The last-named of these pictures, the “Taking down from the Cross”—in which, according to Patin’s description, Christ’s body was on the ground, the head resting on the Virgin’s lap, and surrounded by Mary Magdalene, Saint John, Nicodemus, and other persons, with the two thieves still on the Cross—was still in the church in the middle of the seventeenth century. Two sketches exist, with notes as to the colour, and an inscription stating that they were drawn in Lucerne from Holbein’s altar-piece in the church of the Augustines by C. Meyer in 1648. Dr. Ganz has recently published a copy of this picture,[187] which is in Palermo, and draws attention to the fact that it agrees in dimensions with the lost original, which was in the possession of the painter Marquard Wocher in Basel in 1834, at which time it was copied by the painter Hieronymus Hess. Another copy, half the size of the original, was exhibited at the Exhibition of Early German Art at the Burlington Fine Arts Club in 1906, and a third is still in the sacristy of one of the Lucerne churches. In addition, there is a drawing of the group of the two chief figures, Christ and the Virgin, in the Basel Gallery,[188] a free copy of the central group of Christ and the Virgin, signed H. H. W. and H. H. It was done towards the end of the sixteenth century either by Hans Jörg Wannewetsch of Basel, or Hans Heinrich Wegmann of Lucerne. ------------------------------------------------------------------------ CHAPTER V CITIZEN OF BASEL Holbein’s return to Basel—Enters the Painters’ Guild “zum Himmel”—Becomes a burgher—His marriage—Portrait of Bonifacius Amerbach—The Amerbach Collection—Church pictures—The “Nativity” and “Adoration of the Kings” at Freiburg—Hans Oberried—The altar-piece of the “Passion of Christ” at Basel—Italian influences in his work—The “Noli Me Tangere” at Hampton Court—“Christ as the Man of Sorrows” and “Mary as Mater Dolorosa”—Designs for sacred pictures or wall-paintings—The “Dead Christ in the Tomb”—The Solothurn Madonna—History of the picture—“St. Ursula” and “St. George” at Karlsruhe—The organ doors of Basel Cathedral.