rinters in other cities. In 1523
there came to Basel that masterly wood-cutter who has been already
referred to,--Hans Luetzelburger. And from this time on, therefore,
Holbein's designs may be seen in their true beauty.

He had painted, besides portraits of Froben and others, at least three
portraits of Erasmus by 1524. For in June of this year the latter writes
to his friend Pirkheimer, at Nuernberg, to say that he has sent two of
these portraits by the "most accomplished painter" to England; while the
artist himself, he adds, has conveyed still a third to France.

The smaller of the two sent to England, two-thirds the size of life, is
probably the one now in the Louvre (Plate 14). It is a masterpiece of
penetration and technique. Erasmus is here seen in the most unaffected
simplicity of dress and pose; in profile against a dark-green tapestry
patterned with light green, and red and white flowers. The usual
scholar's cap covers his grey hair. The blue-grey eyes are glancing down
at his writing. Studies for the marvellously painted hands are among the
Louvre drawings. The very Self of the man--the lean, strong, _thinking_
countenance,--the elusive smile, shrewd, ironical, yet kindly, stealing
out on his lips,--is alive here by some necromancy of art.

Illustration: PLATE 14
ERASMUS
_Oils. The Louvre_

The portrait now in the Basel Museum, in oils on paper, afterwards
fastened to the panel, is in all likelihood that third portrait which
Erasmus told Pirkheimer the painter himself had taken to France. So
that Holbein must have painted it for, and carried it to, Bonifacius
Amerbach, who was then, in 1524, finishing a renewed course of study at
Avignon. Probably it was during this visit to France, too, that he made
the spirited sketches of monuments at Bourges. In that case it would
seem that he struck across by way of Dijon to the Cathedral City, in
connection with some matter not now to be discovered, and from there
took the great highway to Avignon by way of Lyons; carrying with him the
gift of his sketches from the monuments of Duke Jehan of Berri and his
wife. These were treasured in Amerbach's collection.

Whatever the reason that sent him abroad on this journey,--whether
unhappiness at home or the troubled state of public affairs during the
Peasants' War of 1524 and 1525,--or whether he simply had business in
France which delayed him there for a year or two--at all events, all
records fail as to his wander