The Gospel Parable of the Rich Fool lies behind another series of paintings which stem ultimately from mediaeval illustrations of the Dance of Death. There a skeleton compels those from all walks of life, but particularly types of the rich and the powerful, to join him in his dance to the grave. In 1538 Hans Holbein the Younger initiated a popular treatment of this subject in which each type is separately illustrated, of which there were many imitations in succeeding centuries. Among the depictions is a man starting up in protest behind a table piled with wealth on which a skeleton is laying hands. In his print of 1651, Wenceslas Hollar makes the connection with the parable clear by quoting from it in the frame. A variation is provided by Jan Provoost's 16th century diptych in which death confronts the man of affairs with his own account. A century later, Frans Francken the Younger treats the theme twice, in both versions of which a skeleton serenades a luxuriously dressed greybeard sitting at a table. Another curious variation occurs in Pieter Quast's print of "The Miser and Death" (1643). Here the man sits at table clasping his money bags while contemplating a skull wearing a plumed hat, beside which is an hour-glass. The visitation of death is carried forward in the 19th century in similarly titled works. They include a portrayal by Franz Häussler (1845-1920) of an old man standing at his desk who peers round fearfully as he glimpses a skull reflected in a mirror. The charcoal and watercolour drawing by the Austrian Albert Plattner (1869–1919) is more ambiguous and has the figures facing away from each other in a cramped space.