Oils. Basel Museum.

? The risen Christ and Mary Magdalen at the sepulchre. [Plate 11.]

Oils. Hampton Court Gallery. (Very much injured.)

St. George. Oils. Kunsthalle, Karlsruhe.

St. Ursula. Oils. Kunsthalle, Karlsruhe.

? Portrait of a young girl. [Plate 13.]

Drawing in chalk and silver-point. Jabach Collection. The Louvre.

** The Solothurn Madonna. [Plate 12.]

Oils. Solothurn Museum. ("Die Zetter'sche Madonna von Solothurn,"

of which the remarkable history is given in the text; together with the evident relationship of Plate 13 and the hypothesis of the present writer in that connection.)

** Portrait of Erasmus. [Plate 14.]

Oils. The Louvre.

A Citizen's Wife, and others, in the dress of the time.

Washed Drawings. Basel Museum.

The Table of Cebes. Border for t.i.tle-page.

Woodcut. Royal Print Cabinet, Berlin.

St. Peter and St. Paul; on the t.i.tle-page of Adam Petri's reprint of Luther's translation of the New Testament.

Alphabet of "The Dance of Death." Woodcuts.

Proof-impressions in the Basel Museum, the British Museum, and the Dresden Royal Collection.

Bible Pictures: ill.u.s.trating Old Testament. Woodcuts.

** "Images of Death." [Two shown at Plates 14 and 15.]

Proof-impressions, some sets incomplete, in the Basel Museum, British Museum and the National Print Collections of Paris, Vienna, Berlin, Dresden, Karlsruhe, and the Bodleian Library.

(This is the immortal series of Woodcuts, often called "The Dance of Death," done for the Trechsel Brothers of Lyons, but not published there until many years later.)

Dorothea Offenburg as the G.o.ddess of Love. [Plate 16.]

Oils. Basel Museum.

The above as Las Corinthiaca.

Oils. Basel Museum.

** The Meyer Madonna. [Plates 18 and 19.]

Oils. Grand-Ducal Collection, Darmstadt (superbly restored); and ?Dresden Gallery. (Notwithstanding the many and eminent authorities who hold this to be a copy, there still remain a sufficiency of no less eminent authorities to warrant the present writer in her unshaken opinion that, at any rate in its first estate and in the main, this Dresden version--revered for more than one century as such by the highest authorities--was the creation of Holbein's own hand.)

III.

FIRST LONDON PERIOD (1526-1528)

Portrait of Sir Thomas More.

Oils. Mr. Huth's Collection.

Chalk Drawing at Windsor. [Plate 20.]

(Also a drawing of Sir John More, father of the above.)

** John Fisher, Bishop of Rochester. [Plate 21.]

Chalk Drawing. Windsor Castle. (Another in the British Museum.)

Archbishop Warham.

Oils. The Louvre, and Lambeth Palace.

? John Stokesley, Bishop of London.

Oils. Windsor Castle.

Sir Henry Guildford. [Plate 22.]

Oils. Windsor Castle.

Lady Guildford.

Oils. Mr. Frewen's Collection.

Sir Thomas G.o.dsalve and his son John.

Oils. Dresden Gallery.

Chalk Drawing of Sir John G.o.dsalve.

Windsor Castle.

Nicholas Kratzer, Astronomer Royal to King Henry VIII. [Plate 23.]

Oils. The Louvre.

Sir Henry Wyat. Oils. The Louvre.

Sir Bryan Tuke, Treasurer of the Household to King Henry VIII.

Oils. Munich Gallery. [Plate 24.]

Also at Grosvenor House. (As stated in the text, the writer holds that the portraits of Sir Bryan Tuke should properly be cla.s.sed with those of a later period. But they are given here in accordance with opinions which obtain at present.)

IV.

LAST BASEL PERIOD (1528-1531)

** Portrait group of Holbein's wife, Elsbeth, and his two eldest children.

[Plate 25.] Oils, on paper.

Basel Museum. (Outline hard from having been cut out and mounted.)

King Rehoboam replying to his people, and ** Samuel denouncing Saul. [Plate 26.]

Two Washed Drawings. Basel Museum. (These are the designs for "the back wall" of the Basel Council Chamber.)

"Portrait of an English Lady" (unknown).

Chalk Drawing. Basel Museum.