161.  Woltmann, 53. Reproduced by Ganz, Hdz. Schwz. Mstr., ii. 3; and in Holbein, p. 154; the left-hand half by His, Dessins d’Ornaments de Hans Holbein, Pl. ii.

162.  Ganz, Hdz. Schwz. Mstr., note to ii. 3.

163.  For completer details, see Th. von Liebenau, Hans Holbeins d. J. Fresken am Hertenstein Hause in Luzern, 1888; P. Ganz, “Hans Holbeins Italienfahrt,” in Süddeutsche Monatshefte, 1909, vol. vi. p 596.

164.  Parthey, 1548. Woltmann, ii. p. 166, who doubts that the original was by Holbein.

165.  Eight of them reproduced by Ganz, together with a reconstruction of the façade by A. Landerer, in Holbein, pp. 153-158.

166.  Reproduced in the Bulletin of the Metropolitan Museum of New York, vol. i. No. 12 (Nov. 1906); Burlington Magazine, Oct. 1906, p. 53; Ganz, Holbein, p. 15.

167.  Woltmann, 58. Reproduced by Ganz, Hdz. Schwz. Mstr., i. 41 (a).

168.  See Süddeutsche Monatshefte, 1909, p. 599.

169.  See pp. 140-3, 150, &c.

170.  Woltmann, 16. Reproduced by Knackfuss, fig. 19; Ganz, Holbein, p. 55.

171.  See p. 40.

172.  According to Dr. Ganz, the architectural motives are derived from the loggia of the Cathedral of Como. See Holbein, p. 236.

173.  See chapter vii.

174.  Ganz, Hdz. Schwz. Mstr., notes to ii. 3, 51, iii. 9, 35; Holbein, pp. xvi.-xviii.

175.  Woltmann, 83, who calls the figure St. Pantalus. Reproduced by Ganz, Hdz. Schwz. Mstr., iii. 35.

176.  For further proofs, see Appendix (B).

177.  Gauthiez, Holbein, p. 52, and the same writer’s “Holbein sur la route d’Italie,” in Gazette des Beaux-Arts, Dec. 1897, Feb. 1898.

178.  One is to be seen in the “Fountain of Youth” decoration for the Hertenstein house.

179.  Woltmann, 29. Reproduced by Ganz, Hdz. Schwz. Mstr., i. 53.

180.  Woltmann, 107. Reproduced by Knackfuss, fig. 34.

181.  For two others, see Appendix (B).

182.  Woltmann, 99. Reproduced by Ganz, Hdz. Schwz. Mstr., iii. 10; and in Hdz. von H. H. dem Jüng., Pl. 5; Knackfuss, fig. 27.

183.  See Ganz, Hdz. Schwz. Mstr., note to iii. 10.

184.  Reproduced by His, Jahrbuch der Kgl. Preussischen Kunstsammlungen, 1894, p. 208.

185.  Gauthiez, p. 56.

186.  Index Operum Holbenii, appendix to Moriæ Encomium, 1676, Nos. 47-51. Walpole, Anecdotes, ed. Wornum, p. 77.

187.  Ganz, Holbein, p. 187, and note upon it, p. 249, from which this information is taken.

188.  Reproduced in Hdz. Schwz. Mstr., iii. 45, with note by Meyenburg.

189.  See Ganz, Holbein, p. xviii.

190.  Woltmann, i. 145.

191.  Reproduced by Ganz, Holbein, p. xl.

192.  Woltmann, i. 145.

193.  Woltmann, i. 183.

194.  From Pantaleon, Heldenbuch, vol. iii.

195.  For an exhaustive account of the formation and history of the Amerbach Collection, which contains transcripts from the earliest inventory, prepared by Basilius Amerbach, down to the one drawn up when the collection was taken over by the city, see Die Entstehung des Amerbach’schen Kunstkabinets und die Amerbach’schen Inventare, by Dr. Ganz and Dr. Emil Major, in the 59th annual report (1907) of the Basel Gallery.

