of man’s mortality, of the close of life contrasted with the worth of its career; but the melancholy of his work is not more inexorable, its fatality is not more dismaying, than the reality he saw. He did not choose for his pencil what was unusual, extraordinary, or abnormal in life; he depicted its accustomed course and its fixed conclusion in fear, folly, or dignity. He took almost every character among men, almost every passion or vice of the race, almost every toil or pursuit in which his contemporaries engaged, and confronted them with their fate. The king is at his feast, Death pours the wine; the poor mother is cooking her humble meal at the hearth, Death steals her child; the bridal pair walk on absorbed, while Death beats their wedding-march with glee. Throughout the series there is the same dramatic insight, the same unadorned reality, the same humanity. Here and there the spirit of the Reformer reveals itself: the Pope in the exercise of his utmost worldly power crowns the emperor, but behind is Death; a devil lurks in the shadow, and over the heads of the cardinals are other devils; the monk, abbot, and prioress—how they resist and are panic-stricken! There can be no doubt at what Holbein reckoned these men and their trade. Holbein showed here, too, his sympathy with the humbler classes in those days of peasant wars, of the German Bible, and of books in the vulgar tongue—the days when the people began to be a self-conscious body, with a knowledge of the opportunities of life and the power to make good their claim to share in them; as Holbein saw life, it was only the humble to whom Death was not full of scorn and jesting, they alone stood dignified in his presence. Beneath this sympathy with the Reformers and the people need we look farther, as Ruskin does, to find scepticism hid-
