One of the first to describe Basel's dance of death was Huldreich Frölich, who published the text along with lots of illustrations in 1588 and 1608.
These books were published in very close cooperation with the printer Henripetri, and after the death of the latter, the printery was taken over by the printer Decker. In 1681, the daughter of J.J. Decker married Johann Conrad von Mechel, and for this reason many of the old woodcuts from the workshop of Henripetri appear in books published by the family Mechel.
The family was active for more than a hundred years. Here is a short sketch:
Among the material the Mechel-family via the Decker-family inherited from Henripetri, were Frölich's books about Basel's dance of death. Frölich's books were already confusing: The texts were from Basel's and Bern's dances of death (along with a Latin translation of Basel's dance of death). With a few exceptions however, the illustrations were neither from Basel nor Bern, but were (bad) copies of Holbein's dance of death.
In 1715 Mechel republished the material for the first time. He dropped the Latin text and much of the Bern-text and produced a new frontispiece (see picture to the left). Unfortunately Mechel seems to have lost six of the Holbein copies (duke, abbess, monk, old woman, sailor and count), but on the other hand he obtained a few woodcuts that actually represented Basel's dance of death, viz. the abbess, the heathen woman, the musician and the Jew. Mechel then gave his book the exact same title as Merians book: »Der Todten-Tantz, wie derselbe in der weitberühmten Stadt Basel, als ein Spiegel menschlicher Beschaffenheit …«.
The book sold well and was reprinted in 1724, 1735, 1740, 1769, 1786 and 1796. In 1842 and 1843 the book was re-issued as a lithographic reprint, and as late as 1879 the woodcuts were printed. With their Holbein-pictures the Mechel family thus cemented the confusion that Frölich had founded - i.e. that Holbein should be the creator of Basel's dance of death.
One thing that Mechel didn't remove was Frölich's ending addressed to an imaginary satyr: »Hiemit die Rhym des Todten-tantz, O Satyre, sich enden gantz«. Therefore all editions from 1715 through 1870 ended with this text, which was never a part of the dance of death.
In spite of Mechel's massive editing the book is still a mess: As already mentioned most of the woodcuts are from Holbein's dance of death, and they are discussed on the page about Holbein and Georg Scharffenberg.
Frölich had pulled the preacher out of the dance and placed him at the back of his book, but Mechel instead places him in front, like the preacher in Basel, where he can quote the Isaiah and Daniel texts that introduced the mural.
Then comes a picture of Judgment Day. This scene does not appear in Basel, so therefore Mechel has retained the text from Bern's dance of death. One might wonder why this scene has been placed here in the beginning of the book, when it marks the end of both Holbein's and Bern's dances and Frölich's book, but this may be because Basel had a Judgment Day scene over the ossuary (picture to the right).
Then come the individual dancers, where the text is from Basel, while the pictures are the usual mix of bad Holbein-copies and free fantasy. Mechel had lost the copy of Holbein's nobleman, so the duke and the duchess has to share the woodcut of Holbein's noblewoman. Therefore we get Death's speech to the duke (but not his answer), and the duchess' reply to Death (but we're not told what she's replying to).
Holbein's count has disappeared too, so Mechel illustrates him with Holbein's knight instead. Then he calls the knight "Nobleman" and illustrates him with Holbein's soldier, and he moves the noblewoman (who is Holbein's duchess) forwards in the dance. When Mechel comes to the real nobleman, he has run out of woodcuts, and the nobleman is removed from the dance.
The juror is illustrated with a copy of Holbein's canon. On the other hand, Basel's canon is illustrated with a copy of Holbein's priest. The hermit is illustrated by Holbein's old man, while the young man is the musician from Holbein's nun, who has been placed out on the street (picture to the left).
At the end of the dance come Adam & Eve and a text that is the introduction from Bern's dance of death: »Von des Teuffels vergifften Zung, hat der Tod sein Ursprung […]« and at the very end a picture of the Expulsion from Paradise with more of the introduction from Bern: »Eva ist vast schuldig dran, Sie gab den Tod auch ihrem mann«. Frölich had placed Adam & Eve in front of the book, but Mechel places them in the back, like they were on the mural.
The result is confusing to say the least, both concerning contents and title. Frölich's book was confusing too, but he may be somewhat excused since he tried to combine three dances of death in one book, and at least he didn't leave out any dialogues. In Mechel's book content is solely determined by the available woodcuts — woodcuts that mostly doesn't even portray the dance in Basel. Nobleman, cripple, herald, executioner, painter's wife and Turk have disappeared simply because Mechel didn't a proper woodcut. Duke and duchess each lost half a dialogue because Mechel had lost the copy of Holbein's nobleman. On the other hand, Mechel retained Holbein's Expulsion from Paradise, drunkard, gambler and robber, who neither belong to Basel nor Bern, and where the text was presumably invented by Frölich.
The book was republished well into the 19th century. The thousand of tourists who visited church in Basel and bought the book, must have gotten quit a surprise when they returned home and opened their new book. One can't help wondering if the Mechel family were related to another contemporary publisher in Basel named Mechel, namely Christian Mechel, who created confusion with his "genuine" Holbein-drawings.
Six of the woodcuts were lost somewhere between Frölich's 1588-edition and the Mechel Family's editions.