plates. =The Artist= From the date of the _editio princeps_ it might be supposed that the designs were executed at or about 1538--the year of its publication. But this is not the case; and there is good evidence that they were not only designed but actually cut on the wood some eleven years before the book itself was published. There are, in fact, several sets of impressions in the British Museum, the Berlin Museum, the Basle Museum, the Imperial Library at Paris, and the Grand Ducal Cabinet at Carlsruhe, all of which correspond with each other, and are believed to be engraver's proofs from the original blocks. These, which include every cut in the edition of 1538, except "The Astrologer," would prove little of themselves as to the date of execution. But, luckily, there exists in the Cabinet at Berlin a set of coarse enlarged drawings in Indian ink, on brownish paper, of twenty-three of the series. These are in circular form; and were apparently intended as sketches for glass painting. That they are copied from the woodcuts is demonstrable, first, because they are not reversed as they would have been if they were the originals; and, secondly, because one of them, No. 36 ("The Duchess"), repeats the conjoined "H.L." on the bed, which initials are held to be the monogram of the woodcutter, and not to be part of the original design. The Berlin drawings must therefore have been executed subsequently to the woodcuts; and as one of them, that representing the Emperor, is dated "1527," we get a date before which both the woodcuts, and the designs for the woodcuts, must have been prepared. It is generally held that they were so prepared _circa_ 1524 and 1525, the date of the Peasants' War, of the state of feeling excited by which they exhibit evident traces. In the Preface to this first edition, certain ambiguous expressions, to which we shall presently refer, led some of the earlier writers on the subject to doubt as to the designer of the series. But the later researches of Wornum and Woltmann, of M. Paul Mantz and, more recently, of Mr. W. J. Linton leave no doubt that they were really drawn by the artist to whom they have always been traditionally assigned, to wit, Hans Holbein the younger. He was resident in Basle up to the autumn of 1526, before which time, according to the above argument, the drawings must have been produced; he had already designed an Alphabet of Death; and, moreover, on the walls of the cemetery of the Dominican monastery at Basle there was a famous wall-painting of the Dance of Death, which would be a perpetual stimulus to any resident artist. Finally, and this is perhaps the most important consideration of all, the designs are in Holbein's manner. =The Woodcutter=