An even greater crowd is shown in the last scene but one, the “Nailing to the Cross” (Pl. 50(1)).[345] Christ lies stretched upon the ground, his body upon the Cross. One of the kneeling executioners forces down his right arm with both hands, while a second, with uplifted hammer, is driving in a huge nail through his palm. On the other side a third man has seized the left arm and is dragging it with violence towards him in order to stretch the body to the utmost. Behind them the soldiers are casting lots for the garments, and still farther away the crosses with the two thieves are being raised aloft. On the right Pilate, on a mule, gazes down at the agonised body of the Saviour, as does a man placed nearer to the spectator, wearing a scholar’s cap and gown, who bears some small likeness to Erasmus. In the front, on the ground, is placed a circular wooden box with handles, containing the executioner’s tools. The columns of the framework are supported by fauns. In the last scene of all, representing the “Crucifixion” (Pl. 50 (2)),[346] the two crosses with the bodies of the thieves are placed at right angles to the central one, on which Christ is nailed, as in the same subject in the painted altar-panel. This drawing is the only one in the set in which the Virgin and St. John are introduced. St. John, gazing upwards at the Saviour, whose sufferings are at length over, supports the Virgin’s drooping body as she leans forward with clasped hands against the foot of the Cross. On the opposite side, on the right, the Centurion, in full Roman armour, and with a large shield decorated with a Medusa head, lifts up his right arm as a sign of his belief. Behind him is a soldier with his crossbow under his arm, and his hands clasped as though he, too, were moved to the utmost by the tragedy. A man who has just affixed the placard over Christ’s head is descending a ladder raised at the back of the Cross, and on either side, above the heads of the crowd, are seen the uplifted reed with the sponge dipped in vinegar, and the spear which pierced the Saviour’s side. In this scene there is little of the energy and even violence of the earlier pictures; for the action has come to an end with the death of Christ, and Holbein has depicted it as though a hush had fallen over the multitude of people who, with uplifted faces, are gazing on their handiwork. Their attitudes are quiet and restrained, the vehemence of passion has subsided, and the presence of death has quelled all anger and clamour. Each picture of the series is characterised by great dramatic power, and a force and dignity of conception which shows a striking advance in Holbein’s art when compared with the early “Passion” scenes on canvas. In the simplicity and grandeur of their composition, and in the largeness of their design, they afford evidence that had Holbein worked on the southern side of the Alps, he would have equalled, if he had not surpassed, in work of this