and, finally, in the masterly set of ten designs for glass-painting in the same collection, in which the fruits of his Italian experience are seen to so great an advantage. In the “Cross-bearing” scene in the large altar-piece, as well as in the later design of the same subject for painted glass, the procession issues from a similar gateway and passes along walls with the same round tower shown in the earlier examples. In the former, too, the procession turns sharply to the left, as in the Basel drawing, while the same type of face in the soldiery occurs in all, but gradually becoming less exaggerated and truer to life. The ill-treatment shown to Christ, though still brutal, is less violent in its exhibition, and the Saviour, though faltering under his burden, has not fallen to the ground. In the altar-piece his face is bent downwards, and cast into shadow by the Cross beneath which he staggers, so that his agony is hidden, while in the glass design the face, though agonized, has a spiritual beauty which is not to be found in the drawing now in question. This latter is undated, but Dr. Ganz places it in the year 1517, and he considers that it is most probably Holbein’s design for a picture, now lost, which originally formed one of the early “Passion” series on canvas.[110] Holbein drew this figure of Christ over again for the very beautiful woodcut of which only the single impression, in the Amerbach collection, is known. This woodcut,[111] which, from the beauty of its cutting, must be from the hand of Lützelburger, recalls Dürer even more strongly than the drawing, from which it differs slightly. Christ, who has fallen to his knees, has one arm round the bar of the Cross, the other hand resting on the stony ground. A small twisted tree, almost leafless, is on the right, and the background consists of a cloudy sky. The head, with its crown of thorns, long hair falling on the shoulders, its open mouth, and the drops of bloody sweat on the brow, is a wonderful realisation of deep suffering nobly borne. [Sidenote: THE “PRAISE OF FOLLY” DRAWINGS]