The Virgin is shown to the knees, a seated figure, holding the Child in her lap, upon whom she gazes with downcast eyes. She clasps him to her with her left hand, the right hand being placed under his chin. Her white dress of soft material is arranged in a multiplicity of small folds, each carefully drawn, and is decorated with a band of gold embroidery; the wide flowing sleeves are drawn in above and below the elbow with similar bands, and resemble the sleeves in the “St. Barbara” of the “St. Sebastian” altar-piece. The lower part of the dress is a very dark blue, almost black. She wears a golden crown, and her fair hair falls upon her shoulders, as in the famous Darmstadt “Madonna.” The Child lies quietly in her arms, a somewhat sad expression on his face, with his small toes curled up, both feet and hands being admirably drawn. The background is a deep red, and over the Virgin’s head hangs a festoon of laurel leaves, suspended from the painted framework which surrounds the group. This framework represents white stone pillars, with panels of black marble decorated with Renaissance ornamentation, and a number of small naked putti, three on either side and seven on the top. Some of these little winged angels salute the Virgin with trumpets, others carry the instruments of Christ’s Passion, and four of them hold small tablets for inscriptions. These delightfully natural little figures are painted in an ivory tone and stand out well against the dark background. The work is immature, but displays a very tender, sympathetic feeling, and possesses very considerable attractions. The colour-scheme, in which few tints are employed, is delicate and harmonious, and indicates that the artist already possessed a true sense of its possibilities. The type of the Virgin resembles that employed by the elder Holbein in such pictures as the “Fountain of Life.” The natural affection of mother for child is well expressed, both in the downcast face and in the drawing of the hands with which she holds the little one close to her.
On the plinth at the base of the picture is inscribed, in Roman lettering: “Que virgo peperit virgoque permanet lactavit propriis uberibus deum portantemque gerebat ulnis prona trementibus. M.D.XIIII.” It is regarded as the earliest authentic work of the younger Hans, but neither his signature nor his initials are now clearly distinguishable upon it, and its authorship is not absolutely certain. The four small tablets in the hands of the putti at one time held inscriptions. No traces of them remain on the two on the right, but portions of those on the left are still visible. On the upper one there appears to be part of a Latin sentence and the remains of a date “151—.” On the right-hand side of the lower one can still be deciphered some letters of a three-lined inscription, in the top line “R.A.,” in the middle one “C.A.” (Civis Augustanus), and in the bottom one the painter’s monogram. To the writer this latter appears to resemble more closely that of Ambrosius, “AH,” rather than that of Hans, “HH.” If this supposition be correct, it would indicate that the elder brother was the author of the picture, or, at least, that he had a share in the painting of it. In style it resembles almost as closely the few known works by Ambrosius as the earlier Basel works of Hans; indeed, in some ways, it approaches more nearly to the elder brother’s art, as seen in his drawings. In these there is a slight hesitancy and lack of decision in the touch which is not met with in the younger Holbein’s work of the same period. The tenderness of feeling displayed in the picture is also to be found in such drawings by Ambrosius as the head of a young girl inscribed “Anne,” in the Basel Gallery, while the putti have much in common with those which bear the shields above the heads of his two charming portraits of unknown boys, also at Basel. These putti, however, have a still greater likeness to those so frequently used by his brother Hans, as can be seen very plainly in the first title-page designed by him a year or two later; indeed, the whole framework of the picture recalls his handiwork. It may be suggested, therefore, that the Rickenbach “Madonna” was painted, in part at least, by Ambrosius. The two youths appear to have travelled together—though there is no absolute proof of this—and it might be expected that any small commissions picked up on the way would be given to the elder brother, who, again, may have been assisted in carrying them out by his younger companion. Dr. Ganz points out the close resemblances between this picture and a silver-point drawing at Basel attributed to the two brothers.