Chapter I: Preface

IN this book the writer has endeavoured to give as complete an account as possible of the life and career of the younger Holbein, together with a description of every known picture painted by him, and of the more important of his drawings and designs. The earlier books devoted to the subject—such as Wornum’s _Life and Works_, 1867, and Dr. Woltmann’s two volumes—although they must always remain of the utmost help to the student, are now in some respects out of date. The second edition of the latter’s great work, in which he modified and corrected many passages in the earlier issue, has never been fully translated into English; while the latest book of importance on the subject published in this country, _Hans Holbein the Younger_, by Mr. Gerald S. Davies, M.A., 1903, is mainly devoted to the art of the painter, and does not profess to give complete biographical details of his life. In recent years many new facts as to Holbein’s career have been discovered, and fresh pictures by him unearthed, while modern criticism has reversed some of the earlier conclusions respecting the authorship of a certain number of works at one time attributed to him. Much valuable information upon the subject has been published at home and abroad, largely in periodicals devoted to such matters and in the transactions of artistic and learned societies, by various well-known students of the master in Germany and Switzerland, chief among whom must be mentioned Dr. Paul Ganz, the director of the Public Picture Collection in Basel, now recognised as the leading authority on Holbein, together with Dr. Hans Koegler, Dr. Emil Major, H. A. Schmid, and other writers too numerous to mention here; while in England equally valuable contributions to our knowledge have been made from time to time by such critics as Mr. Lionel Cust, M.V.O., Sir Sidney Colvin, Mr. Campbell Dodgson, Sir Claude Phillips, Miss Mary F. S. Hervey, and a number of others, in the pages of the _Burlington Magazine_ and elsewhere. Much valuable information is also to be found in two recently-published volumes—Dr. Curt Glaser’s _Hans Holbein der Ältere_, 1908, and Dr. Willy Hes’ _Ambrosius Holbein_, 1911.

The writer has availed himself as fully as possible of the newer facts and conclusions embodied in such papers and communications, the source of information in all cases being fully acknowledged. A very careful study of the Calendars of Letters and Papers, Foreign and Domestic, of the Reign of Henry VIII, extending over a number of years, has enabled him to add some fresh items of information about the painter and certain of his sitters, and of several of the artists who were his contemporaries in England. He has dealt at some length, though necessarily in a condensed form, with the chief painters and craftsmen, both English and foreign, who were at work in London under Henry VIII, much of the information thus brought together having been hitherto scattered about in a variety of publications not always conveniently accessible to the student. He thus hopes that the book will to some extent serve the purpose for which it is primarily intended—the provision, in as concise a form as possible, of a complete biography of the painter, embodying all the more recent discoveries; and he trusts that it may be of some small service to those who are interested in Holbein, but have neither the time nor the opportunity to avail themselves of the many scattered sources of information which he has attempted to bring together within the covers of a single book.

By the gracious permission of His Majesty the King, the writer has been allowed to include among the illustrations, reproductions, in some instances in colour, of a number of pictures and drawings by Holbein in the royal collections; and he has to thank the Lord Chamberlain and Mr. Lionel Cust, M.V.O., Surveyor of the King’s Pictures, for the kind assistance they rendered him in obtaining such permission. He has also to express his grateful acknowledgments to a number of owners and collectors for similar permission to reproduce works by the master in their possession, among them Her Majesty the Queen of Holland, who has graciously allowed the inclusion of the beautiful miniature of an Unknown Youth; the Duke of Devonshire, G.C.V.O.; Earl Spencer, G.C.V.O.; the Earl of Radnor; Lord Leconfield; the Earl of Yarborough; Sir John Ramsden, Bt.; Sir Hugh P. Lane; the late Mr. J. Pierpont Morgan; Major Charles Palmer; and the Barber-Surgeons’ Company. Special thanks are due to Lord St. Oswald for permitting the large “More Family Group” at Nostell Priory to be photographed for the purposes of this book, and for allowing the writer to take notes from a very interesting manuscript containing a description of the various versions of the Family picture compiled by his grandfather, Mr. Charles Winn. He has also to record his great indebtedness to Mr. Ayerst H. Buttery for giving him the privilege of reproducing the recently discovered portrait of an Unknown English Lady, formerly in the possession of the Bodenham family at Rotherwas, near Hereford. His thanks also are due to Senhor José de Figueiredo, director of the National Museum of Ancient Art, Lisbon, for permission to include the elder Holbein’s “Fountain of Life” among the illustrations, as well as to the directors of a number of galleries and museums, including the Public Picture Collection, Basel; the National Gallery, British Museum, and Wallace Collection; the Kaiser Friedrich Museum, Berlin; the Imperial Gallery, Vienna; the Louvre, Paris; the Royal Picture Gallery, The Hague; the Metropolitan Museum of New York; the Royal Hermitage Gallery, St. Petersburg; and the Galleries of Dresden, Munich, Hanover, Rome, Florence, Solothurn, and elsewhere.