196.  Woltmann, 10. Reproduced by Davies, p. 60; Knackfuss, fig. 20; Ganz, Holbein, p. 29.

197.  Wornum, Holbein, p. 117.

198.  See Ganz, Holbein, p. xvi.

199.  See Ganz, Holbein, p. xix.

200.  See p. 138.

201.  See Appendix (E).

202.  Ganz, Holbein, pp. 188-191.

203.  Woltmann, 155, 156. Reproduced by Knackfuss, figs. 58, 59; Ganz, Holbein, pp. 56-59.

204.  There is considerable likeness between this group of the Infant Christ and the boy angels surrounding him, and the one in the beautiful “Holy Family” by Gaudenzio Ferrari at Dorchester House, more particularly in the figure of the angel with small wings and close-fitting dress, who, in Holbein’s picture, kneels in front of the Child with his back to the spectator, and in the other is shown in profile, supporting him. According to Miss Halsey (Gaudenzio Ferrari, p. 86), the Dorchester House picture was “probably painted about 1521.”

205.  Knackfuss, p. 83.

206.  Woltmann, i. 178.

207.  Woltmann, i. 176. Wornum, p. 112 (quoting from Hegner, Hans Holbein d. J. 1827, and Schreiber, Geschichte des Münsters zu Freiburg, &c.).

208.  Woltmann, 20. Reproduced by Knackfuss, figs. 54, 55, and 56; Ganz, Holbein, pp. 46-54; Mrs. Fortescue, Pl. 9.

209.  According to Peter Ochs, it was painted for the Council Chamber of the Basel Town Hall. Boisserée (1829) was of opinion that the damaged panel of “The Last Supper,” already described, originally formed the central panel of this altar-piece.

210.  Sandrart, Teutsche Akademie, ii. p. 82.

211.  Wornum, pp. 68-71.

212.  That the restorer made changes, more particularly in the colour, can be seen from two old copies of the “Betrayal” and the “Crucifixion” subjects, now in the depot of the Basel Gallery, which indicate the picture’s original state.

213.  Woltmann, Eng. trans., p. 128.

214.  See Ethel Halsey, Gaudenzio Ferrari, pp. 58, 69, &c.; Ganz, Holbein, p. xxii., &c. The technique, also, closely resembles that of the Milanese school, differing considerably from Holbein’s earlier practice.

215.  Ganz, Holbein, p. 235.

216.  Reproduced by Ernest Law, Holbein’s Pictures at Windsor Castle, Pl. x.; Davies, p. 98; Knackfuss, fig. 57; Ganz, Holbein, p. 80.

217.  Knackfuss, p. 81.

218.  Davies, p. 98.

219.  Holbein’s Pictures at Windsor Castle, p. 32.

220.  Woltmann, 19. Reproduced by Davies, p. 76; Knackfuss, figs. 60, 61; Ganz, Holbein, p. 45.

221.  See Ganz, Holbein, p. 235.

222.  Jahrbuch der preuss. Kunsts., 1907, vol. 28.

223.   Woltmann, 62. Reproduced by Ganz, Hdz. Schwz. Mstr., ii. 51; Knackfuss, fig. 65.

224.  Ganz, Hdz. Schwz. Mstr., note to ii. 51. A photograph of the sculptures on this doorway is reproduced by Dr. Ganz in his Holbein, p. xix.

225.  Woltmann, 52. Reproduced by Davies, p. 224; Knackfuss, fig. 64.

226.  Woltmann, 172. Reproduced by Ganz, Hdz. von H. H. dem Jüng., Pl. 6.

227.  See also Appendix (C).

228.  Woltmann, 14. Reproduced by Davies, p. vii.; Knackfuss, figs. 45 and 46; Ganz, Holbein, pp. 32, 33.

229.  Woltmann, vol. i. p. 174.

230.  Woltmann, 247. Reproduced by Davies, p. 80; Knackfuss, fig. 47; Ganz, Holbein, p. 36.

231.  Or, according to some writers, St. Martin of Tours.

232.  Holbein, p. 234.

233.  See Ethel Halsey, Gaudenzio Ferrari, p. 42, and Ganz, Holbein, p. 234.

234.  First deciphered by Herr F. A. Zetter-Collin. The carpet itself recalls more than one very similar carpet in Ferrari’s pictures, though the latter are much finer in design; in a “Madonna and Child” belonging to Sig. Vittadini at Arcorre, for instance, or the “Christ before Herod” in the Varallo frescoes.

