hidden in the shadows of Holbein’s heart? Holbein saw the Church as Avarice, trading in the sins of its children; as Cruelty, rejoicing in the blood of its enemies; as Ignorance, putting out the light of the mind. There was no faltering in his resolute, indignant denial of that Church. Did he find any refuge elsewhere in such hope and faith as remain to man in the suggestions of his own spirit? He saw Death’s triumph, and he made men see it with his eyes; if he saw more than that, he kept silence concerning it. He did not menace the guilty with any peril save the peril of Death’s mockery; he spoke no word of consolation for the good; for the inevitable sorrow of the child’s loss there is no cure, for the ploughman’s faithful labor there is no reward except in final repose by the shadow of the distant spire. He did not open the heavens to let through one gleam of immortal life upon the human lot, unless it be in the Judgment, where only the saved have risen; nevertheless, the purport of that scene, even if it be interpreted with the most Christian realism, cannot destroy the spirit of all others. “Inexorable melancholy, dismaying fatality”--these, truly, are the burden of his work. The series holds high rank, too, merely as a product of artistic skill. It shows throughout the designer’s ease, simplicity, and economy in methods of work, his complete control of his resources, and his unerring correctness in choosing the means proper to fulfil his ends; few lines are employed, as in the Italian manner, and there is little cross-hatching; but, as in all great art, every line has its work to do, its meaning, which it expresses perfectly, with no waste of labor and no ineffectual effort. In sureness of stroke and accuracy of proportion the drawing is unsurpassed; you may magnify any of the designs twelve times, and even the fingers will show no disproportion in whole or in part. It is true that there is no anatomical accuracy; no single skeleton is correctly drawn in detail, but the shape of Death, guessed at as a thing unknown, is so expressed that in the earliest days of the work men said that in it “Death seemed to live, and the living to be truly dead.” The correctness, vigor, and economy of line in the drawing of these cuts made them a lesson to later artists like Rubens, merely as an example of powerful and truthful effects perfectly obtained at the least expense of labor. In this respect they were in design a triumph of art, as much as they were in conception a triumph of imagination.