After 1516 Hans Holbein the elder appears as a defaulter in the registers of the tax-gatherers at Augsburg; but he willingly accepts commissions abroad. At Issenheim in Alsace, where Grunewald was employed in 1516, old Holbein also finds patrons, and contracts to complete an altarpiece. But misfortune or a bailiff pursues him, and he leaves Issenheim, abandoning his work and tools. According to Sandrart, he wanders to Basel and takes the freedom of its gild. His brother Sigismund and others are found suing him for debt before the courts of Augsburg. Where he lived when he executed the altarpiece, of which two wings with the date of 1522 are in the gallery of Carlsruhe, is uncertain; where he died two years later is unknown. He slinks from ken at the close of a long life, and disappears at last heeded by none but his own son, who claims his brushes and paints from the monks of Issenheim without much chance of obtaining them. His name is struck off the books of the Augsburg gild in 1524. The elder Holbein was a prolific artist, who left many pictures behind him. Earlier than the Basilica of St Paul, already mentioned, is the Basilica of St Mary Maggiore, and a Passion in eleven pieces, in the Augsburg gallery, both executed in 1499. Another Passion, with the root of Jesse and a tree of the Dominicans, is that preserved in the Staedel, Saalhof, and church of St Leonard at Frankfort. It was executed in 1501. The Passion of Donaueschingen was finished after 1502, in which year was completed the Passion of Kaisheim, a conglomerate of twenty-seven panels, now divided amongst the galleries of Munich, Nuremberg, Augsburg and Schleissheim. An altarpiece of the same class, commissioned for the monastery of St Moritz at Augsburg in 1504-1508, has been dispersed and lost. 1512 is the date of a Conception in the Augsburg gallery, long assigned, in consequence of a forged inscription, to Hans Holbein the younger. A diptych, with a Virgin and Child, and a portrait of an old man, dated 1513, came in separate parts into the collections of Mr Posonyi and Count Lanckoronski at Vienna. The sketch-books of Berlin, Copenhagen and Augsburg give a lively picture of the forms and dress of Augsburg residents at the beginning of the 16th century. They comprise portraits of the emperor Maximilian, the future Charles V., Kunz von der Rosen, the fool of Maximilian, the Fuggers, friars, merchants, and at rare intervals ladies. See also the biography by Stodtner (Berlin, 1896).