235.  See note to No. 91 in Basel Catalogue, 1908.

236.  “Ein nackend kindlin sitzt vf einer schlangen kompt von Holbeins gemeld durch H. Bocken vf holtz mit olfarben mehrteil nachgemolt.”

237.  Woltmann, No. 173. Eng. by J. C. Loedel for Weigel’s Hdz. berühmter Meister.

238.  Woltmann, vol. i. p. 183.

239.  Woltmann, 161. Reproduced by Sir Claude Phillips, The Picture Gallery of Charles I, Portfolio monograph, 1896, p. 63; Ganz, Holbein, p. 60.

240.  See Ganz, Holbein, p. 237.

241.  T. de Wyzewa, in a review of Dr. Ganz’ book, “À propos d’un Livre nouveau sur Holbein le Jeune,” in Revue des Deux Mondes, January 15, 1912.

242.  Woltmann, 234. Reproduced by Ganz, Hdz. von H. H. dem Jüng., Pl. 14; Mantz, p. 45.

243.  In a woodcut by Lucas Cranach, representing Sibylla of Cleves, the same motto is shown embroidered in pearls on her cap and collar. See Campbell Dodgson, Catalogue of Early German and Flemish Woodcuts, &c. in the British Museum, ii., p. 320.

244.  Davies, p. 83.

245.  Mrs. Fortescue, Holbein, p. 96.

246.  Amiet, Hans Holbeins Madonna von Solothurn, &c., 1879.

247.  See F. A. Zetter-Collin, “Die Zetter’sche Madonna von Solothurn,” in Festschrift des Kunst-Vereins der Stadt Solothurn, 1902; and Zeitschrift für die Geschichte des Oberrheins, New Series, vol. xi. p. 442.

248.  Woltmann, Holzschnittwerk H. H., 217 and 218. Reproduced by Knackfuss, fig. 40.

249.  See Woltmann, vol. i. p. 199.

250.  Woltmann, 169. Reproduced by Knackfuss, fig. 48; Ganz, Holbein, p. 35; Woltmann (woodcut by Knaus), vol. i. p. 179.

251.  Woltmann, 170. Reproduced by Knackfuss, fig. 49; Ganz, Holbein, p. 34.

252.  See page 79.

253.  Woltmann, p. 179.

254.  Davies, p. 99.

255.  Woltmann, 4. Reproduced by Ganz, Holbein, pp. 61-64.

256.  Quoted by Woltmann, vol. i., p. 175.

257.  Reproduced by Ganz, Holbein, p. xxvii.

258.  See Ganz, Holbein, p. 237.

259.  Woltmann, 98. Reproduced by Ganz, Hdz. Schwz. Mstr., ii., 19, 20; Davies, p. 74; Knackfuss, figs. 62, 63; His, Desseins, &c., viii., ix.

260.  See pp. 157-9.

261.  See Ganz, Holbein, pp. 246-7.

262.  Theodori Zwingeri methodus apodemica, 1577, p. 199—quoted by Woltmann, i. 149.

263.  Woltmann, 118. Reproduced by Davies, p. 54; His, Pl. xxiv.; Ganz, Holbein, p. 160.

264.  Woltmann, 94. Reproduced by him (woodcut), i. 151.

265.  Reproduced by Ganz, Holbein, p. 162.

266.  Reproduced by Ganz, Holbein, p. 161.

267.  Reproduced by Ganz, Holbein, p. 159.

268.  Woltmann, 48. Reproduced by Ganz, Hdz. von H. H. dem Jüng., Pl. 10; Knackfuss, fig. 41.

269.  Ganz, Hdz. von H. H. dem Jüng., p. 26.

270.  Woltmann, 39. Reproduced by His, Pl. xxii. (i.).

271.  See pp. 68-9.

272.  Woltmann, 235, who regarded it as a genuine example of Holbein’s earlier Basel period. Reproduced by His, Pls. xviii.-xx.

