genius for filling such small spaces with designs which appear so spacious and so large in style. Another alphabet, which was evidently also cut by Lützelburger and used by Cratander, of which there is a proof-sheet at Basel, is devoted to the games of children.[461] They are represented dancing, playing music, tilting on hobby-horses, riding on one another’s backs, hair-pulling, wrestling, and so on, while in one instance a small boy is chasing a cat with a bird in its mouth. Holbein was always very happy in his treatment of children, and in this instance, as in the Peasants’ Alphabet, the delicacy of the execution is wonderful. There are three other alphabets dealing with children, and portions of others,[462] in one of which they are engaged in various trades and employments, and appear as carpenters, millers, masons, fishermen, bakers, painters, doctors, and so on. Another alphabet gives scenes from the Old Testament,[463] and a second consists of Greek initials.[464] Other letters, far too numerous to enumerate here, represent ornaments, flowers, animals, still life, love scenes, and soldiers. The most famous series of all, however, is the one known as the “Alphabet of Death,” which is described in the next chapter. [Sidenote: WOODCUTS PRODUCED IN ENGLAND] Holbein also designed a number of marks or devices for the various printers who employed him, which were used on the first and last pages of their publications. For Johann Bebelius he drew a palm-tree with a heavy weight pressing down the branches among which it is placed; in a second design for the same publisher a naked man is shown beneath this weight, who attempts with hands and feet to resist the pressure.[465] Cratander’s trade-mark was Fortune or Opportunity, a naked goddess, with long flowing hair and winged feet, poised on a revolving ball, a broad-bladed knife in her hand. Valentine Curio’s device was the Table of Parrhasius, a hand drawing[466] on a panel one straight line between two others, enclosed, like the mark of Cratander, within an ornamented shield. For Thomas Wolff[467] Holbein drew the figure of a scholar or publisher issuing from a doorway, his finger on his lips enjoining silence, with the inscription: “Digito compesce labellum.” The devices of Matthias Bienenvater or Apiarius of Berne and Christopher Froschover of Zürich, contain punning allusions to their name. The former[468] represents a bear climbing a tree after honey, with the bees swarming round him; for the latter[469] Holbein made three different designs, each one containing frogs. In one the frogs are climbing a tree, with a beautiful landscape background of hills and peasants’ houses, the whole within a Renaissance framework, and evidently cut by Lützelburger; in the two others a boy is represented riding on a large frog, one of them with a background representing the Lake of Zürich, with villages at the foot of the mountains, and the other with a hilly landscape with a castle on a height.