ared his will. He died before the 29th of November, but the facts
concerning his death and burial are not known.

There are several interesting anecdotes of Holbein. One relates that when
passing through Strasburg he visited the studio of an artist, and finding
him out, painted a fly on a picture which was on an easel. When the
painter saw the fly he tried to brush it away, and when he found who had
painted it he searched the city for Holbein; but he had already left for
England. Another story shows the regard which Henry VIII. had for him. One
day a nobleman went to Holbein's studio, and insisted upon entering,
though the artist told him that he was painting the portrait of a lady by
his Majesty's orders. The nobleman persisting, Holbein threw him down the
stairs with great violence, and then rushed to the king, and told him what
he had done. Soon after the nobleman was borne to the presence of the
king; he was unable to walk, and was loud in his complaints. The king
ridiculed him, and the nobleman was angry, and threatened to punish the
artist legally. Then Henry got angry, and said: "Now you have no longer to
deal with Holbein, but with me, your king. Do you think that this man is
of so little consideration with us? I tell you, my lord, that out of seven
peasants I can make seven earls in a day; but out of seven earls I could
not make one such artist as Hans Holbein."

[Illustration: FIG. 60.--BURGOMASTER MEIER MADONNA. _By Holbein. Dresden
Gallery._]

At Basle one may see some of the most important of the early portraits of
Holbein; these are in the gallery where are also his ten well-known scenes
from the Passion of Christ. While at Basle he probably made the designs
for the "Dance of Death." For a long time it was believed that he painted
this subject both at Basle and at Bonn, but we now know that he only made
designs for it. He also decorated the Town Hall at Basle; of this work,
however, but little remains.

The most celebrated work by Holbein is the "Meyer Madonna" in the royal
palace of Darmstadt, of which there is a copy in the Dresden Gallery. It
takes its name from that of the Burgomaster Meyer, for whom it was
painted. The Madonna, with the infant Jesus in her arms, stands in a niche
in the centre of the picture; the burgomaster and his family kneel before
her. This is what is called a votive picture, which means a picture made
in the fulfilment of a vow, in gratitude for some signal blessing or to
tur