[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.