In addition, he has the pleasure of recording his great indebtedness to Mr. Lionel Cust, M.V.O., for kind assistance and advice; to Mr. Maurice W. Brockwell, for much valuable help in many directions; to Mr. Campbell Dodgson, who was good enough to assist in the selection of woodcuts from the British Museum Collection for the purposes of reproduction; to Dr. George C. Williamson, through whose kindness the writer has been able to make use of his Catalogue of the late Mr. J. Pierpont Morgan’s Collection of Miniatures; to the Editors of the _Burlington Magazine of Fine Arts_ for permission to include the writer’s paper on Holbein’s visit to “High Burgony”; to Mr. James Melville for transcribing from the Balcarres MSS. a long letter from the Duchess of Guise referring to that visit; to Herr F. Engel-Gros for information about the interesting roundel in his possession, which possibly represents the painter Lucas Hornebolt; and to Dr. James H. W. Laing, of Dundee, to whom he is deeply indebted for most generously undertaking the very onerous task of reading the whole of the proofs. He wishes also to offer his grateful thanks to his publishers, and in particular to Mr. Hugh Allen, for the great care and trouble they have spent upon the book, and for their hearty co-operation in attempting to make it as complete a record as possible of the great master to whom it is devoted.

A. B. C.

BIRMINGHAM, _August 1913._

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CONTENTS

CHAP. PAGE

I. HANS HOLBEIN THE ELDER AND HIS FAMILY 1

II. YOUTHFUL DAYS IN AUGSBURG 23

III. FIRST YEARS IN SWITZERLAND 32

IV. WORK IN LUCERNE AND THE VISIT TO 57
LOMBARDY

V. CITIZEN OF BASEL 82

VI. THE HOUSE OF THE DANCE AND THE 116
WALL-PAINTINGS IN THE BASEL TOWN HALL

VII. DESIGNS FOR PAINTED GLASS AND OTHER 135
STUDIES

VIII. PORTRAITS OF ERASMUS AND HIS CIRCLE 162

IX. DESIGNS FOR BOOK ILLUSTRATIONS 187

X. THE “DANCE OF DEATH” AND OLD TESTAMENT 204
WOODCUTS

XI. THE MEYER MADONNA AND THE DEPARTURE FOR 232
ENGLAND

XII. NATIVE AND FOREIGN ARTISTS IN ENGLAND 256
DURING THE REIGN OF HENRY VIII

XIII. THE FIRST VISIT TO ENGLAND: PORTRAITS OF 288
THE MORE FAMILY

XIV. THE FIRST VISIT TO ENGLAND: OTHER 311
PORTRAITS AND DECORATIVE WORK

XV. THE RETURN TO BASEL (1528-1532) 338

POSTSCRIPT TO CHAPTER XIV. A NEWLY-DISCOVERED 353
PORTRAIT OF AN UNKNOWN ENGLISH LADY

FOOTNOTES FOR ALL CHAPTERS 359

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ILLUSTRATIONS

HANS HOLBEIN: SELF-PORTRAIT _Frontispiece_

Reproduced in colour.

_Public Picture Collection, Basel._

1. THE BAPTISM OF ST. PAUL 11

Left-hand panel of the “Basilica of St.
Paul” altar-piece. By HANS HOLBEIN THE
ELDER.

_Museum, Augsburg._

2. THE ST. SEBASTIAN ALTAR-PIECE 15

Central panel. By HANS HOLBEIN THE
ELDER.

_Alte Pinakothek, Munich._

3. (1) ST. BARBARA. (2) ST. ELIZABETH 16

Inner sides of the wings of the “St.
Sebastian” altar-piece. By HANS
HOLBEIN THE ELDER.

_Alte Pinakothek, Munich._

4. THE FOUNTAIN OF LIFE 17

By HANS HOLBEIN THE ELDER.

