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

1. Chapter 1 2. 1. THE BAPTISM OF ST. PAUL 11 3. 2. THE ST. SEBASTIAN ALTAR-PIECE 15 4. 3. (1) ST. BARBARA. (2) ST. ELIZABETH 16 5. 4. THE FOUNTAIN OF LIFE 17 6. 5. STUDY FOR THE PORTRAIT OF A LADY OF 21 7. 6. AMBROSIUS AND HANS HOLBEIN 25 8. 7. VIRGIN AND CHILD (1514) 33 9. 8. (1) HEAD OF THE VIRGIN MARY. (2) HEAD OF 37 10. 9. THE LAST SUPPER 40 11. 10. THE SCOURGING OF CHRIST 41 12. 11. HOLBEIN’S EARLIEST TITLE-PAGE 45 13. 12. MARGINAL DRAWINGS IN A COPY OF THE 48 14. 13. MARGINAL DRAWINGS IN A COPY OF THE 49 15. 14. THE TWO SIDES OF A SCHOOLMASTER’S 51 16. 15. DOUBLE PORTRAIT OF JAKOB MEYER AND HIS 52 17. 16. (1) HEAD OF JAKOB MEYER. (2) HEAD OF 55 18. 17. ADAM AND EVE (1517) 56 19. 18. PORTRAITS OF TWO BOYS 60 20. 19. STUDY OF A YOUNG GIRL NAMED “ANNE” 61 21. 20. THE FOUNDING OF BASEL 61 22. 21. PORTRAIT OF AN UNKNOWN YOUNG MAN (1518) 61 23. 22. ILLUSTRATION TO SIR THOMAS MORE’S 62 24. 23. DESIGNS FOR THE WALL-PAINTINGS OF THE 68 25. 24. PORTRAIT OF BENEDIKT VON HERTENSTEIN 72 26. 25. THE LAST SUPPER 75 27. 26. THE ARCHANGEL MICHAEL AS WEIGHER OF 79 28. 27. MINERS AT WORK 80 29. 28. BONIFACIUS AMERBACH (1519) 85 30. 29. (1) ADORATION OF THE SHEPHERDS. (2) 88 31. 30. THE PASSION OF CHRIST 91 32. 31. (1) CHRIST BEARING THE CROSS. (2) THE 94 33. 32. “NOLI ME TANGERE” 95 34. 33. (1) CHRIST, THE MAN OF SORROWS. (2) 98 35. 34. THE HOLY FAMILY 99 36. 35. THE DEAD CHRIST IN THE TOMB (1521) 101 37. 36. THE VIRGIN AND CHILD, WITH ST. URSUS AND 103 38. 37. PORTRAIT OF A YOUNG WOMAN, POSSIBLY 106 39. 38. HEAD OF A YOUNG WOMAN, PROBABLY 108 40. 39. DESIGN FOR THE ORGAN-CASE DOORS, BASEL 113 41. 40. (1) STUDY FOR A PAINTED HOUSE FRONT WITH 121 42. 41. SAPOR AND VALERIAN 131 43. 42. (1) TWO LANDSKNECHTE. (2) THE PRODIGAL 139 44. 43. DESIGN FOR A PAINTED WINDOW WITH THE 144 45. 44. ST. ELIZABETH, WITH KNEELING KNIGHT AND 148 46. 45. THE VIRGIN AND CHILD, WITH A KNEELING 149 47. 46. (1) CHRIST BEFORE CAIAPHAS. (2) THE 151 48. 47. (1) THE MOCKING OF CHRIST. (2) CHRIST 152 49. 48. (1) PILATE WASHING HIS HANDS. (2) ECCE 153 50. 49. (1) CHRIST BEARING THE CROSS. (2) THE 154 51. 50. (1) CHRIST NAILED TO THE CROSS. (2) THE 155 52. 51. (1) COSTUME STUDY. (2) COSTUME STUDY 157 53. 52. “THE EDELDAME” 157 54. 53. A FIGHT BETWEEN LANDSKNECHTE 160 55. 54. ERASMUS (1523) 169 56. 55. STUDY FOR THE HANDS OF ERASMUS 171 57. 56. ERASMUS (1523) 172 58. 57. THE DUCHESS OF BERRY 176 59. 58. (1) ERASMUS 180 60. 59. ERASMUS 181 61. 60. MUCIUS SCÆVOLA AND LARS PORSENA 191 62. 61. “THE TABLE OF CEBES” 193 63. 62. TITLE-PAGE TO LUTHER’S “NEW TESTAMENT” 195 64. 63. THE FOUR EVANGELISTS 195 65. 64. THE “CLEOPATRA” TITLE-PAGE 198 66. 65. (1) CHRIST THE TRUE LIGHT. (2) THE SALE 198 67. 66. THE DANCE OF DEATH WOODCUTS 217 68. 67. THE DANCE OF DEATH WOODCUTS 220 69. 68. THE DANCE OF DEATH ALPHABET 224 70. 69. THE OLD TESTAMENT WOODCUTS 230 71. 70. THE OLD TESTAMENT WOODCUTS 230 72. 71. THE MEYER MADONNA 233 73. 