This inscription stated that the picture had been painted “by order of the venerable and most pious mother Veronica Welser—Hans Holbain, of Augsburg, at the age of 17.”[73] Before this Dr. Waagen[74] and several other critics had attributed this altar-piece to the younger Holbein because of supposed differences in style between it and the greater number of the authenticated works by the father. The newly-discovered inscription, which was accepted as genuine by Dr. Woltmann and most German writers, was considered to afford final proof of the truth of Waagen’s contention, though a few, among them Herman Grimm, refused to credit it. It was not until after the death of A. Eigner, the keeper of the Augsburg Gallery, and the originator of the falsification, in November 1870, that it was possible to apply a practical test to it, with the result that it proved to be a modern forgery. Upon the application of turpentine the whole of the inscription disappeared, and traces of a much earlier and badly-defaced one were found beneath it. The discovery of its fictitious nature led to further investigation, and the final abandonment of the date 1495 as the year of the painter’s birth, while the picture is now rightly restored to the older artist who painted it. [Sidenote: THE YOUNGER HOLBEIN’S BIRTH] Far more reliable proof as to the correct date of Holbein’s birth is afforded by the fine silver-point drawing by the elder painter, in the Berlin Museum, of the heads of his two sons (Pl. 6).[75] Between the heads is written “Holbain,” and over that of the younger boy on the right the word “Hanns,” with the age “14” above the name. Over the head of the elder boy on the left the shortened name “Prosy” is still legible. Probably the first syllable, “Am,” has become obliterated in course of time, or it may be that the father merely set down his nickname, “Prosy.”[76] The age of Ambrosius, which must also have been added, is now entirely effaced. At the top of the sheet is placed the date, which to-day is barely legible. Dr. Woltmann read it as “1511,” which would give the birth-year of Hans as 1497, and this reading is now generally accepted. The same writer imagined that he could trace the figure “5” above the head of Ambrosius, which would make his age fifteen, and thus one year older than his brother. In the drawing itself, however, he appears to be at least two or three years the senior. Dr. Willy Hes, in his recently-published book on Ambrosius Holbein, states that this now almost obliterated age-figure is “17,” and this is probably correct.[77] Both heads are full of character. The younger boy, with round face, and straight hair falling on his forehead and covering his ears, though not a child of much personal beauty, has a pleasant, thoughtful expression. The forehead is a fine one, projecting over the eyes, and showing, according to phrenologists, a strongly-developed power of imagination, while the mouth is large and determined.