Perhaps the most peculiar characteristic of Durer's designs was the portrayal of scenes and figures of ancient history and myth in well-defined imitation of his own surroundings and the conditions of life then existing. Apropos of this, it was said that he turned the New Testament into the history of a Flemish village. Hans Holbein was another of the early artists who prepared their drawings for the express purpose of reproduction by means of wood engraving. That he fully appreciated the resources of his art there can be no doubt, for he imbued his work with an expressive individual force which was distinctly progressive and influential. His best known production consists of forty-one engravings representing "Death--the King of Terrors," in association with nearly every phase of human life. Each one of these designs is a picture parable of remarkable power and suggestiveness. The characteristic drawing and quaint expressiveness of Holbein's illustrations merit unqualified admiration, and his graphic use of pure line for pictorial expression stands almost unrivalled. Hans Litzelburger engraved Holbein's designs. Towards the end of the fifteenth and during part of the sixteenth centuries wood engraving still received enthusiastic attention, and then, for sheer lack of interest, fell rapidly into decay. Metal engraving was absorbing the attention of the artistic world, and for many years wood engraving was regarded as only fit for the reproduction of pictures which may be charitably described as inartistic, and too often perhaps discreditable. As far as our own country was concerned, it was not until the advent of Thomas Bewick that this decadence received any effective check.