These drawings, which at one time were all ascribed to his son, and are so attributed in the first edition of Dr. Woltmann’s book, represent citizens of Augsburg in all classes of life, many of them, no doubt, personal friends of the painter, who, in a number of cases, has written their names on the sketches. There is no evidence to show that the majority of them were preliminary studies for portraits for which he had received commissions; they were done partly for his own amusement and practice, and partly to serve as models for figures in his sacred paintings. They form, nevertheless, a very valuable record of the Augsburg life of his day, and so may be compared, in the wideness of their range at least, with the more brilliant series of drawings by his son. In numerous instances the same sitter has been drawn two or three times; of Johannes Schrott[35] and Hans Griesher,[36] monks of St. Ulrich, there are no less than seven and six respectively. Among them there are portraits of the Emperor Maximilian,[37] on horseback, in helmet, and with sword, and of his grandson, afterwards Charles V,[38] with a falcon on his wrist, inscribed “herzog karl vo burgundy.” As Charles became Duke of Burgundy in 1515, and King of Castile in 1516, the drawing must have been made in the former year. There are several portraits of members of the great Fugger family, among them Jacob Fugger,[39] the head of the clan; his nephews, Raimund[40] and Anton[41]; his cousin, Ulrich Fugger the Younger,[42] and his wife, Veronica Gassner[43]; and several more. Other leading Augsburg families are represented in heads of Gumprecht Rauner,[44] Hans Nell,[45] Hans Pfleger,[46] and Hans Herlins,[47] and members of the court circle by such men as Kunz von der Rosen,[48] the Emperor Maximilian’s lifelong friend and adviser. Included among these drawings are representations of more than one of Holbein’s fellow-workers in art, such as Hans Schwartz[49] the wood-carver, and Burkhart Engelberg,[50] stone-carver and architect. Representatives of more lowly pursuits are Gumpret Schwartz,[51] schoolmaster, and one Grün,[52] a tailor, and certain “merry fellows” of the artisan class. The heads of ladies are not very numerous, but one of them, the wife of the Guildmaster Schwartzensteiner,[53] a typical example of the “good wife” of Augsburg, has been drawn no less than three times. A less reputable personage among them is Anna, known as “the Lomentlin,”[54] who was twice expelled from the town for serious misconduct, and returned in the end apparently repentant, afterwards posing as a saint, and professing to be able to live without meat or drink. One of the most important groups in this series of drawings represents the monks of St. Ulrich, Augsburg’s famous monastery—Heinrich Grün,[55] Leonhard Wagner,[56] Conrad Merlin,[57] Johannes Schrott, Hans Griesher, and others. Finally, there are a few studies of heads of members of the artist’s family, including his own