Half-length, life size. Other portraits of the Prince in the possession of the Duke of Northumberland (Syon House) and the Earl of Yarborough. PHILIP MELANCTHON. A small round, being a companion portrait to the small round of Erasmus at Basle, both probably painted about 1530. _MUNICH GALLERY._ DERICH BORN, OF THE STEELYARD, ABOUT 1533. A small oval, about 3 inches high, and seen slightly more in profile than the portrait of Born in Windsor Castle. HOLLAND. _THE HAGUE GALLERY._ ROBERT CHESEMAN, OF DORMANSWELL, 1533. (See illustration and p. 56.) PORTRAIT OF A YOUNG MAN, AGED 28, WITH A FALCON, 1541. This splendid portrait is most likely that of an Englishman. ITALY. There is only one undoubted example in Italy, and that is the fine portrait of Sir Richard Southwell in the Uffizi Gallery, Florence, of which there is a replica in the Louvre. SPAIN. The single work by Holbein in Spain is a portrait of an old man, with an unusually large nose and a very ruddy face, which is in the Prado Gallery, Madrid. It appears to have been painted during Holbein’s first visit to England. SWITZERLAND. _BASLE MUSEUM._ VIRGIN AND CHILD, 1514. This is the earliest known work of Holbein’s, and was found in a village near Constance. Probably painted during his journey from Augsburg to Basle. THE VIRGIN MARY. ST. JOHN THE EVANGELIST. Heads only. Two early works. THE LAST SUPPER; THE SCOURGING OF CHRIST; THE PRAYER ON THE MOUNT OF OLIVES; CHRIST TAKEN CAPTIVE; PILATE WASHING HIS HANDS. Five Scenes from Christ’s Passion, part of a series painted for some temporary purpose, such as the decoration of a church during Holy Week. A SCHOOLMASTER’S SIGN. A board painted on both sides, representing the schoolmaster and his wife teaching pupils, and now split into two halves. JACOB MEYER, BURGOMASTER OF BASLE, 1516. MEYER’S SECOND WIFE, DOROTHEA KANNEGIESSER, 1516. ADAM AND EVE, 1517. Heads only; oil on paper. HANS HERBSTER, 1517. Until recently in Lord Northbrook’s Collection, and now attributed in Basle to Ambrose Holbein. THE LAST SUPPER. The side portions are missing. Broken up and badly restored in Amerbach’s time, and again restored and badly repainted at a later date. BONIFACIUS AMERBACH, 1519. PORTRAIT OF HOLBEIN. In coloured crayons. It is not absolutely certain that this fine portrait represents the painter himself. THE DEAD CHRIST IN THE TOMB, 1521. DESIDERIUS ERASMUS, 1523. In profile, writing. A study in oils for the portrait in the Louvre. JOHANN FROBEN, THE PRINTER. This is a copy only. THE PASSION OF CHRIST, ABOUT 1524 OR 1525. An altar-piece of eight small panels in one frame. CHRIST AS THE MAN OF SORROWS. THE VIRGIN AS MATER DOLOROSA. Two small oil-paintings in monochrome as a diptych. TWO DOORS OF AN ORGAN CASE. In monochrome. Formerly in Basle Minster. Figures of the Emperor Henry II. and his wife on one, and the Virgin and Child with Bishop Pantalus on the other.