In painting he was overshadowed by his younger brother. Like Hans, he had inherited a considerable gift for portraiture from his father, as the few works of this nature which remain show very clearly. In his studies for portraits the draughtsmanship is looser and more free than in the corresponding work of the younger Hans in his earlier Basel period, and there is less searching after exact truth of line. His portraits, nevertheless, display an original talent of no mean order, which, had he lived, would have gained for him a place of some distinction among the leading German painters of his day. Such a drawing as the “Anne” is filled with a very tender feeling, and a sympathetic expression of the wistful charm of childhood; and much of the same appreciation of youthful character is to be seen in the portraits of the two small boys in the Basel Gallery, while there is a careful and realistic drawing of the head and body of a baby, supported by the mother’s hand, in the British Museum, evidently a study for a Madonna and Child, which is very attractive. It is inscribed “Hans Holbein, 1522,” by some later hand, over some earlier signature, now obliterated. According to Dr. Hes, however, it is not by Ambrosius.[157] The records of Hans Holbein’s residence in Lucerne are scanty ones, but such as they are, they extend from 1517 to 1519. Shortly after his arrival he joined the painters’ guild, the Brotherhood of St. Luke, which had been formed in 1506. In the book of the confraternity his name is entered as having paid one gulden for admission: “Meister Hanns Holbein hat j gulden gen.” Unfortunately the year-date is not given. The original book has disappeared, but a copy exists which was made by Zacharias Bletz, the town registrar, in 1541, but in transcribing it he has omitted the dates which would fix the exact details of Holbein’s membership. His first recorded commission was a badly-paid one. On the Sunday before the feast of Saints Simon and Jude (October 28), 1517, he received one florin nine shillings for a design for a glass window. In the same year, on December 10, an entry in the town records shows him engaged in less reputable occupation. He and a certain Caspar, a goldsmith, were each fined five livres for fighting in the streets. “Item Caspar goldschmid vnnd der Holbein soll jeder 5 ll. buss als sy vber ein andern zuckt hand.” This same Caspar, one learns from the town books, was by nature a brawler, for he was in trouble of the same kind on more than one occasion. The punishment in this particular case was heavy, so that the disturbance must have been a serious one, and it has been suggested that on account of it Holbein left Lucerne for a time, in order that the affair might blow over, and that he took the opportunity of paying a visit to Lombardy. It is not likely, however, that he crossed the Alps in the winter. [Sidenote: PAINTINGS OF HERTENSTEIN HOUSE]