Both in treatment and in feeling this picture is very similar to the altar-piece of the Passion, in eight compartments, in the Basle Museum, and must have been painted about the same time, between 1520 and 1527. In sentiment it is one of the most poetical of Holbein’s compositions, and an admirable example of his rendering of light and shade in his first Basle period. “The early morning when it was yet dark” is most successfully suggested in the painting of the landscape background. Dawn is just breaking over the sky and distant Calvary, while the foreground is still in darkness, except for the light which radiates from the open sepulchre, where [Illustration: _Hanfstängl photo._] [_Hampton Court._ MARY MAGDALEN AT THE SEPULCHRE. (_Also called_ NOLI ME TANGERE.)] the two angels can be seen seated at the head and the foot of the empty grave. Mary, who holds a cup of spikenard in her left hand, has turned round hastily in eager surprise, and stretches out her right hand towards the Saviour. Our Lord draws back from her, saying, “Touch Me not!” The dramatic action of the two figures is most expressive. In the background the two disciples, who have been before her at the sepulchre, are seen hastening away. Peter, still dubious as to the truth of the Resurrection, is talking eagerly and with animated gestures as he expresses his doubts; but John, who “saw and believed,” turns back his head in reproach at a comrade who can doubt even for a moment. The composition, as a whole, is marked by a simple but impressive dignity. * * * * * It seems almost certain that the first portrait painted by Holbein in England was that of _Sir Thomas More_. Mr. Huth’s finished portrait, a half-length of the Chancellor, is dated 1527. There are two studies for More’s head among the Windsor drawings almost identical. They are life-size, three-quarter face, looking to the right, with black cap and fur collar, done with black and red chalk. The drawing reproduced here is 16 inches high by 12 inches wide, and has been pricked for tracing. Holbein sketched the members of the More family on a larger scale than was usual with him, and all these drawings were preliminary studies for the large family group now lost, or hidden under the paint of some feebler contemporary artist in the Nostell Priory version of the picture. In these two drawings, in Mr. Huth’s portrait, and in the large sketch for the family group now at Basle, Sir Thomas is represented in the same position, so that it is probable he only gave one sitting to the artist.