Holbein’s is at Dresden, companioned by the Madonna di San Sisto; but both are visible enough to you here, for, by a strange coincidence, they are (at least so far as I know) the only two great pictures in the world which have been faultlessly engraved. The received tradition respecting the Holbein Madonna is beautiful; and I believe the interpretation to be true. A father and mother have prayed to her for the life of their sick child. She appears to them, her own Christ in her arms. She puts down her Christ beside them—takes their child into her arms instead. It lies down upon her bosom, and stretches its hand to its father and mother, saying farewell. This interpretation of the picture has been doubted, as nearly all the most precious truths of pictures have been doubted, and forgotten. But even supposing it erroneous, the design is not less characteristic of Holbein. For that there are signs of suffering on the features of the child in the arms of the Virgin, is beyond question; and if this child be intended for the Christ, it would not be doubtful to my mind, that, of the two—Raphael and Holbein—the latter had given the truest aspect and deepest reading of the early life of the Redeemer. Raphael sought to express His power only; but Holbein His labour and sorrow. There are two other pictures which you should remember together with this (attributed, indeed, but with no semblance of probability, to the elder Holbein, none of whose work, preserved at Basle, or elsewhere, approaches in the slightest degree to their power), the St. Barbara and St. Elizabeth.[24] I do not know among the pictures of the great sacred schools any at once so powerful, so simple, so pathetically expressive of the need of the heart that conceived them. Not ascetic, nor quaint, nor feverishly or fondly passionate, nor wrapt in withdrawn solemnities of thought. Only entirely true—entirely pure. No depth of glowing heaven beyond them—but the clear sharp sweetness of the northern air: no splendour of rich colour, striving to adorn them with better brightness than of the day: a gray glory, as of moonlight without mist, dwelling on face and fold of dress;—all faultless-fair. Creatures they are, humble by nature, not by self-condemnation; merciful by habit, not by tearful impulse; lofty without consciousness; gentle without weakness; wholly in this present world, doing its work calmly; beautiful with all that holiest life can reach—yet already freed from all that holiest death can cast away. FOOTNOTES [20] As showing gigantic power of hand, joined with utmost accuracy and rapidity, the folds of drapery under the breast of the Virgin are, perhaps, as marvellous a piece of work as could be found in any picture, of whatever time or master.