The Man of Sorrows and the Mater Dolorosa. Oils, in tones of brown. Basel Museum. Christ borne to the ground by the weight of the cross. A Washed Drawing and a * Woodcut (unique impression). Basel Museum. * Christ in the grave. [Plate 10.] Oils. Basel Museum. ? The risen Christ and Mary Magdalen at the sepulchre. [Plate 11.] Oils. Hampton Court Gallery. (Very much injured.) St. George. Oils. Kunsthalle, Karlsruhe. St. Ursula. Oils. Kunsthalle, Karlsruhe. ? Portrait of a young girl. [Plate 13.] Drawing in chalk and silver-point. Jabach Collection. The Louvre. ** The Solothurn Madonna. [Plate 12.] Oils. Solothurn Museum. ("Die Zetter'sche Madonna von Solothurn," of which the remarkable history is given in the text; together with the evident relationship of Plate 13 and the hypothesis of the present writer in that connection.) ** Portrait of Erasmus. [Plate 14.] Oils. The Louvre. A Citizen's Wife, and others, in the dress of the time. Washed Drawings. Basel Museum. The Table of Cebes. Border for title-page. Woodcut. Royal Print Cabinet, Berlin. St. Peter and St. Paul; on the title-page of Adam Petri's reprint of Luther's translation of the New Testament. Alphabet of "The Dance of Death." Woodcuts. Proof-impressions in the Basel Museum, the British Museum, and the Dresden Royal Collection. Bible Pictures: illustrating Old Testament. Woodcuts. ** "Images of Death." [Two shown at Plates 14 and 15.] Proof-impressions, some sets incomplete, in the Basel Museum, British Museum and the National Print Collections of Paris, Vienna, Berlin, Dresden, Karlsruhe, and the Bodleian Library. (This is the immortal series of Woodcuts, often called "The Dance of Death," done for the Trechsel Brothers of Lyons, but not published there until many years later.) Dorothea Offenburg as the Goddess of Love. [Plate 16.] Oils. Basel Museum. The above as Lais Corinthiaca. Oils. Basel Museum. ** The Meyer Madonna. [Plates 18 and 19.] Oils. Grand-Ducal Collection, Darmstadt (superbly restored); and ?Dresden Gallery. (Notwithstanding the many and eminent authorities who hold this to be a copy, there still remain a sufficiency of no less eminent authorities to warrant the present writer in her unshaken opinion that, at any rate in its first estate and in the main, this Dresden version--revered for more than one century as such by the highest authorities--was the creation of Holbein's own hand.) III. FIRST LONDON PERIOD (1526-1528) Portrait of Sir Thomas More. Oils. Mr. Huth's Collection. Chalk Drawing at Windsor. [Plate 20.] (Also a drawing of Sir John More, father of the above.) ** John Fisher, Bishop of Rochester. [Plate 21.] Chalk Drawing. Windsor Castle. (Another in the British Museum.) Archbishop Warham. Oils. The Louvre, and Lambeth Palace.