[121]. Woltmann, under H. H. the Elder, 182. Reproduced by Knackfuss, fig. 6; Ganz, Holbein (K. der K.), p. 203; Hes, Pl. xxxiv.
[122]. Dr. Hes regards this portrait as the work of Herbster himself. See Ambrosius Holbein, p. 145.
[123]. Woltmann, under H. H. the Elder, 106, but he afterwards attributed it to the younger Hans. Reproduced by Ganz, Handzeichnungen Schweizerischer Meister, &c., ii. 2; Hes, Pl. xxiv.
[124]. Woltmann, 5, 6. Reproduced by Knackfuss, figs. 10, 11; Ganz, Holbein (K. der K.), pp. 10, 11.
[125]. Woltmann, 11. Reproduced by Davies, pp. 44, 46; Knackfuss, figs. 14, 15; Ganz, Holbein, pp. 12, 13.
[126]. On the back of the portrait of Meyer, Holbein painted, four years later, the sitter’s coat of arms, surmounted by a scroll inscribed “I.M. 1520.” (Reproduced by Ganz, Holbein, p. 30.) There is a good old copy of the wife’s portrait in the collection of Mr. Ralph Brocklebank, Haughton Hall, Tarporley, which was previously in the William Graham collection; and a copy of both portraits in the Basel Gallery, No. 350, from the Faesch collection.
[127]. According to Stödtner, these portraits show the influence of Burgkmair.
[128]. Woltmann, 33, 34. Reproduced by Ganz, Hdz. Schwz. Mstr., ii. 18 and iii. 7, and the “Meyer” in Hdz. von H. H. dem Jüng., Pl. 2; the “Dorothea” by Davies, p. 46; both by Knackfuss, figs. 12, 13.
[129]. “—ogen schwarz—baret rot mosfarb—brauenn gelber dan das har—grusen wit brauenn.”
[130]. Woltmann, 9. Reproduced by Knackfuss, fig. 16; Ganz, Holbein (K. der K.) p. 14.