_National Museum of Ancient Art,
Lisbon._ Reproduced by kind permission
of the Director, Senhor José de
Figueiredo.

5. STUDY FOR THE PORTRAIT OF A LADY OF 21
AUGSBURG

Silver-point drawing. By HANS HOLBEIN
THE ELDER.

_British Museum._

6. AMBROSIUS AND HANS HOLBEIN 25

Silver-point drawing. By HANS HOLBEIN
THE ELDER (1511).

_Royal Print Room, Berlin._

7. VIRGIN AND CHILD (1514) 33

_Public Picture Collection, Basel._

8. (1) HEAD OF THE VIRGIN MARY. (2) HEAD OF 37
ST. JOHN

_Public Picture Collection, Basel._

9. THE LAST SUPPER 40

_Public Picture Collection, Basel._

10. THE SCOURGING OF CHRIST 41

_Public Picture Collection, Basel._

11. HOLBEIN’S EARLIEST TITLE-PAGE 45

First used in 1515.

_From a copy of More’s “Utopia” in the
British Museum._

12. MARGINAL DRAWINGS IN A COPY OF THE 48
“PRAISE OF FOLLY”

(1) FOLLY LEAVING THE PULPIT.

(2) PENELOPE AT HER LOOM.

(3) THE POPE.

(4) THE CARDINAL.

(5) THE BISHOP.

(6) NUNS KNEELING BEFORE AN ALTAR-PIECE.

_Public Picture Collection, Basel._

13. MARGINAL DRAWINGS IN A COPY OF THE 49
“PRAISE OF FOLLY”

(1) THE BASKET OF EGGS.

(2) NICOLAS DE LYRA.

(3) KING SOLOMON.

(4) YOUNG NOBLEMAN.

(5) FOLLY AND HIS PUPPET.

(6) ERASMUS AT HIS DESK.

(7) “A FAT AND SPLENDID PIG FROM THE
HERD OF EPICURUS.”

_Public Picture Collection, Basel._

14. THE TWO SIDES OF A SCHOOLMASTER’S 51
SIGN-BOARD (1516)

_Public Picture Collection, Basel._

15. DOUBLE PORTRAIT OF JAKOB MEYER AND HIS 52
WIFE, DOROTHEA KANNENGIESSER (1516)

_Public Picture Collection, Basel._

16. (1) HEAD OF JAKOB MEYER. (2) HEAD OF 55
DOROTHEA KANNENGIESSER

Drawings in black and coloured chalks.
Studies for the double portrait of
1516.

_Public Picture Collection, Basel._

17. ADAM AND EVE (1517) 56

_Public Picture Collection, Basel._

18. PORTRAITS OF TWO BOYS 60

By AMBROSIUS HOLBEIN.

_Public Picture Collection, Basel._

19. STUDY OF A YOUNG GIRL NAMED “ANNE” 61
(1518)

Silver-point and red chalk drawing. By
AMBROSIUS HOLBEIN.

_Public Picture Collection, Basel._

20. THE FOUNDING OF BASEL 61

Design for painted glass. By AMBROSIUS
HOLBEIN.

_Public Picture Collection, Basel._

21. PORTRAIT OF AN UNKNOWN YOUNG MAN (1518) 61

By AMBROSIUS HOLBEIN.

_Royal Hermitage Gallery, St.
Petersburg._

22. ILLUSTRATION TO SIR THOMAS MORE’S 62
“UTOPIA”

By AMBROSIUS HOLBEIN.

_From a woodcut in the British Museum._

23. DESIGNS FOR THE WALL-PAINTINGS OF THE 68
HERTENSTEIN HOUSE, LUCERNE

(1) LEÆNA AND THE JUDGES.

(2) ARCHITECTURAL DECORATION OF THE
GROUND FLOOR.

_Public Picture Collection, Basel._

24. PORTRAIT OF BENEDIKT VON HERTENSTEIN 72
(1517)

_Metropolitan Museum, New York._

25. THE LAST SUPPER 75

Central panel of a Triptych.

_Public Picture Collection, Basel._

26. THE ARCHANGEL MICHAEL AS WEIGHER OF 79
SOULS

Drawing.

_Public Picture Collection, Basel._

27. MINERS AT WORK 80

Drawing in Indian ink, pen, and bistre.

_British Museum._

28. BONIFACIUS AMERBACH (1519) 85

Reproduced in colour.

