kind, the frescoes and wall-paintings of the great Italian masters. VOL. I., PLATE 50. [Illustration: CHRIST NAILED TO THE CROSS The “Passion” series of designs for painted glass BASEL GALLERY ] [Illustration: THE CRUCIFIXION The “Passion” series of designs for painted glass BASEL GALLERY ] Replicas of seven of these ten designs, but reversed, are in the British Museum.[347] They are not the direct work of Holbein’s hand, but offsets taken from the Basel drawings by means of damped paper, a common practice with the artist in making decorative designs for such things as cups or goblets, in which the ornamentation on both sides of the object was similar. In the same manner Holbein obtained copies of the “Passion” drawings, and they were afterwards strengthened in places by retouches with a fine brush and Indian ink, undoubtedly the work of Holbein himself. They have thus very largely the character of the original drawings, and are equal to them in effect, though lighter in appearance on account of the method employed, the Indian ink shading being paler in colour than in the originals. In the “Cross-bearing” additional retouches in sepia by a later and weaker hand, which greatly mar the design, are to be seen. The three missing subjects are the “Scourging,” “Christ Crowned with Thorns,” and the “Nailing to the Cross.” This set was formerly in the Lawrence Collection, from which it was purchased for the Museum. It may possibly be the series possessed by Sandrart, which he calls a “Passion in folio,” of which two compositions of the set were missing. Sandrart offered 200 florins to anyone who would procure them for him, so that he could exhibit the work complete for the honour of the great master who designed it. [Sidenote: COSTUMES WORN BY BASEL LADIES]