Holbein took the same subject, _The Passion of Christ_, for an altar-piece consisting of eight small panels (Basle Museum). For more than 200 years this work was considered to be the artist’s finest achievement, and it was preserved in the Basle Town Hall until 1777, when the Town Council presented it to the Museum, and had it thoroughly restored before handing it over, with most disastrous results. The abominably gaudy colours which were then daubed upon it have taken away most of the charm which graced it when it first left the master’s hands. It is still possible, however, to form some judgment of its composition, and to see how skilfully the artist has managed the light and shade. The eight scenes are combined in one frame in a very effective and harmonious manner, forming one picturesque whole. Each little picture, taken by itself, is a work of art and of real beauty. Two other panels in the Minster of Freiburg, somewhat similar to the above in the exceptionally successful and picturesque arrangement of the lighting, form the wings of an altar-piece, of which the centre panel has disappeared. They were painted for Hans Oberreidt, one of the Basle Town Councillors, and represent _The Nativity_ and _The Adoration of the Magi_, with the donor and the numerous members of his family kneeling below. All the figures are small, while the backgrounds are large and imposing. Another little work of great beauty, and important as being the only sacred painting by Holbein now in England, is the _Noli Me Tangere_ at Hampton Court (_see_ p. 58).
A very remarkable picture of _The Dead Christ_ (Basle) was painted in 1521. The nude body lies in a narrow tomb of marble, open at the side. Except for the stigmata, there is very little religious signification in it. The painful subject has been in no way idealized; it is, on the contrary, one of the most vividly realistic paintings of a dead man ever produced by a great painter.
The picture known as _The Solothurn Madonna_, painted in the following year, is one of Holbein’s two finest religious paintings. It is now in the possession of Herr Zetter, but was, no doubt, originally a commission for the Minster of Solothurn. It represents the Virgin and Child between St. Martin of Tours and St. Ursus. The Virgin is seated with the Child on her knee under an open arch, and her figure stands out against the blue sky which is seen through it. Her face is very sweet and sympathetic. The naked Child, with its little arms stretched out, is a delightful piece of portraiture, while the two saints are magnificent figures. This picture, deeply reverent in feeling, is conceived with great simplicity, but is very noble in sentiment.