_Public Picture Collection, Basel._

29. (1) ADORATION OF THE SHEPHERDS. (2) 88
ADORATION OF THE KINGS

Inner sides of the wings of the Oberried
altar-piece.

_University Chapel, Freiburg Minster._

30. THE PASSION OF CHRIST 91

Outer sides of the wings of an
altar-piece.

_Public Picture Collection, Basel._

31. (1) CHRIST BEARING THE CROSS. (2) THE 94
CRUCIFIXION

Details of the outer sides of the wings
of the “Passion” Altar-piece.

_Public Picture Collection, Basel._

32. “NOLI ME TANGERE” 95

Christ appearing to Mary Magdalen.
Reproduced by gracious permission of
H.M. the King.

_Hampton Court Palace._

33. (1) CHRIST, THE MAN OF SORROWS. (2) 98
MARY, MATER DOLOROSA

Diptych, painted in brown monochrome,
with blue sky.

_Public Picture Collection, Basel._

34. THE HOLY FAMILY 99

Washed drawing on a red ground.

_Public Picture Collection, Basel._

35. THE DEAD CHRIST IN THE TOMB (1521) 101

Predella of an altar-piece.

_Public Picture Collection, Basel._

36. THE VIRGIN AND CHILD, WITH ST. URSUS AND 103
A HOLY BISHOP (1522)

_Solothurn Gallery._

37. PORTRAIT OF A YOUNG WOMAN, POSSIBLY 106
HOLBEIN’S WIFE

Reproduced in colour.

_Royal Picture Gallery, Mauritshuis, The
Hague._

38. HEAD OF A YOUNG WOMAN, PROBABLY 108
HOLBEIN’S WIFE

Study for the Solothurn “Madonna.”
Silver-point drawing, touched with
red.

_Louvre, Paris._

39. DESIGN FOR THE ORGAN-CASE DOORS, BASEL 113
CATHEDRAL

Pen and wash drawing.

_Public Picture Collection, Basel._

40. (1) STUDY FOR A PAINTED HOUSE FRONT WITH 121
THE FIGURE OF A SEATED EMPEROR. (2)
THE AMBASSADORS OF THE SAMNITES BEFORE
CURIUS DENTATUS

The latter a fragment of the
wall-painting in the Basel Town Hall.

_Public Picture Collection, Basel._

41. SAPOR AND VALERIAN 131

Design for one of the wall-paintings in
the Basel Town Hall. Pen and
water-colour drawing.

_Public Picture Collection, Basel._

42. (1) TWO LANDSKNECHTE. (2) THE PRODIGAL 139
SON

Designs for painted glass.

_Public Picture Collection, Basel._

43. DESIGN FOR A PAINTED WINDOW WITH THE 144
COAT OF ARMS OF THE VON HEWEN FAMILY
(1520)

_Public Picture Collection, Basel._

44. ST. ELIZABETH, WITH KNEELING KNIGHT AND 148
BEGGAR

Design for painted glass.

_Public Picture Collection, Basel._

45. THE VIRGIN AND CHILD, WITH A KNEELING 149
DONOR

Design for painted glass.

_Public Picture Collection, Basel._

46. (1) CHRIST BEFORE CAIAPHAS. (2) THE 151
SCOURGING OF CHRIST

The “Passion” series of designs for
painted glass.

_Public Picture Collection, Basel._

47. (1) THE MOCKING OF CHRIST. (2) CHRIST 152
CROWNED WITH THORNS

The “Passion” series of designs for
painted glass.

_Public Picture Collection, Basel._

48. (1) PILATE WASHING HIS HANDS. (2) ECCE 153
HOMO

The “Passion” series of designs for
painted glass.

_Public Picture Collection, Basel._

49. (1) CHRIST BEARING THE CROSS. (2) THE 154
STRIPPING OF CHRIST’S GARMENTS

The “Passion” series of designs for
painted glass.

_Public Picture Collection, Basel._

50. (1) CHRIST NAILED TO THE CROSS. (2) THE 155
CRUCIFIXION

The “Passion” series of designs for
painted glass.

_Public Picture Collection, Basel._

51. (1) COSTUME STUDY. (2) COSTUME STUDY 157

Two drawings from a set of designs of
ladies’ costumes.

_Public Picture Collection, Basel._

52. “THE EDELDAME” 157

Drawing from a set of designs of ladies’
costumes.

_Public Picture Collection, Basel._

53. A FIGHT BETWEEN LANDSKNECHTE 160

Drawing in Indian ink.

