[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.