ear with a small pair of bellows; while Death, as a sexton, lies at his feet, with spade and hour-glass, ready to trip him up. VOL. I., PLATE 66. [Illustration: THE DANCE OF DEATH WOODCUTS 1. THE EMPEROR 2. THE KING 3. THE CARDINAL 4. THE EMPRESS _From proofs in the British Museum_ ] [Illustration: 5. THE ADVOCATE 6. THE COUNSELLOR 7. THE PREACHER 8. THE PRIEST _From proofs in the British Museum_ ] [Sidenote: PREACHER, PRIEST, NUN, AND OTHERS] One of the most beautiful designs of the series shows the Preacher (Pl. 66 (7)) in his pulpit, expounding a false doctrine which he believes to be the true one, his hands held forth in exhortation. Behind him stands the other preacher, Death, wearing a stole, and with a jaw-bone upraised over the unheeding victim’s head as though about to strike him down. The members of his congregation, some standing, some seated on low stools, gaze upwards with close attention, except one who has fallen asleep with his head against the pulpit base. Both the preacher and several of his listeners, especially the woman seated in the front on the right, are very expressive figures, and are drawn with masterly precision. Next comes the Priest (Pl. 66 (8)), one of the few of Death’s victims whom Holbein has depicted without a touch of irony or satire. He passes along the street in his robes, bearing the sacrament to the bedside of some dying man, preceded by Death, who acts as his sacristan, with bell and lantern, his hour-glass tucked under his arm. Very different is Death’s treatment of the Mendicant Friar, whom he seizes roughly by the hood, just as he is about to enter his monastery with well-filled box and begging-bag. There is bitter satire, too, in the picture of the Nun, kneeling in front of the altar in her cell, but her head turned behind her towards the young gallant who sits on the edge of her bed and plays his lute. Behind them Death, in the guise of an old hag, stretches forth a hand to extinguish the altar candles. Two skeletons accompany the Old Woman, who totters along a rough road by the aid of a stick, telling her rosary as she goes. One of them dances in front, playing with two sticks a musical instrument slung from his shoulders, while the other, crowned with a wreath, and a malicious grin upon his fleshless face, takes her by the arm, and dances by her side.