_Public Picture Collection, Basel._

54. ERASMUS (1523) 169

Reproduced by kind permission of the
Earl of Radnor.

_Longford Castle, Salisbury._

55. STUDY FOR THE HANDS OF ERASMUS 171

Drawing in silver-point and red and
black chalk.

_Louvre, Paris._

56. ERASMUS (1523) 172

Reproduced in colour.

_Louvre, Paris._

57. THE DUCHESS OF BERRY 176

Drawing in black and coloured chalks.
Reproduced in colour.

_Public Picture Collection, Basel._

58. (1) ERASMUS 180

Roundel.

_Public Picture Collection, Basel._

(2) PHILIP MELANCHTHON 180

Roundel.

_Provinzial Museum, Hanover._

59. ERASMUS 181

_From a woodcut in the British Museum._

60. MUCIUS SCÆVOLA AND LARS PORSENA 191

Woodcut first used in 1516.

_From a copy of More’s “Epigrams” in the
British Museum._

61. “THE TABLE OF CEBES” 193

Woodcut first used in 1521.

_From a copy of Perotto’s “Cornucopiæ”
in the British Museum._

62. TITLE-PAGE TO LUTHER’S “NEW TESTAMENT” 195

Woodcut first used in 1522.

_From a copy in the British Museum._

63. THE FOUR EVANGELISTS 195

Woodcuts and Initial Letters used on the
first page of each gospel in the 1523
edition of Luther’s “New Testament.”

_From a copy in the British Museum._

64. THE “CLEOPATRA” TITLE-PAGE 198

Woodcut first used in 1523.

_From a copy of Erasmus’ “Christiani
Matrimonii Institutio” in the British
Museum._

65. (1) CHRIST THE TRUE LIGHT. (2) THE SALE 198
OF INDULGENCES

Woodcuts.

_From proofs in the British Museum._

66. THE DANCE OF DEATH WOODCUTS 217

(1) THE EMPEROR.

(2) THE KING.

(3) THE CARDINAL.

(4) THE EMPRESS.

(5) THE ADVOCATE.

(6) THE COUNSELLOR.

(7) THE PREACHER.

(8) THE PRIEST.

_From proofs in the British Museum._

67. THE DANCE OF DEATH WOODCUTS 220

(1) THE OLD MAN.

(2) THE COUNTESS.

(3) THE NOBLE LADY.

(4) THE DUCHESS.

(5) THE PLOUGHMAN.

(6) THE YOUNG CHILD.

(7) THE LAST JUDGMENT.

(8) THE ARMS OF DEATH.

_From proofs in the British Museum._

68. THE DANCE OF DEATH ALPHABET 224

_From a proof in the Royal Print
Cabinet, Dresden._

69. THE OLD TESTAMENT WOODCUTS 230

(1) JACOB BLESSING EPHRAIM AND MANASSEH.

(2) RUTH AND BOAZ.

(3) JUDITH WITH THE HEAD OF HOLOFERNES.

(4) AMOS PREACHING.

_From proofs in the British Museum._

70. THE OLD TESTAMENT WOODCUTS 230

(1) MOSES RECEIVING THE TABLES OF THE
LAW.

(2) THE RETURN FROM THE BABYLONIAN
CAPTIVITY.

_From proofs in the British Museum._

(3) THE ANGEL SHOWING ST. JOHN THE NEW
JERUSALEM (Revelation xxi.). Woodcut
from Adam Petri’s “New Testament,”
1523.

_From a copy in the British Museum._

71. THE MEYER MADONNA 233

_Darmstadt._

72. (1) JAKOB MEYER. (2) DOROTHEA 236
KANNENGIESSER

Studies for the Meyer Madonna. Drawings
in black and coloured chalks.

_Public Picture Collection, Basel._

73. (1) MAGDALENA OFFENBURG AS VENUS (1526). 246
(2) MAGDALENA OFFENBURG AS LAÏS (1526)

_Public Picture Collection, Basel._

74. STUDY FOR THE MORE FAMILY GROUP 293

Drawing in Indian ink, with corrections
and inscriptions in brown.

_Public Picture Collection, Basel._

75. THE MORE FAMILY GROUP 295

Reproduced by kind permission of Lord
St. Oswald.

_Nostell Priory, Wakefield._

76. THE MORE FAMILY GROUP 301

The version formerly at Burford Priory,
now in the possession of Messrs.
Parkenthorpe, London. Reproduced by
kind permission of Sir Hugh P. Lane.

