many other designs, the “Dance of Death” woodcuts and many of the Old Testament illustrations. What little is known of him points rather to Augsburg than to Basel as his place of birth, though, according to Herr His-Heusler’s researches, a family of that name was then living in Basel, the names of both a Michael and a Jakob Lützelburger appearing in the baptismal register of St. Leonhard between 1529 and 1533; while the same name occurs frequently in the parish register of the adjacent town of Colmar during the first half of the sixteenth century. Further documents discovered by His-Heusler show that Lützelburger died in Basel before the 23rd June 1526, and that he was insolvent at the time. Among his creditors were the printer, Melchior Trechsel, of Lyon, for an advance of 27 florins 15 shillings, and Hans zum Sessel (Froben), for 3 florins 10 shillings. Trechsel, the publisher of the “Dance of Death” and “Old Testament” woodcuts, on hearing of Lützelburger’s death, also demanded certain wood blocks ordered by his firm, for which the money had been advanced, upon which the deceased had been at work. These blocks were sent to him on the condition that he appointed some person of substance in Basel as security, in case some other creditor proved to have prior claims on the estate; and in accordance with this arrangement he appointed Johan Lukas Iselin as his surety.[437] In the list of Lützelburger’s furniture and effects seized by the court he is described merely as “Hans Formschneider,” but there is no doubt that this “form-cutter” was Lützelburger, who at the time of his death was cutting the block of “The Waggoner” for the “Dance of Death,” which he left incomplete. Holbein drew all these designs directly on the wood block. There is not a single sketch or study in existence for any one of the very numerous book illustrations and decorations which he produced.[438] His title-pages consist, in almost every case, of an ornamental framework of Renaissance design with small panels on either side containing figure subjects, usually taken from classical history or mythology, and across the bottom a larger panel in which the chief subject is depicted. These title-pages do not always consist of a single block, but of four separate borders or strips, not always used together, but combined with others, or used singly as chapter-headings or sidepieces. These title-pages, designed in the first place for some particular book, were thus afterwards often made to serve for the ornamentation of other publications, with which at times their subjects had very little connection; and they were also copied by various publishers and printers in other cities of Switzerland and in Germany and elsewhere. [Sidenote: “MUCIUS SCÆVOLA AND LARS PORSENA”]