| | Illustrations to Erasmus's Praise of Folly. Eighty-two
pen-and-ink sketches on the margins. Original copy,
Basel Museum. |
| | Portrait of an unknown young man. Oils. Grand-Ducal
Museum, Darmstadt. |
| | Jacob Meyer zum Hasen and his second wife, Dorothea
Kannegiesser. [Plates [4] and [5].] Oils. Basel Museum. |
| | Bonifacius Amerbach. [Plate [6].] Oils. Basel Museum. |
| | Portrait of himself. [a]Frontispiece.]] Coloured Chalks.
Basel Museum. |
| * | Studies from Nature. (A bat outspread and a lamb.) |
| | Drawings in water-colour and silver-point. Basel
Museum. |
| | Designs for armorial windows. (More especially those
with Landsknechte and one with three peasants gossiping.)
Washed Drawings. Basel Museum and Print Cabinet, Berlin. |
| | Landsknechte in a hand-to-hand fight. [Plate [7].] Washed
Drawing. Basel Museum. Others in various collections. |
| | Design for the wings of an organ-case. Washed Drawings.
Basel Museum. |
| | Head of St. John the Evangelist. Oils. Basel Museum. |
| | The Last Supper. (On wood; ruined fragment.) Oils.
Basel Museum. |
| | The Nativity [Plate [8].] and The Adoration. Oils. Freiburg
Cathedral. (Wings of a lost altar-piece.) |
| | Holy Family. Washed Drawing. Basel Museum. (Also
other drawings of the Virgin and Child.) |
| | The Passion. Eight-panelled altar-piece. [Plate [9].]
Oils. Basel Museum. (Utterly ruined by over-painting.) |
| * | The Passion. A series of ten designs for glass-painting.
Washed Drawings. Basel Museum. (A set of seven
reversed impressions in the British Museum.) |
| | The Man of Sorrows and the Mater Dolorosa. Oils, in
tones of brown. Basel Museum. |
| | Christ borne to the ground by the weight of the cross.
A Washed Drawing and a * Woodcut (unique impression).
Basel Museum. |
| * | Christ in the grave. [Plate [10].] 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 title-page. Woodcut.
Royal Print Cabinet, Berlin. |
| | St. Peter and St. Paul; on the title-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: illustrating 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 Goddess of Love. [Plate
[16].] Oils. Basel Museum. |
| | The above as Laïs 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.) |