Death, in Rowlandson's series, displays his acknowledged ubiquity; he knocks without ceremony at everyone's portal, and none can deny him admission. Both artist and author seem to have appreciated the resources of their subject so thoroughly, and have worked out its grotesque spirit with such appropriateness, that the _Dance of Death_ must remain a fitting monument of their genius. A large circulation could hardly be anticipated for a work conceived in this realistically fearful vein. Rowlandson has drawn the various episodes which his invention suggested with a completeness of detail rarely found in his later designs, and the plates are executed with the fulness and attention of finished drawings; the figures are delineated with power and spirit, and the backgrounds are most delicate and suggestive. The impressions are also coloured by hand with a judicious eye to effect and harmony. Combe has worked with a vigour worthy of the occasion; and for wit, point, and felicity we are inclined to believe the versification to the _Dance of Death_ surpasses all his other contributions to literature in this branch. The entire series may be accepted as a work of higher character, in all respects, than its popular predecessors, the better recognised _Tours of Doctor Syntax_; and it is superior, beyond comparison, to the works which followed it. THE ENGLISH DANCE OF DEATH. FROM THE DESIGNS OF THOMAS ROWLANDSON. _With Metrical Illustrations by the Author of 'Doctor Syntax.'_ LONDON: PUBLISHED AT R. ACKERMANN'S REPOSITORY OF ARTS. Pallida Mors æquo pulsat pede pauperum tabernas Regúmque turres.--Hor. lib. i. od. 4. With equal pace, impartial Fate Knocks at the palace, as the Cottage Gate. This series was begun in 1814, and finished in 1816; being issued from the Repository of Arts in monthly parts, like the _Tour of Doctor Syntax_ and successive works. The circumstances of its publication are set forth by 'the anonymous author' (William Combe) in one of his brief explanatory 'introductions.' '_The Dance of Death_ is a subject so well known to have employed the talents of distinguished painters in the age of superstition, that little is required to recall it to the recollection of the antiquary, the lover of the arts, and the artist.