One of the most pleasing modifications of the belief in the Angel of Death is that found by Lepsius [208] among the Mohammedan negroes of Kordofan. Osraîn (Azraël), it is said, receives the souls of the dead, and leads the good to their reward, the bad to punishment. 'He lives in a tree, el segerat mohana (the tree of fulfilling), which has as many leaves as there are inhabitants in the world. On each leaf is a name, and when a child is born a new one grows. If any one becomes ill his leaf fades, and should he be destined to die, Osraîn breaks it off. Formerly he used to come visibly to those whom he was going to carry away, and thus put them in great terror. Since the prophet's time, however, he has become invisible; for when he came to fetch Mohammed's soul he told him that it was not good that by his visible appearance he should frighten mankind. They might then easily die of terror, before praying; for he himself, although a courageous and spirited man, was somewhat perturbed at his appearance. Therefore the prophet begged God to make Osraîn invisible, which prayer was granted.' Mr. Mackenzie adds on this that, among the Moravian Jews, at new moon a branch is held in its light, and the name of a person pronounced: his face will appear between the horns of the moon, and should he be destined to die the leaves will fade. Mr. John Ruskin has been very severe upon the Italians for the humour with which they introduce Death as a person of their masque. 'When I was in Venice in 1850,' he says, 'the most popular piece of the comic opera was "Death and the Cobbler," in which the point of the plot was the success of a village cobbler as a physician, in consequence of the appearance of Death to him beside the bed of every patient who was not to recover; and the most applauded scene in it was one in which the physician, insolent in success, and swollen with luxury, was himself taken down into the abode of Death, and thrown into an agony of terror by being shown lives of men, under the form of wasting lamps, and his own ready to expire.' On which he expresses the opinion that 'this endurance of fearful images is partly associated with indecency, partly with general fatuity and weakness of mind.' [209] But may it not rather be the healthy reaction from morbid images of terror, with which a purely natural and inevitable event has so long been invested by priests, and portrayed in such popular pictures as 'The Dance of Death?' The mocking laughter with which the skeletons beset the knight in our picture (Fig. 20), from the wall of La Chaise Dieu, Auvergne, marks the priestly terrorism, which could not fail to be vulgarised even more by the frivolous. In 1424 there was a masquerade of the Dance of Death in the Cemetery of the Innocents at Paris, attended by the Duke of Bedford and the Duke of Burgundy, just returned from battle. It may have been the last outcome in the west of Kali's dance over the slain; but it is fortunate when