72. (1) JAKOB MEYER. (2) DOROTHEA 236 74. 73. (1) MAGDALENA OFFENBURG AS VENUS (1526). 246 75. 74. STUDY FOR THE MORE FAMILY GROUP 293 76. 75. THE MORE FAMILY GROUP 295 77. 76. THE MORE FAMILY GROUP 301 78. 77. CECILIA HERON, DAUGHTER OF SIR THOMAS 303 79. 78. SIR THOMAS MORE 303 80. 79. PORTRAIT OF AN ENGLISH LADY 309 81. 80. SIR HENRY GULDEFORD (1527) 317 82. 81. (1) JOHN FISHER, BISHOP OF ROCHESTER 321 83. 82. (1) UNKNOWN ENGLISHMAN. (2) UNKNOWN 321 84. 83. WILLIAM WARHAM, ARCHBISHOP OF CANTERBURY 322 85. 84. THOMAS AND JOHN GODSALVE (1528) 325 86. 85. SIR JOHN GODSALVE 326 87. 86. NIKLAUS KRATZER (1528) 327 88. 87. SIR BRYAN TUKE 331 89. 88. SIR HENRY WYAT 335 90. 89. SIR THOMAS ELYOT 336 91. 90. HOLBEIN’S WIFE AND CHILDREN (1528-9) 343 92. 91. PORTRAIT OF A YOUNG WOMAN 346 93. 92. KING REHOBOAM REBUKING THE ELDERS (1530) 348 94. 93. KING REHOBOAM REBUKING THE ELDERS 348 95. 94. SAMUEL AND SAUL 350 96. 95. PORTRAIT OF AN UNKNOWN ENGLISH LADY 354 97. CHAPTER I 98. 1494. This was the painter usually known as Hans Holbein the Elder, to 99. CHAPTER II 100. CHAPTER III 101. 1518. Two small panels at the top contain the artist’s signature, “Hans 102. CHAPTER IV 103. 1. Leaena and the Judges 2. Architectural 104. 1517. This work, of considerable importance to the student making a 105. 1522. This portrait was acquired from a private collection in England in 106. 1648. Dr. Ganz has recently published a copy of this picture,[187] which 107. CHAPTER V 108. 1526. One of the earliest, “The Last Supper,” has been already 109. CHAPTER VI 110. 1. STUDY FOR A PAINTED HOUSE FRONT WITH THE FIGURE OF A SEATED EMPEROR 111. 2. THE AMBASSADORS OF THE SAMNITES BEFORE CURIUS DENTATUS 112. CHAPTER VII 113. 1520. One represents the “Prodigal Son,” and the other is an heraldic 114. CHAPTER VIII 115. 1538. In the late summer of that year Holbein went with Philip Hoby to 116. 1530. These later portraits closely follow the Longford Castle type as 117. 1. ERASMUS 118. 2. PHILIP MELANCHTHON 119. CHAPTER IX 120. 1516. Gerardus Noviomagus, of Nimeguen, writing to Erasmus on November 121. 1. CHRIST THE TRUE LIGHT 122. 2. THE SALE OF INDULGENCES 123. CHAPTER X 124. 1833. The “Dance” has also been rendered in photo-lithography for an 125. 4. THE EMPRESS 126. 8. THE PRIEST 127. 4. THE DUCHESS 128. 8. THE ARMS OF DEATH 129. 1549. The passage runs: “Imagines Mortis expressæ ab optimo pictore 130. 2. RUTH AND BOAZ 131. 4. AMOS PREACHING 132. 2. THE RETURN FROM THE BABYLONIAN CAPTIVITY 133. 3. THE ANGEL SHOWING ST. JOHN THE NEW JERUSALEM 134. CHAPTER XI 135. introduction, and they may have been aware, also, though this is less 136. CHAPTER XII 137. CHAPTER XIII 138. 1530. Sir Thomas’s age is given as 50 (Ætatis 50), but Sir John’s as 77, 139. CHAPTER XIV 140. 1528. The date of his birth is not known, but he received his first 141. 1535. It has suffered somewhat in the course of time, but in its 142. CHAPTER XV 143. 258. The question of the authorship of the various versions of the