Mr. Evelyn, in his "Sculptura," the only one of his works that does him no credit, and which is a meagre and extremely inaccurate compilation, when speaking of Holbein, actually runs riot in error and misconception. He calls him a Dane. He makes what he terms "the licentiousness of the friars and nuns," meaning probably Hollar's sixteen etchings after Holbein's satire on monks and friars and other members of the Romish church as the persecutors of Christ, and also the "Dance Machabre and Mortis imago," to have been cut in wood, and one or both of the latter to have been painted in the church of Basle. Mr. Evelyn's own copy of this work, with several additions in manuscript, is in the possession of Mr. Taylor, a retired and ingenious artist, of Cirencester-place. He probably intended to reprint it, and opposite the above-mentioned word "Dane," has inserted a query. Sandrart places the Dance of Death in the fish-market at Basle, and makes Holbein the painter as well as the engraver. "Acad. artis pictoriæ," p. 238, edit. 1683, folio. Baldinucci speaks of twenty prints of the Dance of Death painted by Holbein in the Senate-house of Basle. "Notizie dè professori del disegno, &c." tom. iii. 313 and 319. M. Descamps inadvertently ascribes the old Dance of Death on the walls of the church-yard of Saint Peter to the pencil of Holbein. "Vie des Peintres Flamandi," &c. 1753. 8vo. Tom. i. p. 75. Papillon, in his account of the Dance of Death, abounds with inaccuracies. He says, that a magistrate of Basle employed him to paint a Dance of Death in the fish-market, near a church-yard; that the work greatly increased his reputation, and made much noise in the world, although it has many anatomical defects; that he engraved this painting on small blocks of wood with unparalleled beauty and delicacy. He supposes that they first appeared in 1530 at Basle or Zuric, and as he thinks with a title and German verses on each print. Now he had never seen any edition so early as 1530, nor any of the cuts with German verses, and having probably been misled on this occasion, he has been the cause of misleading many subsequent writers, as Fournier, Huber, Strutt, &c. He adopts the error as to the mark [monogram: HL] on the thirty-sixth subject belonging to Holbein. He is entirely ignorant of the nature and character of the fool or idiot in No. xliii. whom he terms "un homme lascif qui a levé le devant de sa robbe:" and, to crown the whole, he makes the old Macaber Dance an _imitation_ of that ascribed to Holbein. De Murr, in tom. ii. p. 535 of his "Bibliothéque de Peinture, &c." servilely copies Papillon in all that he has said on the subject, with some additional errors of his own. The Abbé Fontenai, in the article for Holbein in his "Dictionnaire des Artistes," Paris, 1776, 8vo. not only makes him the painter of the old Macaber Dance, but places it in the town-house at Basle.