His next pictures of which the date is certain are of the year 1499,[11] and include the picture of the Basilica of Santa Maria Maggiore,[12] the work already mentioned as ordered by Dorothea Rölingerin[13] for the Convent of St. Catherine in Augsburg, and at one time attributed to the mythical grandfather Hans. It is a panel in the form of a broad pointed arch, corresponding, like the five other pictures of the series, with the vaulting of the chamber for which it was painted. It contains four scenes in three sections, divided from one another by gilded Gothic ornamentation. The lower half of the central compartment contains a view of the church, with a pilgrim kneeling at the altar. On the two bells is inscribed “Hans Holba—in 1499,” while an “H” is on one of the tombstones, and the date is repeated on the outer wall of the church. The upper part of the arch is filled with the Crowning of the Virgin. The division on the left contains St. Joseph and the Virgin adoring the Child in the stable, that on the right the Martyrdom of St. Dorothea, in honour of the donor of the picture, who is represented, a small figure, kneeling in prayer behind the saint. This picture is now in the Augsburg Museum (Nos. 62-64). A second work in the same gallery (No. 61), of the same date, is, however, far inferior to the foregoing, the execution being careless and perfunctory. It was a commission from the nun Walburg Vetter, also for the Convent of St. Catherine, as an offering from herself, and in memory of her two sisters, Veronica and Christina, all three of whom lived, died, and were buried in the convent; and the indifference of the workmanship has been attributed to the fact that Holbein received extremely poor payment for it, only 26 gulden in all. It has an arched top, and is divided into a number of small compartments, with the Crowning of the Virgin above, and six roughly-painted scenes from Christ’s Passion below, in which the figures, more particularly of the executioners, are extremely repulsive. It is dated, and contains a long inscription.[14] Shortly after he had sent out this very inferior example of his art from his workshop, Holbein appears to have left Augsburg for a year or two, and to have settled in Ulm. His name is found in the Augsburg rate-books every year from 1494 to 1499, but is missing in 1500 and 1501, while there is a document in the Augsburg archives, dated Wednesday, November 6, 1499, which proves that in that year he had become for the time being a citizen of Ulm (“Hannsen Holbain dem Maller, jetzo Bürger zu Ulm”),[15] though no traces remain of any work undertaken by him in that city. This entry is in connection with the contract for the purchase of a house in Augsburg from which Holbein received interest. [Sidenote: THE KAISHEIM ALTAR-PIECE]