In the Hieronymus Bosch "Death and the Miser", the pull between spirituality and materialism is highlighted by making the deathbed a scene of conflict between the angel and demons. Quentin Matsys suggests the same polarity in his "The moneylender and his wife" (1514). Here the woman is studying a religious book while her husband is testing coins by weight. In the hands of the later Marinus van Reymerswaele the contrast disappears. The wife of his moneylender is shown helping with the bookkeeping and leaning sideways, as mesmerised as her husband by the pile of coins. Gillis van Tilborch's painting of much the same scene is titled "The Misers" and again demonstrates the ambivalent targets of the moral message. The only difference is that the couple engaged in inspecting their money are old, as was the case in all the allegories of avarice. David Teniers the Younger depicted a couple similarly engaged in 1648 which was later engraved in France by Pierre-François Basan under the title "Le plaisir des vieillards" (the pleasures of old age). Verses as the bottom underline the moral: "Why do you make/ such piles of gold?/ Soon you’ll grow old/ and Death takes all.