In the course of his journey to and from Lombardy he probably made short halts in more than one Swiss town. Hegner mentions pictures by him in Coutrai, Zürich, Altorf, and Berne, but the works he enumerates, with the exception of the painted table at Zürich, are not the work of Holbein. There are, however, indications that he spent some time in Altorf, in the canton Uri, from which district it has been suggested that his family originally came, for the Holbein arms are almost identical with those of that canton. In the church is a “Head of Christ,” which local tradition gives to Holbein, and in the Convent of the Capuchins still hangs a copy of the “Christ in the Tomb” of the Basel Gallery. The “Head of Christ” has suffered so severely that it is impossible to-day to say whether it is from his hand; the church archives, which are said to have contained proofs of its authenticity, were lost in a fire which occurred in 1799, and did a great amount of damage, destroying, among other things, an altar-piece of the “Crucifixion,” attributed to Holbein, painted on canvas, one of the chief treasures of the church. The version of the “Christ in the Tomb” in the monastery shows material differences from the original at Basel. The body of Christ is no longer rigid in death. He has conquered it, and the artist, whoever he may have been, has represented him as the giver of eternal life, by means of rays of light which emanate from the recumbent body. Above the figure is a medallion with the Burial, which bears little likeness to Holbein’s work. M. Pierre Gauthiez suggests that this Christ was painted by Holbein when under the immediate influence of certain Lombard painters, but that it became so badly damaged in course of time that it was restored and repainted by some not very skilful worker.[177] [Sidenote: DESIGNS FOR PAINTED GLASS]