le simplicity, in his two greatest extant pieces of
portraiture--the Morett of Dresden and the Duchess of Milan, now
in our National Gallery. But in technical powers, and the power of
subordinating their very virtuosity to the requirement of a true
picture, this was a superlative expression of his matured method.

In the midst of all his fresh London successes came a summons from
Basel, which must have made the painter smile a little grimly. It had
slowly dawned on the Council that Holbein--whose renown they well knew
was a feather in Basel's cap--was proposing to make a prolonged absence.
The result was a decision which the Burgomaster officially conveyed to
him. Jacob Meyer zum Hirten wrote to say that Holbein was desired to
return immediately to resume the duties of a citizen-artist, and that
the Council, anxious to assist him in the support of his family, had
resolved to allow him an annuity of thirty guldens yearly "until
something better" could be afforded. Whether he replied in evasive
terms, or whether he let the Laellenkoenig speak for him, is not on
record.

By the time Holbein received this letter, written late in the autumn of
1532, he was plunged into a year of almost incredible activity. The
whole of it would hardly seem too long for one such painting as the
life-size double portrait--his largest extant portrait-painting--that
now belongs to the National Gallery: "The Ambassadors" (Plate 28).

At the extremities of a heavy table, something like a rude dinner-waggon,
are two full-length figures which show a curious reflection of his
early defect in their want of sufficient height. At the spectator's left
stands a richly-costumed individual, whose stalwart proportions, ruddy
complexion, and boldly ardent eye denote the perfection of vigorous
health, and are in striking contrast to the physique, colouring, and
expression of his companion. The former wears a black velvet doublet,
which reveals an under-garment of gleaming rose-red satin. Over all
is a black velvet mantle lined and trimmed with white fur. On his black
cap is a silver brooch which displays a skull. He wears a gold badge
exhibiting a mailed figure spearing a dragon suspended by a heavy gold
chain. The hilt of his sword is seen at his left hand, and his right
grasps a gold-sheathed dagger. On this latter is the inscription: AET.
SVAE. 29; and from it depends a massive green-and-gold silk tassel,
incomparably painted.

Illustration: PLATE 28