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
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