Ambrosius has more mobile features, and a mass of curling hair. This drawing, which at one time was attributed to the younger Hans, is one of the most masterly in the Berlin series, and shows how largely the son’s great gift of lifelike portraiture was inherited from his father. [Sidenote: THE YOUNGER HOLBEIN’S BIRTH] Dr. Hes also publishes a second drawing by the elder Holbein from the Berlin collection,[78] which, as he was the first to point out, undoubtedly represents the two boys at an earlier age. This silver-point drawing, hitherto known merely as “Portraits of two Children,” and bearing the inscription “Thomasins Sohn und Tochter” in a later hand, represents the two boys in profile, facing one another. It is not of such fine quality as the drawing of 1511, but the likeness to Ambrosius and Hans is unmistakable. In this earlier study Dr. Hes considers the age of the boys to be eight and five respectively. The further researches of the same writer have resulted in his discovery of a third likeness of the elder son from his father’s pencil, a beautiful drawing of a curly-haired lad with looks cast downwards. It is among the silver-point drawings of Hans Holbein the Elder in the Basel collection,[79] and seems to be connected with two other works by the Augsburg master, both also at Basel, for which, perhaps, it may have served as a preliminary study. One is an Indian-ink study for a “Death of Mary,” and the other a large oil-painting of the same subject (No. 301). In both the features of the youthful St. John, who bends over the Virgin with palm-branch and long candle in either hand, are evidently those of Ambrosius. This drawing[80] is dated 1508 on a slate hanging at the head of the bed, so that the “St. John” represents the boy at the age of about fourteen. A still more youthful figure, with long hair, stands behind the wooden head of the bed, with clasped hands, gazing down at the Virgin. It may be suggested, though Dr. Hes does not call attention to it, that in this figure we have a third likeness of the younger Hans. The resemblance to the heads in the two drawings is not as close as in the case of Ambrosius, but is sufficiently so to permit the conjecture that the father intended to introduce both his boys into the picture to be painted from this study. The connection between these drawings and the picture at Basel is not, however, very clear. In the oil-painting[81] Mary is enthroned, the arrangement is entirely different, and many more figures are introduced; but the figure and face of the St. John are the same as in the Indian-ink drawing, though seen from the opposite side. According to the Basel catalogue, however, this picture was painted in 1501, and it does not appear very probable that the painter would have used a boy of seven as his model for the Saint. Behind St. John appears the curly head of a young man looking down; and here again, though possibly only in the imagination of the present