The elder Holbein, indeed, was often in monetary difficulties, more particularly towards the end of his life. From time to time he was sued for small sums by impatient creditors. In 1503 he went to law with a neighbour, Paulson Mair, and on the 10th May 1515 he was sued by his butcher, Ludwig Smid, for one gulden. In the following year he was twice in the courts, the second time at the suit of one Jörg Lotter for the small amount of 32 kreuzers. On the 12th January 1517 his own brother, Sigmund, was obliged to take proceedings against him for a debt of 34 florins, money advanced to enable Holbein to move his painting materials to “Eysznen”—that is, Isenheim in Alsace—to which place he went towards the end of 1516 for the purpose of painting an altar-piece for the monastery of St. Anthony. Once again, in 1521, a certain Hans Kämlin sued him before the justices for two sums of 40 kreuzers, and 2 florins 40 kreuzers. Thus, in spite of numerous commissions, which, however, were not always well-paid ones, he often had great difficulty in supporting his household in comfort.[26] [Sidenote: THE “ST. SEBASTIAN” ALTAR-PIECE] The scope of this book does not permit a detailed description, or even a bare list, of his numerous works. Two only of his later, and probably his finest, paintings must be alluded to briefly—the “Martyrdom of St. Sebastian,” in the Munich Gallery (Nos. 209-211), painted shortly before his departure from Augsburg to Isenheim, and the “Fountain of Life,” in Lisbon, both of which were at one time ascribed to his younger son.[27] The “St. Sebastian” altar-piece,[28] which in earlier days was rightly regarded as a work of the elder Holbein, is thought to have been one of several commissions given to him by the nuns of St. Catherine in Augsburg. The entry in the archives which is supposed to refer to it merely states that “Sister Magdalena Imhoff has given 3 gulden to the new Sebastian, for the Holy Cross on the altar, and the lay sisters 2 florins. This is the cost of the said picture.” Neither the name of the artist who was employed upon it nor the date of the order is given, and from the wording of the entry, and the very small price paid, it seems evident that it cannot refer to so important a painting as the “St. Sebastian.” Dr. Woltmann was probably right in suggesting that what was ordered was merely a painted wooden figure of the saint, which was to be added to a carved group of the Crucifixion on the altar of the church.[29] The picture was first attributed to the younger Holbein by Passavant and Dr. Waagen, who were misled by the forged extracts from the St. Catherine annals, in which the passage quoted above was considerably amplified, the “St. Sebastian” being definitely described as a picture “by the skilful painter Holbein,” with the additional information that it was ordered in 1515, and placed in the church in 1517, after its rebuilding, and that Magdalena Imhoff paid 10 gulden