Whether there ever was a Macaber Dance at Berne of equal antiquity with that of Basle has not been ascertained: but Sandrart, in his article for Nicolas Manuel Deutch, a celebrated painter at Berne, in the beginning of the 16th century, has recorded a Dance of Death painted by him in oil, and regrets that a work materially contributing to the celebrity of that city had been so extremely neglected that he had only been able to lay before the readers the following German rhymes which had been inscribed on it: Manuel aller welt figur, Hastu gemahlt uf diese mur Nu must sterben da, hilft kun fund: Bist nit sicher minut noch stund. Which he thus translates: Cunctorum in muris pictis ex arte figuris. Tu quoque decedes; etsi hoc vix tempore credes. Then Manuel's answer: Kilf eineger Heiland! dru ich dich bitt: Dann hic ist gar kein Bleibens nit So mir der Tod mein red wird stellen So bhut euch Gott, mein liebe Gsellen. That is, in Latin: En tibi me credo, Deus, hoc dum sorte recedo Mors rapiat me, te, reliquos sociosque, valete! To which account M. Fuseli adds, that this painting, equally remarkable for invention and character, was retouched in 1553; and in 1560, to render the street in which it was placed more spacious, entirely demolished. There were, however, two copies of it preserved at Berne, both in water colours, one by Albrech Kauw, the other a copy from that by Wilhelm Stettler, a painter of Berne, and pupil of Conrad Meyer of Zurich. The painting is here said to have been in _fresco_ on the wall of the Dominican cemetery.[70] The verses that accompanied this painting have been mentioned as containing sarcastical freedoms against the clergy; and as Manuel had himself undergone some persecutions on the score of religion at the time of the Reformation, this is by no means improbable. There is even a tradition that he introduced portraits of some of his friends, who assisted in bringing about that event. In 1832, lithographic copies of the Berne painting, after the drawings of Stettler, were published at Berne, with a portrait of Manuel; and a set of very beautiful drawings in colours, made by some artist at Berne, either after those by Stettler or Kauw, in the public library, are in the possession of the writer of this essay. They, as well as the lithographic prints, exhibit Manuel's likeness in the subject of the painter.