[Sidenote: LATER EDITIONS OF THE BOOK] Further editions followed in 1554 and 1562, the number of illustrations in the last-named being increased to fifty-eight by the addition of five new cuts, thus making seventeen more pictures than had appeared in the original edition of 1538. Two of these fresh illustrations, “The Bridegroom” and “The Bride,” rightly belong to the series, and though they made their first appearance nineteen years after Holbein’s death, were undoubtedly drawn by him, and in all probability at the same time as the other designs of the series, between 1523 and 1526. The remaining additions consist of three more subjects with children, which again have every appearance of the same authorship. In one of these they appear as Bacchanalians, in another as musicians, and in the third they are carrying a suit of Roman armour. It is needless to enumerate the many editions which followed these earlier ones. Inferior copies and pirated editions, in which much of the beauty of the original woodcuts was lost, were numerous, and appeared in many parts of Europe. The earliest copy was apparently the small folio, entitled “Todtentantz,” printed at Augsburg in 1544, and published by Jost de Negker.[480] In the following year appeared the pirated Venetian copy. Five editions of a third version, with fifty-three cuts, were published in Cologne between 1555 and 1573, while another copy appeared at Wittemberg in 1590. Of the copperplate engravings copied from them the most important were the set of thirty etched by Wenceslaus Hollar between 1647 and 1651, which appear to be based not on one of the original Lyon editions, but on the copy produced at Cologne. Forty-six of the subjects were etched by David Deuchar in 1788, but these are of very inferior workmanship, and mere caricatures of Holbein’s designs. In 1789 a free copy was cut by John Bewick, the younger brother of the more famous Thomas, and published under the title of “Emblems of Mortality.” Turning to more recent days, they were reproduced upon stone in 1832 with great care by Joseph Schlotthauer, Professor in the Academy of Fine Arts at Munich; and these were re-issued in England by John Russell Smith in 1849. The best modern wood engravings after them are those cut by Bonner and John Byfield for Douce’s “Holbein’s Dance of Death” in 1833. The “Dance” has also been rendered in photo-lithography for an edition issued by H. Noel Humphreys in 1868, and for the Holbein Society in 1879. In 1886 Dr. F. Lippmann edited for Mr. Quaritch a set of reproductions of the engraver’s proofs in the Berlin Museum; and the _editio princeps_ has been facsimiled by one of the modern processes for Hirth of Munich, as vol. x. of the Liebhaber-Bibliothek, 1884.[481] [Sidenote: BEAUTY AND DRAMATIC FORCE]