Guy Marchant had great success with his books as evidenced by the number of people who started publishing their own version of La Danse Macabre. The book to the left was published in 1500 by Jean Belot in Geneva, (»Imprimee a genesue. M. ccccc.«). however, it's not a copy of Marchant, but a copy of Nicole de la Barres books, which in turn were copies of Vérard.
The front page is adorned (if that is the right word) by two of the cadaver musicians that Guy Marchant had added to his books in 1486.
The front page also functions as a sort of table of contents, showing that the book like many of the similar books consists of different texts. The book doesn't just contain "La dance Macabre", but also includes the story about the three dead and the three living (»Les troys mortz et les troys vifz«) and the 15 signs preceding Judgment Day: (»Et les quinze signes précédens le grant jugement«).
Below the picture is a text, only the first line of which remains: »Viuans qui voyes ceste dance«. This introduction is very reminiscent of the end of La Vie de l'Homme: »O vous humains qui voyez cette dance«. However, it's only this single line that is similar for we know from other versions of the book that the full verse goes: »Viuans qui voyez ceste dance / Se souvent la regardez / Vous scairez se bien la gardez / Qhoneur mondain nest pas cheuance«.
The musicians from the front page are reused at the beginning. Instead of the four verses in Marchant's books they are accompanied by the text: »Ce nest que vent de la vie mondaine / Mondain plaisir dure peu longuement / Longue saison na pas mais tressoudaine / Soudain mourras et ne scays quellement«.
The dance of death itself contains more or less the same text as Guy Marchant's book. Six of the ten figures that Marchant had added are also included but only one of them, namely the duke, gets an original woodcut. For the five others a woodcut of some other dancer is reused instead.
Even though the woodcuts ultimately go back to Vérard, it is not necessarily the same persons, who are allotted the same woodcuts. The duke to the right is a copy of Vérard's citizen, so therefore Belot's citizen must share a woodcut with the merchant.
The sequence is not quite the same. For instance the suitor appears early and the bailiff very late. Normally the hermit is followed by a cadaver who gives answer: »Cest bien dit […]«, but in this book there is instead a single verse from the fool: »Or sont en la fin bons amys«.
The text ends with the dead king and the authority and then straightaway continues with a ballad with the refrain: »Pour bien mourir & vivre longuement«, without as much as a blank line to separate the two works.
The same woodcuts were used in Lyon in 1537 by Pierre de Saincte Lucie Dict le Prince. This time too the dance of death was "packaged" together with the three living and the three dead and the 15 signs.
Compared to the 1500-edition two or three woodcuts are missing: The nobleman with his hunting falcon is replaced by using the woodcut of the knight twice, while the parish priest is illustrated by reusing the canon. Two dancers, viz. the Carthusian and the sargent are entirely missing. The sequence is also slightly different towards the end, for one thing the clerk has moved forwards.
The text in these books has (of course) been altered a few places. In the original text the first lines of Death's call to the monk is in reality a continuation of the dialogue with the previous dancer, the sergeant, who is told that he will not scare any more people: »Plus hommes nespoventeres«. It's only in the fourth line (which has been indented) that Death addresses the monk: »Apres moinne«. In contrast the two books we have studied have re-written the text so the whole verse is spoken to the monk. He is told that he will never be an abbot, because he shall die:
|Danse Macabre (1485)||Geneva / Lyon|
Ha: maistre: par la passeres
Ha maistre par la passeres
The same thing happens when we come to the Franciscan: The first one and a half lines are last words to the peasant/laborer: »Faictes voye: vous aves tort Laboureur«. In 1486 Guy Marchant added 10 new dancers and this meant that the previous dancer no longer was the peasant but a shepherd. Therefore the text had to be revised: »Faicte voye vous aves tort Sus bergier«. Barre's books has a quite different text where the whole verse addresses the Franciscan:
|Danse Macabre (1485)||Danse Macabre (1486)||Geneva / Lyon|
Faictes voye: vous aves tort
Faicte voye vous aves tort
Contre moy ne vault nul effort
A last example is the clerk and the hermit. The four first lines are a farewell to the clerk: »Clerc: point ne fault faire refus«. In Barre's books the word "Clerc" has been removed (and line 5 is not indented), so the reader may believe that the whole verse is for the hermit.
There are a number of other changes. This can be seen, when Silvestre, Tisserand and Dufour copy these variants.
The pictures are presented here in the same sequence as in the 1500-edition of Geneva. Woodcuts that are reused are only shown once, and with the exception of the duke, only persons among the original 30 from the mural in Paris are shown.