The Ambassadors (Holbein) viewer must approach the painting from high on the right side, or low on the left side, to see the form as an accurate rendering of a human skull. While the skull is evidently intended as a "vanitas" or "memento mori", it is unclear why Holbein gave it such prominence in this painting. One possibility is that this painting represents three levels: the heavens (as portrayed by the astrolabe and other objects on the upper shelf), the living world (as evidenced by books and a musical instrument on the lower shelf), and death (signified by the skull). It has also
The Body of the Dead Christ in the Tomb for what purpose the painting was created. Various suggestions have been offered, including as a predella for an altarpiece, a free-standing work, or an ornament for a sepulchre. In 1999, the art historians Oskar Bätschmann and Pascal Griener raised the possibility that the panel was intended to form part of a Holy Tomb, perhaps as a lid to be laid over a sepulchre. It is known that Holbein used a body fished out of the Rhine as a model for the work. The panel has attracted fascination and praise since it was created. The Russian author Fyodor Dostoevsky was captivated