Anamorphosis before 1583. "The Ambassadors" (c. 1533) by Hans Holbein the Younger is well known for the prominent oblique anamorphic transformation in the painting. In this artwork, a distorted shape lies diagonally across the bottom of the frame. Viewing this from an acute angle transforms it into the plastic image of a human skull. The painting is regarded as a "vanitas" - a meditation on the transience of life - with the skull a symbolic "memento mori". The altered perspective required to see the image reflects the contemporary practice of painting skulls on the reverse of otherwise tranquil paintings. Four centuries
Lais of Corinth (Holbein) as its companion piece, though Holbein does not appear to have originally planned the second painting. According to some commentators, the portrayal of the sitter as a hetaera or courtesan may contain a coded message by Holbein about his relationship with her. Art historian Peter Claussen, however, dismisses this interpretation as "pure nonsense". Both paintings employ the same colours and depict the same costume and drapery. Holbein adopts the style of Leonardo and the Lombard muralists, whose work he may have studied during a visit to Italy. He uses Leonardo's "sfumato" (smoky) technique to blend the skin tones, as well