There is nothing unusual in a painter depiciting the death of other people, especially in one of the many “dances of death“ produced north of the Alps, in the late Middle Ages ; the most famous such work was, without doubt, the one at Paris’s Church of the Holy Innocents (1424/25, destroyed 1529 ; engravings published by Guy Marchant in 1485). It is rather rare, though, for the artist to portray himself as one of the people being taken away by Death. This article tries to find an answer to the following questions : why did this Swiss painter represent himself, at the beginning of the 16th century, as part of the dance ? What is the importance of this imposing cycle and his vado mori within his work ?