Ambassadors (1533). Oil on panel. 207 x 210. The Ambassadors is a painting by Hans Holbein the Younger. Also known as Jean de Dinteville and Georges de Selve, it was created in the Tudor period, in the same year Elizabeth I was born. As well as being a double portrait, the painting contains a still life of several meticulously rendered objects, the meaning of which is the cause of much debate. It also incorporates a much-cited example of anamorphosis in painting. It is part of the collection at the National Gallery in London. Although a German-born artist who spent most of his time in England, Holbein displayed the influence of Early Dutch painters in this work. This influence can be noted most outwardly in the use of oil paint, the use of which for panel paintings had been developed a century before in Early Netherlandish painting. What is most Flemish of Holbein's use of oils is his use of the medium to render meticulous details that are mainly symbolic: as Jan van Eyck and the Master of Flémalle used extensive imagery to link their subjects to divinity, Holbein used symbols to link his figures to show the same things on the table. Among the clues to the figures' explorative associations are a selection of scientific instruments including two globes, a shepherd's dial, a quadrant, a torquetum, and a polyhedral sundial, as well as various textiles including the floor mosaic, based on a design from Westminster Abbey, and the carpet on the upper shelf, which is most notably oriental, an example of Oriental carpets in Renaissance painting. The choice for the inclusion of the two figures can furthermore be seen as symbolic. The figure on the left is in secular attire while the figure on the right is dressed in clerical clothes. Their flanking of the table, which displays open books, symbols of religious knowledge and even a symbolic link to the Virgin. In contrast, other scholars have suggested the painting contains overtones of religious strife. The conflicts between secular and religious authorities are here represented by Jean de Dinteville, a landowner, and Georges de Selve, the Bishop of Lavaur. The commonly accepted symbol of discord, a lute with a broken string, is included next to a hymnbook in Martin Luther's translation, suggesting strife between scholars and the clergy. The terrestrial globe on the lower shelf repeats a portion of a cartographically imaginative map created in possibly 1530 and of unknown origin. The map is referred to as the Ambassadors' Globe due to its popularly known appearance in the painting. The work has been described as one of the most staggeringly impressive portraits in Renaissance art. The most notable and famous of Holbein's symbols in the work, however, is the distorted skull which is placed in the bottom center of the composition. The skull, rendered in anamorphic perspective, another invention of the Early Renaissance, is meant to be a visual puzzle as the 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, the living world, and death. It has also been hypothesized that the painting is meant to hang in a stairwell, so that persons walking up the stairs and passing the painting on their left would be startled by the appearance of the skull. A further possibility is that Holbein simply wished to show off his ability with the technique in order to secure future commissions. Artists often incorporated skulls as a reminder of mortality. Holbein may have intended the skulls and the crucifix in the upper left corner to encourage contemplation of one's impending death and the resurrection. Before the publication of Mary F. S. Hervey's Holbein's Ambassadors: The Picture and the Men in 1900, the identity of the two figures in the picture had long been a subject of intense debate. In 1890, Sidney Colvin was the first to propose the figure on the left as Jean de Dinteville, Seigneur of Polisy, French ambassador to the court of Henry VIII for most of 1533. Shortly afterwards, the cleaning of the picture revealed that his seat of Polisy is one of only four French places marked on the globe. Hervey identified the man on the right as Georges de Selve, Bishop of Lavaur, after tracing the painting's history back to a seventeenth-century manuscript. According to art historian John Rowlands, de Selve is not wearing episcopal robes because he was not consecrated until 1534. De Selve is known from two of de Dinteville's letters to his brother François de Dinteville, Bishop of Auxerre, to have visited London in the spring of 1533.