273.  Woltmann, i. 148-9.

274.  Woltmann, i. 153-4.

275.  See Ganz, Holbein, p. 247.

276.  Quoted by Woltmann, i. 152.

277.  Woltmann, i. 159 (note), and Eng. trans., p. 173.

278.  Basilea Sepulta, p. 382.

279.  Geschichte der Stadt und Landschaft Basel, 1786-1822, vol. v. pp. 394-400.

280.  Reproduced by Ganz, Holbein, p. 165.

281.  Reproduced by Ganz, Holbein, p. 164.

282.  The head of Charondas was introduced into a glass painting by H. J. Plepp in 1581. See Ganz, Holbein, p. 247. A badly over-painted fragment with the head from the wall itself is preserved in the Basel Gallery.

283.  Reproduced by Ganz, Holbein, p. 167.

284.  Reproduced by Ganz, Holbein, p. 166.

285.  Ganz, Holbein, p. 247.

286.  Reproduced by Ganz, Holbein, p. 168.

287.  Reproduced by Ganz, Holbein, p. 31.

288.  Woltmann, i. p. 157.

289.  Woltmann, 47. Reproduced by Ganz, Hdz. Schwz. Mstr., i. 13, and also in Hdz. von H. H. dem Jüng., Pl. xi., and Holbein. 163.

290.  See Ganz, Hdz. Schwz. Mstr., note to i. 13.

291.  See Ganz, Holbein, p. 247.

292.  Reproduced by Ganz, Holbein, p. 171.

293.  Reproduced by Ganz, Holbein, p. 171.

294.  Reproduced by Ganz, Holbein, p. 169.

295.  Reproduced by Ganz, Holbein, p. 170.

296.  Reproduced by Ganz, Holbein, p. 170.

297.  See pp. 347-50.

298.  See Woltmann, i. p. 158 (note); Eng. trans., p. 172 (note).

299.  “Vnnd dwyl die hindere wand noch nit gmacht vnnd gemolet ist, vnnd er vermeint an dysem das gelt verdient habenn, sol man dieselbig hindere want bis vff wytherenn bescheit lossenn an ston.”—Der Dreyer Herren Gedenkbüchlein. (Woltmann, i. 159.)

300.  See pp. 78-9, and Appendix (B).

301.  Woltmann, 82-89.

302.  Reproduced by Knackfuss, fig. 22; His, Pl. xvii.

303.  Reproduced by Ganz, Hdz. Schwz. Mstr., iii. 35; His, Pl. xvi.

304.  See Ganz, Hdz. Schwz. Mstr., note to iii. 35.

305.  Reproduced by Knackfuss, figs. 23, 24.

306.  Reproduced by Knackfuss, fig. 25.

307.  Reproduced by Ganz, Hdz. von H. H. dem Jüng., Pl. 8.

308.  Woltmann, 101. Reproduced by Ganz, Hdz. Schwz. Mstr., i. 24.

309.  Woltmann, 93. Reproduced by Ganz, Hdz. Schwz. Mstr., iii. 9; His, Pl. iii.

310.  Ganz, Hdz. Schwz. Mstr., note to iii. 9.

311.  Reproduced by Ganz, Hdz. Schwz. Mstr., ii. 49.

312.  See Ganz, Hdz. Schwz. Mstr., note to ii. 49.

313.  See also Appendix (B).

314.  Woltmann, 92. Reproduced by Ganz, Hdz. Schwz. Mstr., iii. 36; Knackfuss, fig. 37; His, Pl. i.

315.  Reproduced by Ganz, Hdz. von H. H. dem Jüng., Pl. 7.

316.  Woltmann, 119. Reproduced by Knackfuss, fig. 36 (in colours); His, Pl. xv.

317.  Woltmann, 96. Reproduced by Knackfuss, fig. 35.

318.  Reproduced by Ganz, Hdz. von H. H. dem Jüng., Pl. 7.

319.  Appendix (B).

320.  Woltmann, 121.