_Die zeit die du verleurst mit jagen, Die wirstu zwar noch schmertzlich klagen; Ruff laut zu Gott gar oft und vil, Das sey dein hund und federspil._ [Illustration: _No. 159. The Wastefulness of Youth._] The next picture in the series, which is equally difficult to describe, is aimed against those who fail in attaining virtue or honour through sluggishness. Others follow, but I will only give one more example. It forms our cut No. 159, and appears, from the verses accompanying it, to be aimed against those who practice wastefulness in their youth, and thus become objects of pity and scorn in old age. Whatever may be the point of the allegory contained in the engraving, it is certainly far-fetched, and not very apparent. This German-Flemish school of grotesque does not appear to have outlived the sixteenth century, or at least it had ceased to flourish in the century following. But the taste for the _diablerie_ of the Temptation scenes passed into France and Italy, in which countries it assumed a much more refined character, though at the same time one equally grotesque and imaginative. These artists, too, returned to the original legend, and gave it forms of their own conception. Daniel Rabel, a French artist, who lived at the end of the sixteenth century, published a rather remarkable engraving of the "Temptation of St. Anthony," in which the saint appears on the right of the picture, kneeling before a mound on which three demons are dancing. On the right hand of the saint stands a naked woman, sheltering herself with a parasol, and tempting the saint with her charms. The rest of the piece is filled with demons in a great variety of forms and postures. Another French artist, Nicholas Cochin, has left us two "Temptations of St. Anthony," in rather spirited etching, of the earlier part of the seventeenth century. In the first, the saint is represented kneeling before a crucifix, surrounded by demons. The youthful and charming temptress is here dressed in the richest garments, and the highest style of fashion, and displays all her powers of seduction. The body of the picture is, as usual, occupied by multitudes of diabolical figures, in grotesque forms. In Cochin's other picture of the Temptation of St. Anthony, the saint is represented as a hermit engaged in his prayers; the female figure of voluptuousness (_voluptas_) occupies the middle of the picture, and behind the saint is seen a witch with her besom. [Illustration: _No. 160. The Demon Tilter (Callot)._] [Illustration: _No. 161. Uneasy Riding (Callot)._]