Alasse Dethe alasse a blesful thyng thou were Yf thou woldyst spare us yn ouwre lustynesse. And cum to wretches that bethe of hevy chere Whene thay ye clepe to slake their dystresse But owte alasse thyne own sely selfwyldnesse Crewelly werneth me that seygh wayle and wepe To close there then that after ye doth clepe. Death answers: Grosless galante in all thy luste and pryde Remembyr that thou schalle onys dye Deth schall fro thy body thy sowle devyde Thou mayst him not escape certaynly To the dede bodyes cast down thyne ye Beholde thayme well consydere and see For such as thay ar such shalt thou be. This painting was made about the year 1460, and from the remaining specimen its destruction is extremely to be regretted, as, judging from that of the young gallant, the dresses of the time would be correctly exhibited. In the chapel at Wortley Hall, in Gloucestershire, there was inscribed, and most likely painted, "an history and Daunce of Deathe of all estatts and degrees." This inscribed history was the same as Lydgate's, with some additional characters.[82] From a manuscript note by John Stowe, in his copy of Leland's Itinerary, it appears that there was a Dance of Death in the church of Stratford upon Avon: and the conjecture that Shakespeare, in a passage in Measure for Measure, might have remembered it, will not, perhaps, be deemed very extravagant. He there alludes to Death and the fool, a subject always introduced into the paintings in question.[83] On the upper part of the great screen which closes the entrance to the choir of the church at Hexham, in Northumberland, are the painted remains of a Dance of Death.[84] These consist of the figures of a pope, a cardinal, and a king, which were copied by the ingenious John Carter, of well-deserved antiquarian memory. Vestiges of a Macaber Dance were not long since to be traced on the walls of the hall of the Archiepiscopal palace at Croydon, but so much obscured by time and neglect that no particular compartment could be ascertained. The tapestries that decorated the walls of palaces, and other dwelling places, were sometimes applied in extension of this moral subject. In the tower of London, the original and most ancient seat of our monarchs, there was some tapestry with the Macaber Dance.[85] The following lines in that admirable satire, the Vision of Pierce Plowman, written about the year 1350, have evidently an allusion to the Dance, unless they might be thought to apply rather to the celebrated triumph of Death by Petrarch, of which some very early paintings, and many engravings, still exist; or they may even refer to some of the ancient representations of the infernal regions that follow Death on the Pale horse of the Revelations, and in which is seen a grotesque intermixture of all classes of people.[86]