of the moderns;” but this is generally considered to refer to the engraver, Hans Lützelburger, who cut the designs in wood after Holbein’s drawing, and deserves all the praise for their extraordinarily skilful technical execution. This is the most satisfactory explanation which can be framed; but, if it is not accepted, the balance of evidence in favor of Holbein is so great as to be conclusive. The original drawings, made with a pen and touched with bistre, are in the cabinet of the Czar, and show the excellence of the draughtsmanship more clearly than the woodcuts; the engraver omitted some striking details, but in general his fidelity and correctness of rendering were remarkable. The first edition at Lyons contained only forty-one of the original designs, of which there are forty-six at St. Petersburg; the later editions, published by Frellon, increased the number to fifty-three in 1547, and fifty-eight in 1562, including some beautiful cuts of children at the end of the volume. The popularity of the work was very great; the text was printed in French, Latin, and Italian, and thirteen editions from the original blocks were issued before 1563. Since that time it has been published many times; but the engravings in the later editions, which were copied from the originals by workmen much inferior to Lützelburger, have little comparative value. Between forty and fifty editions have been printed from woodblocks, and as many more from copperplate.
The Figures of the Bible, which made a series of ninety-two illustrations of the Old Testament, showed the same qualities of Holbein’s genius as did the Dance of Death, but generally in less perfection. In designing many of these cuts Holbein accepted the types of the previous ar-
