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
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