His history after being lost for a time finds some record in 1519, when he was admitted to the Art Guild of Basle, and a year later he became a free man of the city and married a widow with two children. Her portrait may be seen in Basle to-day, and there is one that is said to stand for the painter himself, also a work of his hand. The drawing depicts a strong man, who looks out upon the world with serene consciousness that he can play a full and worthy part in it. When he was a married man and a citizen of Basle, Holbein developed to a very considerable extent his earlier acquaintance with the Humanists. His work was always at the service of the great printers, and, not unnaturally, the authors who were in touch with them took an interest in the young artist who added so much to the attractions of their books. His religious feelings we do not know, but he associated himself with the publication of certain Lutheran pamphlets of marked scurrility, and would seem to have taken his full share in the contest between the Reformers and their opponents. The history of the differences that ultimately drove Erasmus from the city is full of interest and instruction, but the limits of space forbid the disgression necessary to deal with them. Erasmus lives for us in several portraits by Holbein, and there can be no doubt but that association with the leading literary men of the city must have done a great deal to develop in the painter the measure of culture that was to serve him in good stead when he left the city of Basle for places more important and the service of exalted patrons. His designs for wood engravings in the years following his marriage are of the first importance, and include the famous Dance of Death series. He painted among many works of the first class a portrait of his patron Boniface Amerbach, the famous "Dead Man," said by some to be a picture of the dead Christ, a portrait of Erasmus and the "Zetter Madonna." Of these the "Dead Man" is in Basle, one of Erasmus is there, and another is in the Louvre, while the "Zetter Madonna" is at Soluthurn. Of course he did a great deal of work that cannot be enumerated here--work of the most varied description and almost unvarying excellence, and it is clear that he owed not a little of his achievement to the steadiness of his labours. We may reasonably suppose that some of the output is lost, but what is left to this day in Basle amazes us. The Museum is a monument of his talent and industry. Half faded frescoes, panel paintings, subject pictures, portraits, drawings, studies of costume, the eight scenes of the Passion--there is enough in the Museum to console the stranger for all the season of his stay in a singularly unattractive city. We owe the existing collection in a very large extent to Boniface Amerbach, the artist's friend and early patron, who, recognising the permanent value of his output, collected all he could secure, and established the nucleus of a collection that