_Holbein's Bible cuts.--Examination of the claim of Hans Lutzenberger as to the design or execution of the Lyons engravings of the Dance of Death.--Other works by him._ At this time the celebrated designs for the illustration of the Old Testament, usually denominated Holbein's Bible, made their appearance, with the following title, "Historiarum veteris instrumenti icones ad vivum expressæ. Una cum brevi, sed quoad fieri potuit, dilucida earundem expositione. Lugduni, sub scuto Coloniensi MDXXXVIII." 4to. They were several times republished with varied titles, and two additional cuts. Prefixed are some highly complimentary Latin verses by Holbein's friend Nicholas Bourbon, better known by his Latinized name of Borbonius, who again introduces Parrhasius and Zeuxis in Elysium, and in conversation with Apelles, who laments that they had all been excelled by Holbein. These lines by Borbonius do not appear, among others addressed by him to Holbein, in the first edition of his "Nugæ" in 1533, or indeed in any of the subsequent editions; but it is certain that Borbonius was at Lyons in 1538, and might then have been called on by the publishers of the designs, with whom he was intimately connected, for the commendatory verses. The booksellers Frellon of Lyons, by some means with which we are not now acquainted, or indeed ever likely to be, became possessed of the copyright to these designs for the Old Testament. It is very clear that they had previously been in possession of those for the Dance of Death, and, finding the first four of them equally adapted to a Bible, they accordingly, and for the purpose of saving expense, made use of them in this Bible, though with different descriptions, having, in all probability, employed the same engraver on wood as in the Dance of Death, a task to which he had already demonstrated himself to be fully competent. Now, if the Frellons had regarded Holbein as the designer of the "Simulachres et historiees faces de la Mort," would they not rather have introduced into that work the complimentary lines of Borbonius on _some_ painting by Holbein of a Dance of Death, and which will be hereafter more particularly adverted to, instead of inserting the very interesting and decisive dedication that has so emphatically referred to the then deceased painter of the above admirable composition?