ork writtenilscher, andat Bautzen,ilptured ining twenty-s structure,ce print, onusual modein AnthonyGerman atremoved in

ut ludicrousaisle of the:es it in thethat it wasof the cell;ame place is

was a Dancea wedding incompany saton the other,ith upon theDeath, if thesides of the

:e at Berne ofl ascertained :uel Deutch, aig of the 16thted by him in•ibuting to theneglected thaters the follow-d on it:

siRech, xlii.

The Dance of Death, 39

Which he thus translates :

Cunctorum in muris pictis ex arte figuris.

Tu quoque decedes; etsi hoc vix tempore credes.

Then Manuel's answer :

Kilf eineger Heiland ! dru ich dich bitt:

Dann hie ist gar kein Bleibens nitSo mir der Tod mein red wird stellenSo bhut euch Gott. mein liebe Gsellen.

That is, in Latin :

En tibi me credo, Deus, "hoc dum sorte recedoMors rapiat me, te, reliquos sociosque, valete !

To which account M. Fuseli adds, that this painting,equally remarkable for invention and character, was re-touched in 1553-; and in 1560, to render the street inwhich it was placed more spacious, entirely demolished.There were, however, two copies of it preserved at Berne,both in water colours, one by Albrech Kauw, the other acopy from that by Wilhelm Stettler, a painter of Berne,and pupil of Conrad Meyer of Zurich. The painting ishere said to have been r& fresco on the wall of the Domi-nican cemetery. 32

The verses that accompanied this painting have beenmentioned as containing sarcastical freedoms against theclergy; and as Manuel had himself undergone somepersecutions on the score of religion at the time of theReformation, this is by no means improbable. There iseven a tradition that he introduced portraits of some ofhis friends, who assisted in bringing about that event.

In 1832, lithographic copies of the Berne painting, afterthe drawings of Stettler, were published at Berne, with aportrait of Manuel \ and a set of very beautiful drawingsin colours, made by some artist at Berne, either after thoseby Stettler or Kauw, in the public library, are in thepossession of the writer of this essay. They, as well asthe lithographic prints, exhibit Manuel's likeness in thesubject of the painter.

One of the bridges at Lucerne was covered with a

32 Pilkington's Diet, of Painters, p. 307, edit. Fuseli, who probablyfollows Fuseli's work on the Painters. Merian, Topogr. Helvetia?.