In 1501 he was in Frankfurt, engaged upon an altar-piece for the Dominican convent church. Two large panels, which once formed the back of the centre portion of this work, represent the genealogy of Christ and that of the Dominicans,[16] each in two divisions. On the first there is a Latin inscription stating that the work was executed in 1501 to the order of the Superior, one “I. W.,” and concluding with the words, “HANS HOILBAYN DE AVGVSTA ME PINXIT.” These panels are now in the Städtisches Museum in Frankfurt, together with seven out of eight scenes of “Christ’s Passion,” which originally covered the outer and inner sides of the wings of the same altar-piece.[17] In 1502 he was back again in Augsburg, at work upon a large altar-piece for the monastery of Kaisheim at Donauwörth. Sixteen portions of it, which formed the inner and outer panels of the folding doors, are now in the Munich Gallery (Nos. 193-208).[18] Between the years 1490 and 1509 the Abbot Georg Kastner spent much money on the adornment of the fine Gothic church of this famous imperial monastery, and in an old manuscript chronicle which has survived, there is a passage referring to this particular altar-piece, from which it is to be gathered that two other artificers of Augsburg, the sculptor Gregorius and the joiner Adolph Kastner, were associated with Holbein in the work. It speaks of them as three masters of Augsburg, who were the best masters far and near. The panels from the outer sides of the shutters represent scenes from the Passion, those from the inner ones incidents in the life of the Virgin and the childhood of Christ. The former are of inferior workmanship to the latter, and were no doubt produced wholly or in great part by an apprentice or assistant, for they display many exaggerated and grotesque types and a general lack of taste in composition. The inner panels show a far higher standard, and are from the hand of the elder Holbein himself, whose signature occurs no less than three times as “J. H.,” “Hans Holbon,” and finally the inscription, “Depictum per Johannem Holbain Augustensem 1502.” Studies for some of the heads are to be found in his sketch-book in the Basel Gallery. Several panels representing the martyrdom of the Apostles, at Nuremberg, Schleissheim, and elsewhere, have much in common with the Kaisheim altar-piece.