[431]. Dr. Ganz points out (Holbein, p. 232), that it was not until after his journey into France, in 1523-4, that he made use of coloured chalks in his drawings.
[432]. Another drawing of this period in the Basel Gallery, the Young Man with the big hat, is described in Vol. ii. pp. 259-60.
[433]. Including Woltmann, in the first edition of his book, Eng. trans., p. 205.
[434]. The same initials occur on the title-page to Hall’s Chronicle, 1548. See Vol. ii. p. 79.
[435]. Woltmann, Eng. trans., p. 205.
[436]. See Campbell Dodgson, Burlington Magazine, vol. x., Feb. 1907, pp. 319-22; also the same writer’s Catalogue of Early German and Flemish Woodcuts in the British Museum, vol. ii., 1911, p. 295, &c.
[437]. See His, “Hans Lützelburger,” &c., in Gazette des Beaux-Arts, 2e Période, vol. iv. pp. 481-9 (December 1871).
[438]. Mr. Frederic Lees, however, mentions as clearly by Holbein, “a drawing for the celebrated Dance of Death series, and the only one of the forty which now exists,” which is in the collection of M. Emile Wauters in Paris.—The Studio, vol. li. No. 213, p. 213 (December 1910).
[439]. See pp. 44-5 and Pl. 11.
[440]. Woltmann, 223. Reproduced by Butsch, Die Bücher-Ornamentik der Renaissance, Pl. 45; and by Mantz, Hans Holbein, p. 26.