In the same year (1502) Holbein was engaged for a second time upon work for the Convent of St. Catherine in Augsburg. This was a panel, in three compartments, representing the Transfiguration of Christ,[19] a commission from a leading Augsburg citizen, Ulrich Walther, whose daughters, Anna and Maria, were inmates of the convent, the former being the prioress. It is now in the Augsburg Gallery (Nos. 65-67). It was ordered to be made “to the praise of God and in honour of his two daughters,” and the price paid was 54 gulden 30 kreuzers. Walther, who, dying at the age of eighty-six in 1505, left behind him one hundred and thirty-three living descendants, is represented kneeling in the lower part of the left-hand compartment, with eight sons behind him; and in the corresponding part of the opposite compartment are his wife, the two nuns, and twelve others, daughters and daughters-in-law, also kneeling in prayer. These portraits, of which those of the younger children in particular are of considerable charm, form the happiest part of the painting. In the central subject, the movements by which the Apostles express their surprise at the transfiguration of their Master are exaggerated almost to the point of caricature. The side panels represent the Miracle of the Loaves and Fishes, and the Healing of the Possessed Youth. [Sidenote: THE “BAPTISM OF ST. PAUL”] A much finer work, painted for the same convent, is the “Basilica of St. Paul,”[20] like the “Transfiguration,” now in the Augsburg Gallery (Nos. 68-70). Although undated, it is usually ascribed to the year 1504. It was ordered by Veronica Weiser, daughter of the Burgomaster Bartholomäus Welser. She was one of the wealthiest of the sisters, and was at that time secretary to the convent, and afterwards succeeded Anna Walther as prioress. It follows the shape of the other pictures in the cloisters, that of a broad pointed arch, and is divided into a central and two side panels, separated by late Gothic gilded ornamentation. It depicts scenes from the life of St. Paul. In the upper arched portion is the Mocking of Christ, while the lower compartments contain the Conversion, Baptism, Martyrdom, and Burial of St. Paul, with other events in his life in the background. In the central division Holbein has shown the donor seated in a chair in front of the basilica with her back to the spectator, an evident portrait, although the face is not visible. The name “Thecla” is written on the chair-back. The division on the left hand is of much greater interest, for it contains portraits of the Holbein family, including the earliest but one known of Hans Holbein the Younger. The subject is the Baptism of St. Paul (Pl. 1), who is represented, a nude figure, standing in a stone font in the foreground. In the right-hand foreground the artist has placed a group of three spectators, a middle-aged man and two small boys, representing, according to old