77. CECILIA HERON, DAUGHTER OF SIR THOMAS 303
MORE

Drawing in black and coloured chalks.
Reproduced by gracious permission of
H.M. the King.

_Windsor Castle._

78. SIR THOMAS MORE 303

Drawing in black and coloured chalks.
Reproduced by gracious permission of
H.M. the King.

_Windsor Castle._

79. PORTRAIT OF AN ENGLISH LADY 309

Drawing in black and red chalk and
Indian ink.

_Salting Bequest, British Museum._

80. SIR HENRY GULDEFORD (1527) 317

Reproduced in colour, by gracious
permission of H.M. the King.

_Windsor Castle._

81. (1) JOHN FISHER, BISHOP OF ROCHESTER 321

Drawing in black and coloured chalks.
Reproduced by gracious permission of
H.M. the King.

_Windsor Castle._

(2) PORTRAIT OF AN UNKNOWN ENGLISH LADY, 321
POSSIBLY LADY GULDEFORD

Drawing in black and coloured chalks.

_Public Picture Collection, Basel._

82. (1) UNKNOWN ENGLISHMAN. (2) UNKNOWN 321
ENGLISH LADY

Drawings in black and coloured chalks.

_Public Picture Collection, Basel._

83. WILLIAM WARHAM, ARCHBISHOP OF CANTERBURY 322
(1527)

Reproduced in colour.

_Louvre, Paris._

84. THOMAS AND JOHN GODSALVE (1528) 325

_Royal Picture Gallery, Dresden._

85. SIR JOHN GODSALVE 326

Drawing in black and coloured chalks and
water-colour. Reproduced by gracious
permission of H.M. the King.

_Windsor Castle._

86. NIKLAUS KRATZER (1528) 327

Reproduced in colour.

_Louvre, Paris._

87. SIR BRYAN TUKE 331

_Alte Pinakothek, Munich._

88. SIR HENRY WYAT 335

Reproduced in colour.

_Louvre, Paris._

89. SIR THOMAS ELYOT 336

Drawing in black and coloured chalks.
Reproduced by gracious permission of
H.M. the King.

_Windsor Castle._

90. HOLBEIN’S WIFE AND CHILDREN (1528-9) 343

Reproduced in colour.

_Public Picture Collection, Basel._

91. PORTRAIT OF A YOUNG WOMAN 346

Unfinished study in oils.

_Public Picture Collection, Basel._

92. KING REHOBOAM REBUKING THE ELDERS (1530) 348

Three fragments of the wall-painting
formerly in the Basel Town Hall.

_Public Picture Collection, Basel._

93. KING REHOBOAM REBUKING THE ELDERS 348

Study for the wall-painting formerly in
the Basel Town Hall.

_Public Picture Collection, Basel._

94. SAMUEL AND SAUL 350

Pen drawing in brown touched with
water-colour. Study for the
wall-painting formerly in the Basel
Town Hall.

_Public Picture Collection, Basel._

95. PORTRAIT OF AN UNKNOWN ENGLISH LADY 354

Formerly in the possession of the
Bodenham family, Rotherwas Hall,
Hereford. Reproduced by kind
permission of Mr. Ayerst H. Buttery.

_Mr. Ayerst H. Buttery, London._

------------------------------------------------------------------------

NOTE

The following abbreviations are used in the footnotes to this book:—

_C. L. P._, for Calendars of Letters and Papers, Foreign and
Domestic, of the Reign of Henry VIII.

Davies, for _Hans Holbein the Younger_ (Gerald S. Davies).

Ganz, _Holbein_, for _Holbein d. J., des Meisters Gemälde in 252
Abbildungen_ (Klassiker der Kunst).

Ganz, _Hdz. Schwz. Mstr._, for _Handzeichnungen Schweizerischer
Meister_, ed. Dr. Paul Ganz.

Ganz, _Hdz. von H. H. dem Jüng._, for _Handzeichnungen von Hans
Holbein dem Jüngeren._

Woltmann, for _Holbein und seine Zeit_ (A. Woltmann).

Wornum, for _Some Account of the Life and Works of Hans Holbein_ (R.
N. Wornum).

In order to obviate the constant use of a somewhat long official title, the Public Picture Collection, Basel, is generally referred to in this book as the Basel Gallery.

------------------------------------------------------------------------

Hans Holbein the Younger