss Poll," interposed Sam, one of the "terrible" children who are scattered here and there through this world. "Catch me where all the folks are, in that old butternut suit!" added Sam.

      But here his father stepped in at the door,—a fine, sturdy, handsome farmer, one of New England's model men, whose honesty was a proverb, and whose goodness a reliance to every creature in Greenfield.

      "John isn't coming, wife," said Mr. Griswold, in a steady, sober tone. "He says business will delay him, so that he can only get to Coventry just as we do."

      "So you had a letter," said Mrs. Griswold, carefully avoiding a look at Lizzy.

      "Yes," said Mr. Griswold, in a very abrupt way.—"Are you ready to go back, Miss Polly? for I've got to go down to the Centre again with a load of wheat."

      "Well, yes, I don't know but I be. I ken stay over, if you want help, Miss Gris'ld. I'm a-goin' to the minister's to help Miss Fletcher a little mite this afternoon, but I guess she don't lot on it none; 'n' seein' it's you, I ken stay, if you want help."

      Lizzy looked quickly across the kitchen at her mother.

      "Oh! no, thank you, Miss Polly, I know Mrs. Fletcher would feel very badly to lose your help, and I really don't need it until to-morrow."

      "Then I'll come round to the door as quick as I've loaded up," said Mr. Griswold; and Miss Polly settled back in her chair to wait comfortably; a process much intensified by a large piece of Mrs. Griswold's gingerbread and a glass of new cider, both brought her by Lizzy's hospitable hands,—readier even than usual just now, in the vain hope of stopping Polly Mariner's clattering tongue. But neither gingerbread nor cider was a specific to that end: Polly talked while she ate, and ate while she talked. But while she finishes her luncheon, let us make known to the patient reader whom and what the tailoress discusses.

      John Boynton was a step-cousin of Lizzy Griswold's. Her youngest aunt had married a widower, with one son, some five years older than Lizzy, and had always lived in the old homestead at Coventry, with her father; while the other daughters and sons, six in number, were scattered over the State, returning once СКАЧАТЬ