Holbein’s rapidly-maturing mastery of technique and power in expressing the most poignant emotion, as well as his complete understanding of the architecture of the Renaissance and skill in making brilliant use of it as a setting for his figures, is shown in two panels in the Basel Gallery, which at one time evidently formed a small diptych such as would be used in some household chapel. They represent “Christ as the Man of Sorrows” and “Mary as Mater Dolorosa” (No. 317) (Pl. 33),[220] and are carried out in a brown monochrome, with the exception of the sky seen through the arches, which is a bright blue, the two contrasted tones producing a very harmonious colour effect. In each panel the background consists of an elaborate arrangement of pillars, arches, and vaulting, richly carved and decorated with panels, friezes, and medallions of ornament, which recall the very similar fantastic details of Renaissance architecture in the left wing of the Freiburg altar-piece, and more than one of his designs for painted glass of this period.[221] In the “Mater Dolorosa” one of the friezes represents a band of small naked putti, which, according to Dr. Kœgler, is based upon a similar frieze in the cathedral of Como,[222] while other figure subjects are contained in the medallions; in the “Man of Sorrows” the decoration is entirely of floriated ornament. The general effect produced is one of great richness, almost superabundance, of ornamentation, and lavishness of architectural detail. In spite of this, the two figures are not overwhelmed by it, but at once arrest the attention. Christ is seated on the steps between two pillars, nude, with the exception of a loin-cloth, crowned with thorns, his head sinking in agony on his left shoulder. Mary, a veil over her head, and the folds of her robes falling in straight parallel lines, kneels with open, outstretched hands, and gazes with grief-stricken countenance at the Saviour’s sufferings. Very reverent feeling is shown in the conception of each figure. The nude form of Christ indicates a very accurate study of the human body, while the expression of pain and intense sorrow has been admirably seized. The solitude of this grief-stricken figure is intensified by the grandeur and richness of the building in which he is seated, deserted by all men. An equally fine conception of deep though restrained sorrow is shown in the face of the Virgin, and in the beautiful, expressive hands. A peculiarity of this diptych is that the horizon is placed below the level of the picture, although it is so small that it can never have been intended for hanging at a considerable height, such as the arrangement of the horizon-line would suggest. It may be, therefore, that it is the preliminary study for some larger wall-painting, finished with unusual care, or a reduced copy made by Holbein from some altar-piece of his which has now disappeared, probably during the disturbances of 1529. It forms part of the Amerbach