The admission in the course of the preceding remarks that Holbein might have been employed in some of the additional cuts that appeared in the editions of the Lyons Dance of Death which followed that of 1538, may seem at variance with what has been advanced with respect to the Bible cuts ascribed to him. It is, however, by no means a matter of necessity that an artist with Holbein's talents should have been resorted to for the purpose of designing the additional cuts to the Lyons work. There were, during the middle of the 16th century, several artists equally competent to the undertaking, both as to invention and execution, as is demonstrable, among numerous other instances, from the spurious, but beautiful, Italian copy of the original cuts; from the scarcely distinguishable copies of the Lyons Bible cuts in an edition put forth by John Stelsius at Antwerp, 1561, and from the works of several artists, both designers and wood-engravers, in the books published by the French, Flemish, and Italian booksellers at that period. An interesting catalogue raisonnè might be constructed, though with some difficulty, of such articles as were decorated with most exquisite and interesting embellishments. The above century was much richer in this respect than any one that succeeded it, displaying specimens of art that have only been rivalled, perhaps never outdone, by the very skilful engravers on wood of modern times. Our attention will, in the next place, be required to the excellent _engraver_ of the Dance of Death, the thirty-sixth cut of which represents the Duchess sitting up in bed, and accompanied with two figures of Death, one of which plays on a violin, whilst the other drags away the bed-clothes. On the base of one of the bed-posts is the mark or monogram [monogram: HL] which has, among other artists, been inconsiderately ascribed to Holbein. That it was intended to express the name of the designer cannot be supported by evidence of any kind. We must then seek for its meaning as belonging to the engraver, and whose name was, in all probability, Hans Leuczellberger or Lutzenberger, sometimes called Franck. M. de Mechel, the celebrated printseller and engraver at Basle, addressed a letter to M. de Murr, in which he states that on a proof sheet of an alphabet in the library in that city, containing several small figures of a Dance of Death, he had found the above name. M. Brulliot remarks that he had seen some of the letters of this alphabet, but had not perceived on them either the name of Lutzenberger, or the mark [monogram: HL];[106] but M. de Mechel has not said that the _mark_ was on the proof sheet, or on the letters themselves, but only the name of Lutzenberger, adding that the [monogram: HL] on the cut of the Duchess will throw some light on the matter, and that Holbein, although this monogram has been usually ascribed to him, never expressed his name by it, but used for that purpose an