The eight additional subjects which were included in the edition of 1545 were, with possibly one exception, designed by Holbein, and it seems almost certain that the cutting of most, if not all, of the blocks had been begun by Lützelburger, and that they were sent to Lyon after his death in 1526, as part of the commission he had received from the Trechsels. The first of them represents the Soldier, who is attacking Death with his two-handed sword. The latter is armed with a great bone and a circular shield. The ground beneath them is strewn with the dead and dying, and over the hills in the background comes rushing a body of soldiers, with a second skeleton beating a drum as he leads the charge. Next we have the Gamester, seated at table with two comrades. Death clutches him by the throat, and a devil seizes him by the hair. One of the party is counting his gains, and cards are strewn over the floor. This is followed by the Drunkard, a scene with men and women in the middle of a disorderly carouse, among whom Death stalks, and, pulling back the head of one of them, a gross and bloated old man, pours wine down his throat from a tankard. The Fool dances over the rough ground, one finger in his mouth, and a long bladder grasped in the other hand, as though about to strike at Death, who, falling into his humour, dances by his side to the music of the bagpipes he is playing. The Robber, hidden in the recesses of a wood, is springing from behind the trees in order to snatch the market-basket from the head of a barefooted woman who passes by as night is falling, but Death has him by the neck before he can accomplish his purpose. In the next scene he is leading the Blind Man by his stick towards the water into which the next step or two will plunge him; and then comes the Waggoner, the woodcut which in the preface is mentioned by name as the one which the engraver left unfinished. Vauzelles’ description of it is not in complete accord with the finished block. The driver is not crushed beneath his waggon, but stands with hands clasped over his head, and a look of mingled fear and consternation on his face. The horse within the shafts has fallen on the side of a steep hill, and the cart with its great barrels is overturned. Death springs up behind, and untwists the stick by which the cord which fastens the barrel is kept taut. A second skeleton carries away one of the waggon wheels, which has been broken off. The concluding design shows the Beggar, lame and blind, and almost nude, seated among the straw and rubbish in front of some rich man’s house, his hands raised as though imploring Death to come for him; but he is the only one from whom Death keeps aloof. This block, as already noted, is so badly cut that it is not easy to say with certainty whether Holbein was the designer of it. In the “Young Wife” of the 1562 edition, Death is dancing as he leads her away in tears, while they are preceded by a gaily dressed gallant who plays a guitar.