The two large paintings in monochrome on canvas, for the decoration of the inner sides of the doors of the case which covered in the organ in the Minster of Basel when it was not in use, must not be omitted in any consideration of Holbein’s work for church decoration.[255] They survived the iconoclastic outbreak of 1529; possibly the mob did not regard them as religious paintings, or they may have escaped owing to their position high up on the wall of the nave, and so not easily reached. Merian mentions them in his _Topographia Helvetiæ_, published in 1622,[256] and in 1775 Emanuel Büchel made a water-colour drawing of them in their original position,[257] for his collection of the monuments, sculptures, and paintings in Basel Minster, from which drawing it is to be seen that they decorated the upper part of the organ. The organ-case was of wood, richly carved in the style of the early Renaissance, and Holbein’s decorations were painted in brown monochrome in order to produce the effect of similar carving, as though they formed an integral part of the case itself. The organ was restored in 1639, when the doors were repainted by Sixt Ringle, and in 1786 it was replaced by a new one, Holbein’s decorations and some of the old carved woodwork being deposited in the Public Library. The doors suffered a second “restoration” in 1842, and in the following year were removed to the Basel Picture Gallery (No. 321).[258] Quite recently much of the over-painting has been removed, and it is possible to obtain a good idea of the noble and decorative effect they must have produced when fresh from Holbein’s brush and in the position intended for them. In spite of this careful renovation, however, the damage done to them in earlier days was so severe that much of their original beauty has vanished. The figures are larger than life-size, and produce the effect of carved wood statues. Happily, the original study for them, a very beautiful and powerful pen-drawing washed with brown-black Indian ink, is to be found among the drawings in the Amerbach Collection (Pl. 39).[259] The design is on six vertical strips of paper fastened together. The peculiar shape of the doors necessitated considerable ingenuity on the part of the artist in the arrangement of his material, and he succeeded admirably in adapting the spaces to his purpose. Each door is in three divisions, the innermost being the highest. In the left-hand shutter this inmost space contains the figure of the Emperor Henry II, founder of Basel Minster. In the shorter, outer division stands his wife, Kunigunde, and between them is a representation of the Minster itself. On the right-hand wing the Virgin and Child stand facing the Emperor, and in the outer division, St. Pantalus, the first Bishop of Basel; between them is a group of small nude singing and playing angels. The spaces above the heads of the Emperor and the Virgin, and the other spaces, triangular in shape, over the central part of each