Once again he comes in the guise of a friend to the old and weary Ploughman (Pl. 67 (5)), in rags and barefooted, his hair straggling through his broken hat. Death helps him in ploughing the last furrow, and flogs forward the worn-out team of thin and miserable horses. At the end of the field with its long ploughed lines a delightful landscape lies stretched, with the houses of a village nestling among the trees, the church tower rising from the hillside on one of the lower spurs of the Swiss mountains, the whole peaceful scene flooded with the light of the setting sun. This background is, perhaps, the most beautiful of all, and yet its lovely effect is produced with the simplest means. The long list of Death’s victims concludes with the Young Child (Pl. 67 (6)), whom he leads by the hand through the doorway of a miserable, half-ruined cottage, with broken roof open to all weathers. The child turns back in terror, its free hand stretched towards its mother, who kneels stirring the pot on the scanty fire, the smoke of which half fills the room. Both she and an older child gaze after the little one with mouth wide open in astonishment and fear, and hands uplifted to head. The original series concludes with two cuts, one representing the Last Judgment (Pl. 67 (7)), with Christ enthroned on the rainbow over the celestial globe, with the saints around him, and down below a crowd of men and women newly risen from the grave; and the other showing the Arms of Death (Pl. 67 (8)), which recalls, in its arrangement, more than one of Holbein’s designs for painted glass. The shield, on which is placed a skull, with a worm hanging from its jaws, is shattered and torn in places, as though fashioned from a great bone which has mouldered in the grave. A tattered winding-sheet is draped round it, and it is surmounted by a helmet with an hour-glass for a crest, from the base of which two skeleton arms grasping a large stone are raised aloft. The supporters are a man and woman in the rich costume of Holbein’s day, each of whom rests a hand on the escutcheon, the latter gazing down at it, while the former points to the skeleton arms and looks towards the spectator as though to urge him to remember that death is the end of all things. In the background rise the peaks of the Alps beneath a cloudy sky. Dr. Woltmann saw in these two figures likenesses of Holbein and his wife, but they evidently represent personages in a higher sphere of life. [Sidenote: THE WAGGONER AND OTHERS]