in this scene of toil and sorrow. It is a fantastic creature. A skeleton armed with a whip, who acts as plowboy to the old laborer, and running along through the furrow beside the terrified horses, goads them on. This is the specter Death, whom Holbein has introduced allegorically into that series of religious and philosophic subjects, at once melancholy and grotesque, entitled “The Dance of Death.” In this collection, or rather this mighty composition, where Death, who plays his part on every page, is the connecting link and predominating thought, Holbein has called up kings, popes, lovers, gamesters, drunkards, nuns, courtesans, thieves, warriors, monks, Jews, and travelers,--all the people of his time and our own; and everywhere the specter Death is among them, taunting, threatening, and triumphing. He is absent from one picture only, where Lazarus, lying on a dunghill at the rich man’s door, declares that the specter has no terrors for him; probably because he has nothing to lose, and his existence is already a life in death. Is there comfort in this stoical thought of the half-pagan Christianity of the Renaissance, and does it satisfy religious souls? The upstart, the rogue, the tyrant, the rake, and all those haughty sinners who make an ill use of life, and whose steps are dogged by Death, will be surely punished; but can the reflection that death is no evil make amends for the long hardships of the blind man, the beggar, the madman, and the poor peasant? No! An inexorable sadness, an appalling fatality brood over the artist’s work. It is like a bitter curse, hurled against the fate of humanity. Holbein’s faithful delineation of the society in which he lived is, indeed, painful satire. His attention was engrossed by crime and calamity; but what shall we, who are artists of a later date, portray? Shall we look to find the reward of the human beings of to-day in the contemplation of death, and shall we invoke it as the penalty of unrighteousness and the compensation of suffering? No, henceforth, our business is not with death, but with life. We believe no longer in the nothingness of the grave, nor in safety bought with the price of a forced renunciation; life must be enjoyed in order to be fruitful. Lazarus must leave his dunghill, so that the poor need no longer exult in the death of the rich. All must be made happy, that the good fortune of a few may not be a crime and a curse. As the laborer sows his wheat, he must know that he is helping forward the work of life, instead of rejoicing that Death walks at his side. We may no longer consider death as the chastisement of prosperity or the consolation of distress, for God has decreed it neither as the punishment nor the compensation of life. Life has been blessed by Him, and it is no longer permissible for us to leave the grave as the only refuge for those whom we are unwilling to make happy. There are some artists of our own day, who, after a serious survey of their surroundings, take pleasure in painting misery, the sordidness of poverty, and the dunghill of Lazarus. This may belong to the domain of art and philosophy; but by depicting poverty as so hideous, so degraded, and sometimes so vicious and criminal, do they gain their end, and is that end as salutary as they would wish? We dare not pronounce judgment. They may answer that they terrify the unjust rich man by pointing out to him the yawning...